Kids Archives — Page 78 of 115 — San Francisco Bay Guardian Archive 1966

Prison report: Playing politics

September 3, 2009

By Just A Guy

Editors note: Just A Guy is an inmate in a California state prison. His reports run twice a week.

“We should not play politics with public safety.” That’s what Assembly member Fiona Ma states as part of her argument against the bill that proposed early releases as part of how California will make up for slashing $1.2 billion from the vast coffers of the California Department of Corrections and Rehabilitation. Those coffers, incidentally, have more in them than do the coffers for higher education. Oddly, Ma is a Democrat out of San Francisco.

We live in a state that prides itself for its innovation, its technology and its forward thinking. These characteristics have made California great. But I don’t think that innovators and forward thinkers seem to be running the Assembly or Senate.

We are supposed to be progressive, so we decriminalize pot for medical use — but ban gay marriage and pass laws like three strikes?

Forward thinkers, these politicians, so forward that even their hindsight is not 20-20 — because three strikes is what got California into this big prison mess in the first place.

Don’t you remember all those stories about people getting life sentences for stealing bicycles and pizza?
What they really used three strikes (consciously or not) for is to create an industry out of crime and prisons, an industry in which thousands of families now are able to live the American dream and make their very adequate living – and the politicians can create long political lives for themselves by destroying many thousands of other dreams, at the public’s expense.

If public safety were really the number one priority of politicians and those who proclaim it, they would take off their broken glasses and go get a second opinion as to what the results of their pitiful budget and myopic laws are really resulting in: Less public safety in the future.

Amazing that we can see the results of harming the earth through abuse, that we know that if you smoke you’ll probably die, if you beat your kids they will probably beat their kids, etc …. Yet we can’t seem to see that if you spend more on prisons than on higher education, if you take away further money from K-12, from welfare and from health care, that you will be creating more of that, long term, which you say the public needs protection from.
If they were really concerned about your longterm safety, and not their political careers, they would vote for the lesser of two evils — which is to let those people out now that are costing $50,000 a year, and apply those funds to the future of public safety. (I bet if you release 27,000 people and give them each $50,000 a year, not too many will come back!)

Ahh — but what about the redundancies that would be created and the officers that would be laid off because they had to close seven or more prisons? You see the cycle folks, do you? It’s obvious, it’s plain, you can buy it two for one, 24/7/365 at Lenscrafters.

I wonder if Fiona Ma and the others voting against releases up for reelection next year are running on a tough on crime platform.

We should be tough on some crime, but often toughness is predicated on money (Dante Stallworth) and not on the crime.

We are hypocrites, us Californians. We every day we spend more on prisons than college, or have another person do any other day for a victimless crime.

Lastly …. more hypocrisy: Phillip Garrido may not be charged for some of the crimes he committed because the statute of limitations has passed and those crimes will never be prosecuted. But many in prison are doing life, or getting their sentences doubled or tripled, for crimes that happened 10, 20 or even 30 years ago. Why isn’t there a statute of limitations from your past?

Did you ever forgive the high school bully that picked on you because you had four eyes — or are you going to hold that against him forever?

Move on, California. They have corrective surgery now — and maybe that bully is your ophthalmologist.

Nuclear implosion

September 2, 2009

a&eletters@sfbg.com

Hirokazu Kore-eda’s 1998 After Life stepped into a bureaucratic beyond. His 2001 Distance probed the aftermath of a religious cult’s mass suicide. Likewise loosely inspired by fact, Nobody Knows (2004) charted the survival of an abandoning mother’s practically feral children in a Tokyo apartment. 2006’s Hana was a splashy samurai story — albeit one atypically resistant to conventional action.

Despite their shared character nuance, these prior features don’t quite prepare one for the very ordinary milieu and domestic dramatics of Still Walking. Kore-eda’s latest recalls no less than Ozu in its seemingly casual yet meticulous dissection of a broken family still awkwardly bound — if just for one last visit — by the onerous traditions and institution of "family" itself. There’s no conceptually hooky lure here. Yet Walking is arguably both Kore-eda’s finest hour so far, and as emotionally rich a movie experience as 2009 has yet afforded.

One day every summer the entire Yokohama clan assembles to commemorate an eldest son’s accidental death 15 years earlier. This duty calls, even if art restorer Ryota (Hiroshi Abe) chafes at retired M.D. dad’s (Yoshio Harada) obvious disappointment over his career choice, at the insensitivity of his chatterbox mum (Kiri Kirin), and at being eternally compared to a retroactively sainted sibling. Even more so now that Ryo now has a bride (Yui Natsukawa) and son (Shohei Tanaka) eager to please their new in-laws — though they’re already damned as widow and another man’s child.

Not subject to such evaluative harshness is many-foibled sole Yokohama daughter Chinami (Nobody Knows‘ oblivious, helium-voiced mum You). Simply because she’s a girl — so dim-bulb husband and running-wild kids get the pass stern grandpa denies prodigal son Ryo and company. Small crises, subtle tensions, the routines of food preparation, and other minutae ghost-drive a narrative whose warm, familiar, pained, touching, and sometimes hilarious progress seldom leaves the small-town parental home interior — yet never feels claustrophobic in the least.

There’s a whiff of compromise in a coda that feels compelled to spell out the reconciliatory note already hard-won through inference. (Gratuitous sentimentality is a habit Japanese non-genre cinema often finds hard to kick.) Nonetheless, this is Kore-eda’s most truly naturalistic, let alone Ozu-like film since his first — the comparatively bleak 1995 Maborosi — as well as a dysfunctional-family seriocomedy uncommonly beautiful inside and out. It’s a quietly funny and insightful two hours capable of inducing one pretty ecstatic afterglow.

STILL WALKING opens Fri/4 in Bay Area theaters.

Werk

September 1, 2009

Things I’m loving so much lately, besides the way your new used shoes go with your new used hair: The awesome trip-disco movement, with the Lamb + Wolf and Soul Clap duos in the lead — dig Soul Clap’s "Great White Hope IV" mix at www.wolflambmusic.com — which fills out classic soul and R&B slabs with subtle, supple laptop hijinks. Young SF queen Chastity Belle wholeheartedly reviving old-school Liza, Sondheim, and Showgirls drag histrionics — frighteningly accurate! The new Spanish-German techno, revealed by the likes of Edu Imbernon, Coyu, and Niconé, which harnesses minimal techno and microhouse knob-tweaks to ethereal samba and salsa beats. And my favorite thing ever? BART runs all night on Labor Day weekend, so we can work it out on both sides of the Bay quickly, tipsily, and conveniently. Tube it, baby.

STUDIO SF

Two of our loveliest parties, Look Out Weekend and Go Bang!, combine their electro and disco spirits to update the future sounds of yesteryear for right now, with White Girl Lust, Ken Vulsion, and the always perky Sergio of KALX.

Thu/3 and every first Thursday, 9 p.m., $5. Triple Crown, 1760 Market, SF. www.triplecrownsf.com

AGNÈS

Swiss decks heartthrob expands his ravenous-eared range from dubby minimal tech to roots house for a set that’s guaranteed to be full of audio Alpine peaks. He’ll be joined by Jan Kreuger of Berlin’s delicious Panoramabar.

Sat/6, 10 p.m.–6 a.m., $15/$20. EndUp, 401 Sixth St., SF. www.theendup.com

BLESSED

A truly spiritual monthly Oakland affair, from the soulful house sounds of residents Rafriki, Discaya, and Kimani — plus special guest (and personal crush) DJ Ellen Ferrato — to the blessed out crowd of get-downers.

Sat/5, 9 p.m., free. Somar, 1727 Telegraph, Oakl. www.somarbar.com

GEMINI DISCO

It’s been three wild years for the beautiful-yet-intellectual disco kids of mad monthly Gemini, and this champagne celebration with DJs Nicky B. and Derek Love should be a real corker. Lovely Le Dinosaur hosts.

Sat/5, 10 p.m., $5. UndergroundSF, 424 Haight, SF. www.geminidisco.com

DUB MISSION

Woah — DJ Sep’s groundbreaking dub and raga weekly is now officially a classic, celebrating 13 years, and untold influence on the current SF sound, by hosting a rad "dub summit" that includes Twilight Circus Dub Soundsystem and Yossi Fine.

Sun/6, 9 p.m., $15. Elbo Room, 647 Valencia, SF. www.elbo.com

LABOR D’AMOUR

Funky house and techno party mainstays Sunset and Stompy get wild in their inimitably sunny style at Cocomo, filling the giant patio with, yes, "all styles and smiles" — plus the sounds of Sascha Funke, David Harness, and a dozen more.

Sun/6, 2 p.m.–2 a.m., $10/$20. Café Cocomo, 650 Indiana, SF. www.pacificsound.net

PARADISE LIVES!

Even more disco! Honey Soundsystem name-checks the mother of them all, Paradise Garage, with this special installment of its weekly party, calling down the spirits with legendary Trocadero Transfer master DJ Steve Fabus.

Sun/6, 10 p.m.-3a.m., $2. Paradise Lounge, 1501 Folsom, SF. www.paradisesf.com

SIXXTEEN

I’m totally wetting my petite BVDs about the glorious return, after a decade’s absence, of DJs Jenny and Omar’s raucous rock debauch. Peaches Christ hosts, FLAWK hands out drink tickets to flashiest thrashers and best-dressed punk ‘n’ roll runaways.

Sun/6, 10 p.m.–3 a.m., $10. Cat Club, 1190 Folsom, SF. www.sfcatclub.com

Corn on the curb

September 1, 2009

le.chicken.farmer@gmail.com

CHEAP EATS I pick up my brother at the airport. It might not always be the Oakland airport, but I will always pick up my brother at the airport. Besides love, there’s corn in it for me. Ohio corn. I didn’t know about this angle when I tried to lift his suitcase, while he was busy with a big ragged box with duct tape all over it, situating this in the back of my little car — just so, because that’s the way he is.

Me, I’ve been struggling with the Meaning of Life a little lately, and you never know where you will find a sense of purpose. Why not at the curb outside of baggage claim? I didn’t know, I just thought I would make myself useful.

I got the suitcase about an eighth of an inch off of the ground, then decided to just wait quietly for my hug, and let it back down.

"I’ll get that," he said. After he got it, after the hug, we were driving away and he said, "Do you know what’s in that suitcase?"

"Something really very heavy," I said.

And that was when he said, "Corn."

"Ah," I said, as if corn, all things considered, made perfect sense.

"Ohio corn," he said. "Picked this morning. Four dozen ears of Ohio corn."

"OK then," I said.

He had me go through his old neighborhood, which is West Oakland, because he wanted to leave some on his ex’s steps, and his buddy Ron’s steps, and for all I knew some other people’s steps.

But it was 10:30 at night and I wondered about raccoons and other terrorists. I wondered this out loud.

"You’re right," he said. "I’ll deliver it in the morning." And we got back on the freeway.

We went to my house and started eating the corn in my kitchen, standing up. We didn’t bother to boil it or anything, and it was pretty good, but I still didn’t know about bringing four dozen ears of fresh corn on an airplane to California. It seemed a little illegal, if not — I don’t know — pointless.

"The fact is," I said to my brother, halfway through my first ear, "we do have corn here." To illustrate my point, I opened the refrigerator and showed him an ear. I’d just bought it at the grocery store. It seemed pretty fresh too. This is California.

"Ohio corn," he said. There was a piece of it on his chin, and his eyes looked glazed, maybe because of the time difference.

I’m supposed to be a food writer, and I wasn’t sure I could tell the difference. It was good, yes. I ate another piece, steamed, at my cousin Choo-Choo’s house the next day. It was great.

But sometimes I get a great ear of corn at the farmers market, too. I guess the meaning of life is that corn means different things to different people, and while a lot of people have little brothers, few if any of them arrive at the Oakland airport with a suitcase full of corn. So there’s that.

Grateful, charmed, and educated, I offered him my life. My cabin, the kids, this column. He said he’d take my records, and my car. "It’s all or nothing," I said. And for the next couple days I went around buying ears of corn at all the local markets.

I’d pay 99 cents (in some cases) for one ear of locally grown organic corn, and eat it raw, or in some cases cooked, and of course in other cases barbecued. And you know what? It never tasted as good as my brother’s suitcase-smuggled Ohio corn.

Which is gone. My brother’s still here, for a couple more weeks. I called him and said, "OK, you can have my records."

He deserves them, but mostly I just love to think of one of my sisters picking him up at the airport in Ohio, trying to lift his suitcase, or his big taped-up box, and not getting it more than an eighth of an inch off the ground.

"Do you know what’s in there?" he’ll say. And she’ll never guess. I wrote this while eating a Vietnamese sandwich at:

TAY TAH CAFE

Mon.–Fri.: 8 a.m.–6:30 p.m.;

Sat. 9 a.m.–6:30 p.m.; Sun. 10 a.m.–5:30 p.m.

1182 Solano, Albany

(510) 527-8104

No alcohol

MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

Davila 666, Mannequin Men, NoBunny, Bridez

September 1, 2009

PREVIEW Working its way through the ranks of punk rock’s prestigious pantheon, Puerto Rico’s Davila 666 is held in the same regard as King Khan and Black Lips, even sounding kinda Ramones-ish at times. Its debut self-titled release is on the label that can do no wrong, In the Red. Expect an onslaught of guitar fuzz, jangle, and theatrics, sung entirely en Español!

Co-headlining for the night is the Midwest’s own Mannequin Men. With a fresh summer release under their belt, Lose Your Illusion (Flameshovel), the boys take time out from "professionally" DJ-ing various Chicago bars and clubs to join the tour. According to the guy who books them, they like to spin in their downtime. Notorious for having an appetite for destruction all their own, the quartet should be in rare form on stage. They have a song called "WTF LOL" dedicated to the kids and their computer lingo. At first I wasn’t sure if I should be annoyed or amused. I’ll let you be the judge.

Not to be outdone, Oakland’s nomadic NoBunny is East Bay garage rock’s answer to the Jim Henson-esque perverse puppets from the 1989 film Meet the Feebles. The sleaze rocker’s mangy Muppet-like mask probably smells as rotten as it looks. But it’s his sound that’s oh so sweet. He’s got a soft spot for oldies and does campy, quirky lo-fi homages. Check out his filthiness, cuz he’ll (probably) sing in his undies. In contrast, SF’s Bridez will add a "lady’s" touch to the evening. It’s hard to imagine the walls of Thee (tiny) Parkside containing all this rawk. Somehow I think it’ll manage.

DAVILA 666, MANNEQUIN MEN, NOBUNNY, BRIDEZ Copresented by Thee Parkisde and KUSF. Wed/2, 8 p.m., $10, 21 and over. Thee Parkside, 1600 17th St., SF. (415) 252-1330. www.theeparkside.com

Tom Jones talks about Vegas, Outside Lands

August 27, 2009

By Sean McCourt

Though he may be one of the oldest performers to take the stage at this weekend’s Outside Lands Music and Arts Festival, Tom Jones will undoubtedly be one of the best. For more than four decades the Welsh singer’s rich vocals and electric stage presence have propelled a career that continues to produce hits even as he is less than a year away from turning 70. As he proved to a full house at the Warfield earlier this year, Sir Tom (he was knighted in 2006 by Queen Elizabeth) still has the goods when it comes time to entertain a crowd, singing old favorites such as "It’s Not Unusual," "She’s A Lady," and "What’s New Pussycat?" along with more recent hits like "Sex Bomb."

Jones pulls in a wide variety of people to his shows, ranging from kids in their early 20s to original fans near his own age. The singer still loves connecting with an audience, be it at a Vegas nightclub or an outdoor festival like Outside Lands.

"If there are people out there and they’ve come to see me, I’m going to give it the best I can — whether it be 5,000 people or 10,000, or 100,000," Jones says.

"I don’t change the show from Las Vegas to a festival because I don’t do a ‘Vegas’ act anyway. I don’t use any dancing girls — it’s a concert I’m doing. My show is basically the same, [though] I maybe make sure I cover the stage a little bit more," he laughs.

Jones, who released his latest album 24 Hours (S-Curve) last year, is already gearing up to work on a new record after he completes another tour through the U.K. and Europe. As for the tradition of female fans flinging their undergarments at him while on stage, the man known as "the Voice" looks at it from a couple of different angles. "It depends on what song I’m singing at the time. If I’m singing a serious ballad, it can break the mood," says Jones. "But I don’t think it’s for an entertainer to dictate to an audience what to do — the entertainer does what he or she does, and hopefully the people get it."

TOM JONES At Outside Lands Music and Arts Festival. Fri/28, 6:50 p.m. Golden Gate Park, SF. $89.50–$225.50. www.sfoutsidelands.com

Prison report: A bomb plant?

August 27, 2009

By Just A Guy

Editors note: Just A Guy is a California state prison inmate. His blogs typically run twice a week, depending on his ability to communicate from behind bars.

“On Wednesday, 8/26/09, at approx 2015 hours, [NAME] discovered an anonymous note while retrieving the sick-call slips from the Facility Four drop box. The contents of the note stated that bomb-making materials, weapons and a zip gun are being passed through 21 and 22 buildings en route to Building 19. The note also indicates a riot is planned on Facility Four this week.”

This is the memo we woke up to this morning at California State Prison, Solano. This is the fifth time in 60 days that an anonymous note has been “discovered” in which a zip gun was part of the threat, and at least the seventh time since April of 2008 that the institution was locked down or placed on modified program because of a zip gun.

No zip gun has ever been found. I can’t wait to see evidence of the bomb manufacturing facility. Apparently one building manufactured the bombs, sends them to the finishing plant building, which then sends the finished product to the distribution building to be used in the riot!

This, folks, is your tax dollars at work. The California Department of Corrections and Rehabilitation doesn’t believe in the boy who cried wolf, because anonymous notes are apparently held as fact and many person-hours of your tax dollars will be spent searching for the contraband. But the only real contraband they will find will be the cell phones brought in by the very same people searching for contraband zip guns and bomb-making materials.

The funny thing about this is that if an inmate were to ask for protection because he wanted out of a gang or feared for his life, he would have to provide verifiable evidence of the threat. Anonymous information is only viewed as potentially factual if the threat is posed to the safety of the institution or its officers. Verifiability only comes into play when an inmate asks for his or her own protection.

On a bright note, Arnold called the Assembly gutless and questioned the ease by which the Republicans voted to cut funding for education but were so scared of prison releases. Good for him.

The hypocrites in Sacramento and in the CDC never cease to amaze me. They truly try to get the public to believe that public safety is their main concern, but do so much to ensure the public’s detriment that it defies description.

I keep saying it over and over and over: The people in prison with less than a year left, violent or not, are all going to get out anyway, you fucking idiots.

A spike in crime may occur, but is that going to be because of releases, or because California’s unemployment rate is above 11 percent, there’s no money for education, and those released (early or not) can’t get a fucking job?

What’s the unemployment rate for parolees? And now, in this economy, who is going to hire a guy who just got out of prison with no practical job training or experience when some cat with an MBA is also applying for that barrista job at Starbucks because Mr. MBA used to work for General Motors — and now Mr. MBA’s kids can’t get any financial aid for college because MBA made too much money the year prior to being laid off. And even if the kids did have the money, they wouldn’t be able to start school until spring, because classes have been cut, so they take jobs at McDonald’s that could have been gone to parolees.

Shit flows downhill …

Really, they should just send all those early-released inmates to CSP Solano, where there seem to be plenty of positions available at the bomb, weapons and zip-gun manufacturing facility.

(PS: The lockdown finally ended about 11 a.m. ….)

Fall into dance

August 26, 2009

Recession or not, dancers gotta do what they gotta do. Here are 10 performances that will reward your time and dollars.

Capacitor It’s been a decade since Jodi Lomax brought her (at the time) odd mix of science, dance, and circus arts to the Bay Area. Previous works have been inspired by astrophysics, plate tectonics, and forest systems. The new The Perfect Flower promises a more intimate experience. Sept. 18-19, Cowell Theater; www.capacitor.org.

Margaret Jenkins Dance Company If you saw the gorgeous first section of Margaret Jenkins’ Other Suns at Theater Artaud, you don’t want miss the now finished piece, created and performed with China’s renowned Guangdong Modern Dance Company. Sept. 24-26, Yerba Buena Center for the Arts; www.mjdc.org.

Contemporary dance from Africa French-born Maimouna Couliblay (Sept 25-27, Dance Mission Theater; www.dancemission.com) found her artistic voice in Mali; her Hééé Mariamou is inspired by growing up in the ‘hood, Parisian style. Soweto’s Gregory Maqoma (Nov. 4-7, YBCA; www.ybca.org) brings solos inspired by Akram Khan, Faustin Linyekula, and Vincent Mantsoe.

Suzanne Farrell Ballet Farrell, the high priestess of the Balanchine legacy, programmed and narrates an intriguing selection of the master’s pas de deux’ and solos. Should be a treat for all Balanchine lovers. Oct. 24-25, Zellerbach Hall; www.calperfs.berkeley.edu.

Trey McIntyre Project McIntyre has done well as freelancer of fast-paced, musical, and accessible ballet choreography. His brand-new company includes, among others, former Lines Ballet dancer John Michael Schert. Oct. 30, Jewish Community Center for San Francisco; www.jccsf.org.

Monique Jenkinson As ODC residency artist, this dancer/performer and fashion maven — best known for impersonating a man impersonating a woman — has been hard at work on Luxury, which extols the guilty pleasures of life. Nov. 7-8, ODC Theater; www.odcdance.org.

DV8 Physical Theatre Choreographer Lloyd Newson is the John Osborne (Look Back in Anger) of dance. He’s tough, and he hits hard. In To Be Straight with You he takes on religion, sexuality, and prejudice. Nov. 12-14, YBCA; dv8.co.uk.

Performing Diaspora This event rethinks culturally specific dance such as Haitian, Cambodian, or Kathak. The three weekends showcase artists who love the genres they were raised in but want to put their own 21st century stamp on them. Nov. 5-22, CounterPULSE; www.counterpulse.org.

San Francisco HipHop Dance Fest The combination of kids, adult aficionados and professional hip-hoppers make this one of the fall season’s juiciest festivals. What started as a local blast has also turned into a global encounter. Nov. 20-21, Palace of Fine Arts; www.sfhiphopdancefest.com.

Rear window

August 26, 2009

andrea@mail.altsexcolumn.com

Dear Andrea:

My lover and I have amazing sex. We love each other dearly too. We’ve been seeing each other for three years with no decrease in intensity. I’m 45, he’s 37, and I’ve got two kids (who are older, so they cannot be held responsible for the following problem).

A few times lately when we’ve made love, I have had a small bowel movement. I always have multiple orgasms and there is squirting involved (which he really gets off on), which involves sort of bearing down. This has only happened three times in all, I think. But I’m horrified. He’s a saint (overall, and about this in particular), and just murmurs he’ll get me a warm facecloth, then wipes me off (as I’m generally lying there grinning and sort of unaware of what’s going on til later when I see the sheets).

I doubt he’s getting off on that part — more that he figures it’s a necessary evil (since the sex is so good). But I’m not happy about it, so what to do? Is this a dietary thing? Do I need to lay off the Indian food before he comes over? Try my hardest to do a BM before sex?

Any info hugely appreciated!

Love,

Horrified

Dear ‘Fied:

Why do I do this to myself? I am not a poop fan (yes, I know, but yes, there sure are), and three years of parenthood have failed to move me any closer to poop fandom. I’m just not feeling it. I don’t really even like to read about it. How fortunate that your saintly boyfriend is so much less of a weenie than I am!

It would be gratifyingly simple to blame the saag aloo, which, yes, is delicious, but which you could certainly forego on date nights, if necessary. Sadly, I think your curries are as innocent as they are yummy. I’m not so sure we can let your children, or rather your child-bearing, completely off the hook, though. I think this is a pubocoxxygeus-related problem, brought on perhaps by having had those kids — plus the unfortunate slackening both inside and out that comes in one’s 40s and facilitated by your bearing down to squirt. I think what we’ve got here is a failure to Kegelcize. Kegels aren’t just for vaginas, you know.

Here is a potential program: step up the fiber and see if you can get on a regular full-evacuation schedule, and start doing a whole lot of sets of Kegel-type contractions, making sure you’re tightening the relevant parts. If you’re not getting anywhere after a month or so, see your gyno and get your pelvic floor assessed. Something may be amiss in there. What’s going on may not be devastating, and it’s lovely that your boyfriend is so unfussed, but you find it (understandably) distressing. And actually, it should not be happening.

Love,

Andrea

Dear Andrea:

My boyfriend wanted to put his finger in my arse, so I eventually let him, wanting to try everything once! I was surprised by how much I liked it and how intense it made my orgasm, and we are now talking about trying full anal sex. But how does it give me pleasure? Surely for girls there aren’t any special spots in there?

Love,

What’s in there?

Dear What?:

Clearly not so!

OK, it’s true, no prostate. But plenty of nerve endings, at least around the anus itself, and many prostate-less persons enjoy the sensation of fullness and pressure. Still, I wouldn’t rule out the possibility that it was the extra crowding, if you will, that created the extra intensity, in which case the anal intercourse with no vaginal involvement may not produce the desired effect. No way to tell without experimenting, though. Oh well!

Love,

Andrea

Dear Andrea:

My boyfriend and I just had sex for the first time last weekend. While I did receive some pleasure, the second time I was too distracted to fully enjoy it. Every time he would push, I would feel like I was going to go to the bathroom. I know for a fact that I didn’t have to go because I tried. Is it normal to feel this way?

Love,

Perplexed

Dear ‘Plex:

Pretty much. I don’t even know if by "go to the bathroom" you meant one or two, but it hardly matters — all the relevant structures are packed very tightly in there. Something pushing into your vagina is putting some pressure on both your urethra (in front) and your rectum (behind), and the unfamiliar sensation can certainly read as bathroom-type urgency of some sort, even if you’ve recently been. I’m going to assume that you are A) young, B) tight, and C) just generally built small. The first two will pass, as will the unfamiliarity. What never does change is the requirement that you be quite turned on before he tries to get in there. It makes a world of difference. You’ll be amazed how much more space there is for him when you’re ready to receive him. Slow. Down.

Love,

Andrea

See Andrea’s other column at carnalnation.com.

No brainer

August 26, 2009

a&eletters@sfbg.com

FALL ARTS PREVIEW Who would have pictured Green Day’s anthemic 2004 punk-rock concept album, American Idiot (Reprise), as the stuff of musicals? It took merely two unlikely kindred spirits, meeting in the fall of 2007 for the first time: the Oakland band’s lead vocalist, guitarist, and primary songwriter Billie Joe Armstrong and Tony-winning Spring Awakening director Michael Mayer.

Armstrong — that punk-rock diehard who even now plays Gilman with his side project Pinhead Gunpowder? Turns out that as a tyke growing up in Rodeo, he serenaded the elderly and infirm in local hospitals with standards and show tunes from musicals like Oliver! and Annie Get Your Gun.

"That’s how I learned how to sing," says Armstrong, laid back and low-key in stark contrast to the manic rabble-rouser who’ll soon take command over a stage at San Jose’s HP Pavilion. He’s on the phone from his Oakland home during a brief stop in Green Day’s arena tour for 21st Century Breakdown (Reprise), the follow-up to American Idiot. "There’s a real old-school craft to it," he continues, measuring that quality against Shrek, Legally Blond, and other recent disposable Broadway musicals. "That’s kind of a corny way of doing things, but when you see something like Spring Awakening, it’s … it’s real life, and it’s something that everybody relates to, and it’s inspiring and emotional. American Idiot was really tailor-made for something like this to happen to it, y’know."

At the same time that Armstrong tried to heal the ailing with music — and ’80s-era punks everywhere greeted "Morning in America" with a snarl — the generation-older Mayer was earning his MFA on the other side of the country in theater at NYU. No surprise, then, that Mayer "felt such a surprising kind of simpatico" on meeting the Green Day leader. "Even though we come from different worlds and are such different people," Mayer says, "you know, at the end of the day, Billie Joe is such a showman! Such a theatrical guy. Not since Al Jolson have I seen someone so in love with the audience and with putting on a performance for them."

Mayer radiates a similar high-wattage intensity, one that’s fully prepared to kick out the jams. Wide-eyed and unblinking behind his black frame specs, clad in a Justice League T-shirt and floppy shorts, he’s hiding out with me in what looks like an old classroom within the downtown Berkeley building enlisted for rehearsals of the musical version of American Idiot. "I feel like where we connect is old school," he says of Armstrong, slapping the table for emphasis. "Tin Pan Alley." Slap. "Vaudeville." Slap. "That’s the music he grew up with. He became a punk-rocker — I became a theater homo!"

Together, Armstrong and Mayer are making a piece of theater that combines the musical’s narrative tradition and holy union of song and dance with a breed of feisty alternative rock fed by the streetwise political punk of Gilman Street. A musical that unites the ironclad craft of the American Songbook and the heady, arena-sized artistic ambition of classic rock. Now, in the wake of the Broadway acclaim of Los Angeles punk vet Stew’s Passing Strange (which also got its start in at Berkeley Repertory in 2006 and has just been transferred to film by Spike Lee), American Idiot appears poised for critical and popular success when it opens Sept. 4.

American Idiot arrives at a time when musical theater is going through a wave of growing pains. The genre is casting about for ideas, whether they are from films like Shrek and Billy Elliott (to cite a Tony success from last year), or — as with Spring Awakening, which spotlit music by Duncan Sheik — from rock songwriters more comfortable with the life of gritty clubs, merch tables, and tour buses than the mountain-moving, time-devouring, and costly group mechanics of putting on a full-tilt musical. Unlike singularly conceived rock operas like the Who’s Tommy, the first notable union of an established rock band and theater on Broadway, so-called juke box musicals — collections of songs by one group like Mamma Mia! and Jersey Boys — have met with mixed results.

"There’s a whole variety, like Ring of Fire, the Johnny Cash one, that just haven’t made it," opines Michael Kantor, writer of the Emmy-winning 2005 PBS documentary Broadway: The American Musical. "It’s very much dependent on the conception of the director and the book writer who is putting together the story that’s going to encapsulate the music. I do think Broadway right now is keenly scavenging from movies or recordings — anything they feel like they can get quality material from as a launching point."

With the closing of a host of musicals earlier this year, producers are looking for the new and innovative. "Many of the most important musicals," Kantor theorizes, "have come from the most unexpected sources or most unusual approaches." And there’s the scramble for the youth entertainment dollar, as the High School Musical TV-music franchise taps into the passion so many kids have for song, dance, and drama. "Kids are always attracted to musicals," Kantor muses, "but once they get into their midteens, a lot of them lose their interest in musicals as an art form and gravitate to other stuff. High School Musical catches them at their natural inclination for that kind of entertainment. The question is, will a show like [American Idiot] capture that much-sought-after 18- to 30-year-old demographic, which is when musicals tend to lose people. Kids go off to college, it’s not too cool to like musicals, and a lot of adaptations are mainstream or traditional — and it doesn’t appeal to rebellious youth."

Young people also might have a hard time springing for costly theater tickets — yet the kids were out in force, filling the HP Pavilion last week when Green Day played to a hometown crowd with a show punctuated by pyrotechnic pillars of flames and fireworks-style explosions, gleeful costume changes, and squirt-gun shenanigans with Armstrong’s mom. It was a big-room amplification of the string of Bay club dates Green Day played earlier this spring at intimate venues like the Independent, DNA Lounge, and the Uptown.

Below a cleverly conceived 3-D urban skyscape backdrop, Armstrong fully embraced his onstage ham and flexed his crowd-control abilities à la Bugs Bunny in a Looney Tunes cartoon, taking running leaps from the monitors, stage-diving, soloing in the bleachers, donning a faux police cap and mooning each side of the audience, and entreating all assembled to raise their fists or sing along, before launching into more serious numbers like "Murder City," written about the Oakland riots that followed the Oscar Grant killing. Live, the band couples the playfully goofy, childlike comedy that tickles the 14-year-olds up front with the palpable sense of morality — driven by a beaten yet still beating anarchist heart — found on its increasingly serious-minded, idealistic recordings.

Armstrong won’t be onstage for the American Idiot musical — though the production includes a live band — and it’s not the Billie Joe Armstrong or Green Day Story. Instead, the musical is embedded in a specific time and hybridized with video-screen projections that simulate a familiar media-saturated landscape: it’s 2004, in the dark years. America has sent its idiot back to the White House, and we’re on the brink of Hurricane Katrina. Across that stage comes a series of almost archetypal characters one recognizes from the album: the Jesus of Suburbia, here dubbed Johnny for the lead actor it was written for, John Gallagher Jr., who won a Tony for his portrayal of Moritz in Spring Awakening; his antagonist St. Jimmy; and the rebel girl Whatshername.

Just about a week before the concert, the hyperactive, pogo-friendly energy of a Green Day show appeared to be finding its perfect translation at a rehearsal for American Idiot. Three weeks in, the cast — including Passing Strange‘s Rebecca Naomi Jones, here portraying the riot grrrly heroine Whatshername — tackled a round of "She’s a Rebel." In leggings and a Green Day T-shirt, Jones bounced on her toes as a barefoot Mayer dispensed hugs to cast members. A scruffily bearded Gallagher circled the group, then took his place in the desk jockey center for "Nobody Likes You." Choreographer Steven Hoggett tweaked the movements of the cast members as they tossed papers and marched up and down a moveable metal staircase

"When someone is a 20-something with all that angst and energy — where do you put that?," Hoggett said later by phone, pondering the task of "putting songs on their feet onstage." The goal of the choreographer who won an Oliver for his strong, subtle work in Black Watch and came up in the ’90s U.K. clubbing scene: create movement that serves Green Day’s songs and isn’t "too showbiz." To that end, he took in a Green Day show in Albany, N.Y., and fell in love with the mosh pit. "That was absolutely brilliant," he remembers. "Nerves gave way to absolute revelation. It’s just seeing what thousands of people do when they see Green Day — this is the world we need to do onstage."

Collaborating mainly via phone, e-mail, and text with Armstrong from 2007 through 2008, Mayer wanted to focus on a trio of friends — Johnny, Will, and Tunny — as he created the libretto. In true rock operatic form, all the dialogue is sung, using just the songs’ lyrics and text from the special edition CD of American Idiot.

Mayer and arranger Tom Kitt, whose work eventually scored him a spot creating string arrangements for Breakdown, took apart the songs — "letting them breathe in a theatrical way," as Mayer puts it — and placed the lyrics in the mouths of various characters. B-sides and new numbers like "Know Your Enemy," "21 Guns," and "Before the Lobotomy," which Armstrong offered to Mayer during the making of Breakdown last year, were inserted into the flow. Nonetheless, Mayer maintains it was crucial to him to preserve the original track order. "I didn’t want to violate the form of the record," he says. "I wanted to expand it, because the record’s only 52 minutes, and that’s not a full evening, and with these extra characters, they need more material to serve the arcs of their journeys."

It’s been a very personal journey for lead actor Gallagher, who confesses that he’s been a huge Green Day fan since fourth grade, when he’d wait eagerly for the trio’s "Basketcase" video on MTV. His character is Johnny, the Jesus of Suburbia, or as he describes it, "the son of rage and love." Raised in a broken home. Johnny is on "this path, caught between self-improvement and self-destruction, which is something I think we can all relate to," says the actor, who until not long ago had a band of his own. He and Mayer came up with the notion to deepen and intensify Johnny’s descent into drug addiction. "When the chips are down, it’s always easier to just implode on yourself rather than explode outward in a positive fashion that might be helpful for others."

Countering that is the positive process, littered with emphatic yesses, according to Mayer, of putting together American Idiot. In contrast with the difficult but rewarding eight-year gestation of Spring Awakening, Mayer — who has worked on such disparate productions as Thoroughly Modern Millie and the national tour of Angels in America — sees this musical’s trajectory as absolutely charmed. The spell has been in place from the day he proposed his idea to Green Day’s management in 2007, to the moment he was allowed six months to put together a libretto (a process that flew by in six weeks because Mayer says he was so "charged" by meeting Armstrong), to the instant last year that he and coproducer Tom Hulce decided to stage the musical at Berkeley Rep, a company he’d been wanting to work with for years, with his friend, artistic director Tony Taccone.

It’s all coming strangely, beautifully, together — like a punk-rocker besotted with pop hooks and a theater-infatuated one-time Julliard instructor. "It makes me very, very nervous," Mayer confesses, chuckling. "Oh, it’s terrifying! There’s something wrong with it — it’s too joyous. It’s been too easy in terms of everything falling into place."

AMERICAN IDIOT

Sept. 4-Oct. 11

Tues., Thurs.–Fri., 8 p.m.; Wed., 7 p.m.;

Sat., 2 and 8 p.m.; Sun., 2 and 7 p.m.

(no matinees Sept. 5–6 and 12–13); $16–$86

Berkeley Repertory

Roda Theatre

2015 Addison, Berk.

(510) 647-2949

www.berkeleyrep.org

Outside Lands: Tom Jones

August 25, 2009

PREVIEW/INTERVIEW Though he may be one of the oldest performers to take the stage at this weekend’s Outside Lands Music and Arts Festival, Tom Jones will undoubtedly be one of the best. For more than four decades the Welsh singer’s rich vocals and electric stage presence have propelled a career that continues to produce hits even as he is less than a year away from turning 70. As he proved to a full house at the Warfield earlier this year, Sir Tom (he was knighted in 2006 by Queen Elizabeth) still has the goods when it comes time to entertain a crowd, singing old favorites such as "It’s Not Unusual," "She’s A Lady," and "What’s New Pussycat?" along with more recent hits like "Sex Bomb."

"If there are people out there and they’ve come to see me, I’m going to give it the best I can — whether it be 5,000 people or 10,000, or 100,000," Jones says.

TOM JONES At Outside Lands Music and Arts Festival. Fri/28, 6:50 p.m. Golden Gate Park, SF. $89.50–$225.50. www.sfoutsidelands.com

Is Newsom helping rightwing nuts to sue the City?

August 20, 2009

Text and photos by Sarah Phelan

Sup. David Campos talks to the media about his proposed legislation to extend due process to undocumented kids.

“Did Mayor Gavin Newsom leak a confidential memo to the Chronicle about Sup. David Campos’ legislation to extend due process to undocumented kids?”

I asked mayoral spokesperson Nathan Ballard this question today. And here’s what he said:

“It’s my understanding that the Chronicle got it from a confidential source,” Ballard replied by email. “You should ask them how they got it.”

As it happens, the Chronicle points to the source of the memo, noting that it was “prepared by the city attorney’s office at the request of Mayor Gavin Newsom.”

In other words, it’s pretty clear that the Mayor’s Office leaked the memo.

The Guardian Drug Issue: a baggie full of links

August 19, 2009

The Jah Warrior Shelter Hi-Fi crew — Rocker T, Irie Dole, I-vier, and Jah Yzer — photographed for our cover by Jeffery Cross.

Editor’s Note: People like getting high. Whether to just shake off the busy day with a joint or cocktail, or to break free of normal sensory reality and explore the wild beyond, drugs have always been part of the human experience, shaping our societies for good, ill, or a complex and fascinating mixture of both.

Media portrayals of drug use tend toward the extremes, telling either dark tales of dysfunction or else celebrating some counterculture. But we at the Guardian take a more nuanced view, recognizing the often-subtle role that narcotics and their related hysteria play in a wide variety of human endeavors.

That’s why the Guardian‘s Drug Issue isn’t contained in a single section, but laced throughout the paper, from Paul Krassner’s op-ed on the early acid pioneers all the way back to Dennis Harvey’s list of the top freakouts on film.

In the news section, we explore the growing movement to decriminalize marijuana, rising meth-related emergencies among women, and drug use at Burning Man. Super Ego takes a muddled journey to the bathroom stall, flashing back to the alphabet soup of yesterday’s dance floors, while in Lit, we hunt for shrooms and hallucinatory reading, and take a hard look at addiction in Bayshore. And in music, Shady Nate shares the purple you can drink.

Enjoy the trip, and we’ll see you on the other side. (Steve Jones)

>> Chronic debate: Marijuana decriminalization moves forward on several fronts

>> Fewer young people using drugs: When it comes to illicit substances, SF’s kids are alright.

>> Cranked up: Are party girls starting to catch up with the boys?

>> Packing for the trip: The art of taking drugs to — and at — Burning Man

>> LSD as gateway drug: Paul Krassner reflects on acid pioneers

>> Confessions of a Bo-Fessional: Leanin’ on codeine and promethazine with Shady Nate and Livewire

>> Alphabet soup: A brief meditation on the recent history of club drugs

>> The elephant in the shroom: It’s time to start being realistic about magic mushrooms

>> This land is Methland: A new book tracks a drug through America’s cracks and faultlines

>> Drunk on words: 12 hallucinogenic novels and 8 inebriated memory pieces

>> Made in USA: Under the overpass, Righteous Dopefiend finds a different kind of San Francisco drug story

>> Mothership connections: George Clinton has used, not abused, drugs

>> Letts dance: Tracy Letts’ play August: Osage County makes family dysfunction fun again

>> Time passages: Taking a listen to Coil’s music to take drugs to

>> This is your film on drugs: One film critic’s top movie freakout scenes

>> Hittin’ the tube: A&E’s Intervention — do junkies ever watch it?

>> Intoxicated rhythms: Recordings by musicians under the influence

Ewok talk

August 19, 2009

a&eletters@sfbg.com

SONIC REDUCER You might not expect it or detect it — listening to the beautifully interwoven fingerpicked guitar, viola, and flute of "Actaeon’s Fall (Against the Hounds)" and dark, sparkling, solemn drone of "Enemies Before the Light" off the new Six Organs of Admittance album, Luminous Night (Drag City) — but Ben Chasny is a pretty fun guy. I haven’t laughed so long and hard during a chat with a musician since forever, that is until the Six Organ-ist began riffing on a recent guilty pleasure: Lindsey Buckingham and in particular Law and Order (Warner Music Group, 1981).

"It’s the one where’s he’s naked, super-tanned, and glistening with oil (on the cover)," enthuses Chasny by phone from Seattle, where he’s trotting out to Trader Joe’s for a single can of black beans. "Man, he’s a fucking mad genius. That was on repeat on my turntable for a while."

After raving about an amazing Fleetwood Mac show he attended not long ago — "after every song [Buckingham] rips his guitar off and holds it up, as if he’s won a gold medal in the Olympics" — he pulls out a nugget related to Buckingham ex Carol Ann Harris’ book, Storms (Chicago Review Press, 2007), which describes the Fleetwood Mac-er holding his head at night, screaming about all the music running through his noggin. "Ethan [Miller of Comets on Fire] said, ‘He probably had that song "Holiday Road" in his head, and it was driving him fucking bonkers,’" Chasny quips. "I can image if you had that going on, you’d go fucking crazy."

I’m still chuckling when Chasny admits that he’s stolen many a lick from Buckingham as the guitarist for the now-dormant Comets on Fire: "I was running them through tons of distortion, so no one picks up." It’s all good — and it’s even better to catch up and talk early influences (the Stray Cats!?) and current musical loves (the Flower Corsano Duo) with the man, now firmly relocated in Seattle along with girlfriend Elisa Ambrogio of Magik Markers, who, as it happens, isn’t in Six Organs at the moment (instead they’re collaborating on another still down-low project). The couple moved out of my Mission District hood just as the shootings were escautf8g last year — and Chasny’s landlord raised his rent. "It was like, ‘Are you fucking reading the newspaper?’," he marvels. "You know how the Mission goes through periods of craziness? I was just, like, ‘Fuck this,’ and we rolled out because it’s cheaper and a little less violent where we are now."

The new Luminous Night seems to reflect Chasny’s peaceful transition to higher, northerly ground. For the first time he worked with a producer, Randall Dunn (Sunn O))), Earth) and in the process has woven new instruments like tabla and synthesizers, as well as viola by Eyvind Kang, into the mix. His own soundtrack writing — and listening to, say, the music of Seven Samurai (1954) and Cosmos (1977) — have imbued Luminous Night‘s sound with vivid emotional arcs and an ever-widening scope that incorporates classical elements, synthesizer ruminations, and wanted-man Western-movie scores.

Nothing to feel guilty about here — but then Chasny would never not cop to an geeky early influence like the so-called "Ewok Song." "I know it by heart," he says, then semi-jokes, "and it’s the precursor to all these kids with wizard hats. It all comes down to the Ewoks singing around the fire. Akron/Family ain’t got nothing on the Ewoks, man." *SIX ORGANS OF ADMITTANCESun/23, 8 p.m., $12Independent628 Divisadero, SFwww.theindependentsf.com

SKYWALKIN’

TUSSLE AND GRASS WIDOW

Nathan Burazer of the SF instrumentalists just launched a monthly party, O.K. Hole, at Amnesia, whereas the all-femme Bay Area combo recently saw its Make a Mess 12-inch sell out. With Psychic Reality and Royalchord. Fri/21, 9 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

JAY REATARD

Garage rock’s Energizer Bunny embarks on a full-tilt freebie attack at Amoebas on both sides of the Bay, in honor of his spanking Watch Me Fall (Matador). Sat/22, 6 p.m., free. Amoeba Music, 1855 Haight, SF. Sun/23, 6 p.m., free. Amoeba Music, 2455 Telegraph, Berk. www.amoeba.com

J TILLMAN AND MOORE BROTHERS

J assault ’09 continues, in a more sedate, folktastic ‘n’ Neil Young-ly vein, by, this time, the Fleet Foxes drummer. With Pearly Gate Music. Sun/23, 8 p.m., $11–$13. Café du Nord, 2170 Market, SF. www.cafedunord.com

BOX ELDERS

In town at the same time as Reatard, the nekkid, garage-rockin’, lo-fi youngsters throw on a new ‘un, Alice and Friends (Goner). With Traditional Fools. Tues/25, 6 p.m., $5. Hemlock Tavern, 1131 Polk, SF.

Alphabet soup

August 19, 2009

markeb@sfbg.com

SUPEREGO ADDICT "That techno shit ain’t nothing but a bunch of clowns tripping their balls off to car alarms," the old saying goes. And it’s almost exactly right! If we’re still in the 1990s — which, by the way, also saw over-tattooed punk and swing revivalists nodding off to black tar and a swarm of bronze-bleached gays mething out to Bryan Adams circuit remixes when they could pry away from AOL chat. (You thought it took forever to download a naked JPEG in 1997? Try doing it on crystal.) Plus: candy-flipping Burners, K-holed zombie househeds, and reams of GHB newbies shitting their pants and dropping half-dead at the unfortunately ambulance-ridden EndUp.

Glancing back with a delicious shiver, the ’90s were a shadow-peopled heyday of designer nightlife drugs, an alphabet soup raining down in clubbers’ peripheries. But, really, from opiate-stoned flappers and Benzedrined mods to the Factory’s orange Obetrols and MDA at the Paradise Garage — when haven’t drugs driven the wee-hours subcultural?

Yes, the music plays into the drug of each scene’s choice, a Pan flute solo wafting over the Valley of the Dolls. You do need to drop E on a crowded dance floor to "get" most strains of techno, or smoke out bigtime for reggae to wobble you to Jah. And drugs drive the music: I’m currently rereading one of my fave tomes, Please Kill Me: The Uncensored Oral History of Punk (Penguin, 1997), and it blows my Swiss cheese brain the sheer piles of drugs everyone was on in the ’70s rock scene. I guess that’s why they got so bloated in the ’80s.

Which leads us, squinting in dawn’s foggy light, to the present. It’s odd that the same prescription drugs kids use to stay well-behaved in math class are the ones most clubbers pop while getting dressed, with a key-snort of terror-funding coke to keep the edge off. But if ’00s electro and fidget house were the sound of Adderall and Ritalin, dubstep derived from hydroponic stank, the disco revival uncorking fresh poppers (see www.homochic.com for your designer bottle), and minimal techno just OCD writ large (a self-consciously undrugged movement?) then the illicit substance center, though cut with baby laxative, at least still holds. And always the liquor flows and flows….

STEVE BUG

Brain-teasing techno label Pokerflat presents a rare showcase of its stable, including deep mentalist Bug and smooth criminal John Tejada.

Fri/21, 10 p.m., $20, Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

DERRICK CARTER

Do-the-doo house is making a shining comeback, thanks in part to the Chicago master’s tireless touring. Shimmy and shake, boogie child.

Fri/21, 10 p.m.- 4 a.m., $10. Temple, 540 Howard, SF. www.templesf.com

KRADDY

"Cybernetic breaks with asymmetrical dub delays" from the former Glitch Mobber, with "global slut psy-hop" queen Ana Sia opening up.

Fri/21, 10 p.m., $10. Mighty, 119 Utah, SF. www.mighty119.com

RONSKI SPEED

Your progressive-trance Burner warmup begins with the Euphonic Sounds tunes of this dapper space octopus.

Sat 22, 10 p.m.- 4 a.m., $15 advance. 1015 Folsom, SF. www.1015.com

JEGA

Wherefore art thou, Ambient Romeo? All around us, of course, as pioneer Jega drops his excellent double-disc Variance (Planet Mu) after nine long years.

Sun/22, 10 p.m., $10. Li Po Lounge, 916 Grant, SF. www.nastysonix.com

Hard-headed

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August 19, 2009
0

le.chicken.farmer@gmail.com

CHEAP EATS The wheel came off the shopping cart and the whole thing went over. Cans clanged and rolled. Plastic milk jugs bounced, and the toddler in the kid seat crashed down with them, helpless, tangling with cereal boxes and plastic bags of produce.

Her mom, who was also holding a baby, had the look of a mom who was watching her two-year-old fall on her head. In between the bonk and the scream, there was that split second where question mark and exclamation mark meet. And stare at each other. While tumbleweeds roll silently by like a lone little wheel down Aisle 7. The sun moves a little. There’s so much space in that flat, hard moment that you could land an airplane on it.

Then: the long, loud, first breathless wail, like being born all over again. In automatic sympathy, everyone else holds their breath too, thinking: Breathe, kid! Breathe! But I know how hard kids’ heads are, compared to their mothers’ hearts. I’m more worried about the mom. In the time it took her to drop to the grocery store floor, still cradling her baby in one arm, and gathering up her now bawling toddler in the other, a crowd had formed.

Two store managers, displaying athleticism rarely seen outside track meets, were first on the scene. Before all the cans had even stopped rolling, they were offering the hurt and/or scared shitless child Popsicles and juice boxes. But the kid was inconsolable. "I’m not feeling well," she said, between wails.

For the next 15 minutes, nothing changed. The kid cried. The baby, heroically, stayed calm. While the mother, squeezing and rocking and there-there-ing, checked her older child’s head for bumps, or worse.

While the two store managers divided their labor, one serenading the mom with an endless stream of apology, the other scrambling for still brighter colors of Popsicles. While a couple of the bystanders, in a desperate attempt to be byuseful, bytapped the scattered groceries into a pile with their feet. While the woman in the business suit said, "You need to take her to see a doctor, right now."

To her credit, at least she said this just once. Whereas the woman who wasn’t in a business suit, speaking on behalf of all the rest of Berkeley, Calif., where this happened, would not stop repeating one word, "Arnica."

So, then, the song goes like this:

"Oh sweetie, I’m so sorry. There, there, sweetie. Show mommy where it hurts."

Crying crying. "I’m not feeling well." Crying.

"How about purple?" Crying.

"Arnica."

"Ma’am, do you want me to hold the little one for you? We’re so sorry. Does she need ice, ma’am?"

"How about green? Do you like green?"

"Arnica." Crying.

"Sweetie, sweetie, it’s OK sweetie." Crying. "Mommy’s here, sweetie. It’s all right."

"Arnica."

"Ma’am." Crying. "If there’s anything at all." Crying. "We can do, Ma’am."

"Arnica."

And on and on and onica, until finally the mother, briefly wondering why she lives where she lives, pried her attention away from her crying child to look this woman in the eye and say, "Will you please go away?"

Which is where I, in the spirit of Lou Reed singing, "I’m just the waterboy<0x2009>/the real game’s not over here," admit that I wasn’t there. I’d hear all about it … how they escaped to the parking lot, to their car, only to find the store managers, through the miracle of pole vaults and sheer speed, had collected, bagged, and long-jumped their groceries to the parking lot, to their car, ahead of them. And free! I’d help put those groceries away. But I wasn’t there. I was in San Francisco, in a swirl of pain and fear all my own, eating duck soup by myself at my new favorite restaurant.

THE OLD SIAM

Daily: 11 a.m.–11 p.m.

201 Ellis, SF

(415) 885-5144

No alcohol

MC,V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

Fewer young people using drugs

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August 19, 2009
0

Opposition to drug use is often couched in concern about children, but today’s kids are using fewer drugs than in the past. And, according to a survey of risky behavior, San Francisco’s young people are using fewer drugs than those nationally.

The San Francisco Unified School District, in conjunction with the U.S. Centers for Disease Control, surveys its high school students biannually to asses drug use, eating and exercise habits, and other possibly risky behavior.

Over the last 12 years, alcohol has been the most frequently abused substance among San Francisco high school students and usage rates have held fairly steady, dropping from 59.2 percent to 53.2 percent for one-time use, and from 27.5 percent to 22.3 percent for habitual use. The corresponding national rates have dropped from 79.1 percent to 75 percent and from 50.8 percent to 44.7.

Yet more people are seeking help for marijuana use than alcoholism. According to the Community Behavioral Health Services division of the city’s Department of Public Health, 36 percent of young people receiving substance abuse treatment are marijuana users and only 21 percent are treated for alcohol abuse.

The higher rates of treatment could explain the large decline in marijuana use since 1997.

The number of students who have tried marijuana dropped from 33 percent to 22.8 percent, and habitual use has dropped from 17.1 percent to 11.4 percent. This mirrors the national trend in which rates dropped from 47.1 percent to 38.1 percent and from 26.2 to 19.7 percent for lifetime and habitual use, respectively.

The decline in marijuana use is only surpassed by that of cigarette abuse, which has dropped by almost half from 60 percent to 36.5 percent for lifetime use and from 19.1 percent to 8 percent for habitual use.

A current year study, which does not include trend data, shows that rates of cocaine, methamphetamines, and steroid use are below the national average, all hovering around 5 percent.

The surveys only collect data on illicit drug use and do not include the abuse of prescription drugs, which Jim Stillwell, manager of substance abuse service for the San Francisco Department of Health, said is on the rise.

They get pills from their parents, he said, and because they see adults take them, they don’t seem as risky.

Confessions of a Bo-Fessional

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August 19, 2009
0

a&eletters@sfbg.com

That Bo & Sprite, I mix it up and tip it every day and night

— Shady Nate, "Bo & Sprite," The Bo-Fessional

DRUGS I’m in the backyard of Shady Nate’s aunty’s house on 28th and "Zipper" (Chestnut Street) in West Oakland, watching Lil Rue of Livewire pour four ounces of purple syrup into a liter of Sprite, which turns the hue of pink champagne. With the residue, he coats a cigarette, Shady coats a Black&Mild, and Jay Jonah coats a blunt, which sputters and foams as it burns. When Rue licks the syrup cap, however, Jonah protests this breach of etiquette, though the dispute dissipates as the bottle goes around.

The syrup in question is promethazine-codeine cough syrup, known variously as "lean," "sizzurp," even simply "purple" (wreaking linguistic havoc since "purple" also means weed). "Lean" derives from its characteristic side-effect: if you drink enough, you need to lean against something to stand. West Oakland’s term of choice is "Bo," as in "Robitussin." Bo first oozed into rap in the late ’90s via the South, associated with the slowed-down chopped and screwed sound invented by Houston’s DJ Screw. One of Shady’s OGs, Big Mayne, assures us Bo’s been in Oakland forever, though formerly cheap liquor was its vehicle. (Drinking it straight is called "raw.") Soda is a comparatively recent innovation, indicating Bo’s increasingly youthful demographic, which extends to middle school.

"In ’95, I ain’t seen no one sippin’ syrup but OGs," Shady recalls. "We didn’t know what it was. Around 2000, it started to pop — couple motherfuckers knew about it but not everybody. But now, it’s like a fad. Like Mac Dre came with the thizz, it’s syrup now."

As Shady notes, Bo has supplanted Ecstasy as the hood’s must-do drug. But Bo is more likley to kill you; promethazine causes extreme drowsiness and potentially, in large enough doses, heart attacks or respiratory failure. DJ Screw himself died of respiratory failure at age 29 in 2000. In December 2007, six months after his post-prison triumph with UGK’s No. 1-debuting Underground Kings (Jive, 2007), Pimp C, 33, succumbed to a lethal combination of syrup and his preexisting sleep apnea.

The possibility of death has, of course, never deterred drug use except in individual cases; even so, as a trend, Bo is a risky high. Addictiveness aside, the best part of the high, I’m told, occurs on the brink of nodding off. (Jonah claims that nodding off at the wheel, not overdose, is the leading cause of Bo-related death in West Oakland.) But the target — "catching your nod" — seems easy for the inexperienced to overshoot, particularly when the delivery method is a beverage that tastes like it was designed for kids.

Tastes? Well, yes, I took a few pulls from the bottle, purely for journalistic purposes. Four ounces among four people isn’t enough to make you lean or nod, but it’s enough to get the idea. I was pretty lifted for three hours, then mildly so the rest of the day. The promethazine considerably enhances the codeine: my head felt pleasant, like a halo extended a few inches between me and the world, yet the sensation was crisp, not foggy, at least at this dosage, peaceful rather than giddy. This was a one-time trial for me, but I could easily see wanting to extend the high.

Indeed, extension is the point; Shady’s ideal is to nurse four or more ounces over the course of the day. In terms of rap hedonism, Bo has ushered in a new vibe. You don’t guzzle, you "tip" or "kiss" it. Instead of ballin’, you brag on stinginess, "I ain’t sippin’ with you" being a common refrain. Generally I’ve found people in the ghetto generous with weed — the blunt’s a preeminently social event — so Bo’s antisocial element is striking. "I done seen fights over the lacers," Shady laughs, referring to the use of the residue. "It almost just went down — Jonah almost took off Lil Rue!"

On this day in July, Shady has a pair of projects in Rasputin’s rap Top 20: an album, Gasman Unleashed (PTB/Clear Label/SMC); and a mixtape, The Bo-Fessional (DJ Racks), on which every song is devoted to Bo. As we drink, I ask about its effect on his creative process.

"I can rap all fast," he says (an understatement), "but when I’m on syrup — I’m singin’, I’m harmonizin’. It slows me down."

The difference is palpable on "Bo & Sprite," his mixtape take on Kid Cudi’s "Day and Night." The choice itself is uncharacteristic, as is the weird thickness of his Bo-soaked delivery, discovering melodic filigrees only implied in the original as he spins an amusingly mundane tale of scoring — classic drug music. Most of Shady’s vocals on Gasman are lean-free by necessity, in order to achieve full speed, but Bo-Fessional serves as an inspired b-side, documenting what, in Oakland, may be the Summer of Bo.

But Bo’s already grown scarce; the members of Livewire say the police have cracked down and doctors aren’t prescribing it due to the widespread abuse. Already expensive — roughly $15 an ounce — Bo’s street price is ever increasing due to the drought, which limits Shady’s indulgence to roughly once a week. This might be frequent enough, given Bo’s potential dangers. I very much understand the attraction, but at the same time, Shady and Livewire are talented dudes with a lot to live for.

This is your film on drugs

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August 18, 2009
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a&eletters@sfbg.com

Movies and drugs were made for each other — depiction-wise that is, beyond experience-enhancing audience and creativity-enhancing (or canceling) maker usage. Too bad legality and morality so frequently messed with that perfect union. Herewith a highly selective, hardly definitive list of the medium’s

resulting greatest freakouts. It excludes the following: really obvious stuff, like 2001: A Space Odyssey (1968) and Reefer Madness (1936); most horrific withdrawal sequences (that’s another article); and scenes in which performers really do appear very high (inevitably, Dennis Hopper).

Case Study: LSD (1969) Your friends at Lockheed Aircraft Corp. crafted this cautionary educational short in which our heroine, already "pretty jacked up on marijuana," drops you-know-what. She then goes downtown for a hot dog. But when she’s about to consume that tasty snack it turns into a troll doll on a bun, begging for mercy because "He had a wife and seven kids at home to support." Then the screaming starts.

The Big Cube (1969) A spoiled stepdaughter and predator playboy attempt to drive wealthy widow Lana Turner insane by serially dosing her. What’s perhaps most amazing about this awesomely awful potboiler is that Turner’s acting is even worse when her character is straight.

The Trial of Billy Jack (1974) Before he’s ready to shelve pacifism once again to kick fascist butt, Tom Laughlin’s counterculture vigilante must go deep into his New Age White Dude’s identification with Native American spirituality by doing peyote in the desert. This attempt to separate ego from self is in fact the most egomaniacal drug trip in the history of cinema, equating Tom/BJ with the soaring national bird and Jesus Christ.

Go Ask Alice (1975) There may be no wrong-trip scene freakier than this TV movie’s one in which our teen runaway protagonist and a temporary traveling companion are made to bark like dogs for an older couple — the "winner" getting a new boost, the loser getting "punishment" horribly left to our imaginations.

Blue Sunshine (1976) Never grab the wig off a secret U.S. government LSD experiment veteran whose secret baldness "covers" homicidal psychosis. And if you do, this cult horror classic teaches, stay the hell away from the fireplace.

Desperate Teenage Lovedolls (1984) This DIY punk parody’s all-female band members avenge themselves on their greedy manager by mega-dosing him, resulting in horrific hallucinations of Taco Bell ads and Barbra Streisand Yentl (1983) posters inspire unfortunate delusions of flight.

Fear and Loathing in Las Vegas (1998) On everything, Johnny Depp and Benicio del Toro’s Duke and Dr. Gonzo visit Circus Circus — an environment that could induce anxiety attacks in the soberest tourist.

Cookers (2001) This vastly underrated quasi-horror is a one long paranoid wigout. Its three characters are meth cookers holed up in an abandoned rural house until their batch is done. Unfortunately, madness, sexual competitiveness, and the questionably supernatural intervene. The other great meth horror movie so far is Pop Skull (2007), which doesn’t even specify the substance being abused.

Knocked Up (2007) Paul Rudd. Shrooms. Five different types of hotel chairs. Plus "Love, the most beautiful shiny warm thing in the world!"

Music listings

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August 18, 2009
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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 19

ROCK/BLUES/HIP-HOP

Crocodiles, Pens, Graffiti Island Rickshaw Stop. 8pm, $12.

Forget About Boston, Flamingo Gunfight, A Victory Nonetheless Elbo Room. 9pm, $5.

Freekbass Boom Boom Room. 9:45pm, $10.

Have Nots, Stigma 13, Flatout Annie’s Social Club. 8pm, $5.

Horror X, Boats!, Spurts, Pranks Thee Parkside. 8pm, $6.

Mother Mother, HIJK Café du Nord. 8:30pm, $10.

Partyline, Hawnay Troof, Shebeast, Schwule El Rio. 8pm, $8.

Prids, Swann Danger, Butterfly Bones Bottom of the Hill. 9pm, $8.

Freddy Roulette Biscuits and Blues. 8pm, $15.

Stone Foxes, Lonely H, Buxter Hoot’n Hemlock Tavern. 9pm, $7.

BAY AREA

Jackson Browne Paramount Theatre. 8pm, $39.50-59.50.

JAZZ/NEW MUSIC

"B3 Wednesdays feat. Patrick Greene Organ Combo" Coda. 9pm, $7.

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

Cat’s Corner Savanna Jazz. 7pm, $5-10.

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

Jonathan Poretz Yoshi’s San Francisco. 8 and 10pm, $16.

Tin Cup Serenade Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7pm, free.

FOLK/WORLD/COUNTRY

Gaucho, Michael Abraham Jazz Session Amnesia. 8pm, free.

Steve Taylor-Ramírez Plough and Stars. 9pm, free.

DANCE CLUBS

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

Fame Bar on Church. 9pm. With rotating DJs.

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

Qoöl 111 Minna Gallery. 5-10pm, $5. Pan-techno lounge with DJs Spesh, Gil, Hyper D, and Jondi.

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

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Lonestar Sound, Young Fyah, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

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

THURSDAY 20

ROCK/BLUES/HIP-HOP

Bare Wires, Fergus and Geronimo, Teenage Cool Kids, Vows Amnesia. 9pm, $7.

*Blowfly, Blag Dahlia Rock Legend, Mad Macka Thee Parkside. 9pm, $10.

Calmodee Coda. 9pm, $7.

Daughtry Fillmore. 8pm, $20.

Eyedea and Abilities, Kristoff Krane, Justus Bends Bottom of the Hill. 9pm, $10.

Bill Magee Biscuits and Blues. 8pm, $15.

Jason Movrich SNOB, 1327 Polk, SF; (415) 440-7662. 8pm, free.

San Kazakgascar, When Dinosaurs Ruled the Earth Hemlock Tavern. 9pm, $6.

Scranton, Luvhed, Ol’ Cheeky Bastards Grant and Green. 9pm, free.

Strip Mall Architecture, Love X Nowhere, Silian Rail Café du Nord. 9pm, $10.

Toy Soldiers, Battlehooch, Horde and the Harem, Buttercream Gang Slim’s. 8pm, $13.

BAY AREA

"Vans Warped Tour" Shoreline Amphitheater, One Amphitheater Pkwy, Mtn View; www.livenation.com. 11am, $26.75. With NOFX, 3oh!3, Less Than Jake, Underoath, Devil Wears Prada, Chiodos, Thrice, Silverstein, and (seriously) over 40 more.

JAZZ/NEW MUSIC

Al Coster Trio and Jam Savanna Jazz. 8pm, $5.

"Brass, Bows, and Beats: A Hip Hop Symphony by Adam Theis and the Jazz Mafia Symphony" Yoshi’s San Francisco. 8 and 10:30pm, $24.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 7:30pm, free.

Kelly Park Trio Shanghai 1930. 7pm, free.

Marlina Teich Trio Brickhouse, 426 Brannan, SF; (415) 820-1595. 7-10pm, free.

"New Frequencies @ YBCA: Musicians Respond to Wallworks" Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. 6pm, free with gallery admission ($5-7). With Jackeline Rago and Steve Hogan Duo/Kev Choice and Jennifer Johns Duo.

Jesse Scheinin Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Sony Holland Duo Café Divine, 1600 Stockton, SF; (415) 986-3414. 7pm, free.

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

FOLK/WORLD/COUNTRY

Flamenco Thursday Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8pm, 9:30; $12. With Carola Zertuche and Company.

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

Hillstomp, Slowfinger, Brothers Comatose Annie’s Social Club. 8pm, $8.

Mission Three Amnesia. 7pm, free.

Jason Movrich Blarney Stone, 5625 Geary, SF; (415) 386-9914. 9pm, free.

Saddlecats Atlas Café. 8pm, free.

Tipsy House Plough and Stars. 9pm, free.

DANCE CLUBS

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

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

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

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

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

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

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

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

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

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

Rock Candy Stud. 9pm-2am, $5. Luscious Lucy Lipps hosts this electro-punk-pop party with music by ReXick.

Ships in the Night Underground SF. 10pm, $5. Queer dance party with DJs Durt, Black, and Jean Jamz.

Toppa Top Thursdays Club Six. 9pm, $5. Jah Warrior, Jah Yzer, I-Vier, and Irie Dole spin the reggae jams for your maximum irie-ness.

FRIDAY 21

ROCK/BLUES/HIP-HOP

Attitude Adjustment, Beowulf, Deface, Killing California, Superbuick Thee Parkside. 9pm, $10.

Kasey Chambers and Shane Nicholson Independent. 9pm, $25.

Tracy Chapman Fillmore. 9pm, $50.

Christmas Island, Mantels, Jonesin’, Splinters Amnesia. 9pm, $8.

Cuban Nights Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8:30pm, $15. Latin dancing Buena Vista style with Fito Reinoso, and Eddy and Gabriel Navia.

Diego’s Umbrella Café du Nord. 9pm, $10.

Excuse the Blood, Hudson Criminal, Cycloptopus, No Need Retox Lounge. 8pm, $5.

*"House of Voodoo 10th Anniversary" Annie’s Social Club. 9pm, $5-7. With Awakening, Saints of Ruin, and DJs spinning goth and industrial.

New Up, Company Car, Run Run Run Bottom of the Hill. 9:30pm, $12.

EC Scott Biscuits and Blues. 8 and 10pm, $20.

Set Your Goals, Four Year Strong, Polar Bear Club, Fireworks Slim’s. 8pm, $15.

*Tussle, Grass Widow, Psychic Reality, Royalchord Hemlock Tavern. 9pm, $8.

JAZZ/NEW MUSIC

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

Brian Belknap Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

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

"Brass, Bows, and Beats: A Hip Hop Symphony by Adam Theis and the Jazz Mafia Symphony" Yoshi’s San Francisco. 8 and 10:30pm, $26.

Duo Gadjo Shanghai 1930. 7:30pm, free.

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

Jim Butler Quartet Savanna Jazz. 8pm, $5.

Natasha Miller Coda. 10pm, $10.

FOLK/WORLD/COUNTRY

Aphrodesia, Bayonics, DJ Jeremiah Great American Music Hall. 9pm, $16.

Bluegrass Bonanza Plough and Stars. 9pm.

Jessica Fichot Red Poppy Art House. 8:30pm, $10-12 suggested donation.

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

"A Moment in Time" Regency Ballroom. 9pm, $30. With Beres Hammond with the Harmony House Singers and Musicans, and Culture.

Rob Reich and Craig Ventresco Amnesia. 7pm, free.

DANCE CLUBS

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

Alcoholocaust Presents Riptide Tavern. 9pm, free. DJ What’s His Fuck spins old-school punk rock and other gems.

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

Deep Fried Butter, 354 11th St., SF; (415) 863-5964. DJs jaybee, David Justin, and Dean Manning spinning indie, dance rock, electronica, funk, hip hop, and more.

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

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

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

Go Bang! Deco SF, 510 Larkin St; (415) 346-2025. 10pm, $5. Recreating the diversity and freedom of the 70’s/ 80’s disco nightlife with DJs Eddy Bauer, Flight, Nicky B., Sergio and more.

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

Loose Stud. 10pm-3am, $5. DJs Domino and Six spin electro and indie, with vintage porn visual projections to get you in the mood.

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

Punk Rock and Shlock Karaoke Annie’s Social Club. 9pm-2am, $5. Eileen and Jody bring you songs from multiple genres to butcher: punk, new wave, alternative, classic rock, and more.

Voodoo Ballroom Annies Social Club. 9pm, $7. With live performances by Awakening and Saints of Ruin and DJs voodoo, Purgatory Mischief, and more spinning goth, deathrock, glam, and darkwave industrial.

SATURDAY 22

ROCK/BLUES/HIP-HOP

Tracy Chapman Fillmore. 9pm, $50.

Ex-Boyfriends, My First Earthquake, Vitamin Party Thee Parkside. 9pm, $7.

*Flipper, Triclops!, Turks, Alaric Annie’s Social Club. 9pm, $10.

*Forbidden, Kehoe Nation featuring Gene Hoglan, Death Pilot Slim’s. 9pm, $20.

Jedi Mind Tricks, MC Esoteric, Reef the Lost Cauze, Bound by Honor Independent. 9pm, $17.

Kev Choice Ensemble Elbo Room. 10pm.

Lady Bianca Biscuits and Blues. 8 and 10pm, $20.

Low Red Land, Appomattox Hemlock Tavern. 6pm, $5.

Matches Fillmore. 9pm, $20.

No Hope for the Dead, Overdrive AD, Hot Heresy Thee Parkside. 2pm, free.

La Plebe, Pop Bottle Bombers, Master Volume, DJ Alberto Bottom of the Hill. 10pm, $12.

TITS, Plastic Crimewave and the Wicked Wicked Ways Hemlock Tavern. 9:30pm, $7.

Valerie Orth Band, Rachel Efron Ensemble, Mia and Jonah Café du Nord. 9pm, $12.

JAZZ/NEW MUSIC

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

Pascal Boker and Band Savanna Jazz. 8pm, $5.

"Brass, Bows, and Beats: A Hip Hop Symphony by Adam Theis and the Jazz Mafia Symphony" Yoshi’s San Francisco. 8 and 10:30pm, $26.

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

"New Frequencies @ YBCA: Next Wave of Global Landscape" Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. 8pm, $25. With Juana Molina/Amy X. Neuburg and the Cello ChiXtet.

Proteges of Hyler Jones Shanghai 1930. 7:30pm, free.

Ricardo Scales Top of the Mark. 9pm, $10.

Lavay Smith and Her Red Hot Skillet Lickers Coda. 10pm, $12.

FOLK/WORLD/COUNTRY

Absynth Quintet Plough and Stars. 9pm.

Julio Bravo y Orquesta Salsabor Ramp Restaurant, 855 Terry Francois, SF; (415) 621-2378. 5pm, free.

Cabinet of Curiosities, Toby Dick, Hyperpotamus Amnesia. 8pm, $7. Fundraiser for SF Zine Fest.

Carnaval Del Sur Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8pm, $12.

Ricardo Lemvo and Miakina Loca, DJ Emmanuel Nado Great American Music Hall. 9pm, $20.

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

Thick Soup Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

DANCE CLUBS

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

Barracuda 111 Minna. 9pm, $5-10. Eclectic 80s music with Djs Damon, Phillie Ocean, and Mod Dave, plus free 80s hair and make-up by professional stylists.

DatA Mezzanine. 9pm, $10. With DJs Sleazemore, Sick Face, Alexander Frederick, and Eli Glad spinning futuro-disco and space electro.

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

Shine the Light Shine. 10pm, $10. With DJs Cheb I Sabbah, Mighty Dub Killaz, Janaka Selekta, and El Diablo spinning global electronic.

SUNDAY 23

ROCK/BLUES/HIP-HOP

Arnocorps, A Band of Orcs, Untapped Fury, Dagobah Thee Parkside. 8pm, $8.

Cult Warfield. 8pm, $38.50-100.

Ted Leo and the Pharmacists, Hank IV Bottom of the Hill. 9pm, $15.

Maggie Morris, Ghosties Hemlock Tavern. 9pm, $5.

Chuck Prophet and friends Knockout. 8pm, $10.

Six Organs of Admittance, Master Musicians of Bukkake Independent. 8pm, $12.

J Tillman, Moore Brothers, Pearly Gate Music Café du Nord. 8pm, $13.

JAZZ/NEW MUSIC

Lucid Lovers Harris’ Restaurant, 2100 Van Ness, SF; (415) 673-1888. 6:30pm.

Zachary Richard Yoshi’s San Francisco. 7 and 9pm, $20.

Stanley Coda. 9pm, $7.

FOLK/WORLD/COUNTRY

Fiesta Andina! Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 7pm, $12. With Eddy Navia and Sukay.

Sacred Profanities Thee Parkside. 3pm, free.

Salsa Sundays El Rio. 4:15pm, $8. With Orquesta D’Soul.

John Sherry, Kyle Thayer and friends Plough and Stars. 9pm, free.

Tippy Canoe, Five Cent Coffee, Mikie Lee Prasad Amnesia. 9pm, $7-10.

DANCE CLUBS

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

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Maneesh the Twister, and guests Roy Two Thousand and DJ Quest.

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

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

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

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

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

BAY AREA

Culture Club Oasis, 135 12th, Oak; (510) 763-0404. 10pm, free. Funky, deep, soulful, tech, house music with DJs Kincaid, Nesto and more.

MONDAY 24

ROCK/BLUES/HIP-HOP

Ted Leo and the Pharmacists, Jeff the Brotherhood Bottom of the Hill. 9pm, $15.

Pins of Light, Libyans Hemlock Tavern. 7pm, $5.

Chelsea Wolfe, Helene Renaut, J. Irvin Dally Knockout. 9pm, $7.

Pete Yorn Fillmore. 9pm.

JAZZ/NEW MUSIC

Lavay Smith Trio Enrico’s, 504 Broadway, SF; www.enricossf.com. 7pm, free.

Mitch Marcus Quintet Yoshi’s San Francisco. 8 and 10pm, $10-12.

FOLK/WORLD/COUNTRY

Barefoot Nellies Amnesia. 8:30pm, free.

DANCE CLUBS

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

Going Steady Dalva. 10pm, free. DJs Amy and Troy spinning 60’s girl groups, soul, garage, and more.

King of Beats Tunnel Top. 10pm. DJs J-Roca and Kool Karlo spinning reggae, electro, boogie, funk, 90’s hip hop, and more.

Mainroom Mondays Annie’s Social Club. 9pm, free. Live the dream: karaoke on Annie’s stage and pretend you’re Jello Biafra.

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

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

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

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

TUESDAY 25

ROCK/BLUES/HIP-HOP

Box Elders Hemlock Tavern. 6pm, $5.

Catholic Comb, Downer Party, Scott Allbright Bottom of the Hill. 9pm, $10.

Fruit Bats, Death Vessel Independent. 8pm, $14.

Pharmakon, R. Jencks, Orhima Hemlock Tavern. 9:30pm, $5.

Spoon + 10, Shark Speed El Rio. 8pm, free.

JAZZ/NEW MUSIC

Dave Parker Quintet Rasselas Jazz. 8pm.

Dogman Joe Yoshi’s San Francisco. 8pm, $12.

Euliptian Quartet Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

For Corners Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 8:30pm, free.

"Jazz Mafia Tuesdays" Coda. 9pm, $7. With Felonious.

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

Ricardo Scales Top of the Mark. 6:30pm, $5.

FOLK/WORLD/COUNTRY

Song Session Plough and Stars. 9pm, free.

DANCE CLUBS

Drunken Monkey Annie’s Social Club. 9pm, free. With DJ Voodoo.<\!s>*

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

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

*

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Kids

Prison report: Playing politics

Nuclear implosion

Werk

Corn on the curb

Davila 666, Mannequin Men, NoBunny, Bridez

Tom Jones talks about Vegas, Outside Lands

Prison report: A bomb plant?

Stop the chemical companies

Fall into dance

Rear window

No brainer

Outside Lands: Tom Jones

alt.sex.column: Rear window

Sonic Reducer Overage: Chuck Prophet, Fruit Bats, ‘Audition,’ and more

Is Newsom helping rightwing nuts to sue the City?

Furverts: the book

The Guardian Drug Issue: a baggie full of links

Ewok talk

Alphabet soup

Hard-headed

Fewer young people using drugs

Confessions of a Bo-Fessional

This is your film on drugs

Music listings