Event

The organ, the laptop, and ‘Digital Loom’

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The SF Symphony’s awesome-looking American Mavericks festival — which will present a “wild side” of contemporary and modernist classical works not often heard on a Davies Hall scale (Meredith Monk! Jessye Norman singing John Cage!) — kicks off next week with a host of edgy aural goodies. 

And this Sun/4, in a kind of pre-fest wallop, Quebecoise organist Isabelle Demers will take advantage of the enormous Davies pipes to play a number of neat pieces, including one by SF’s electronic-adventurous Mason Bates, entitled “Digital Loom,” (hear a sample here). “Digital Loom,” from 2009, embodies Bates’ signature fusion of techno-ambient effects, often laptop generated, with symphonic elements to create something not quite Sci-Fi, not quite rave, not quite Stravinsky at his most cosmic-colorful, but all quite cool.

http://www.youtube.com/watch?v=bin545LXrRY

The Symphony has featured Bates before, you could spot him with his laptop in the midst of the players on one particular brain-tickling, multi-media occasion, generating drum patterns and swoops and swooshes for his major piece “The B-Sides” in 209. He also DJs around town as DJ Masonic, and hosts his occasional dancefloor-meets-classical party with young conductor Benjamin Schwarz, Mercury Soul.

It will be a total treat to hear the super-dextrous Demers take on “Digital Loom” on a Sunday afternoon (partly to see how she actually performs it), in the midst of an ambitious program that also includes Bach, Prokofiev, Henry Martin, and Rachel Laurin. Organ and electronica fanatics unite!

ORGAN RECITAL WITH ISABELLE DEMERS

Sun/4, 3 p.m., $20-$30

Davies Symphony Hall

201 Van Ness, SF

www.sfsymphony.org

Complete event details here

Mayor Lee praises the importance of nightlife to SF

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Addressing a gathering of nightlife advocates at a California Music and Culture Association event last night, Mayor Ed Lee praised the economic and cultural role that the entertainment industry plays in San Francisco, announced plans to add a “nightlife unit” in the Mayor’s Office of Economic and Workforce Development, and even hinted that Halloween in the Castro might be returning after being shut down during the city’s so-called “war on fun.”

“If I’m going to be about jobs,” he said, referring to his near-constant emphasis on economic development, “it should be both for the day and for the night…I do recognize this as a business, as a serious contributor to the economic engine of city.”

Lee referenced the new Controller’s Office report that was requested by Sup. Scott Wiener, which concludes that the nightlife industry generates about $4.2 billion in annual economic activity in the city (that report will be the subject of a rally and hearing on Monday at City Hall starting on the steps at noon). And he said that the benefits of a vibrant nightlife scene also help make San Francisco an appealing city for other businesses, an indirect economic benefit.

“You’re all part of a great part of the city that keeps everyone refreshed,” Lee said, later adding, “I think we can do more at night. The young people who work gobs of hours need to have an entertaining evening.”

As he announced plans to add a nightlife unit to OEWD, the office that works with private companies looking to locate or expand here, he said, “We, as government, need to fast-track things that are successful.” Yet he also said that public safety is still a challenge and called for the industry to work closely with police to keep everyone safe.

Yet Lee spoke positively about Halloween in the Castro, a once-popular event that was canceled because Mayor Gavin Newsom and then-Sup. Bevan Dufty (who Lee recently hired as his new homeless czar) feared the city couldn’t control it, and Lee alluded to plans being developed to revive it in some form. “I hate to see any event that brought so many people to the city gone,” he said.

The event was held at The Grand, a club owned by CMAC board member and new Entertainment Commissioner Steven Lee. CMAC was formed two years ago in response to crackdowns on SF nightlife by city and state officials.

Arting around: Monthly Polk Street art cruise debuts today

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Lower Polk has surged forth as one of the city’s more exciting hubs of gallery art. So it’s no surprise that the neighborhood is expanding its quarterly art walk into a monthly event — the Lower Polk Art Walk, which will take over the sidewalks every first Thursday, starting today. 

The beauty of an art walk is that there is no start point or end point — and there’s plenty of chin-scratching and ah-oohing to be done at galleries up and down Larkin and Polk Streets. So throw away your itinerary and let your feet do the planning for you as you peruse the participating eight galleries. Just make sure to meander into the showing by Larkin Street Youth Services, a collection of works by the young people who are participants in its programs geared towards homeless youth. Here’s three other gallery spaces that’ll be worth a look: 

Art installation in former “Leftovers” furniture store

Pretty much, there it is. Chad Hasegawa and other artists are rumored to be involved in this pop-up art exhibit in an old furniture store, repurposing the Polk Street milieu for the debut of this new monthly art event.  

1300 Polk, SF

“Calamity” a solo show by Mary Iverson at Shooting Gallery 

Iverson’s exhibit includes five large-scale oil paintings and six to ten smaller acrylic on panel works, and feature shipping containers superimposed on sublime landscapes. She critiques the tolls that have been taken on the environment for the sake of private profit by integrating cutouts from environmental magazines and basing much of her paintings off views of national parks. Her signature marks are the measurement lines that she leaves sprawling to the edges of the canvas. 

839 Larkin, SF. www.shootinggallerysf.com

“Young and Free” at 941 Gallery

Sun, surf, boxing kangaroos — sorry, that’s reductive, but you do get the general sense of youth and devil-may-care-ity when you think of Australia. Time to move beyond the stereotypes? Check out what is being created Down Under at this group show, which highlights the work of 13 of Oz’s most talented “urban” (the new term for art traditionally on the street that’s being shown into gallery) creatives. 

941 Geary, SF. (415) 931-2500, www.941geary.com

Lower Polk Art Walk

First Thursdays

Thurs/1 6-10 p.m., free.

Polk and Larkin between Geary and Bush, SF

lowerpolkartwalk.blogspot.com

Maximum Consumption: Overlap at Public Works pairs the audio with the edible

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So at Public Works this Thursday you can: watch veteran SF DJ Mophono and beat-driven gothsters Water Borders* live, learn about innovative advancements in music-making, peep some short films and new local art, and nibble tasty vegan treats. All in one event, from the safety of your own neighborhood club.

We all know there are overlapping circles between the arts – even the edible arts – and this is the belief that drives Overlap.org, a hyphen organization (music-arts-technology) that also has been hosting parties since 2006. In prep for the next installment of Overlap – which goes down Thursday – I spoke with Ghostly International’s Christopher Willits (Overlap.org’s founder, experimental SF-based musician) about music, food, and fostering local creativity:

SFBG: What will you be doing during the designing process workshop?

Christopher Willits: I’ll be covering a popular music-making and production tool called Ableton Live. I’ll be talking about the basics of this software system and how you can make expressive creative art with this digital tool.

SFBG: What are some other activities that will take place during this installment of Overlap?

CW: We have some great live music and a diverse lineup with Mophono, Water Borders, and Danny Paul Grody. Local films will be shown, we’ll have local vegan food from Freedom Kitchen, food by Rocky’s Fry Bread, and more local vendors announced the day of. We’ll have an info booth for our friends at Mission Creek Festival, and this time we also have very cool art vendors – Dave Marcoullier, The Heated, and more.

SFBG:
Can you describe the vibe? What has been most surprising about previous Overlaps?

CW: I connected with Public Works after a SF Forage event I performed at, and we found that we shared a common vision of where the Overlap event could go. Our first event with [them] was last October, it proved the concept and set the tone – a relaxed evening of diverse art and some really awesome people hanging out and meeting. It’s cool to see people coming out of their usual scene and connecting with this idea of greater creative community overlapping, a community made from unique but interrelated groups.

SFBG: Why incorporate local food into a music event?

CW: We support the localization of food. Our last events have featured permaculture discussions about decentralizing our food sources. We can do this in SF.  Plus we just want people to be comfortable with some delicious clean food and feature these hard-working culinary artists. They are so much a part of the creativity of this city.

SFBG: Do you see any connections in the art of cuisine and the art of music? If so, what?

CW: Absolutely, the process, texture, flavor, color, history. Music, just like food, is woven in the very fabric of our culture. I don’t know of two other things that bring people together better than food and music.

SFBG: What are your personal favorite local places to eat?

CW: I’m really into Gracias Madre right now. Ask for the hot sauce, it’s this paste-like mixure of a couple different chiles. Yum. I think you need to ask for it.

SFBG: Future goals for Overlap.org and Overlap parties?

CW: Our goal is simple – to grow creative community in San Francisco. The rest will fall into place. We want to provide that place and time for people to come together and strengthen new bonds.

I have this feeling that we’re within a new creative wave in SF. We’re living in an amazing place and time, we’re all redefining how art and community interact and grow together. We have so much imagination and creativity. Together we are redesigning how our local communities can connect, come together and ultimately incite creative change.

Overlap
With Christopher Willits, Danny Grody, Mophono, Water Borders

Thurs/1, 7 p.m., $5-$10
Public Works
161 Eerie, SF
(415) 932-0955

www.publicsf.com

 

*An absolute aside: Water Borders’ Amitai Heller once casually told me he’d want to do a TED talk on the intersection of goth and baseball, and I think about this often, joke or not.

Rep Clock

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Schedules are for Wed/29-Tues/6 except where noted. Director and year are given when available. Double features are marked with a •. All times p.m. unless otherwise specified.

BALBOA 3630 Balboa, SF; www.balboamovies.com. $7.50-10. “Balboa Birthday Bash:” Safety Last! (Newmeyer and Taylor, 1923), Sun, 7. Balboa’s 86th birthday party, with cake, vaudeville performers, and more.

CALIFORNIA COLLEGE OF THE ARTS 1111 Eighth St, SF; www.sfcinematheque.org. $5-10. “The Filming of Modern Life: Cinema, Modernity, and the Avant-Garde,” a lecture by Malcolm Turvey, Tues, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Stairway to Heaven (Powell and Pressburger, 1946), Wed, 2:35, 7, and The Music Lovers (Russell, 1970), Wed, 4:35, 9. •Funny Face (Donen, 1957), Thurs, 2:25, 7, and Love Streams (Cassavetes, 1984), Thurs, 4:25, 9. •Planet of the Apes (Schaffner, 1968), Fri, 2:30, 7, and Beneath the Planet of the Apes (Post, 1970), Fri, 4:40, 9:10. “Scary Cow Short Film Festival,” Sat, 3. More info and tickets (this event, $15-40) at www.scarycow.com. The Girl With the Dragon Tattoo (Fincher, 2011), Sun, 1, 4:30, 8. Lou Harrison: A World of Music (Soltes, 2012), Tues, 7. More info and tickets (this event, $25; benefits Harrison House Music and Arts) at www.harrisondocumentary.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Chico and Rita (Trueba, 2010), call for dates and times. “2012 Oscar Nominated Short Films,” narrative and documentary (separate admission), call for dates and times. Crazy Horse (Wiseman, 2011), March 2-8, call for times. The Apartment (Wilder, 1960), Sun, 6:30. Introduced by film historian Joseph McBride.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema, Film, and the Other Arts:” Pather Panchali (Ray, 1955), Wed, 3:10. With lecture by Marilyn Fabe. “African Film Festival 2012:” You Are All Captains (Laxe, 2010), Wed, 7. “Dark Past: Film Noir by German Emigrés:” The Dark Past (Maté, 1948), Thurs, 7; Shockproof (Sirk, 1949), Thurs, 8:40. “The Library Lover: The Films of Raúl Ruiz:” Mysteries of Lisbon (Ruiz, 2010), Fri, 7; Three Lives and Only One Death (1996), Sat, 8:30. “Afterimage: James Ivory, Three Films from Novels:” Mr. and Mrs. Bridge (Ivory, 1990), Sat, 6. “Howard Hawks: The Measure of Man:” Ball of Fire (Hawks, 1941), Sun, 2; To Have and Have Not (Hawks, 1944), Tues, 7. “A Tribute to José Saramago (1922-2010)”: José and Pilar (Mendes, 2010), Sun, 4:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Straight Outta Hunters Point 2 (Epps, 2012), Wed-Thurs, 7, 8:45. “Hollywood Before the Code: Nasty-Ass Films for a Nasty-Ass World!:” •Three on a Match (LeRoy, 1932), Fri, 6:45, 9:45, and Scarface (Hawks, 1932), Fri, 8, 10; •Freaks (Browning, 1932), Sat, 2:15, 5, 8, 11, and Island of Lost Souls (Kenton, 1932), Sat, 3:30, 6:30, 9:30; •The Bitter Tea of General Yen (Capra, 1933), Sun, 1:15, 4:30, 8, and The Cheat (Abbott, 1931), Sun, 3, 6:20, 9:45; •Sensation Hunters (Vidor, 1933), Mon, 6:20, 9:45, and Murder at the Vanities (Leisen, 1934), Mon, 8; •Blondie Johnson (Enright, 1933), Tues, 6:30, 9:35, and Ladies of the Big House (Gering, 1931), Tues, 8.

SF FILM SOCIETY CINEMA 1746 Post, SF. Roadie (Cuesta, 2011), Wed-Thurs, 2:30, 5, 7, 9:15. This event, $10-11; more info at www.sffs.org. “San Francisco Green Film Festival,” features and shorts with environmental themes, March 1-7. This event, $10-50; more info at www.sfgreenfilmfest.org.

SF PUBLIC LIBRARY 100 Larkin, SF; www.sfpl.org. Free. Vincent Who? (Lam, 2008), Sun, 12:30. With community activist Curtis Chin in person.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Human Rights Watch Film Festival:” Salaam Dunk (Fine, 2011), Thurs, 7:30.

Our Weekly Picks: February 29-March 6

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WEDNESDAY 29

Jacques Lu Cont

Stuart Price is a mixmaster of mystery. The British producer-DJ goes by many aliases, including Paper Faces, Thin White Duke, Jacques Lu Cont, and Les Rythmes Digitales. How could a Brit use French pseudonyms? Well, after you’ve won three Grammy Awards and worked with an entire spectrum of musicians ranging from Madonna to Miike Snow, from the Killers to Kylie Minogue, from Seal to the Scissor Sisters, then you’re off the hook for that faux pas. Price, the son of two classically trained pianists, developed his version of French electro house after hearing the sounds of the Human League. Expect Price and his trusty synthesizers to give guilty-pleasure makeovers to familiar songs and vocals (Kevin Lee).

With Robb Green

10 p.m., $5

Vessel

85 Campton, SF

(415) 433-8585

www.vesselsf.com

 

Nellie McKay in “I Want To Live!”

From the get-go, Nellie McKay has bucked against the typical musical confines: releasing her first album in 2004 as a double CD when it might have fit in one, calling it Get Away From Me in a jab at Norah Jones and to avoid being lumped in as just another female jazz singer. One listen to her actual music then and since, a maddening blend of pop, calypso, hip-hop, rock, reggae and (yes) vocal jazz, with maddening humor and reassuring warmth, assured that one label would simply never work. “I Want To Live!” showcases all McKay’s uncaged skill as performer as she reinvents the story of San Quentin death row inmate Barbara Graham as noir cabaret. (Ryan Prendiville)

8 p.m., $30

Rrazz Room

222 Mason, SF

(415) 394-1189

www.therrazzroom.com


THURSDAY 1

It Came From Hangar 18 book party

Two men, one brand-new sci-fi epic: It Came From Hangar 18 touches down from Planet Pulp this week at the Forbidden Island Tiki Lounge, which is actually one of the book’s settings, and serves a mighty tasty array of exotic cocktails to boot. Written by noted B-movie film programmer and author Will Viharo (A Mermaid Drowns in the Midnight Lounge) and software-engineer-with-a-dark-side Scott Fulks, Hangar 18 is self-described as “the most action-packed, erotic science fiction epic since the Bible — but with even more sex and violence!” Also: vampires, mobsters, and (I’m guessing) umbrella drinks galore. The release party features live surf music by retro-futurists Tomorrowmen. Whatever you do, keep watching the skies! (Cheryl Eddy)

7 p.m., free

Forbidden Island Tiki Lounge

1304 Lincoln, Alameda

(510) 749-0332

www.forbiddenislandalameda.com

 

RED BULL Thre3STYLE DJ COMPETITION

Every year, Red Bull pops in to provide a swell showcase of our current nightlife scene, inviting a variety of local disc jocks to compete for the chance to advance to national and international levels — and possibly win an enormous golden calf that squirts endless supplies of energy drink from its nipples. KIDDING. I’m sure they win something, but the real reward is ours, watching fine hometown talent display some flexibility on the decks. (The “Thre3style” part means competitors must include three different genres of music in their 15-minute sets.) This year’s amped qualifiers are KingMost, Zita, Theory, Just, Miles Medina, and John Beaver, as well as Seattle winner Four Color Zack and Portland winner Playtime. If last year’s wonderfully diverse crowd and hyper energy are anything to go by, this will be the party.

9 p.m. (show at 9:30 p.m.), $12, 18+

Ruby Skye

420 Mason, SF.

(415) 693-0777

www.redbullusa.com/thre3style

 

Zola Jesus

Russian-American Nika Roza Danilova grew up in Wisconsin, which is pretty much as close to Russia, climate-wise, as you’re going to get in the continental U.S. In the bitter cold of the Midwest, young Danilova sang opera before transitioning into rock, nabbing a keyboard here and a drum machine there. A few EPs, studio albums, and a critically acclaimed LP later, Danilova’s Zola Jesus is preaching to the masses, belting and wailing while electronic glitch samples and piano chords crash against each other. Most recent release Conatus (Sacred Bones Records) is something akin to industrial sprinkled with a pinch of classical, culled together by Danilova’s haunting, resonant voice. (Lee)

With Wymond Miles of the Fresh & Onlys, Talk Normal

9 p.m., $21

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com


FRIDAY 2

O’ Brother

A brutally captivating four-piece out of Atlanta, O’ Brother combines industrial, screaming metal, and the hard edge of Southern rock. A barrage of guitars —grounded by drummer Michael Martens, with shifting vocals by Tanner Merritt —results in a sound that’s syrupy and sludgy one moment, airy the next. Released in late 2011, O’ Brother’s first full length album, Garden Window, recalls the drive of Queens of the Stone Age, the atmosphere of Sigur Ros, and the march of Tool, without being too heavily indebted to any one part. (Prendiville)

With Junius, Happy Body Slow Brain

9 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

Prizehog

Don’t let the lack of a bassist fool you — Prizehog gets heavy. The San Francisco trio deploys a keyboard alongside large-gauge drums and down-tuned guitar to create music that veers effortlessly between tectonic post-rock, thundering doom blues, and Hawkwind-style, spaceship-launch psychedelia. Patience and an open mind are two necessary virtues; they’ll prepare you for the band’s shuddering builds, non-traditional arrangements, and sudden stylistic shifts. Concertgoers looking for a potent dose of local, experimental volume should look to get high on the ‘Hog. (Ben Richardson)

With Bobb Saggeth, Hell Ship

9 p.m., $8

Thee Parkside

1600 17th St., SF

(415)-252-1330

www.theeparkside.com

 

Ty Segall

Ty Segall has managed to produce ecstatic, psychedelic lo-fi garage punk rock that retains the catchiest elements of rock’n’roll — seductive drumbeats, wailing guitars, and arresting lyrics — really quickly. Last year he released full-length album Goodbye Bread, along with three EPs. This spring he’s touring with Tim Presley of White Fence to promote their collaborative LP, Hair, out April 28. Hair features Segall’s brand of bright and fuzzy electric doo-wop and Lucy-in-the-Sky-with-Diamonds-inspired melodic distortion. Segall rocked the Great American Music Hall last year with his curly blonde head-banging antics and returns this week to shake it out some more. (Mia Sullivan)

With White Fence, Mikal Cronin, the Feeling of Love

8:30 p.m., $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com


SATURDAY 3

Bad Weather California

Let’s start a new religion. Let’s start a cult. Let’s go to bed. Let’s get high. Let’s get fucked up. Let’s start a band. Let’s get a van. Let’s make some music. Whatever its problems may be, Denver-based freaked out rocker band Bad Weather California offers a lot of simple solutions, without falling into the typical pratfalls of musical contrivance. It’s a rebellious rock streak without being punk, hippy utopian idealism without being a jam band, spiritual fervor without preachy religiosity. The Akron/Family label-mates have a sunny optimism in the face of bad shit and a sound that might have you going along. Maybe even that cult part. (Ryan Prendiville)

With He’s My Brother She’s My Sister

9 p.m., $8–$11

Brick and Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com


SUNDAY 4

“Balboa Birthday Bash”

Hey, jazz baby: between 2011 hits The Artist, Hugo, and Midnight in Paris, the 1920s are the cinematic decade du jour. What better way to re-live the flapper era than at a movie theater that’s been around since 1926? Cheer the Balboa’s 86th birthday — yep, it’s older than the Oscars — at a fiesta co-presented by the San Francisco Silent Film Festival. On tap are a screening of Harold Lloyd classic Safety Last! (1923) on 35mm with piano accompaniment by Frederick Hodges; a screening of shorts by Georges Méliès (a.k.a. Ben Kingsley’s character in Hugo); a live vaudeville show; an illustrated lecture by author and Safety Last! expert John Bengtson; birthday cake; and more. As they said in the ’20s (or at least, they always say in movies set in the ’20s), it’ll be the cat’s pajamas. (Eddy)

7 p.m., $7.50–$10

Balboa Theatre

3630 Balboa, SF

(415) 221-8184

www.balboamovies.com


MONDAY 5

The Driftwood Singers

Listening to the Driftwood Singers makes you feel like you’re ambling down a dusty country road toward something that might not exist anymore. This lo-fi folk duo of Pearl Charles and Kris Hutson writes foreboding, bluesy love ballads laden with longing nostalgia. Charles’ warm, milky vocals blend seamlessly with Hutson’s slightly twangy voice as Charles picks her autoharp and Hutson strums his guitar (or mandolin/banjo, depending on the number). This pair hails from LA (no, really) and recorded their debut EP, Look!, with a Sony Walkman. Their upcoming seven-inch, out March 27, was recorded a bit more expertly, but channels the same raw honesty. (Sullivan)

With Birdhouse, Lauren Shera, and Infantree

8:30 p.m., $12

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com


TUESDAY 6

Mia Doi Todd

Los Angeles singer-songwriter Mia Doi Todd’s latest offering, Cosmic Ocean Ship (City Zen Records), was inspired by journeys into Cuba, Brazil, France, Mexico, and India. Her lilting, reflective vocals relay tones of nostalgia, affection, and optimism. Opening track “Paraty” refers to a Brazilian coastal town and brings in some lighthearted samba, while “Under the Sun” sees Todd turn tropical island chanteuse; her romantic crooning bringing to mind a couple taking a post-luau stroll on the beach. The take-away message might best be encapsulated by Cosmic‘s last track, a touching cover of Chilean Folk artist Violeta Parra’s “Gracias a la vida.” (Lee)

With Bells

8 p.m., $16–$26

Yoshi’s

1330 Fillmore

(415) 655-5600

www.yoshis.com

 

Romeo and Juliet

Romeo and Juliet is the only 20th century ballet that can give a run to the 19th century biggies Nutcracker and Swan Lake. No matter who choreographs, it will find an audience. Fortunately, you have to be really good to keep control of the subject matter’s complexity, not to speak of an audience’s expectation about a beloved story and, of course, the music. Helgi Tómasson has the chops. His 1994 version is gorgeous, sumptuously choreographed and designed. The depth of the company is such that it has any number of first-rate dancers to fill the roles, not just the major ones of the lovers, but minor characters — the villain and the best friend, the gypsy girls and the rejected suitor. (Rita Felciano)

Through March 11, 8 p.m., $36–$285

War Memorial Opera House

301 Van Ness, SF

(415) 865-2000

www.sfballet.org

 

 

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On the Cheap Listings

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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 29

Nutrition class for cyclists Sport Basement, 1881 Ygnacio Valley, Walnut Creek. (925) 941-6100, www.sportbasement.com. 7 p.m.-8 p.m., free with RSVP. It is the worst when you’re still 20 minutes away from your destination and your energy decides to crash on you. In this nutrition class, experts give perspectives on quality food choices, review specific bars and powders, and provide simple and delicious recipes for on and off the bike.

Radical Directing lecture series with Terry Zwigoff San Francisco Art Institute, 800 Chestnut, SF. (415) 771-7020, www.sfai.edu. 7:30 p.m., free. Long-time San Franciscan Terry Zwigoff makes feature films out of underground comic strips and turns down corporate project offers in favor of ‘tooning for smaller outfits. Join Zwigoff as he discusses his experience writing screenplays and making documentaries.

THURSDAY 1

“After Dark: Vinyl” interactive presentation Exploratorium, 3601 Lyon, SF. (415) 561-0360, www.exploratorium.edu. 6 p.m.-10 p.m., free with museum admission. In the heyday of vinyl, records were made of fragile materials such as wax and shellac. Experimental physicist Carl Haber recovers the sweet tunes that we once believed were gone forever.

The End of Money: Counterfeiters, Preachers, Techies, Dreamers—and the Coming Cashless Society author discussion The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30 p.m., free. These days, you can get far without the greenbacks — as long as you’ve got dough on your plastic. In his newest book, David Wolman embarks on a paper cash-less journey around the world, encountering people and technologies whose alternatively embrace and fear the end of tangible money.

“So You Think You Can Paint?” SoMa art party Club Six, 60 Sixth St., SF. (415) 863-1221, www.clubsix1.com. 7 p.m.-11 p.m., free. Your task is to complete as many eight-foot art pieces as you possibly can. If you have any doubts to your skills or just want to learn more, there will be a free art class from 6 p.m. to 7 p.m. Huge walls, paint, brushes, and tunes will be provided.

Nightlife’s Darkroom photography event California Academy of Sciences, 55 Music Concourse, SF. (415) 379-8000, www.calacademy.org/nightlife. 6 p.m.-10 p.m., $12. Come meet the folks from Instagram for a night dedicated to the recent transmutations of photography. Enjoy live music and images of beautiful coral reef while checking out the innovations of Lytro’s light field camera, artist Genevieve Quick’s hand-made cameras, Lomography’s analog cameras, and aerial photographer Michael Layesfsky’s balloon camera.

FRIDAY 2

True Stories Lounge story telling performance The Make-out Room, 3225 22nd St., SF. (415) 647-2888, www.makeoutroom.com. 7:30 p.m., $10. Telling a good story is a particularly difficult art to master. Join seven professional storytellers who’ll be keeping this oral tradition alive by divulging their memoirs, essays, reportages, and narrative column writings.

SATURDAY 3

Origami club San Francisco Public Library, 500 Cortland, SF. (415) 355-2810, www.sfpl.org. 2 p.m.-4 p.m., free. Ah, the progressive addiction of origami. First you’re making a crane, and then you’re drinking out of an ornate paper teacup. Not surprising at all that there is a local club devoted to the art — now where’s the 12-step program?

“Zeke Greenwald, Potential Roommate” comedy show 222 Hyde, SF. (415) 345-8222, www.222hyde.com. 8 p.m.-10 p.m., free. Anyone who has ever searched Craigslist for housing in San Francisco know of the comedic horror that lies within each potential roommate. Five local comedians stand up to share their stories.

Dr. Seuss’s birthday celebration Playland-Not-at-the-Beach, 10979 San Pablo, El Cerrito. (510) 592-3002, www.playland-not-at-the-beach.org. Through Sunday. 10 a.m.-5 p.m., $10 children; $15 general admission. Celebrate the birthday of the guy who reminded us all that crazy is awesome and the imagination is limitless. There will be penny arcades, haunted houses, interactive exhibits, and magic sideshows. High-fives for everyone who dresses up.

Sperm Whale Soiree art and science reception Randall Museum, 199 Museum, SF. (415) 561-6622, www.randallmuseum.org. 7 p.m.-10 p.m., $15 advance tickets. Moby Dick gave sperm whales a bad rep. But the truth is they’re extremely interesting animals that nowadays, are sadly endangered (no thanks to you, Captain Ahab). Learn about their amazing diving skills and their even more intriguing sex lives.

SUNDAY 4

Actual Jazz Series with the John Schott Trio and special guests Actual Cafe, 6334 San Pablo, Oakl. (510) 653-8386, www.actualcafe.com. 5 p.m., free. Actual Cafe’s new house band plays twice a month on first and third Sundays. Its set list includes everything from standard jazz to obscure Ukrainian songs. First Sundays feature younger jazz musicians from the Bay Area, guest singers, and spoken word collaborators.

MONDAY 5

Mental Aerobics San Francisco Public Library, 100 Larkin, SF. (415) 355-2822, www.sfpl.org. 1 p.m.-3:30 p.m., free. Feeling a little brain-dead lately? You can do something about that, y’know. Come work out your cerebral organs and spark your cognitive vitality in this class designed to get your synapses firing.

TUESDAY 6

Andy Warhol: Polaroids/Matrix 240 Berkeley Art Museum, 2626 Bancroft, Berk. (510) 642-0808, bampfa.berkeley.edu. Through May 20. Gallery hours Wed.-Sun. 11 a.m.-5 p.m., $7–$10. Long before Instagram, there was Polaroid. The Prince of Pop Andy Warhol took thousands of snapshots that were never shown to the public until now. Come check out photos of O.J. Simpson, Daryl Lillie, Diane von Furstenberg, and of course, bananas.

Alerts

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yael@sfbg.com

WEDNESDAY 29

Funeral for capitalism

Occupy Oakland declares capitalism dead with a funeral procession with New Orleans style brass band, eulogy, and “dancing on the grave to follow.” Organizers want you to “use your extra day to bid farewell to a system that brings us meaningless jobs, billionaires, shopping malls, structural poverty, and ecological collapse.” After all, this is a leap year, so celebrate it right!

6 p.m., free

Oscar Grant/ Frank H. Ogawa Plaza

Broadway and 14th, Oakl

www.leapdayaction.org/event/funeral-capitalism

 

THURSDAY 1

Occupy Education Part 1

As part of a national day of action, join Occupy City College of SF, Occupy SF State, and the Occupy SF Action Council for a teach-in and occupation at the California State Office Building. The event will be followed by a rally at Civic Center Plaza, with speeches and discussions about the causes and effects of deep cuts to the higher education system.

3 p.m., free

California State Office Building

455 Golden Gate, SF

www.occupyed.org

 

Occupy 4 Prisoners benefit

Legendary activist and professor Angela Davis, along with fellow prison-reform activists Elaine Brown and Barbara Becnel, will speak about the prison-industrial complex, followed by a film screening of Broken on all sides: Race, Mass Incarceration, and New Visions for Criminal Justice in the US.

7 p.m., $10 suggested donation

Grand Lake Theater

3200 Grand, Oakl

www.occupyoakland.org

 

SATURDAY 3

The Future of Palestine

Dr. Mustafa Barghouti, general secretary of the Palestinian National Initiative and president of the Union of Palestinian Medical Relief Committees, comes to Berkeley. His talk will center on the impact of the Arab Spring on Palestinian politics, and how non-violent struggle there has succeeded in recent years. Proceeds from the event will benefit medical relief for children in Palestine.

7:30 p.m., $10

Martin Luther King Middle School

1781 Rose, Berk.

www.mecaforpeace.org


MONDAY 5

Occupy Education Part 2

Every year, students, teachers and supporters march on Sacramento to demand better access to education. This year, fueled by Occupy momentum, promises to be a big one. Hundreds of protesters plan to march from San Francisco to Sacramento—a four-day journey—for this day of rallies, a general assembly, and non-violent action trainings at California’s Capitol building. Join them, sign up for a seat on the bus, or head to Sacramento yourself.

10 a.m., free

Southside Park

2115 Sixth St, Sacra

www.occupyeducationca.org/wordpress

Son burn: “We Need to Talk About Kevin” review

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It’s inevitable — whenever a seemingly preventable tragedy occurs, there’s public outcry to the tune of “How could this happen?” (Exhibit A: recent events in Ohio.) But after the school shooting in We Need to Talk About Kevin, the more apt question is “How could this not happen?”

Lynne Ramsay (2002’s Morvern Callar) — directing from the script she co-adapted from Lionel Shriver’s novel — uses near-subliminal techniques to stir up atmospheric unease from the very start, with layered sound design and a significant, symbolic use of the color red. While other Columbine-inspired films, including Elephant and Zero Day (both 2003), have focused on their adolescent characters, Kevin revolves almost entirely around Eva Khatchadourian (a potent Tilda Swinton) — grief-stricken, guilt-riddled mother of a very bad seed (played as a teen by Ezra Miller, at age seven-ish by Jasper Newell, and as a baby by Rocky Duer).

The film slides back and forth in time, allowing the tension to build even though we know how the story will end, since it’s where the movie starts: with Eva, alone in a crappy little house, working a crappy little job, moving through life with the knowledge that just about everyone in the world hates her guts.

Motive was a hot topic post-Columbine. Both of the Colorado killers kept rage-filled diaries, but their home life has remained largely enigmatic. Dylan Klebold’s mother penned an essay for O magazine in 2009, titled “I Will Never Know Why.” It describes her shock upon realizing that her beloved son was involved in the massacre, and her enduring regret at not doing more to prevent it. She also touches on her experiences after the event: “I was widely viewed as a perpetrator or at least an accomplice since I was the person who had raised a ‘monster.'”

Eva shares these feelings of shock and guilt, and experiences, as Susan Klebold describes, constant public shame. She can’t leave her house without experiencing humiliation, thanks to the vandals who’ve splashed her porch and car with crimson paint. (The grim, practiced way she takes a sander to her sullied front door suggests it’s not an infrequent occurrence.) Forget about blending in when everybody knows your face — or your last name is as memorable as “Khatchadourian.”

But Eva’s guilt runs even deeper. Kevin‘s flashback scenes are stuffed with rock-solid evidence that her kid was born a complete psycho, and that Eva is fully aware of it.

What’s worse, she suspects it’s her own fault. She didn’t even want a baby in the first place, really; husband Franklin (played with gee-whiz oblivion by John C. Reilly) passive-aggresses her into domesticity. “Stop resisting,” the doctor urges as she’s giving birth, but it seems resisting would’ve saved her a lot of anguish. The baby screams all day (Eva’s only relief: parking the stroller at a construction site, where the sounds of a jackhammer drown out his cries); later, when the family moves to the ‘burbs, he grows into a scowling child who spends every waking minute terrorizing his mother. Even worse, he adopts a fake-sweet personality whenever Franklin is around.

Frustrated, Eva takes him to the doctor, who concludes, “There’s nothing wrong with him.” So, is Eva what’s wrong with him? Later, when she’s scouring high school-aged Kevin’s room, she finds no Columbine-style diaries, only a CD-ROM marked “I Love You.” It’s the only time love and Kevin are presented as part of the same thought — and, naturally, the “I Love You” disc actually contains a crippling computer virus.

Kevin is very nearly a full-blown horror movie, and the demon-seed stuff does get a bit excessive. But it’s hard to determine if those scenes are “real life” or simply the way Eva remembers them, since Kevin is so tightly aligned with Eva’s point of view. Though she’s miserable in the flashbacks, the post-tragedy scenes are even thicker with terror. The film’s most unsettling sequence unfolds on Halloween, horror’s favorite holiday; Eva drives past a mob of costumed trick-or-treaters as Buddy Holly’s “Everyday” (one of several inspired music choices) chimes on the soundtrack. Masked faces are turn to stare — accusingly? Coincidentally? Do they even know she’s Kevin’s mother? — with nightmarish intensity heightened by slow motion.

And indeed, “Everyday” Eva deals with accepting her fate; the film is sympathetic to her even while suggesting that she may actually be responsible. When a woman walks up to her on the street and punches her in the face, screaming “I hope you rot in hell!”, Eva brushes off help from a stunned bystander: “It’s OK. It was my fault.” Whether or not Eva will forgive her son is uncertain. Clearly she’ll never forgive herself.

We Need to Talk About Kevin opens Fri/2 in Bay Area theaters.

Image Comic Expo showcases new stars and the old guard

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Comic cons serve a variety of functions. They can be press junkets, costume parties, swap meets, social retreats, even museums. Comics writer Warren Ellis has a habit of referring to San Diego’s huge Comic Con as “nerd prom,” which perfectly captures the glow of excitement for mass socialization in funny costumes. By contrast, this year’s Image Comic Expo was more like a nerd Sadie Hawkins dance – a deliberate reversal of the standard hierarchy, where creator-owned books are championed over the widely beloved DC and Marvel franchises that sometimes seem to oversaturate the comics market. It was also a little less garish and hectic than some larger cons, but the sense of community and pride was still richly evident.

The event coincided with two historic peculiarities – the twentieth anniversary of Berkeley-based Image Comics and the migration of San Francisco’s WonderCon to Anaheim this year. And, fittingly, there was no shortage of Image worship over the con’s three days. In the center of the convention floor like a hub was the main Image vendor, which sold books, distributed tickets to panels and workshops, and hosted signings, all in the shadow of a massive edifice with Image book covers on one side and images from Robert Kirkman’s Skybound imprint on the other.

Local vendors were well-represented on the con floor, with Berkeley’s Fantastic Comics (shout-out to my hometown comic book guys and gals) and Escapist Comic Bookstore, and San Francisco’s Two Cats Comic Book Store, among others. The “artist alley” was rife with independent artists and creators selling their wares and producing sketches, while several Image creators, including Jonathan Hickman (Red Wing), Nick Spencer (Morning Glories), and the MAN OF ACTION gents, got their own booths around the con.

As for the sort of crowd the Image Expo attracted, based entirely on my casual observations, there was a notable diversity of age, gender, and ethnicity. There were strikingly few cosplayers, though I spotted one full-blown Aang from Avatar: The Last Airbender, a group of ladies in anime-inspired dress (I made out one Sailor suit), and two young’uns dressed as Batgirl (or a female Batman) and Captain America. Among con guests, the Skybound booth featured an Atom Eve cosplayer, and the comedians of Dipstick Swagger sported a variety of disguises including their own mascot, Luchacat.

By virtue of the con’s Image-centric organization, the panels which ran through Saturday and Sunday were occasionally redundant, with guests like Kirkman, Joe Casey, and Brian K. Vaughan each appearing in multiple places. But breaking announcements and a sense of fan enthusiasm for these beloved creators’ upcoming work kept it all going. Among the exciting announcements at Friday night’s keynote speech by Image publisher Eric Stephenson: the long-awaited sequel to Howard Chaykin’s Black Kiss, a third volume of Phonogram from Gillen/McKelvie, a collaboration between Grant Morrison and Darick Robertson called Happy, and several other new titles.

The most enjoyable panels were the ones that featured folks with a less-established fanbase, who were in a position to introduce new readers to their ideas. The inaugural Saturday panel, moderated by G4’s Blair Butler, focused on the forthcoming Kickstarter-funded collection Womanthology, a showcase for comics by female creators. The panel featured Trina Robbins, Mariah Huehner, Nicole Sixx, Fiona Staples, and Bonnie Burton, all of who contributed in various capacities. The audience, though smallish, was enthusiastic about both the cause and the content, and discussions of such exasperating issues as the “brokeback pose” (slightly NSFW tumblr here) drew applause and thoughtful questions.

Also engrossing was Sunday’s “Image Introduces…” panel, with a slate of recently recognized creators whose series are still in their early issues, including Joe Keatinge (Glory, Hell Yeah), S. Steven Struble and Sina Grace (Li’l Depressed Boy), Daniel Corey (Moriarty), Jim Zub (Skullkickers), Brandon Seifert (Witch Doctor), and Kurtis J. Wiebe (Peter Panzerfaust). It was a joy to see their pride in their creations and their genuine pleasure at getting to share their work with potential new fans.

But let us not forget the old guard: at the “Twenty Years of Independence” panel, the founders of Image told their story and the audience got a chance to witness controversial icons like Todd McFarlane and Rob Liefeld; the “Stories and Scripts: Writing Comics” panel featured Image’s hottest properties, including Jonathan Hickman, Ed Brubaker, Nick Spencer, John Layman, Joe Casey, Steven T. Seagle, and Brian K. Vaughan, who basically all teased each other and had a grand old time.

Since it was an Image-minded convention, creators came first, which is always refreshing, especially for less iconic newcomers with a lot to offer, but the apotheosis of one publisher might wear thin if the convention continues in subsequent years. With a bit of expansion, though, an East Bay comics event might differ enough from WonderCon to hold an audience.

All photos by Taryn Erhardt

 

Sorting out the America’s Cup re-do

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I have to say this for Mayor Ed Lee: He’s not so stubborn or egotistical. He’s willing to listen. And when something really, really doesn’t make sense, he’s willing to let it slide.

Not like Gavin Newsom.

If Newsom were still the mayor (ick! gasp!), he’d be desperately trying to keep together the deal that gave five pieces of the waterfront to the sixth richest person on Earth for more than two-thirds of a century. He’d refuse to admit that maybe the promises of vast wealth accruing to the city from what’s really an untested event might be a little lower than projected. He’s be sucking up madly to Larry Ellison, promising him more and more city money if only His Larryness would bestow the greatness of his hotel, restaurant and condo manna upon us poor lowly San Franciscans.

The current mayor has a little more sense. But then, I don’t think Ed Lee spends much time dreaming about the Oval Office.

So now that Ellison’s team realized they weren’t going to be guaranteed enough of a profit on waterfront development and Lee realized that giving away any more of the store, or rushing this through any faster, was bad for the city, we have a deal that’s based on San Francisco hosting a sports event, not on extensive real-estate development on the waterfront. It’s better than it was, and I give the mayor credit for that.

But a few things are worth remembering:

The proverbial devil is in the proverbial details, and right now they aren’t so proverbial. There’s the minor matter of about $15 million worth of upgrades and repairs to the waterfront that’s needed for the race — and the city’s on the hook for it. Right now, it’s not clear where that money’s going to come from.

One option: The city could go back to giving Ellison some property or development rights. The Chron quotes Jennifer Matz, the mayor’s economic development director, saying that the rights to Seawall Lot 330 are still on the table (bad, bad idea). Stephanie Martin, spokesperson for Ellison’s operation, told me there are no long-term development plans included at all. Maybe the city will just pay cash from the General Fund to Ellison (seems unlikely; I’d love to watch that Budget and Finance Committee meeting.) Maybe the Port will sell revenue bonds and pay Ellison out of the projected new income from the event.

Or maybe some other deal that will be bad for the city and good for Larry will emerge, and we’ll all have to fight that one.

I realize that, if the attendance figures are anywhere near what’s projected, the city will still wind up millions of dollars to the good.

But I still don’t understand: Why are we paying Ellison to hold his race here? Yeah, it will bring tourists to the city — but as former Sup. Aaron Peskin points out, we don’t pay the Navy to bring Fleet Week and the Blue Angels to town. If anything, we should be charging these folks for the right to use so much public property for their own commercial gain. (Yes, the America’s Cup involves commercial gain. Ellison does it because he loves yacht racing and likes to win shit, but you don’t think that giant Oracle logo in 80 million pictures in newspapers and on TV isn’t worth a whole lot of money?)

Why isn’t a guy who counts as one of this generation’s great industrialists, with a fortune rivaling the Rockefellers and the Morgans and that gang, donating anything at all to San Francisco? Those old robber barons built libraries and museums and stuff for the benefit of the public. Come on, Larry — step up and help out here. Do the race, defend your Cup, then give something back to the city instead of asking the taxpayers to cover your tab.

PS: I read Randy Shaw’s attack (if that’s what this odd little piece was) on Aaron Peskin, and I wonder — what’s wrong with being a maverick who works from the outside to try to defend the city’s interests? I don’t always agree with Peskin (see: Home Depot) but I can tell you: There are a lot of people inside City Hall who are really, really happy that he’s out there doing what he’s doing. If nobody on the outside was taking on the America’s Cup deal, the city would absolutely be worse than it is. Peskin’s trying to save the city money. Why is that a bad thing?

Here’s what made me really laugh, though: Shaw criticizes Peskin for failing to support Malia Cohen and Jane Kim for supervisor, saying that he could have been mayor if he’d been working for candidates who ended up winning. Huh? Don’t progessives usuall go after pols who sell out their principles for political gain? If Peskin thought that Debra Walker and Tony Kelly would be better supervisors than Cohen and Kim, shouldn’t he be working for them instead of thinking about his own political future?

Odd where Randy Shaw is going these days.

 

 

Dramatic change in the America’s Cup deal

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Mayor Ed Lee has announced dramatic changes in the deal for the America’s Cup race, essentially eliminating the massive real-estate development contract with Oracle CEO Larry Ellison.

Under the new agreement, the city will work with Ellison to host the race — but that’s about the beginning and the end of it.

“There is no long-term development,” Stepahnie Martin, spokesperson for the America’s Cup Event Authority, told me.

The previous deal, set for a Board of Supervisors vote Feb. 28, has been scrapped, so there won’t be any board action tomorrow, Judson True, an aide to Board President David Chiu, told me.

That deal would have given the world’s sixth richest person a swath of valuable waterfront property, with 66-year leases and development agreements, in exchange for Ellison investing millions in renovating the aging piers.

But criticism over what some called a huge giveway of public land was diverting discussion of the yacht race and threatened to undermine the city’s ability to serve as the venue host. Some supervisors were demanding more guarantees that the city wouldn’t lose money on the deal, and Ellison’s team was unwilling to budge.

In a Feb. 27 press release, Lee announced that the teams will be building a race village at Piers 27-29 and consolidating the boat launching facilities at Pier 80, on the southern waterfront. The race village will be temporary, and when the yachts leave, Ellison won’t have title to that property.

He won’t have title or development rights at Pier 80, either, and the plan to let him build on Piers 30-32, 26 and 28 as well as a lot across the Embarcadero appears to be dead.

So the America’s Cup is moving back to what it should be — a sporting event, a race on the Bay, and not some bloated development agreement that involves leases lasting more than half a century.

It’s still not clear how this happened — except that the numbers clearly weren’t working out for either side. The scaled-back agreement prevents the city from losing a fortune if the race doesn’t draw the anticipated crowds, and protects Ellison from losing money on waterfront development plans that regulators (including the Bay Conservation and Development Commission) might never have approved.

The city will still pay the ACEA about $16 million to fix a few things necessary to make the race work, and it’s not clear where that money will come from,

Aaron Peskin, a leading critic of the old deal, told me he’s cautiously optimistic. “It sounds promising, we’re getting this event down to the proper size,” Peskin said.

But he said that he hasn’t seen a written agreement “so it’s hard to tell what is and isn’t still in the deal.”

No mattter what the final agreement looks like, it’s clear that Ellison’s control of the future of the central waterfront has been radically reduced. And it’s clear that the deal former Mayor Gavin Newsom cut with Ellison wasn’t going to work for the city.

It also showed something that I’ve seen over and over again in these city deals with private parties: If the public refuses to go along, most of the time the Larry Ellisons of the world — the same people who insist they won’t move an inch and that the deal can’t be changed — will eventually back down.

 

 

I came, I saw, I glittered: Monthly live sex show debuts in the Mission

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The only other time I had been to a live sex show was in the Red Light District of Amsterdam. The thing was crude – even amid the slew of debauchery that makes up tourist Amsterdam. Mostly, that was because of the concrete venue, Eurotrash techno, and slimy men masturbating and jeering behind me. But the Saturday night debut of Cum and Glitter at an underground venue in the Mission was an entirely different experience. Hosted by the elegant and welcoming Ginger Murry of Whore Magazine, the show is the brainchild of Ava Solanas and Maxine Holloway, who started the new monthly event as an expressive outlet for the sex worker community.

The show started at a little past ten p.m. Attendees descended wooden steps to an intimate underground event space that resembled a 1920’s speakeasy. The room was dimly lit, dotted with small round tables, and overflowing with anticipation. Garter belts and playsuit-flaunting babes appeared, accompanied by the deep, warm bellows of a cello being played by the artist Unwoman that vibrated through the air. 

The series’ first performance, an enchanting strip tease by Dorian Faust, set a sexy mood that carried through the rest of the evening, despite ensuing acts that registered higher on the comedy scale. Faust looked like a mermaid in her sequined outfit of varying blue hues, and her nimble body moved in waves, creating an optical illusion that carried on until she was stripped down to just her gold and blue glitter and thong. 

Next on stage were Courtney Trouble and Maxine Holloway, the latter of whose nipples were swiftly cinched with clothes pins, mouth gagged with her brunette mane. The evening proceeded in this manner, switching off between sensual and expressive solo dances and the longer duo role-plays that involved plenty of spankings, toys, and at times, ordinary household items used in surprisingly creative ways. 

Eden Alexander’s lesson on how to be a dominatrix was awe-inspiring to say the least. She spoke with comedic conviction as she took charge of her male submissive, who was ordered to worship his mistress — when he wasn’t being used as a standing surface for her stillettoes. Alexander’s delightful sass was perfectly complemented by her — even sassier — hot pink latex floor-length dress. 

Dialogue and interactions were clearly exaggerated, and the performance was more stylized than realistic. However, the sheer and genuine excitement of the performers made the show feel unforced. The audience reaped all the usual benefits of watching a performance in a small venue, and we were able to intimately enjoy every soft moan and fleeting expression –- moments that are normally missed entirely in onscreen porn. Being eye-level with the action literally involved the audience that much more in the ecstasy of the performers — when Solanas squirted in all her glittering glory to the swells of the cello mere feet to her right, barely missing my shoe in the process, it was as if she was coming for all of us. 

It is billed as a live sex show, but don’t be misled — the first installation of “Cum and Glitter” was not simply an explicit display of intercourse as it was a series of rather light-hearted scenarios acted out by nine gorgeous women who understand how pleasurable the mix of consent and wild imagination can be.  Whether your fantasy is a naughty baby sitter, sexy shoeshine, or being gagged with a rubber chicken, there was an elated smile on everyone’s face by the end of the night — it was clear that everyone left the show feeling quite satisfied. 

Check out Cum and Glitter’s website for information on the collective’s next show 

Noise Pop Roundup 1: Shannon and the Clams, Die Antwoord, Glass Candy, last-minute parties

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May I first say thanks to Noise Pop for bringing a sense of urgency to my concert-going behavior. I am nothing if not a festival junkie, and the sheer mass of shows that this particular festival coordinated was awe-inspiring and more than a little anxiety-provoking for those of us who feel the need to go to everything, always. Plus: badges. There is nothing like walking around feeling like you have special access to an entire city, at 24 venues in total from Bimbo’s up in North Beach to the Golden Gate Park-clad California Academy of Science.

Fresh off of a week in New Orleans for Mardi Gras, I couldn’t do it all. But here’s how I tried:

WEDNESDAY: Die Antwoord at Regency Ballroom 

This was the show I was most excited about seeing, and the South African hip-hop trio (emcees Ninja and Yolandi Vi$$er, and DJ Hi-Tek) were definitely worth their sold-out hype-age. Even if you can’t get down with their ultra-aggressive lyrics, you can’t quibble with Die Antwoord’s showmanship – even while spinning around like a demented, shaved head-top and bounding across the stage Vi$$er and Ninja managed to hit every lyric like wow. Sadly, the show opened with DJ Hi-Tek’s Mike Tyson-inspired homophobic rantings, and that was tough-impossible to get past. Is Hi-Tek gay? Who cares. Full review here

THURSDAY: Shannon and the Clams at Cafe Du Nord

One of the greatest things about Noise Pop is that the fest brings new audience to local favorites – and I found, conjures up concert experiences that are a lot different than if you saw your Bay-Bays in the same old venue with the same old crowd as always. Such was Thursday night’s lineup of the Soft Pack, Shannon and the Clams, Fidlar, and Surf Club. (Check Ryan Prendiville’s review of these last two acts here) It was actually my first time catching the Clams, but seeing the group slay it at Du Nord cast them in a different light than if my first time had been moshing in a room-capacity sweaty knot at, say, the Knockout. The Clams came across as a band that is expanding its reach beyond the dark rooms of the Bay Area. After the show lead singer Shannon Shaw told us that the group was in the process of recording its next album, so yay. 

FRIDAY: Glass Candy at Mezzanine

I wasn’t wearing neon, but Portland’s Glass Candy still moved my ass out of the upstairs VIP booth we’d somehow scammed and into the throngs for the middle and end of Ida No and Johnny Jewel’s set. The Chromatics are fine, but that group’s live set (which we tasted pre-Candy) was the teensiest bit slow, not compelling enough to leave the cold leather fishbowl that was the booth. Not so No and Jewel, who satisfied all the jumping grindsters with ecstatic chords and No’s prancing. 

SATURDAY: Big Queer Dance Party at Public Works

Headliner Big Freedia canceled in a medical emergency, but the crew behind this event decided to keep the ‘big’ and go along with it. Was it a Noise Pop event? Besides Freedia, the schedule, venue, and lineup had remained the same, but staff at the door told me that it was no longer part of the festival, so Noise Pop badge holders had to pay again to enter. Seemed like a boner move, but I was glad to be there once I was inside, if only to check out Double Dutchess’ beautiful boys getting hyped onstage. Their raybeams were reflected in the crowd for the rest of the night – DJ Bus Station John, Stay Gold’s DJ PinkLightning, and DJ Laydown (Hard French crewmember Timothy Strong in his debut on the decks) kept everything really sweaty – which was great because after that much Noise Pop I had some toxins to sweat out. 

What’s wrong with the America’s Cup deal? A lot

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Let’s start out with a premise that even Larry Ellison’s minions have come to accept: The race is happening here. Too late now to move it to another city. Worst-case scenario, according to Stephen Barclay, the point person for the world’s sixth-richest man: “If we don’t meet those dates, the teams will be forced to relocate to other places around the bay.”

That’s right — the teams will relocate to other places around the bay. The host city will still, for all practical purposes, be San Francisco; the races will happen off SF’s waterfront (where the Coast Guard is willing to allow them and the conditions are right) and the rich tourists will stay here, not in Burlingame or Fremont.

If Ellison decides the city’s not giving him enough, he won’t put up $55 million to fix up some of the waterfront piers. The city may decide that a development deal of some sort with him makes economic sense. But it’s a real-estate deal at this point, not a deal for the race. At least, that’s what the Ellison team seems to be confirming.

And I fear that the real-estate deal that the Board of Supervisors Finance Committee sent forward yesterday, 2-1, is a bad deal for the city.

The terms are really complicated, and it makes my head hurt just trying to figure it all out — and still, the supes are expected to vote on the 120-plus-page document Feb. 28. Here’s what we do know, though:

The supervisors originally came to a deal with the America’s Cup Event Authority back in December. The concept was — and is — pretty straightforward, the same sort of deal the city has done (or, certainly, the Redevelopment Agency has done) many times in the past. In exchange for putting cash into renovating several piers, Ellison’s group would get long-term leases and development rights on the property. The idea: The city can’t afford to fix the piers. Ellison’s organization can. And once the property is renovated, the developer can make back that initial investment, and a profit, by building commercial space, condos and whatever else the Port decides to allow.

In a perfect world, San Francisco (and the state and the feds) would tax the hell out of people like Ellison, and there’d be public money to rebuild the waterfront as public open space, recreational facilities and the like. And wouldn’t that be utterly cool? Wouldn’t this city have the most awesome waterfront in the world?

But no: The only way the piers are going to anything but a place to park cars until they fall into the bay is if some private developer gets the rights to build something that I won’t like.

Supervisors Jane Kim and Mark Farrell, who don’t agree on a lot of things, both agreed with my basic analysis of the politics here: We shouldn’t let the excitement over the prospect of a boat race get in the way of analyzing this for what it is: A financing tool for the Port to get its infrastructure fixed up. Without a private investor, “they just don’t have the capacity to do that,” Kim told me.

So let’s just stipulate for a moment that this is the best, maybe the only way the city can restore the Port. Then it comes down to the real issue: Has the Mayor’s Office negotiated a good enough deal? Is San Francisco getting enough out of this? Or is everyone so hyper-buzzed about fancy carbon-fiber boats in the water (and I admit, they’re pretty cool) and free-spending tourists in the hotels and restaurants that we’re letting Mr. Ellison — who didn’t get so stinky rich by being a weak negotiator — walk away with most of the cookies?

Remember: Ellison’s not doing the city any favors. He’s only fixing up the piers that he will effectively own (as least for most of the rest of this century).

Back in December, the rough outlines looked like this: A corporation set up by Oracle, called the America’s Cup Event Authority, would put $55 million into repairing and renovating piers, then would get  66-year leases and development rights on piers 30-32, 26 and 28, as well as seawall lot 330, across the Embarcadero, which Ellison’s team wants to turn into more condos for rich people. If that’s not enough to pay for Ellison’s investment, Ellison’s heirs or successors get half the rent for the piers for another 15 years. That’s 81 years.

The original deal mandated that the city would collect a 1 percent fee on the re-sale of the new condos. It also had a requirement that Ellison share with the city any profits he made by flipping the long-term leases.

That’s a big deal, because almost nobody in the city actually holds onto development entitlements anymore. A developer wins the right to build an office building — and next week, he or she sells that right to somebody else. It’s almost certain that at some point, Ellison — whose sole goal here is going to be making a profit off city land — will decide that the best way to make money is to cash out. He’ll keep his 66-year leases for a few years, maybe lobby his way to approvals for office, condos, time-shares (gasp! yeah, they’ll do that if it’s legal) restaurants or whatever — then sell the remaining time on the leases, plus the development rights, to somebody else. And because he’s Larry Ellison, he’ll wind up making a nice tidy profit.

That used to be what happened with Port property (see: Pier 39) but lately, the Port’s gotten a bit wiser and has, in some cases, insisted that part of the profit from flipping a lease goes back to the city. In the original discussions, Ellison was going to have to pay the Port 15 percent of any net gains he made from the almost inevitable sale of the valuable leases.

But that’s gone now. After the board approved Newsom’s deal, the former mayor — who was always terrible at negotiation with the rich and powerful and always gave away the store — went back and monkeyed around with it. He and Sup. David Chiu insisted that the changes were just technical, not substantive enough to require a new board vote — but the current deal has no 15 percent cut for the Port, and the 1 percent levy on condo sales only applies after the second owner sells — which will be years down the road.

Then there’s the part where the city has to reimburse Ellison if the cost of renovating the piers exceeds what’s expected (oh, and we have to pay him 11 percent interest, which is about ten times what I get on my bank account; how about you?) There’s no cap on what the city might have to pay. And Ellison gets to develop a new marina.

And while Pier 29 is no longer a part of the deal, the city has to give Ellison $12 million — or rights to a pier to be named later. (Maybe Ellison figures that in a few years the people who opposed Pier 29 development will be out of office and he can convince the new mayor and supervisors to give Pier 29 back. It’s not legally excluded.)

Kim told me she’s going to insist that the final deal include a local-hire provision, which the rest of the board would be crazy not to support (and which Ellison, despite his company’s problems with local labor laws in the past, would be crazy not to accept).

But overall, Kim — who with Sup. Carmen Chu was part of the 2-1 majority sending the package to the full board — told me she thought the city got a good deal. “It took me a while,” she said. “But [Port Director] Monique Moyer convinced me that this was good for them.”

Sup. John Avalos, the dissenting vote on the Finance Committee, isn’t convinced. He’s got a long list of concerns, starting with the fact that he thinks the projected attendance and economic benefits are a bit delusional. “The figures seem farfetched,” he told me. “I’m seeing a lot of pumped up numbers. And those numbers drive whether this is a good deal for the city or not.”

He’d like to see the 1 percent rule apply to the second condo sale, not the third. He’d like to see the Port get 15 percent of the profits from any sale. And he’d like a cap on the reimbursements the city has to give to Ellison.

But here’s the problem: When the development agreement comes before the board, sitting as a Committee of the Whole Feb. 28, it will be hard to put any of that back in the agreement. This is a contract, and while the board can pass a resolution asking for more, in the end, it’s a matter of voting it up or down.

Vote yes and it’s done — more or less as is — although Kim says there will be another chance to make changes down the road, since the board and the Planning Commission will have to sign off on whatever type of development Ellison wants to do. The problem with that scenario? Ellison’s lawyers will wave this development agreement around like a Giants victory towel and proclaim that it binds the city and limits any ability to demand any more changes later. That’s how these people operate.)

Vote no and the ball goes back to Larry’s Court: His group can sit down with the Mayor’s Office and make some changes, or they can walk away (and build their boat sheds in …. where? Oakland? Foster City? Who’s got waterfront that can handle this?)

When the Finance Committee send the package to the full board, Avalos said, “we pretty much lost our ability to influence the agreement. Now we have to decide if we want to call [Ellison’s] bluff.”

PS: One of the lingering issues is whether the America’s Cup Organizing Committee can raise the $30 million-odd that is needed to make the numbers pencil out. If I were a rich person and Mark Buell, the ACOC point person, called me for money, here’s what I’d say:

How much is Larry Ellison contributing?

See, Ellison’s improvements on the waterfront aren’t charity. He’s looking to make a buck off everything he does. In past eras, the great robber baron capitalists would donate civic monuments — libraries and museums and stuff — and by any traditional standard of great wealth, Ellison ought to be writing a personal check for that $30 million. Or at least for some of it.

But so far, he hasn’t given a penny. The sixth richest man in the world isn’t actually donating anything to San Francisco. Yeah, he’s gracing us with his lordly presence, but cash? Nada.

Good luck with that one, Mark.

PPS: This whole concept that the city needs to fix the “crumbling” piers ought to be examined. First of all, nobody’s ever said that Pier 29 was in anything but fine shape. But beyond that, the Bay Conservation and Development Commission considers piers to be bay fill, and in the long term, wants San Francisco to get rid of some of them. “Maybe it’s a good thing if some of the piers fall into the bay,” former Sup. Aaron Peskin told me. “Then we’ll have more leeway with BCDC when we want to fix up some of the others.”

Research assistance by Royce Kurmelovs

Bounce to this: Rusty Lazer does Mardi Gras

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Due to health problems, Big Freedia had to cancel her and Rusty Lazer’s Noise Pop gig at Public Works Sat/25. The event been transmutated into a big gay dance party with Double Duchess, DJ Bus Station John, and more. You should still read this interview, though.

With all its technicolor thrift flair, Mardi Gras costumes in state of midway-preparedness, and sleepy passels of breakfast-cooking houseguests, Jay Pennington’s New Orleans clapboard house is pretty hallucinatory on the Saturday afternoon of Carnaval weekend. Staring out the window waiting for the bounce DJ to call me up for our interview, I was to be excused for imagining that the shed in the side lot was producing actual chords while the New Orleans monsoon that raged outside hit it.

When I come across him in his bedroom, Pennington – who is also known as Rusty Lazer, and is the now-famous transgender NOLA bounce artist Big Freedia’s DJ and informal manager – is threading colored paper onto a string. He was going to be Hanuman the monkey god at the Mardi Gras parades on Sunday, his day off from work over Mardi Gras weekend. Around him, the city has ballooned with tourists and locals chucking beads at targets, high-stepping through brass numbers, eating frosted king cake, and peeing in inappropriate places.

I braved the rain that afternoon to talk about bounce music and Mardi Gras with Pennington, so it was kind of a surprise when our conversation swerved into the intricacies of 501(c)3 registration. It shouldn’t have been. He is a lot like New Orleans itself, a town that counts as a centuries-old melting pot, where the frat boys hang at the same bars as the career jazz musicians hang at the same bars as the pretty queer kids who sometimes party at dark gay leather bars (I was privy to this last comingling within six hours of landing in the Big Easy, at Daddy Aki’s Peacock party at the Phoenix Eagle Leather Bar where Pennington and his new managee Nicky Da B spun). [Correction: An earlier version of this article identified Peacock as Jay Pennington’s party. It is actually organized by Daddy Aki. Our bad.]

If you are a NOLA entertainer, Mardi Gras weekend counts among the most hectic of the year. Pennington had evenly informed me that my suggested meet-up time of noon was at least two hours too early considering the aftermath of the night shift on the decks he’d pulled before and that he would surely pull again that evening. But it’s two thirty now and for the moment, he’s able to focus on Hanuman, and attempt to tell me what’s so special about his city.

Hands-on Hanuman: Rusty Lazer in mid-Mardi Gras repose. Guardian photo by Caitlin Donohue

Though the DJ is playing less and less a role in Big Freedia’s career as she blows up and sells out shows around the country, Pennington continues to be a driving force in bounce’s dispersal outside NOLA. He signed his first official managerial contract with Nicky Da B, an adorable local whose track with Diplo hit Soundcloud last week. Bounce is indigenous to New Orleans — like Chicago’s juke and Detroit’s jit — a Caribbean-inflected dance music that is well known for the way its dancers pop their hips at machine gun rates.

Pennington is also is the co-founder along with Delaney Martin of New Orleans Air Lift, an international program he made to support local artists post-Katrina. This loosely-incorporated organization (it’s not 501(c)3 and relies instead on private donations, like the sales of the work of Swoon, one of the few females in the upper echelons of the street art world – her intricate, delicate wheatpastes blanket the fence next to Pennington’s house.) The Airlift Project has sponsored trips by New Orleanian artists to Berlin, even the import of Siberian breakdancer Ivan Stepanov to New Orleans.

This last story illustrates one of Pennington’s biggest turn-ons — fostering the artistic combustion that happens when a bunch of different energies get together. As illustration, he shows me a high fashion video shoot made by Lady Gaga’s stylist Nick Knight featuring the 19-year-old local bounce dancer Quack. 

After seeing a video of the improbably Barbie-bodied dancer, Knight contacted Pennington to ask if she’d care to do the same dance wearing Alexander McQueen for a fashion film series. Quack didn’t have a passport, but she went and got one with Pennington. The next day they went to London, found themselves “sitting in a room with nothing but Amazonian models.” Quack danced for eight hours to make the video, which turned out to be a testament to not just the extreme sexuality of bounce music, but also its athleticism, and emotional panacea. 

“This is the music that makes people forget that they’re hungry,” Pennington tells me, excitedly clicking through videos of schoolkids bouncing in rec centers, and endless YouTube clips of home bounce practice, done against a wall, ass to the camera. “It’s finally tuned to helping you forget your problems.” He wants to “take a New Orleans plane full of people all over the world,” to teach bounce to the masses. “In case anybody around here has forgotten how to have fun.”

The music lends itself to teaching — singers often give specific commands in songs, a popular request being for everbody to bend over and keep their ass popping. “Bounce is all instructions,” Pennington says.

The ability to move among social groups is one of the reasons why Pennington fell in love with New Orleans. 

“Here, you’re part of a community, not just part of a scene,” he reflects. “The difference is that the communities include all the people in your community. I don’t feel that in Portland or Austin.” He says the young arrivals in other artsy, liberal towns “hang out in mirrored social groups. I don’t know if that means anything, but it makes sense to me.” Pennington considers the neighborhood connections he’s made through participating in NOLA’s famous informal second line parades as, if not more, crucial than the ones he’s made with fellow travelers who have alit upon New Orleans as a haven for weirdos and music freaks. “New Orleans black community is nothing if not family-oriented,” he says.

Those mirrored social groups are a concept that should make sense to those beyond DJ Rusty Lazer. Part of what makes gentrification such a bummer is that when young bohos move into low-rent, family-oriented neighborhoods, they don’t form connections with the existing culture, imposing their own wacky adventures on top of the landscape as though they’re the first to really enjoy it. 

This missed connection leads newcomers away from frequenting established neighborhood businesses, and doesn’t provide for enough interconnectedness to get any kind of organizing come when rents start to rise and the condos come in. So good for New Orleans, and especially the rapidly changing Bywater neighborhood if they can avoid the typical storyline of minority community attracting broke artists attracting yuppies who can pay first, last, second, and third months’ rent in cash. 

Not the town doesn’t have other defense mechanisms. “The heat, the bugs, that lack of industry, the violence — that keeps it from growing out of control,” says Pennington. “It keeps the excessively ambitious away. When this place piles it on, it really piles it on. You can’t just casually live in New Orleans.” Wise words to the San Franciscan exodus that will surely come in the next months after tech boom 2.0

And for the record, I wasn’t hallucinating the house making music. The Ninth Ward’s musician mad scientist Quintron installed a rain organ into the Music Box, a small village of structures built in Pennington’s sideyard by 70 people to be played like a symphony, complete with Quintron playing conductor and a capacity crowd crammed into bleacher seating and crouching amid the structures themselves. At recent performances during last fall, 750 people showed up to watch the show. There was space for 250 in the sidelot. 

6 great author readings in the next 12 days

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Opt for a night sans sloppy drunks, covers, reality TV, or morning-after regret. Opt for a book reading — here, we’ll get you started with a list of upcoming page-turners. 

Joshua Foer: Moonwalking with Einstein

Foer investigates the inner workings of our brain by drawing on scientific research, cultural history of memory, and personal explorations of different memory techniques.  

Fri/5 7:30 p.m., free. The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com.

Karen Joy Fowler: The Jane Austen Book Club 

Fowler is an American science fiction and fantasy author who writes mostly about the lives of women. Her readings will be a part of Babylon Salon’s Spring 2012 reading and Performance event. 

Sat/ 3 7 p.m., free. Cantina SF, 580 Sutter, SF. (415) 398-1095, www.cantinasf.com. 

Joy Wilson: Joy the Baker Cookbook

Wilson loves butter, sugar, and dark chocolate, and shares her creative and delicious baking methods in her cookbook. We’re hoping she’s bringing brownies. 

Sun/4 3 p.m., free. Omnivore Books, 3885 Caesar Chavez, SF. (415) 282-4712, www.omnivorebooks.com. 

Kim Harrison: Perfect Blood

Harrison’s newest book is centered on a witch turned day-walking demon who is fleeing from human hate groups. She has fought against vampires and werewolves before, but humans are turning out to be the trickiest opponent of all.  

Mon/5 7 p.m., free. Borderlands Cafe, 870 Valencia, SF. (415) 970-6988, www.borderlands-cafe.com. 

Aaron Shurin: Citizen

Shurin uses lyrical prose and visceral language as he explores the nuances of civic and domestic life in his collection of poems. 

Mon/5 7:30 p.m., free. Moe’s Books, 2476 Telegraph, Berk. (510) 849-2133, www.moesbooks.com. 

Pamela Druckerman: Bringing Up Bebe

Druckerman investigates cultural differences involved in American and Parisian childbearing. 

Tues/6 7 p.m., free. Bookshop West Portal, 80 West Portal, SF. (415) 564-8080, www.bookshopwestportal.com

 

Krushin’ on

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SUPER EGO I’ve only a wee bit of space this week before I rush off back into the Mardi Gras of my mind, but I’ve got to three times diagonal-snap for local fashion designer Jeanette Au (jeanetteau.carbonmade.com) who tore it up for SF on the NY Fashion Week runways last week with her debut collection of 3-D knit fantasias. Ruling!

 

RED BARAAT

The Non Stop Bhangra (www.nonstopbhangra.com) monthly party’s return two weeks ago was beautiful-insane — if you missed it, or must fulfill your yearning for incredible Indian-inspired dance music sounds before the next installment, check out this live act featuring irrepressible bandleader Sunny Jain on the dhol drum, backed by a high-stepping nine-piece brass band. Bollywood meets Mardi Gras is the shorthand, but the ringing grooves transcend categorization.

Thu/23, 7:30 p.m., $12–$15, all ages. Slim’s, 333 11th St., www.slimspresents.com

 

ROLLER DISCO

Oh man, David Miles Jr., our patron saint of skate — “The Godfather of Skate,” actually, who founded the essential Black Rock Roller Disco and keeps peeps rollin’ from the Embarcadero to Golden Gate Park — lost everything in a tragic fire. He and his family are OK, but here’s a great event to help get them back on their (wheeled) feet. Skate rental available: Lots of good DJs.

Thu/23, 9 p.m., donations at the door. Mighty, 119 Utah, SF. www.mighty119.com

 

CUTE FANGS 4EVER!

It’s no secret that hyper-productive tech-breaks player and Cute Fang label owner Forest Green is one of my favorite people. It’s hard not to leave her parties with a smile plastered on your face — partly from the room-wobbling beats, partly from her pure positivity transmission. This is her two-room blowout birthday party, with a slew of bonkers local guests like DJ Denise, Dragn’fly, Raydeus, Tek 9, and Base Hed. And it will be cute!

Fri/24, 9 p.m.-4 a.m., $5 before 10 p.m., $10 after. Icon, 1192 Folsom, SF. www.forestgreen.org

 

SITUATION

Part of the reason door fees have risen so much in San Francisco is our insistence on relying on foreign or guest DJs to bring something interesting to the table. Flights are expensive, cover rises. Well here comes Situation, a free party deliberately designed to showcase local talent and some snappy grooves: “the new disco sound of New York, bangin’ house joints, 12-inch dance versions, and more than a few non-sequitors to keep things interesting,” quoth host DJ (along with Eug and Ash Williams) Derek Opperman, my nightlife critic counterpart at the Weekly, who’s basically an adorable human Shazam. Move out, yazoo.

Fri/24, 10 p.m., free. 222 Hyde, SF. www.222hyde.com

 

DJ KRUSH

Let’s just admit that future bass was the trip-hop revival, OK? And while Flying Lotus et al. took the sound to unfathomable new highs/lows (and old hands like Amon Tobin sizzled retinae with his ISAM stage-show comeback), there’s sometimes no beating the originals. After 20 years, Tokyoite chill-wizard DJ Krush can still gently ride those intelli-stoned waves into the stratosphere: a three-hour set should do you quite solid.

Sat/25, 9 p.m., $17.50 advance. Mezzanine, 444 Jessie, SF. www.blasthaus.com

Occupy 4 Prisoners hits San Quentin

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About 800 protesters marched to San Quentin’s East Gate in a day to protest what they called inhumane conditions in prison Feb. 20

Protesters called for an end to the practice of trying children as adults, three strikes laws, life sentences, life without the possibility of parole, and the death penalty.They did not call for the dismantling of the prison system or an end to the practice of incarceration, as Chip Johnson implies here.

In San Quentin– and in prisons across the country—inmates are subjected to solitary confinement, sometimes for decades. Kids as young as 13 are tried as adults and sometimes sentenced to life without the possibility of parole. In three-strikes states, people are sentenced to decades in prison for non-violent crimes that sometimes amount to less than a couple hundred dollars in damages. And in death penalty states, state-sponsored execution means that lives, sometimes innocent, are thrown away.

Twenty-four US states do not have three strikes laws, many countries cap prison sentences at 15 years regardless of the severity of the crime, and only one European country- Belarus- continues to impose the death penalty. The United States incarcerates its citizens at a rate that far surpasses any other country in the world; second on the list in Rwanda.

Conditions and laws like these have spurred decades of prison reform and prison abolition activism, both from inmates and supporters on the outside. Feb. 20, this movement joined with Occupy Oakland to protest outside San Quentin prison and demand that these issues be addressed.

As protesters arrived, organizers blasted music, hoping to reach the ears of prisoners. Dozens of prison guards and representatives from the Marin County sheriff’s department were stationed in front of the prison gate, and well as on hills looking down on the protest group.

The loud music continued with a performance from the Brass Liberation Orchestra, and subsequently a drumming ritual.

“As First Nations people, we’re no strangers to occupation. We’re also no strangers to prison. The first prisons were the reservation and the slave plantation,” said George Galvis, Executive Director of Communities United for Restorative Youth Justice.

“We have post-colonial stress disorder in our communities,” added Galvis.

Author, film producer (Redemption: The Stan Tookie Williams Story) and 2006 California gubernatorial candidate Barbara Becnel helped facilitate the event.

In her opening statements, Becnel praised the crowd, packed with Occupy activists, family members of incarcerated people, formerly incarcerated people, and others.

“We should really be proud of ourselves today. Because today, we are history makers. We have merged the prison rights movement with the Occupy movement,” said Becnel to an eruption of applause.

Throughout the program, speakers read solidarity statements addressed to Occupy Oakland from prisoners across the country, including Mumia Abu Jamal, Leanard Peltier, Kevin Cooper, and group statements from Pelican Bay human rights organizers, and those involved in state-wide prison strikes in Georgia.

A movement has coalesced around the claim that Cooper, a death row inmate at San Quentin since 1985, is innocent. Cooper was denied an appeal in 2009 in a ninth-circuit court case in which five judges dissented, declaring that, “the state of California may be about to execute an innocent man.” Their 103-page dissent statement includes descriptions of evidence tampering leading to Cooper’s conviction.

Cooper helped call for the Occupy 4 Prisoners day of action.

Speakers at the rally called for Cooper’s freedom, and for the end of death row entirely.

Becnel related a story about some prisoners, charged with life without the possibility of parole, that she had met while campaigning against the death sentence for Stan “Tookie” Williams.

The men, Becnel said, told her: “We only leave here in a casket also. We are also dead men walking.”

Speakers also decried the use of solitary confinement as a punishment in prisons.

Sarah Shourd, known for her imprisonment in Iran after accidentally crossing the border during a hike, spoke along with fellow imprisoned hikers Josh Fattal and Shane Bauer.

Shourd, who was held in solitary confinement for 14 months, related her experiences.

“After just two months my mind began to slip. I would spend large portions of my day crouched down by a small slot in my door, listening for any sounds from the outside that might distract me from the sheer terror of my isolation.”

A statement from a Texas prisoner, read by an Occupy Wall Street organizer, also addressed solitary confinement.

“We tend to think of man as a collection of individuals, each complete in himself, who just happen to come together to satisfy certain needs. Actually, however, there is nothing distinctly human that can be exhibited by an individual in isolation,” said the philosophical letter.

The Pelican Bay Hunger Strike last year highlighted solitary confinement, and prisoners demanded an end to the practice, in which inmates are held in isolated rooms with no sunlight for 23 hours a day, often for years on end. Some inmates at Pelican Bay have been held in these conditions for over 30 years.

Organizers of the hunger strike called it off when the California Department of Corrections promised to investigate the issue, but started to strike again several months later when no changes had been made to any of the conditions that they were protesting.

Kelly Turner, 42, who was sentenced to 25 years to life for writing a bad check for $146.16 in 1997, was also placed in solitary confinement for one year. However, she focused her speech at the rally on California’s three strikes law, the legislation that turned what would have been a three-year sentence for forgery into a possible life sentence for Turner. Turner said she was lucky that good pro bono lawyers defended her, and would likely still be in prison had they not; she now owns her own business.

Turner, who advocates for Families to Amend California Three Strikes (FACTS), urged the crowd to vote for an initiative to amend the law that is slated to appear on the California ballot this November. 

In her speech, Turner described meeting women in the Central California Women’s Facility is Chowchilla that were also serving decades-long sentences after having been charged with a third strike.

“I am here today for the woman that was on my dorm that had 27 years to life for drinking a 99 cent lemon line soda out of a store. Or the woman who stole a jar of Vaseline, a bottle of vitamins, two pairs of boxers,” said Turner.

Tatiana, a young prisoners rights advocate who spent time in juvenile hall, read a statement from incarcerated youth Veronica Hernandez.

Hernandez, 20, has been imprisoned since age 16.

She was tried as an adult, an outcome that she attributes to a public defender who did not do his best to fight for her.

“There are no law libraries or legal services at juvenile hall, so a juvenile, for better or for worse, is entirely dependent on his or her court-appointed attorney, and must trust that he or she will lead them in the right direction. Unfortunately for me, that direction was to adult court. I now face a life sentence should I be convicted,” said Hernandez in her statement.

No speaker argued for the dismantling of the prison system, instead focusing on what they saw as unjust sentencing and inhumane treatment in prisons.

In a statement calling for Occupy 4 Prisoners, Kevin Cooper connected a call to end the death penalty with struggle for correct racial and economic justice and an end police brutality:

“America has a deep-seeded philosophy in which it only allows for the execution of its poorest people. These seeds have taken root and have grown in such a way that no person who this system sees as a ‘have-not’ is safe from the death machine. Whether they are within (San Quentin) or on a BART platform.”

Bauer also expressed the importance of tying prison rights to the Occupy movement, saying, “This Occupy movement needs to permeate the prisons. God forbid one day some people here will be on the other side of this fence. But when movements get strong, people start getting locked up. We should know this. This happens in every country. Prisons are places where movements are killed. But at the same time, when movements successfully permeate prisons, a space built to break people down, the movement is at its strongest. This is true all over the world.”

Occupy Oakland organizers have already been hit with bizarre and seemingly invalid charges, such as “lyching,” “bike,” “boat,” and umbrella. In one of the most extreme cases, Khali, an Occupy Oakland protester, may face life in prison after being arrested for a allegedly taking a blanket out of a garbage can. Advocates for Khali say that he was denied prescription medications in jail for ten days before allegedly assaulting a police officer; his third strike.

Well-known prison rights advocate and former Black Panther Elaine Brown ended the program. After remarking that “there aren’t enough songs in this movement,” she sang Oh, Freedom as the crowd peacefully exited the site, as several volunteers picked up any trash that was left behind.

“Before I’ll be a slave, I’ll be buried in my grave, and go home to my comrades and be free,” sang Brown.

Rep Clock

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Schedules are for Wed/22-Tues/28 except where noted. Director and year are given when available. Double features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. “Mad Dance,” films by Nina Fonoroff, Ken Paul Rosenthal, and Lewis Klahr, Sat, 8. “Short Sharp Shock: 3rd I International Shorts,” Sun, 1:30.

BAY THEATER Aquarium of the Bay, Embarcadero at Beach, SF; www.aquariumofthebay.org. $10-20. “An Evening of Sailing Films,” Fri, 6.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “Two Sides of a Coin: Kirk Douglas:” •Paths of Glory (Kubrick, 1957), Wed, 3, 7; Ace in the Hole (Wilder, 1951), Wed, 4:45, 8:45. Melancholia (von Trier, 2011), Thurs, 2:30, 5:15, 8. Fantasia (Walt Disney Productions, 1940), Fri-Sun, 2, 5, 8.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. “Rafael Film Club” with guest Ruthe Stein, Thurs, 1. Chico and Rita (Trueba, 2010), call for dates and times. “2012 Oscar Nominated Short Films,” narrative and documentary (separate admission), call for dates and times.

HERBST THEATRE 301 Van Ness, SF; www.sfopera.com. Free (advance registration requested at www.sfopera.com/girlmovie). The Girl of the Golden West — The Movie!, performed by the San Francisco Opera (2010), Sat-Sun, 1:30, 3:30.

JEWISH COMMUNITY CENTER OF THE EAST BAY 1414 Walnut, Berk; (510) 848-0237. $6-8. Joanna (Falk, 2010), Thurs, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: Hollywood Dames: Beauty and Brains:” The Barefoot Contessa (Mankiewicz, 1954), Fri, 6.

“NOISE POP FILM SERIES” Artists’ Television Access, 992 Valencia, SF; 2012.noisepop.com/film. $8-10. Bob and the Monster (Bahruth, 2011), Wed, 7; Hit So Hard (Ebersole, 2011), Wed, 9; Blank City (Danhier, 2010), Thurs, 7; N.A.S.A.: The Spirit of Apollo (Garon and Spiegel, 2009), Thurs, 9. Also AMC Loews Metreon 16, Fourth St at Mission, SF. $11.50. Re: Generation Music Project (Bar-Lev, 2011), Thurs, 8. Also Roxie, 3117 16th St, SF. $10. Cure for Pain: The Mark Sandman Story (Bralver and Ferino, 2011), Fri, 7; Andrew Bird: Fever Year (Aranda, 2011), Fri, 9; Upside Down: The Creation Records Story (O’Connor, 2010), Sat, 7; Dragonslayer (Petterson, 2011), Sat, 9:15.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Documentary Voices:” “”Making It (Un)Real: Animated Documentary Shorts,” Wed, 7. “Dizzy Heights: Silent Cinema and Life in the Air:” A Trip to Mars (Holger-Madsen, 1918), Thurs, 7; High Treason (Elvey, 1929), Fri, 7; The Mystery of the Eiffel Tower (Duvivier, 1927), Sat, 6; “Fantasies of Flight: Animation and Comedy Shorts,” Sun, 2. “Howard Hawks: The Measure of Man:” Barbary Coast (1935), Fri, 8:45; His Girl Friday (1940), Tues, 7. “Austere Perfectionism: The Films of Robert Bresson:” L’argent (1983), Sat, 8:35.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. SF IndieFest, Wed-Thurs. Visit www.sfindie.com for complete schedule. Straight Outta Hunters Point 2 (Epps, 2012), Feb 24-March 1, 7, 8:45 (also Sat-Sun, 3:15, 5). “Up the Oscars!”, Academy Awards viewing party, Sun, 3:45. This event, $15.

SF FILM SOCIETY CINEMA 1746 Post, SF; www.sffs.org. $10-11. Margaret (Lonergan, 2011), Wed-Thurs, 2, 5:30, 8:30. Roadie (Cuesta, 2011), Feb 24-March 1, 2:30, 5, 7, 9:15.

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $7 donation. “The Second Coming of the Vortex Room:” Privilege (Watkins, 1967), and The Devils (Russell, 1971), Thurs, 8.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Bros Before Hos: Sex in the Shadows,” presented by Albert Steg, Thurs, 7:30.

Our Weekly Picks: February 22-27

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WEDNESDAY 22

Way Behind the Music

Famous rockers may have a way with riffs, but their grammar and syntax can often prove cringe-worthy. And yet, their inflated egos and turmoil-filled musings within literary efforts provide insight into worlds otherwise unknown. This, my friends, is the perfect set-up for an evening of music obsessed over-sharing. At the return of Litquake and Noise Pop’s collaborative event, Way Behind the Music, a collection of esteemed local musicians and writers will read from the autobiographies of Ozzy Osbourne, Sammy Hagar, Jewel, Slash, Ted Nugent, Marianne Faithfull, Angela Bowie, Jim Hutton (boyfriend of Freddie Mercury), and Christopher Ciccone (brother of Madonna). The group on stage — which includes Penelope Houston, Carletta Sue Kay, Jennifer Maerz, and more — will extract tales of Olympic-level drug use, epic bands fights, and rock star trials and tribulations, giving the audience just a taste of that wild ride to infamy. (Emily Savage)

7 p.m., $15

Make-Out Room

3225 22nd St., SF

(415) 647-2888

www.makeoutroom.com

 

THURSDAY 23

Big Black Delta

Big Black Delta is the solo project of Los Angeles maestro Jonathan Bates, lead singer of lo-fi rock band Mellowdrone. Legend has it Bates launched BBD after buying a used laptop off frequent Nine Inch Nails collaborator Alessandro Cortini and using it to create electronic soundscapes. Good thing too, because BBDLP1 is a crafty compilation made up of equal parts power and panache. “Huggin & Kissin” sounds so aggressive, it’s as if Depeche Mode’s synths decided to take steroids and beat up little kids. On the flip side, “Dreary Moon” with Morgan Kibby (the Romanovs, M83) has all the ethereal, vocal playfulness of an Air track. Bates brings in dueling drummers Mahsa Zargaran and Amy Wood for the live show. (Kevin Lee)

With New Diplomat, Aaron Axelsen & Nako 9 p.m., $10–<\d>$12 Rickshaw Stop 155 Fell, SF (415) 861-2011 www.rickshawstop.com

 

FRIDAY 24

“More Light”

If you’re up for a dose of reifying pessimism, check out “More Light” —a joint exhibition featuring new works by Francesco Deiana and Lafe Harley Eaves. In an effort to explore how society diverts humans from primordial joys, Deiana creates ballpoint pen drawings and images on photographic paper that juxtapose society’s adulterating tendencies with natural beauty (e.g. a drawing of an impenetrable brick wall flushed with a photograph of the ocean). Eaves, who’s said he views the world as “one dark joke after another,” makes line and pattern narratives that delve into the occult, religion, and the psychedelic. He also focuses on illustrating human duality and the uncertainty of relationships. (Mia Sullivan)

7 p.m. opening reception, free

Park Life

220 Clement, SF

(415) 386-7275

www.parklifestore.com

 

Image Comic Expo

With San Francisco’s WonderCon moving to Anaheim while Moscone Center South undergoes renovation, Image Comic Expo in Oakland is the primary destination for Bay Area comic book nerdery this season. Instead of focusing on Marvel and DC — the comics industry’s “Big Two” — the Expo bills itself as a “celebration of creator-owned comics.” Exhibitors include a number of independent publishers besides Berkeley-based Image Comics. Guests include Image luminaries Rob Liefeld, Todd McFarlane, and Robert Kirkman (The Walking Dead), plus fan favorites Jonathan Hickman (FF, Pax Romana), Joe Casey (Gødland), Brian K. Vaughan (Y: The Last Man, ABC’s Lost) and Blair Butler. (Sam Stander)

Fri/24, 3-8 p.m.; Sat/25, 10 a.m.-6 p.m.; Sun/26, 10 a.m.-5 p.m., $20–$150

Oakland Convention Center 550 10th St., Oakl.

www.imagecomicexpo.com

 

Dave Holland Overtone Quartet

English bassist Dave Holland came to the United States at the request of the legendary Miles Davis and became part of music lore as part of the quartet that birthed jazz fusion and its opus, Bitches Brew (Columbia). Holland has since worked with a number of jazz masters including Herbie Hancock, Stan Getz, Thelonious Monk and Chick Corea. When Holland was coming into his own as a musician in the 1970s, the rest of the Overtone Quartet were just entering into the world. But saxophonist Chris Potter (a frequent Holland collaborator), drummer Eric Harland (a SFJazz Collective performer) and pianist Jason Moran (a MacArthur Fellowship “Genius”) have established themselves as potent forces in their own right. (Lee)

8 p.m., $25–$65

Palace of Fine Arts

3301 Lyon, SF

(415) 567-6642

www.sfjazz.org

 

“Oracle and Enigma”

For a while, thanks to a series of festivals organized by producer Brechin Flournoy, San Francisco was the place in the country to see Butoh. The excitement and puzzlement surrounding the art has died down as it has simply become another form of international dance. So it should be good to again see one of its original practitioners, the Kyoto-born Katsura Kan who in 1997 moved to Thailand and has since become one of those peripatetic choreographer-dancers who takes inspiration from wherever he alights. As part of his winter residency at CounterPULSE, Kan and Shoshana Green will present “Oracle and Enigma” which they describe as “a journey towards the celestial horizon”. Sounds like Butoh . (Rita Felciano)

Fri/24-Sat/25, 8 p.m., $18–<\d>$20

CounterPULSE

1310 Mission, SF

(800) 350-8850

www.counterpulse.org

 

SATURDAY 25

Monster Jam

A stampede of horsepower comes thundering into the Bay Area today with the Monster Jam series of monster truck races and events, featuring 16 ground-shaking custom creations such as the long-running fan favorite “Grave Digger,” which is celebrating its 30th anniversary this year. Fans can get up close and personal with the burly behemoths during the afternoon “Party In The Pits” before the night’s main events, where the 10,000 pound muscle machines will fly through the air at distances up to 130 feet, reach heights up to 35 feet in the air, and of course, gloriously smash a series a puny regular cars. (Sean McCourt)

3-6 p.m. pit party, 7 p.m. main event; $12.50–<\d>$32, $125 for total access pass

O.co Coliseum

7000 Coliseum Way, Oakl.

(800) 745-3000

www.monsterjam.com

 

“Cum and Glitter: A Live Sex Show”

Perhaps you’re one of those people — that yes, do exist — left nonplussed by your standard strip club experience. Let’s face it, fried chicken buffets and atrocious choreography amplified by glitter platform heels don’t do it for us all. For you, then, queer pornographer Maxine Holloway’s new monthly sex show. Holloway, a vintage-loving local coquette, has bolstered her sex industry chops heading Madison Young’s women’s only POV website and used her connections to line up a crack cast for Cum and Glitter’s opening night: Kitty Stryker, Courtney Trouble, and Annika Amour among other superlative sex workers. Live cello music. Specialty cocktails named after the performers. Class. (Caitlin Donohue)

9 p.m., $30–$55 individuals, $50 couples

RSVP for location

www.cumandglitter.com

 

SUNDAY 26

“Up the Oscars!”

For a particular breed of movie fiend, the Academy Awards are more like a sporting event than a glamorous celebration of Hollywood. You know the type: catcalling the screen like they’re giving a blind ref the business (2006 flashback: “Crash? Are you fucking kidding me? Brokeback Mountain forever!”) This year’s ceremony will no doubt evoke its own array of passionate responses to awkward presenters and awkward gowns, omissions from the Tribute to the Dead, faux-surprised winners who unfurl pre-scripted lists of people to thank (“My agent! My masseuse!”), etc. The Roxie’s annual “Up the Oscars!” bash is aimed squarely at those who enjoy cheering and jeering the gold man in equal measure. D.I.Y. drinking games optional. (Cheryl Eddy)

3:45 p.m., $15

Roxie Theater

3117 16th St., SF

www.roxie.com

 

Stardust Sunday

Cover band? Try cover cult. The First Church of the Sacred Silversexual takes all the Christ allusions David Bowie made with The Rise and Fall of Ziggy Stardust and the Spiders from Mars and The Man Who Fell to Earth, exorcising one little bit — Jesus. The resulting mass is a blasphemous celebration of the 65-year-young rock God’s music. With as many members as Bowie has personas, all fully embracing their deity’s love of costume, the Church’s service has the campy theatricality of The Rocky Horror Picture Show and all the sparkle of a Ken Russell movie. (Ryan Prendiville)

With Space Cowboys DJs Mancub and 8Ball

8 p.m., $5

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

The Dodos

Listening to the Dodos kind of makes you feel like you’re part of a drum march that’s heading down a sunny country road via Brooklyn. Logan Kroeber, who’s been known to play a drum kit sans bass and to tape a tambourine to his foot, creates catchy rhythms that compel you to dance frenetically (really, it’s unavoidable), while lead vocalist Meric Long finger-picks an acoustic guitar and traverses the octaves with deep, introspective lyrics you can’t help Googling. This San Francisco-based indie folk duo most recently released fourth album, No Color (Frenchkiss) last year, and is closing out Noise Pop this year with what will likely be a memorable performance. (Sullivan)

With Au, Cannons and Clouds, Here Here

7 p.m., $20

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

MONDAY 27

Leslie and the LY’s

Long known for her 1980s-esque minimal dance-pop numbers encased in stretchy gold lame (referred to in “Gold Pants”), and even longer for her extensive bejeweled sweater collection (ahem, “Gem Sweater”), Leslie of Leslie and the LY’s boasts a newish additional talent to add to the mix: wedding officiant. The Ames, IA-based confetti-puke performance artist began officiating weddings when Iowa voted yes on gay marriage in 2009. The weddings she oversees are said to twinkle with her typical megawatt star quality — there’s even a documentary about one affair called Married in Spandex — and Mother Gem performs a personalized dance number for each lucky couple. While she may not be hosting any impromptu weddings during her appearance at Rickshaw this week, the world just feels more glamorous knowing that she could (for this, we listen to “Power Cuddle”). (Savage)

With Pennyhawk, Ramona & the Swimsuits

8 p.m., $13

Rickshaw Stop

(415) 861-2011

155 Fell, SF

www.rickshawstop.com

 

TUESDAY 28

Stephen Malkmus and the Jicks

Following 2010’s high profile Pavement reunion tour — which gave fans of the ’90s alternative rockers a chance to see the group live for the first or last time (as well as reportedly giving some of the members funds to pay off some financial debts) — leader Stephen Malkmus returned to the studio with his band the Jicks to record an album with Beck on board as producer. The result, Mirror Traffic, carries over the tour’s energy, and is the closest thing to a Terror Twilight follow-up to date. And as showcased by the Jicks’s all-too-short performance at the last Treasure Island Music Festival, Malkmus remains the slacker king of the nonchalant guitar solo. (Prendiville)

With Nurses

8 p.m., $20

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.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.

On the Cheap

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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 22

“An Edward Gorey Birthday Party” Cartoon Art Museum, 655 Mission, SF; (415) 227-8666, www.cartoonart.org. 6 p.m.-8 p.m., free. Edward Gorey: a cool guy who not only made pop-up matchbox-sized books by hand, but also redefined the macabre nonsense that makes up children’s literature. Come celebrate the world-renowned author’s birthday with an evening of readings, interpretations, and cake.

BAY AREA

“Path to Prison Reform: Freeing Jails from Racism Berkeley-East Baby Gray Panthers” North Berkeley Senior Center, 1901 Hearst, Berk; (510) 548-9696, berkeleygraypathers.mysite.com. 1:30 p.m., free. Plenty of things go down in jails that are neither documented nor resolved. Join ACLU members and former prisoners in a discussion of how racism may be the culprit behind prison brutality.

THURSDAY 23

“A Mnemosyne Slumber Party” Mechanic’s Institute, 57 Post, SF; (415) 393-0101, www.mililibrary.org. 6 p.m., $12. Mnemosyne is a free online journal that features art, fiction, and nonfiction work dedicated to the science of memory and the mind. Come to the premiere of their newest “Sleep and Dreams” issue, stay for a night of live readings and artist appearances.

FRIDAY 24

“Diversity and Evolution of Hummingbirds” City College of San Francisco Ocean Campus, 50 Phelan, SF; (415) 239-3475, ccsf.edu/upcomingevents. Noon-1 p.m., free. Hitchcock ruined birds for some of us, but for those who still find these flying feathered creatures non-terrifying, this is a chance to join ornithology instructor Joe Morlan as he discusses the many birds he saw in his adventures in California, Arizona, Belize, Costa Rica, Trinidad, and Ecuador.

BAY AREA

Oakland Food Not Bombs benefit show Revolution Cafe, 1612 Seventh St., Oakl; (510) 625-0149, www.revcafeoak.com. 7 p.m., $4-$13. Food Not Bombs is all about non-violence, consensus decision-making, and tasty vegetarian meals, distributed for free to the community. What’s not to love? Support the group’s efforts this weekend in a benefit show featuring local bands Nate Porter and Wagon Boat.

SATURDAY 25

“Noise Pop Culture Club” Public Works, 161 Erie, SF; (415) 932-0955, www.publicsf.com. 11:30 a.m.-6:30 p.m., $10. Noise Pop would not be possible without the visionary artists in the music, film, art, design, technology, and food communities. This event features a discussion by Johnny Jewel of Glass Candy, artwork by Grimes, an Ableton Live workshop with Thavius Beck, a talk on animation by Aaron Rose and Syd Garon – plus a bounce lesson taught by New Orleans bounce belle, Big Freedia.

Punk Swap Meet Speakeasy Ales and Lagers, 1195 Evans, SF; (415) 642-3371, www.goodbeer.com. 1

p.m.-6 p.m., free. If you thought flea markets were just for old knitting ladies, you have never been more wrong. Punk Swap Meet has tables selling records, zines, tapes, DIY crafts, clothing, and is open to all ages. There will be food by Eagle Dog, with vegetarian and vegan options available, and brew on tap for $3.

San Francisco Crystal Fair Fort Mason Center Building A, 99 Marina, SF; (415) 383-7837, www.crystalfair.com. 10 a.m.-6 p.m. (also Sun/26, 10 a.m.-4 p.m.), $6 for two-day admission. Is your chakra out of sync? Not to worry. Pacific Crystal Guild is coming with over 40 exhibitors carrying crystals from Nepal, Bali, Afghanistan, and China.

SF Flea Herbst Pavilion at Fort Mason Center, One Buchanan, SF; (415) 990-0600, www.sf-flea.com. Sat., 11 am.1-6 p.m. (also Sun/26, 11 a.m.-5 p.m.), $5. SF Flea is a modern public market that brings together local design, style, food, art, and entertainment.

BAY AREA

Miss and Mister Oakland Punk Rock Pageant East Bay Rats Club House, 3025 San Pablo, Oakl; (510) 830-6466, www.eastbayrats.com. 8:30 p.m., $5 (free for contestants). Who says you have to be a six-year-old from Georgia or proclaim world peace in a bikini to be in a pageant? Have your long-awaited tiara moment by showcasing how swiftly you can open a beer bottle with your teeth at Oakland’s very own punk rock pageant.

Stories of Old San Francisco Chinatown reading Eastwind Books of Berkeley, 2066 University, Berk; (510) 548-2350, www.asiabookcenter.com. 3 p.m., free. A long walk through Chinatown conjures ghosts – one can’t help cogitating on these streets’ secrets and history. Join Lyle Jan, a San Francisco native, for a journey through his youth spent growing up in Chinatown.

SUNDAY 26

San Francisco Bookstore and Chocolate Crawl Meet at Green Apple Books, 506 Clement, SF. (415) 387-2272, www.greenapplebooks.com. Noon-6 p.m., free. Go on a walking tour of some of San Francisco’s finest bookstores, buy some books, and eat a lot of chocolate.

The Fairy Dogfather signing Books Inc., 3515 California, SF; (415) 221-3666, booksinc.net/SFLaurel. 3 p.m., free. In Alexandra Day’s new book, a dyslexic boy asks for a fairy dogfather instead of a fairy godfather. And we’re so glad he did, because the combination of a fedora-wearing dog-friend and a confused child makes for one adorable picture book.

MONDAY 27

Guitar Zero: The New Musician and the Science of Learning reading Booksmith, 1644 Haight, SF; (415) 863-8688, www.booksmith.com. 7:30 p.m., free. Is it really true that an old dog can never learn a new trick? In his book Guitar Zero, NYU professor Gary Marcus chronicles his own experience learning to play the guitar at age 38, and finds that there isn’t necessarily a cut-off age for mastering a new skill.

TUESDAY 28

“Pritzker Family Lecture” with Claude Lanzmann and Regina Longo Jewish Community Center of San Francisco, 3200 California, SF. (415) 292-1200, www.jccsf.org. 7 p.m., free with reservation. Lanzmann not only lived through the German occupation of France and fought with the French Resistance, but helped document the whole thing as the editor of Les Temps Modernes, Jean Paul Sartre’s political-literary journal. Come pick his brain as he discusses his new memoir, The Patagonian Hare, and his film, Shoah.

Alerts

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WEDNESDAY, FEB. 22

 

Police graft

This event, part of the Shaping SF Public Talk series, will focus on the 1937 Atherton Report that blew the lid off San Francisco police corruption in that era. Speakers Hank Chapot and Chris Agee will address their research, on the report and on SF policing and crime in the 1950s, respectively.

7:30pm, free

CounterPULSE

1310 Mission, SF

www.counterpulse.org/?tribe_events=shaping-sf-public-talk-police-graft-in-san-francisco/

THURSDAY, FEB. 23

Eviction community forum

A panel discussion and chance to access resources for those affected by and interested in the epidemic of foreclosures and evictions in our neighborhoods. Hear from community organizers, foreclosure lawyers, and affected homeowners and tenants. This is organized by Occupy Bernal and will feature Spanish translation and childcare.

7pm, free

Bernal Heights Community Center

515 Cortland, SF

415-821-7617

 

Garden for the environment

Enjoy live music, food from Haight Street Market, a raffle, and a celebration of urban permaculture at the fundraiser. The Haight Ashbury Neighborhood Center celebrates the achievements of Garden for the Environment, a group that maintains a one-acre garden in the Sunset demonstrating the educational, environmental and food-security possibilities of permaculture.

6pm, $5

111 Minna, SF

www.hanc-sf.org/urban-farming-fundraiser-and-party.html

FRIDAY, FEB. 24

 

History of porn

Join author Sam Benjamin and golden age porn star Richard Pacheco for a lively presentation chronicling how porn emerged in its present form by looking back over past decades. The presentation will use non-explicit clips but promises to be funny and informative. Benjamin is the author of American Gangbang: A Love Story.

8pm, $10-30 suggested donation

Center for Sex and Culture

1349 Mission, SF

www.sexandculture.org/

SATURDAY, FEB. 25

Foreclose on Wells Fargo CEO

A demonstration, complete with street theater and education, as activists attempt to foreclose on and evict Wells Fargo CEO John Stumpf. According to Occupy Bernal, this fun community event will feature “street theater to foreclose, auction home, and evict the CEO, music, Pride at Work dance mob, and special surprise bidders.”

1pm, free

1090 Chestnut, SF

www.occupybernal.org/wordpress

 

Deep Green Resistance

Have you ever felt that to continue to live on the planet, people must actively dismantle industrial systems which are destroying the earth, perhaps by any means necessary? If so, you should hear author Aric McBay speak about his book Deep Green Resistance: Strategy to Save the Planet. In the book, also by Derrick Jensen and Lierre Keith, the authors discuss the philosophies, tactics and implications of this brand of radical environmental activism.

7:30pm, free

Unite HERE Local 2

209 Golden Gate, SF

www.occupysf.org/calendar-2/