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Appetite: Island bites, part two

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After a dreamy week in Hawaii, I have a slew of food and drink recommendations to share. Part one of these covered farmers market and street food in Honolulu and snacks from the North Shore of Oahu. This time, we sleep and drink in Honolulu. In part three, we’ll talk Honolulu restaurants.

Though I arrived islandside with a head full of romantic, slightly improbable Blue Hawaii dreams — me wearing a vintage bathing suit, lei, and a mai tai being serenaded by Elvis — my vacation reality was no letdown. No doubt the touristy scourge of chain shops, restaurants, and photo-snapping throngs do indeed exist in Waikiki, but contrary to what some told me, Hawaii’s largest city can be clean and relaxed. Though you truly find “island time” on Kauai and quieter locales, Honolulu is by no means hectic (if you ignore the traffic). It is that island city where you can while away hours at the beach, explore hole-in-the-wall eats, or listen to live music as the sun sets.

Hotel Renew, Waikiki Beach: 

With Asian-modern, Zen-like decor, clean lines and big city chic, these rooms are a welcome respite from the all-day party of Waikiki surfers and sunbathers. No pool or beachfront property here, though upper rooms on the south side have views of the beach. After long walks and lots of sun, I was grateful to enter the heavy front doors of Renew and be welcomed by the tinkle of the lobby’s water fountain. I’d grab a glass of water laced with fresh oranges and head up to my room with ultra-comfy bed and an ocean view.

The winning points of Hotel Renew, which is located on the eastern end of Waikiki, is affordability and peace. Plus, you can always take their complimentary boogie boards and towels a block away to the beach. But the best part? As overpriced as Waikiki can be, here you can get a room on a busy weekend for $180 to $225 a night. 

 

COCKTAILS

The cocktail renaissance is finally hitting Hawaii. Here’s a handful of places and bartenders forging the way.

Lobby Bar at The Waikiki Edition:

Although it is to be found by pushing aside a bookshelf in a hotel lobby, the Lobby Bar is no speakeasy — it’s a white, urban bar with muted lighting and long couches with a semi-exclusive, yet unpretentious air in The Edition, a hot hotel perfect for ultra-cool poolside lounging.

Bar manager Sam Treadway hails direct from Boston’s best-known cocktail bar, Drink and he’s clearly loving the warm island breezes, playing off of the canon of island classics, like the deconstructed mai tai ($11). Treadway has toned down the drink’s characteristic sweetness, amping up the rum (Pyrat XO) and orgeat (almond syrup) and topping it off with mai tai foam and a shiso leaf. He served me a lovely rum manhattan made with Montecristo 12 year rum, and he’s also handy with mezcal. The Agony and the Ecstasy ($11 – nice literary reference) is a winning mix of Del Maguey’s Mezcal Vida, St. Germain, and fresh grapefruit juice, topped with a house ginger beer. Spicy, smoky, gently sweet.

The cherry on top? Treadway combines Mezcal Vida, Campari, and soda to create, yes, a mezcal negroni. I long for the day when I can get one here, in my own negroni-obsessed city.

Town:

Another of the city’s great bartenders is Town‘s Dave Power. Located in Kaimuki, just a few minutes drive from Waikiki, Town feels like I’m back home in San Francisco. Local, organic foods served with with rustic, Italian technique, all-American heart, gourmet animal parts, and classic cocktails (all $10).

Power executes cocktails simply but with a beautifully, even literary, bent. His tequila negroni is a revelation. He explains that his inspiration is M.F.K. Fisher‘s love of equal parts gin, vermouth, and bitters in her cocktail. His version adds an equal part of Don Julio Reposado and a Campari infused with local Hawaiian Kiawe wood chips for a gentle smoky taste.

He also makes a Very Very Good Martini (this being how it’s listed on the menu) and my beloved Death’s Door — something you don’t see much in these parts — and a white manhattan with moonshine (white whiskey) and Dolin Blanc vermouth.

I’d recommend eating as well as drinking here. It’s a special place that evokes other big cities, but uses Hawaiian ingredients and laid-back charm.

Mai Tai Bar:

I am in love with the Royal Hawaiian Hotel. A pink, playful beacon that jumps out of the town’s blanket of highrises, it is the one hotel that evokes the history of old Waikiki. Built in 1927 and dubbed the Pink Palace of the Pacific, this is the classic Hawaii I dreamed of.

I’ll stay there one day. But in the meantime, one can always head through its grove of trees laden with hanging lights, past torches, through the lobby, and out to the back lawn where the Mai Tai Bar looks out over the beach. Live music at sunset and my own private cabana on the beach made this scene one of the most magical I spent in Honolulu.

This is not the place for refined cocktails but the bar has a history of providing tropical oceanside drinks. Manager Mike Swerdloff is a wine lover himself, but keeps up on the national cocktail scene and is passionate about great service, food and drink.

As for cocktails, there are various versions of the mai tai here — all too sweet for me, but they’re destined to be crowd-pleasers, and are greatly enhanced by the paradisical surroundings. Were I to really go for sweetness here, I’d prefer the Chi ($13), made from coconut and Maui’s organic Ocean Vodka and perked up with fresh pineapple and basil; or Pina Rocks ($10): Bacardi 8 year, coconut cream, pineapple, and a lemon-thyme float.

We had a lot of fun with our Smoking Gun mai tai, a winner in last year’s Mai Tai Festival on Kona. A glass of Whaler’s dark rum, Bacardi White, and a housemade velvet falernum was torched with smoke, then topped with a brown sugar-torched pineapple wedge. The presentation was quite dramatic — smoke even spilled out from the glass — but I could still taste the propane when I sipped the drink. That aside, the Smoking Gun yielded a delightfully sweet, smoky island imbibement that evoked roasting marshmallows over a campfire.

Lewers Lounge:

Inside the gorgeous Halekulani Hotel hides a classic New York hotel bar, rich with history and flush with jazz. And the music really is the reason to come. Nightly live jazz sets the classy, upscale tone of Lewers — don’t you dare wear shorts or flip-flops because this elegance is maintained with a strict dress code. You’ll also need a reservation on many nights.

Despite the legendary stamp of Dale DeGroff on the menu (he created it), drinks are of the sweet, fruity variety, like the refreshing ginger lychee caipirissima ($12). More ambitious efforts like the Amante Picante ($12) — tequila with cucumber, cilantro, green tabasco — have the right idea but lack balance. All in the execution?

What is impressive is the bar’s dessert menu. The ever-popular Halekulani coconut cake ($9) is ordered for weddings all over the islands, even from as far as LA. Adult gourmet versions of popsicles and ice cream sandwiches on ice are also available. One can always order from the spirits and wine lists and enjoy a sip of brandy and a slice of cake while taking in Tennyson Stephens and Rocky Holmes’ delightful jazz duo.

La Mariana:

No, I am not recommending La Mariana Sailing Club for the drinks — this write-up is a nod to the historical appeal and charm of a rundown but well-loved space. One of the last remaining kitschy tiki bars from the 1950′s, it can be an adventure just getting here.

Located way out on a harbor, you won’t be sure you’ve found it even when you’ve arrived at the right spot. Park on the street near the “sailing club” sign, then walk around to the right side of the building and enter through the back along the water. Tiki decor and thatched roofs abound in a multi-room layout with open air patio.

The day after the Japanese tsunami hit Hawaii’s shores, I sat here with a pina colada watching boat owners pull their damaged sailboats out of the water. Crusty, sun-scorched sailors sipped mai tais and beers around me, comparing damage done to their boats.

If you go, be sure to read the story of owner Annette Nahinu on the menu. She’s the sort of local character that will make you fall in love with Honolulu and its colorful international history.

Note: I tried to make it to a new Honolulu hotspot that local bartenders recommended, Apartment 3, but couldn’t make it there on a day when Kyle was bartending (Friday nights at the moment). I hear he’s a whiskey lover like myself, and I was sure he’d be another envelope-pushing bartender on this list.

–Subscribe to Virgina’s twice monthly newsletter, The Perfect Spot

 

Live Shots: PJ Harvey at the Warfield, 4/14/11

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PJ Harvey has taken the Warfield stage at numerous points and in many forms during her career over the past two decades – never predictable, always engaging. Her performance on Thursday night, a pre-Coachella warm-up gig, was the sort of wonderfully unexpected showing you’d come to expect from Polly Jean.

Dressed in a white robe and black-feathered Valkyrie-esque headdress, Harvey spent much of the night cradling her autoharp, looking like a dreamscape figment from one Neil Gaiman’s Sandman novels. It was appropriate attire for the set of music she delivered – both ethereal and sublime.

With the backing of her deft three piece band (featuring longtime collaborator John Parish) Harvey delved deeply into the new material from her latest album, Let England Shake. By her standards, it’s a quiet body of work (resonating with the atmosphere of 1998’s Is This Desire), reflecting on our modern era of warfare and human strife. The material is excellent, and Harvey delivers it with an affected certainty, as if the entire setlist was handed down to her on divine authority. This then, made for a night that was far less rock concert and more of an artistic exploration of sorts. With most artists, that may have made it tedious, but with Harvey it was spellbinding.

She delivered some big favorites, of course, including “Down by the Water,” “Big Exit,” and “The Sky Lit Up,” though she fit them into the evocative mood she had been developing all evening. The crowd didn’t seem to mind in the least, spending many of the down moments in between songs broadcasting their love and gratitude to Harvey and her music.

Never content to just tow the line of what has worked in the past, Polly’s past three albums (most notably the hallucinatory piano balladry of White Chalk) have been mature and outside-the-box efforts unlikely to win huge commercial appeal. But like this unique performance at the Warfield, it stands as evidence that the 50 Foot Queenie is poised to age gracefully.

 

Live Shots: Fact/SF at The Garage, 4/14/11

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I remember when I was a little girl, I used to live down at my Grandma Kay’s house in Belmont. She had a big living room, with floor to ceiling windows that looked out over the bay. I used to dance around on the wooden floors in my socks to her Peggy Lee and Patsy Cline cassettes, which I played over and over again. It was a strange time. Grandma Kay was sick with cancer and I was too young to totally understand what was going on.

Last night I went to watch FACT/SF at the Garage. The first piece was two people, sitting in metal folding chairs, a lit cigarette filling the room with sweet smoke. There was not an inch of movement, just the sound of Peggy Lee singing “Is That All There Is.” It was melancholy and brought me right back to that living room in Belmont, and I wondered how many other people in the audience had some strange connection to that song.

This is my third time seeing FACT/SF and every time I see them it’s emotional. Yes, there are perfect pirouettes and elegant extensions, but then there’s always something deep, slightly dark and always thought-provoking. 

There’s a little bit of theater, at least a few wonderfully wacky costumes, and of course, there are the eyeballs. Choreographer Charles Slender has a serious thing about eyeballs and their ability to transform his dancers into more than just moving bodies. Whether the dancers are staring straight into your own eyes, or directly up at the ceiling, there’s an intensity about those eyeballs that brings so much to the performance.

The show, which has one more run tonight, is a collection of new and old works, including an excerpt from the evocative “The Consumption Series,” with it’s fluffy red tutus and bright orange tangerines. I know you haven’t made any plans for tonight, so now you’ve got some. Now then: let’s keep dancing. Let’s break out the booze and have a ball …

 

Dick Meister: Rebuilding the American Middle Class

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Dick Meister, formerly labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor, politics and other matters for a half-century.

Of all the many comments, pro and con, that have been made about the widespread attempts to weaken American unions, none have been clearer or more on the mark than the words of President Bob King of the United Auto Workers Union.

King, of course, is on the union side of the argument. But as King made very clear, that’s the side to be on if you believe working people should have full collective bargaining rights and the decent wages, hours and working conditions that result from fair bargaining.

King’s comments came in an exceptional column in the latest issue of Solidarity, the UAW’s official magazine.  The column is titled, simply, “Do Justice.”

To Bob King, “doing justice does not mean trying to reduce the wages, benefits and standard of living of all workers in America,” as far too many Republican politicians at all levels of government are trying to accomplish, with their main target – for now  – public employees.

“Doing justice to me,” said King, “means that everyone has an equal opportunity, and if they make the individual decision to work hard and live by the rules, then they will be able to live a middle-class standard of living and retire with dignity and maintain their middle-class standard of living.”

I know, and you know, that can’t happen if working people are denied the essential right to unionization – the essential right to a strong bargaining voice in determining their pay and benefits through their unions. That’s obvious, for unionization is the main reason for the rise of an American middle class,  beginning with the granting of union rights to most workers by federal law in the 1930s.

But as Bob King warned, those rights and the middle class they established are under serious attack by anti-union politicians and others who “preach the vision of scarcity, the vision of division and the vision of fear.”

Ours is a country gifted with great abundance, with plenty to give each of us a fair share. But union opponents preaching “the vision of scarcity” deny that. They act as if there’s not enough in this, the world’s richest country, to give a fair share to all.

Yet there is enough to go around, as we should know, and unions are the primary vehicles for guaranteeing that working people get their fair share of our abundance.

Which is why greedy corporate interests and other anti-labor forces that want a larger share at the expense of others argue selfishly against unions and, indeed, against the very concept of collective bargaining.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for a half-century. Contact him through his website, www.dickmeister.com, which includes more than 250 of his columns.

Supes vote on Botanical Garden fees

The Board of Supervisors voted on April 12 to keep in place nonresident fees at the San Francisco Botanical Garden for at least another two years, rejecting a proposal by Sup. John Avalos to do away with the fees and make up for the shortfall with a portion of revenues brought in by a real-estate transfer tax that was approved by voters last year.

Advocating for his position, Avalos stood to tell a story about his last visit to the Botanical Garden. “A couple months ago, I was able to go there with my kids,” he began. “I went in, I was asked for my ID, I showed my ID. I noticed the next person who came in after me looked very agitated when she got to the gate. She said the F-word very loud, and she started to walk away. I approached her, and I said, ‘hey what’s going on?’ And she said, ‘I come here everyday, and I’m being asked for my ID, and I have to go back to my house to get it because I don’t have it with me today.'”

She wasn’t the only person who seemed disgruntled by the gatekeeper that day. “On my way out, I noticed a few tourists coming up,” Avalos continued. “It looked like they were from Germany. They walked up to the gate and then they walked back away from the gate. They clearly did not go in because they did not want to pay the fee.” A couple in their 60s tried to enter, but they did not go in because they didn’t have their IDs proving that they lived in San Francisco, he added.

Bottom line: “The gate and the fee has really diminished what people’s enjoyment of the park has been like for decades,” he said. “Can’t there just be one fee that we don’t raise? Can this be that one fee? I don’t think that’s asking too much.” He also noted that budget analyst’s report showed that the fees did not bring in the revenue that had been anticipated, a point echoed by Sups. Ross Mirkarimi and David Campos.

Yet Avalos’ pitch wasn’t enough to persuade his colleagues. On the question of whether money from the real-estate transfer tax revenues should be used to make up for the nonresident fees so that the Botanical Garden could be free for everyone, supervisors said no on a 7-4 vote, with Sups. Eric Mar, Mirkarimi, Campos, and Avalos voting yes.

The board also voted on whether the nonresident admission fees should be extended beyond June 30, 2011 (a date set when the fee was initially imposed), as proposed by Mayor Ed Lee. Board President David Chiu offered an amendment that the fees would only remain in place for two years, after which point the debate could be rehashed. The amendment was adopted, and the mayor’s proposal passed on a 6-5 vote, with Sups. Jane Kim, Mar, Mirkarimi, Avalos, and Campos voting no.

So, that’s how it went down at the board. If you’re a nonresident, the Botanical Garden still isn’t free.

Since Kim and Avalos both shared their accounts of visiting the Botanical Garden, I thought I’d share my own photos and impressions from a visit on a recent afternoon, when I had several hours to myself to explore Golden Gate Park’s haven of greenery. Admission was free, since I’d planned ahead to bring my ID.

The day was sunny and warm, and I spent a long time photographing the light streaming through a cluster of bamboo and sitting by a pond watching some water bugs skip around on the surface. It was a welcome escape from city life with an element of educational value, since all the plants are labeled with plaques identifying their Latin names, common names, and places of origin.

I noticed two people sitting wordlessly together in the sun. The woman, who seemed to be a caregiver, was seated on a bench, and beside her was an elderly man in a wheelchair with a blanket over his lap. The man seemed to be very frail. Yet he wore a serene expression, and was clearly enjoying the calm and quiet afternoon.

I don’t know if they paid to get in or not. As Board President David Chiu noted at the meeting before voting in favor of keeping the fee in place, “We don’t live in a perfect world.” You can argue about the privatization of parks, or about the need to find all possible sources of revenue in order to fend off cuts to city-funded services. Nevertheless, it’s sad to think of the folks who would be barred from the simple pleasure of sitting in the sun surrounded by natural beauty, because they can’t afford to pay.

Hot sexy events: April 13-19

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Where better to talk dirty than on the techno-verse? Nowhere, that’s where. Our fave SF sex blogger – c’mon, besides ourselves — Fleur De Lis SF makes an appearance at this used-to-be (before it expanded it occasional East Bay nights) monthly storytelling event, as does Reid Mihalko, a sexpert who has made appearances on Tyra Banks’ TV show, in addition to other seemingly unlikely places for a perv like him. Hot tip: Fleur De Lis just wrote about how Mihalko ahem, enjoyed meeting her the other day at Monika Thomas’ Sex Geek Potluck – knowing these two, could a round two be far behind? 

Bawdy Storytelling: Taking Dirty and Technology

It’s shocking how often people use the Internet these days for things that don’t involve sex. Well, not these folks. This month’s Bawdy has assembled a top shelf lineup of pervs, including Allison Moon, creator of Burning Man’s home for queer women, Camp Beaverton, and as-of-recently author of a new lesbian werewolf novel. Everyone will be talking about how they’ve used technology to get super viral. Sexting during the event encouraged.  

Weds/13 8 p.m., $10

The Blue Macaw

2565 Mission, SF

www.bawdystorytelling.com


“Advanced CBT: Ready for the Ride?”

EMS/TENS-type electrical stimulation, cock and ball bondage, how to torture and tease your partner – who is ready for a walk on the wild side? Surely, that would be the attendees of this workshop, led by Gabriele Hoff, who has interviewed over 1200 couples and individuals for her research into the topic. 

Weds/13 6-8 p.m., $20-25

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com 


Eddie Dane memorial

Good night, sweet clown. Eddie Dane was a lot of things to a lot of people in the burlesque community, but a bummer to mourn – never! Help the tassel-twirlers say goodbye to one of the country’s great Burly Q troupe leaders at this free memorial burlesque revue, why don’t you?

Thurs/14 8 p.m., free

DNA Lounge

375 11th St., SF

(415) 626-1409

www.hubbahubbarevue.com


International Ms. Leather 25th Anniversary weekend

So very much for leatherwomen going on this weekend! The International Ms. Leather celebration hits town on Thursday, and if speed tricking, uniform parties, and of course, the yearly competitions for Ms. Leather and Ms. Bootblack are up your alley, you’d be best served by getting down that of this weekend-long celebration of women in hides. 

Thurs/14-Sun/17, $25-155

www.imsl.org


Kinky Salon: Prohibition

You know what wasn’t outlawed during Prohibition? That’s right, ukuleles. So dance I say, to the organic pluckings of Five Cent Coffee, just one of the live music and performances acts that will be going on at Kinky Salon – while a building full of new friends have sex all around you. Kazoo orgy? 

Sat/16 10 p.m.-late, $25-35 members only

Mission Control 

www.missioncontrolsf.org


“Let’s Talk About Sex”

Lee Harrington thinks you – yes you! – deserve to live the sex life of your dreams. To that end, he’s holding this frank discussion about what turns us all on when no one is looking. It’s all about airing your dirty laundry, and feeling good about it. Are you in?

Tues/19 7:30 p.m., $15-25 sliding scale

Center for Sex and Culture

1349 Mission, SF

(415) 552-7399

www.sexandculture.org

 

2011 SAN FRANCISCO UNDERGROUND SHORT FILM FESTIVAL With Hostess Peaches Christ & Host Sam Sharkey

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The SFUSFF returns with our biggest and wildest night of entertainment yet! Dedicated to supporting underground cinema from Bay Area filmmakers, this raucously, thrilling evening will include 20 short films and the world premiere of the feature film Devious, Inc.
 
PLUS! Live entertainment, interactive screening components, characters from the films off-screen and in your face, a live rock show, fetish contest, and MORE!

Tickets Available Online www.peacheschrist.com
Tickets are $15 for each program (shorts & feature)
Or Buy One $20 Ticket For BOTH Programs (Save $10!)
Peaches Fan Club Members Get $2 Off Every Ticket W/ Discount Code
Friday, April 15th at 7:30pm @ Victoria Theatre, 2961 16th Street, in San Francisco’s colorful Mission District!

Live Shots: Queens of the Stone Age, Fox Theater, 4/11/11

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Racing up and down the pavement on Telegraph Avenue, the scalpers were grinding hard outside the Fox Theater on Monday night, perhaps with an inkling that the venue might not be standing by the time the Queens of the Stone Age left the stage in a few hours. True to form, Josh Homme and crew all but blew the Fox to pieces with a monstrous rendering of their debut album, as well as two hefty encores that showcased the stoner age rock royalty in all of their primal glory.

Winding down a ferocious “Walkin’ on the Sidewalks” behind their Mongol-on-a-warpath drummer Joey Castillo, keyboardist Dean Fertita (recently of Dead Weather fame) dialed up the intro for Homme to lay into the sleazy start-and-stop riff of “You Would Know.”  They were barely a half dozen songs in, but it was apparent that the juggernaut assault of the Queens’ self-titled debut was offering the audience a glimpse into the band’s nerve center, to the raw and infectious source of one of the best rock outfits of the past decade.

Though his has been dubbed stoner rock, Homme seems to have delved deeply into his Southern California music environment, with traces of Jane’s Addiction-channeling-Zeppelin against Hollywood glam and a dark dose of Doors psychedelia. Songs like “Mexicola” and “You Can’t Quit Me Baby” matched live wire energy against stunning musicianship. 

The following encores included a great cross section of the band’s more recent material, with radio hits “Little Sister” and “Go With the Flow” receiving the biggest ovations. But it was a pair of fan favorites – “Better Living Through Chemistry” and “Song for the Dead” – that capped off the performance with proper might, and caused you to wonder why so few live shows these days ever achieve such sonic magnitudes.

The crowd spilt out of the theater half dazed and nearly deaf, but mostly satisfied. Although this show at the Fox showcased the Queens at their beginning, it left you anxious for what they will do next.

 

Setlist:

Regular John

Avon

If Only

Walkin’ on the Sidewalks

You Would Know

How to Handle a Rope

Mexicola

Hispanic Impressions

The Bronze

Give the Mule What He Wants

I was a Teenage Hand Model

You Can’t Quit Me Baby

 

Encore:

Monster in the Parasol

Burn the Witch

Make It Wit Chu

Little Sister

 

Encore 2:

Better Living Through Chemistry

Go With the Flow

A Song For the Dead

 

Flannelalia

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marke@sfbg.com

PLAID OBSESSION We live in a post-Etsy world, people, and the latest homemade, zero-kilometer focus is on small-batch clothing production. As usual, the Bay Area is taking a lead here, weaving its green intentions and entrepreneurial zeal into its free-spirited fashion sense and a strong garment manufacturing legacy — and producing stylish duds with enough professional veneer to take to the runway or just out for a beer.

The three sharp dudes from Pladra (www.pladra.com) — Scott Ellison, Ian Ernzer, and Jeff Ladra — add another Bay tradition to the mix: classically avid sportiness. “As passionate outdoorsmen, we have never found a flannel that we could wear both in the field and to the bar after getting blood on it,” they say, and so they set about combining their love of surfing, fly-fishing, camping, hunting, skateboarding, and nature photography with flawless design skills and vintage beauty. (It doesn’t hurt that a good plaid flannel is the one item that still unites many of our current style tribes.)

I admit I’m a flannel freak, and Pladra’s three current lines, including an awesome one for women, had me wiping drool off my keyboard. But I wanted a glimpse into the new local-production trend, too, and the Pladra boys happily provided, answering my questions over e-mail.

SFBG Pladra is all about plaid flannel — how’d you come to focus on that? Will you be expanding? 

PLADRA I think it’s safe to say we’ve all had a few go-to flannels throughout our lives. You know, the one you camp in, then come home and go straight to a bar or concert in, then wear to work the next day — each stain is a story and a memory. In terms of our growth, we’d love to let everything grow at its own pace, although we definitely have some ideas. For now, we’re keeping production small and tight. We wanted to start with plaid flannel shirts because they’re timeless and represent an iconic outdoor style we feel really connects to life in the Bay Area. It’s funny that people peg flannels as a trend, but even the gold miners wore flannel. Jeff grew up here, and his grandparents spent their whole lives building and racing motorcycles. He still has photos of them wearing flannels.

SFBG Right now you’re foregoing retail outlets and selling direct from your website. I’m assuming that’s to keep costs down, yes? Has this been a problem in regard to getting your product in front of people?

PLADRA That’s true, we’re selling direct through our website to maintain the lowest price possible. Our goal is not to turn a profit, but to make the best garment possible at the most reasonable price — and our price range is $89–$109. Truth be told, this is what it costs to have a quality, American-made, custom shirt. We’ve found that people who initially scoff at our prices backpedal when they find out what goes into making something in the USA. Americans are so accustomed to paying for cheap garments that are imported mostly from Asia. We’re not condemning that, the truth is that a lot of production out of Asia has great quality. But at a certain point, we need to step back and consider the ramifications that one of the USA’s largest imports is apparel. Many U.S. cities used be the home to some of the best and biggest fabric mills in the world. Now what? All the mills are overseas. Very few companies can afford to use fabric milled in the USA. Even denim companies have to use reclaimed fabric.

The direct selling approach certainly makes it difficult to reach a wide range of people off the bat. But we do want to offer reasonable pricing to our customers. We want to focus on the brand integrity and we don’t want to dilute our product and blast it everywhere right away. We are taking a slow and careful approach in our growth.

SFBG What were the specific challenges of designing and producing everything in San Francisco? 

PLADRA It was really important to us to keep things local and support local businesses. But limiting our geographic range also meant limiting our accessibility to materials that would maintain our desired quality while not forcing our prices to skyrocket. That meant we had to challenge ourselves to search harder for vendors that could deliver great materials and finishing — and we ended up partnering with some incredible ones who went above and beyond to support our vision.

SFBG Pladra isn’t just all about hunting and designing. What are some of your favorite shops and bars in SF? 

PLADRA Shopping-wise, we really like Union Made in the Castro. Our friends at Park Life in the Inner Richmond and the General Store in the Outer Sunset offer amazing home-produced goods. And the Aqua and Mollusk surf shops have always been amazing at supporting their communities. As for going out, we could happily spend the rest of our lives drinking our way through the menus at Toronado and Alembic. And we just scored one of our favorite clubs, 111 Minna, to host our official launch party. See you there? *

PLADRA LAUNCH PARTY Tues/26, 5 p.m.–9 p.m., free. 111 Minna, SF. www.111minnagallery.com

 

Out of the shadows

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arts@sfbg.com

MUSIC The Cults out of the bag.

The initial mystery surrounding the Brooklyn band of two has been solved, as rumors turned into a year of lengthy articles, photographs, and live performances, all soothing the flea-ridden hype. The official promise of a debut full-length this summer is sure to stimulate some additional excitement, but once again the information age has won and indie snoops are left with a furry clump of truth.

“There’s no real story behind us. We’re just real people,” explains Brian Oblivion, the male half of Cults. While it may seem like some rock stars are hiding wizard or robot identities, believe it or not, all musicians are indeed “just real people.” Oblivion attempts to elaborate on this idea, but he and girlfriend Madeline Follin, the female half of the band, are riding in a tour van through some sketchy airwaves. His voice keeps transforming into robotic and scratchy sounds, which makes his theory slightly suspicious.

But no — the Cults are neither lizard-people nor alien-forms. They’re not angry cult leaders or brainwashed followers for that matter. The Internet has explained it all and the facts are clearly posted: Oblivion and Follin are both 22, from San Diego, and going to film school in New York City.

Follin grew up swaddled in punk music, and Oblivion always had a thing for surf-rock, but when the two of them began their courtship, a musical agreement had to commence. Soul, ’50s pop, and ’60s girl-groups like Lesley Gore and the Shangri-Las became a pleasant middle ground. When the lovers began to play music together, their inspiration was a direct pipeline to these performers; musicians who could make lemons into limoncello and drape a lacy haze over any foggy day.

“There’s something so tough about ’50s pop music,” says Oblivion. He respects the genre’s mold-breaking ideas, from its social connotations and ability to blur race barriers to its physical elements, like new echo effects and guitar tones. “There’s lots of spirit in that music that gets written off as retro when new acts try to perform it. But there’s a sentiment in it that we like. It’s moving. There’s something special there.”

Music by Cults makes daisies grow and serious cares seem like spoonfuls of acid-laced sugar. Everything is sublime beneath Follin’s gorgeous bell-like vocals, even when she sings about naughty behaviors, crying, and shit relationships. And they’re not the only young band that has begun harnessing the Motown stallion. Best Coast is the most direct example, but groups like Warpaint and Dom have also turned rock back a few pages, spawning a fresh generation of ears ready to challenge the music industry’s current corporate-pop bill.

“Madeline has a theory about [the ’50s and ’60s pop revival],” Oblivion says. “We’re just old enough now to appreciate it. Our parents grew up listening to it because it was our grandparents’ style. But we’re the ones going back and rediscovering. Our parents are still into their ’80s Rolling Stones records. Our generation is excited because we’re digging in Dumpsters and finding these old records — and we’re finding this music without having it shoved in our faces.”

Like treasure chests buried beneath a sea of Rihannas, American Idols, and decades of rock, the serenades of brass instruments, cheery bass lines, hollow voices, and forlorn lyrics are bubbling up to the surface. It’s discovery and reacquainted love. Aging 40 years or more, these albums may be dusty and scratched, their performers long absent from daily gossip rags, yet there’s still some element of mystery that has regrown from the ashes of the era. That mystery makes for good hype, but as Cults have learned, you’ve got to come out of the shadows to make solid impressions.

“It’s fun to play live and interact with audiences. Live [music] is so important — it’s the only way to make money, and right now shows are doing awesome,” Oblivion says with his crackly, phone-impaired voice, noting his admiration for indie bands that are selling out large venues. He’s calling it a revolution.

“People want to have an experience, something to hold onto. They’re tired of the MP3s that move around through the air, because it’s just not the same as being at a show and feeling the music come out of the speakers. It’s immaterial. You walk away with a feeling.”

That feeling is the revolution.

CULTS

With Magic Kids, White Arrows

Thurs./14, 8 p.m.; $13

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

Transylvania twist

0

arts@sfbg.com

FILM For many devoted fans of horror films who grew up in the 1980s — especially those who were monster kids in spirit or became one in the ensuing years — the 1987 movie The Monster Squad has a special, firmly staked place in their hearts.

Paying tribute to the icons of the classic Universal monster pantheon while weaving a modern storyline into the mix, writer and director Fred Dekker created a now-cult favorite, a film that is scary and funny, entertaining and touching all at the same time.

Dekker, who was born in San Francisco and grew up in Marin County, will appear for a post-screening Q&A after The Monster Squad unspools at the Castro Theatre, part of Midnites for Maniacs’ “Heavy Metal Monster Mash” (the rest of the mash: 1981’s Heavy Metal, 1984’s This is Spinal Tap, 1986’s Trick or Treat, and 1984’s Monster Dog).

“I loved the Universal monster movies and would stay up on Saturday nights and watch those on TV, but I also loved The Little Rascals and Our Gang and Abbott and Costello,” Dekker says. “The Monster Squad came out of my idea to kind of do a new take on Our Gang — kids with a club who all have their own lives apart from their parents and grown-ups — [mixed] with the Abbott and Costello Meet Frankenstein (1948) approach, where they meet the classic Universal monsters. That was the genesis of it in a nutshell.”

Although the film has finally gotten some of the recognition it deserves over the past several years, culminating in a two-disc 20th anniversary edition DVD release, along with several tributes and live events around the country, it was not considered a success at the box office when initially released.

“It was a little depressing for me because I had worked so hard on it and I felt like I hadn’t connected, but I’m happy that we made the movie that we wanted to make,” the director says. “We made a very peculiar kind of movie. We made it for ourselves, and a lot of the choices that seem a little politically incorrect now actually make the movie, I think, hold up better because we were true to the characters and our experience as kids. I think that people respond to that, the verisimilitude of it.”

In addition to the bold, creative reimagining of the monsters and their design and characteristics, Dekker added another layer of depth to the story with the character referred to as “Scary German Guy.” Viewers discover he’s a survivor of a Nazi concentration camp when he tells the kids that he has dealt with “monsters” before, and the camera zooms in on his camp tattoo.

“I believe that genre stuff only really works if it’s got some foot in reality that an audience can relate to,” Dekker explains. “I think you have to imagine that the world you’re seeing in the movie is the world you live in. It makes those fantastical elements more believable.”

Dekker didn’t realize that The Monster Squad had become such a beloved part of so many people’s lives until a few years ago, when he was invited to a tribute event in Austin. These days, he enjoys attending screenings and events, and is looking forward to answering questions from local fans on Saturday.

“I found that the movie had this enormous following from the people who had grown up with it and taken it to heart because they saw themselves in it,” he says. “It’s been really gratifying in a weird way, because it did find its audience — it just took 20 years.” 

MIDNITES FOR MANIACS: HEAVY METAL MONSTER MASH

Sat/16, 2:30 p.m. (Monster Squad, 4:45 p.m.)

$13 for all five films

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

Breaking point

0

arts@sfbg.com

FILM When erstwhile Hitchcock (1948’s Rope, 1951’s Strangers on a Train) protagonist Farley Granger died last month, obituaries kindly forgot that hitherto he’d been judged as a limited-range pretty boy luckily cast in a few iconic films.

Beauty alone certainly can get you pretty far in Hollywood, now as then. But Granger’s big-lashed, puppy-eyed, dark-haired hunk had charms not strictly visual, notably a mile-wide vulnerability streak poignant in classic noir films like 1949’s They Live By Night and 1950’s Edge of Doom. He wasn’t that impressive an actor, or even an imposing personality like many golden age stars. But he communicated an attractive, soulful decency.

Similarly positioned is Keanu Reeves, who has managed a longer mainstream Hollywood ride while seldom escaping the perception that he hugely lucked out. He’s one of those actors spectacularly franchise-wealthy — due to those Matrix movies wherein his usual baffled solemnity was ideal — yet whom the public otherwise feels scant evident loyalty toward, and producers don’t know what to do with. Now that he’s aging out of his looks, can he transform into a character actor à la the similarly problematic Kevin Costner?

Maybe. Reeves played charming suitors in Something’s Gotta Give (2003) and The Private Lives of Pippa Lee (2009), both very much supporting roles. He seems increasingly interested in indie films, which he surely doesn’t need to pay the rent. They generally suit him more than the myriad large-scale fantasy, action, or romantic vehicles that followed The Matrix (1999) and Speed (1994).

He’s certainly the best reason to see Henry’s Crime, a pleasant, middling, retro crime caper costarring frequently better actors at dimmer wattage than usual. Although uneven, Reeves still offers a turn equal to (if quite different from) his personal bests: as the second half of a stoner-goofball team in the Bill and Ted movies, and as Siddhartha in the good parts of Bertolucci’s silly Little Buddha (1993), which fully tapped a nirvanic tranquility behind his screen passivity.

Henry’s Crime is an old hat out of the Damon Runyon trunk, in which lovable crooks mix it up with hoity theatrical types and nobody gets hurt except (barely) the really bad guys. James Caan — who starred in similar enterprises during their post-The Sting heyday, particularly 1976’s excessively dissed Harry and Walter Go To New York — plays the veteran convict-conman who schools Reeves’ hapless Buffalo, N.Y., toll-taker Henry after our hero is slammer-thrown for an armed robbery he didn’t know he was embroiled in until it was over.

Upon release, Henry discovers the targeted bank and nearby theater had a Prohibition-era secret tunnel between them. Having already done the time, he figures he might as well do the crime by finishing the aborted bank job for real. He enlists local stage diva Julie (Vera Farmiga) as well as Caan’s parole-coaxed Max. Resulting wacky hijinks render Max a theater “volunteer” and Henry as Julie’s Cherry Orchard costar, all so they can access the walled-up passageway to the bank vault.

Much of this is ridiculous, of course, and not intentionally so. We can’t believe Henry/Reeves is a stage “natural,” for Chekhov or anything else (despite Mr. Ted having played Hamlet in 1995 Winnipeg). Caan and a solid support cast hit predictable notes; romantic interest Farmiga is atypically shallow in her admittedly stereotypical role. Yet her superior thespian chops seem to stir something in Reeves, who remains wooden at times but also flags a relaxed sweetness in their scenes and elsewhere. The climax is classic movies-getting-how-theater-works-wrong. But its contrivance functions to some extent because the lead actor convinces us it should.

Reeves is getting a tad jowly now, physique likewise surrendering to gravity. This could be great for him: he’s made his money already, maybe he can now surrender to being something more-less-other than a box-office behemoth. Costner managed it with The Upside of Anger (2005) and The Company Men (2010), while still playing the occasional lead (albeit in flops). The critical success he’s had as middle-aged losers after a run of critically disclaimed variably-superheroes could be Ted-slash-Neo’s own, if he’s willing to surrender glamour that much. He’d hardly be the first huge movie star to finally get some respect thataway. But he might be the (still) cutest.

 

HENRY’S CRIME opens Fri/15 in Bay Area theaters.

A Beirut festival

0

paulr@sfbg.com

DINE Mazzat used to be a deli, and some of the badges and incidents of deli-hood remain — mostly the glass cases, full of delectables, that run deep into the restaurant like a half-wall. The neighborhood setting is unusual. The old Central Freeway used to run almost directly overhead as a kind of hellish roof of concrete, but it’s gone now, leaving — across the street — a large gap with an improvised garden: an open wound that’s slowly healing. The setting reminds me of Prenzlauer Berg, an area of what was once East Berlin, with weedy emptiness and the memory of damage just steps away from gleaming renewal.

Mazzat (which opened in December in the old Apollo Market & Deli space) does gleam. With its rather formal look — of polished dark wood and taupe paint, inverted tulip lamps, white linen tablecloths, and a handsome wooden wine rack at the rear of the narrow dining room — it belongs in spirit to the renewed heart of Hayes Valley rather than to the whitewater river of traffic surging along Fell Street past the restaurant’s front door. It also implies much higher prices than those you actually find, with the majority of items — the menu is Lebanese — under $10, and in many cases well under $10. You can enjoy a brilliant feast at Mazzat and still find yourself looking at surprisingly reasonable number at the end.

The menu includes quite a few choices you would expect to find throughout the eastern Mediterranean, including dolma, tabbouleh, and baba ghanoush. The hummus ($5), served in a slanted oval bowl, was wonderful, with its potentially overbearing constituents, including garlic, lemon, and tahini (which can be quite bitter) held in a proper balance. On the side came warm pita triangles in a bottomless basket. Even better was the yogurt-cucumber dish known in Greece as tzatziki ($5); it tasted as if it had been made with whole-milk yogurt, which has a velvety quality its more gelatinous low-fat cousins can’t match.

The Lebanese salad fattoush ($8) is something of an analog to the Italian bread salad panzanella, in that each is a way of making use of stale bread. In fattoush, the bread is pita, and at Mazzat, the toasted pita chunks were tossed with shreds of romaine, chopped red pepper, and bits of cucumber. It was as if a panzanella had collided with a caesar salad and the result given a tangy-sweet dressing.

Also slightly sweet were the meat pies ($6 for four), pastry rosettes filled with chopped beef that had been simmered with onion and tomato. I would have liked the filling a little better if it had been a bit less sweet and more savory (onion has surprising sweetening power, almost like carrot, when cooked enough), but it was easy to balance the sweetness with a hit of tzatziki.

On the savory-verging-on-salty part of the spectrum, there is the halloumi cheese ($4), presented as a quartet of fried chips with a slight softness and rubberiness inside. Halloumi is a Cypriot cheese, typically made with blend of cow and sheep milk, and this halloumi did indeed seem like a well-trained feta, with some of the pungency and saltiness nicely muted by the cow milk. If you like saganaki (the Greek cheese that gets doused with brandy and set on fire tableside) and can live with less theatrics, you’ll like the halloumi.

There was a divergence of views on the chicken shawerma wrap ($8), a burrito-sized cylinder of lavash stuffed with chicken that smelled and tasted of clove. The party of the second part didn’t care for the clove, and I understood the objection — clove has a strong personality — without joining it. The discordant association, for me, had to do with Christmas, since clove, with its penetrating perfume, is a key ingredient of mulled cider, a holiday favorite. On the other hand, the presence of clove meant that the wrap (with its flatbread skin nicely pressed and warm like a freshly ironed shirt) would never be mistaken for a burrito.

The desserts were of a proportion I would call ideal. They were bigger than petits fours, but several degrees of magnitude smaller than what you usually find at restaurants — and pay $9 or $10 for now. Nammura ($2.50), a kind of semolina cake that looked like a rectangle of corn bread, was nicely moist and just sweet enough to qualify as a dessert, although it did look lonely and naked on its plate. Almost anything would have helped: a scattering of berries, a sifting of powdered sugar, a splash of liqueur — maybe some arak, the Lebanese answer to pastis? More complete was the baklava ($3), intense with honey and fresh chopped pistachio, which also lent a lovely sheen of pale green, a hint of spring inside Mazzat as in the garden across the way.

MAZZAT

Mon.–Thurs., 4–10 p.m. Fri.–Sun., 11 a.m.–10 p.m.

501 Fell, SF

(415) 525-3901

www.mazzatsf.com

Wine and beer

DS/MC/V

Not noisy

Wheelchair accessible

 

Behind the panel

2

caitlin@sfbg.com

CAREERS AND ED Graphic novelist Gene Yang has a theory about how the comic industry came to be home to more Asian American artists than probably any other North American media form. “American comics have always been an outsider’s medium,” he wrote in a recent e-mail correspondence with the Guardian. “Most of the American comic book icons — Superman, Batman, the Hulk, Captain America — were created by poor Jewish boys living in the ghettos of New York. All you needed was a pencil, some paper, and a tiny bit of talent. Asian Americans took advantage of the same dynamic.”

Suppositions aside, Yang’s point is this: these days, Asian Americans are at the top of the comic book game. Yang has published many comic titles that creatively explore what it was like for him and his siblings growing up in the Bay Area (he was born in Alameda). American Born Chinese pits a high schooler against a monkey king from Chinese folklore who compels him to face his discomfort with his family’s heritage. Level Up looks at a video game fanatic’s transition to med school, a journey undertaken by Yang’s brother in real life.

Yang is by no means the only Asian American excelling in the comic industry. Jim Lee, a Korean American who was named copublisher of DC Comics last year, is often regarded as the modern era’s quintessential comic artist. And many of the genre’s biggest names — including the man behind DC’s Supergirl series; Bernard Chang, creator of the syndicated strip Liberty Meadows Frank Cho; and Human Target illustrator Cliff Chiang (all interviewed via e-mail for this article) — are first- or second-generation Asian Americans.

“If you were to ask any comic book fan who their favorite artists are, odds are there will be an Asian American creator — or two, or three, if not four — on that list,” Chang says.

This wasn’t always the case. When most of today’s comic book artists were growing up, there were few stories being told about Asian Americans in popular entertainment. Chang moved to Miami from Taiwan as a child, and apart from comic books sent to him by relatives overseas, saw very little in the mass media that could relate to his own experience. “For the most part, you had the Bruce Lee kung fu movies that played on the secondary television stations on the weekends,” he says.

“Everything seemed to be about people in Asia or recent immigrants,” remembers American-born Chiang. “I didn’t go out of my way to seek out those stories. What I did respond to was art and animation created by Asians in the form of cartoons like Speed Racer or Battle of the Planets.”

He wasn’t the only one who turned to cartoons as a child. Yang fondly remembers the commonalities he found in superhero comics, even going as far as attributing his and other Asian American boys’ attraction to Superman to a subconscious recognition of a kindred soul. It was a connection he copped from Jeff Yang, editor of Secret Identities: The Asian American Superhero Anthology, a collection that assembled some of today’s top comic art talent in creating an illustrated shadow history of the United States.

To wit: “Here’s a guy with two identities, one American and the other foreign — Kryptonian. He has two names, one American — Clark — and the other foreign with a hyphen in the middle, Kal-El. He came to America at a young age. He’s black haired, mild-mannered, and wears glasses. All of his superpowers derive from the fact that he’s a foreigner.”

And there’s the art form itself, Yang continues: words and pictures side by side, typically avoided in Western art save in children’s books and advertising but embraced in Asian tradition. “You could have the best brush-painted image in the world,” Yang says, “but if the poem paired with it sucked, the whole piece sucked.”

 

THE SAGA OF RYAN CHOI

But if so many of the genre’s artists are Asian American, why are so few of its protagonists? Despite the prevalence of minority fans at comic conventions and the ever-diversifying profile of the people who create comics, their characters — with the important exception of those in manga — are mainly Caucasian.

And the big publishing houses in comics appear to sticking with this monotone. For a time, Marvel and DC experimented with retiring their big name heroes, replacing them — in the words of Yang — with “younger, hipper, often ethnic versions.” As an example, he offers the saga of the Atom, originally a white guy named Ray Palmer. Palmer was made to disappear mysteriously, and in the logic of the comic universe, was replaced by his
Chinese protégé, Ryan Choi.

But “the young ones just weren’t selling,” says Yang. Ryan Choi got a blade to the chest and Ray Palmer got his job back.

Most of the widely-known artists we spoke to think diversifying the superhero world wasn’t something that could happen overnight. Most fans, they said, are attracted to comics out of a sense of nostalgia that doesn’t hold up well with change, especially one as drastic as switching up a character’s race.

“Supergirl is an established character with years of history and story lines,” Chang says. “I can’t simply come in and change her to be an Asian girl, that wouldn’t make sense. But I make an effort to draw new supporting characters with different ethnicities, not just Asians but blacks, Latinos, and others.”

Cho thinks the reason Asians have thrived in the comics industry is the genre’s relative anonymity. “You have to understand there’s a strong and subtle undercurrent of racism in America. But comics are color-blind. It’s the ideas, art, and stories that matter — not how you look or who you are.” And he wants to keep it that way. “I don’t want to read any Asian-centric stories, or any black stories. I just want to read a good story.”

 

“I DEMAND SOME REPRESENTATION!”

Of course, not everyone shares his views. Hellen Jo is a SF comic artist who draws because she considers comics “a beautiful narrative medium with boundless potential.”

“Despite the ‘enlightened’ age we live in, I still can’t find many Asian American narratives that resonate with me personally,” Jo says. So she makes her own gorgeous comic strips and books that tell stories that fall far outside the standard comic canon, distinct even from the genre’s occasional tries at depicting Asian women.

“We don’t often see Asian American women shown as brash, plain, ugly, dirty, and without ambition — and it certainly isn’t because those types of API [Asian Pacific Islander] women don’t exist,” Jo says. “I identify as a gross, stupid, ugly Asian American girl and I demand some representation!”

But she’s not waiting for Marvel to release Gross, Stupid, Ugly API No. 1. Jo is taking the bull by the horns — just like Yang, who draws his own works, and the many mainstream artists we spoke with who contribute to books like Secret Identities and have side projects that speak more directly to the API experience. Sure, these books don’t sell as much as the blockbuster Batman and Avengers titles — but at least they exist now.

As do more and more Asian Americans and other minorities among the genre’s most talented creators. It’s hard not to believe that Ryan Choi will rise again, in his own series this time, with a decidedly unambitious API girl at his side.

 

The failed experiment

27

news@sfbg.com

For three decades we have conducted a massive economic experiment, testing a theory known as supply-side economics. The theory goes like this: Lower tax rates will encourage more investment, which in turn will mean more jobs and greater prosperity — so much so that tax revenues will go up, despite lower rates.

The late Milton Friedman, the libertarian economist who wanted to shut down public parks because he considered them socialism, promoted this strategy. Ronald Reagan embraced Friedman’s ideas and made them into policy when he was elected president in 1980.

For the past decade, we have doubled down on this theory of supply-side economics with the tax cuts sponsored by President George W. Bush in 2001 and 2003, which President Barack Obama has agreed to continue for two years.

You would think that whether this grand experiment worked would be settled after three decades. You would think the practitioners of the dismal science of economics would look at their demand curves and the data on incomes and taxes and pronounce a verdict, the way Galileo and Copernicus did when they showed that geocentrism was a fantasy because the Earth revolves around the sun (known as heliocentrism). But economics is not like that. It is not like physics with its laws and arithmetic with its absolute values.

Tax policy is something the framers of the Constitution left to politics. And in politics, the facts often matter less then who has the biggest bullhorn.

The Mad Men who once ran campaigns featuring doctors extolling the health benefits of smoking are now busy marketing the dogma that tax cuts mean broad prosperity, no matter what the facts show.

As millions of Americans prepare to file their annual taxes, they do so in an environment of media-perpetuated tax myths. Here are a few points about taxes and the economy that you may not know, to consider as you prepare to file your taxes. (All figures are inflation adjusted.)

1. Poor Americans do pay taxes.

Gretchen Carlson, the Fox News host, said last year “47 percent of Americans don’t pay any taxes.” John McCain and Sarah Palin both said similar things during the 2008 campaign about the bottom half of Americans.

Ari Fleischer, the former Bush White House spokesman, once said “50 percent of the country gets benefits without paying for them.”

Actually, they pay lots of taxes — just not lots of federal income taxes.

Data from the Tax Foundation shows that in 2008, the average income for the bottom half of taxpayers was $15,300.

This year the first $9,350 of income is exempt from taxes for singles and $18,700 for married couples, just slightly more than in 2008. That means millions of the poor do not make enough to owe income taxes.

But they still pay plenty of other taxes, including federal payroll taxes. Between gas taxes, sales taxes, utility taxes and other taxes, no one lives tax free in America.

When it comes to state and local taxes, the poor bear a heavier burden than the rich in every state except Vermont, the Institute on Taxation and Economic Policy calculated from official data. In Alabama, for example, the burden on the poor is more than twice that of the top 1 percent. The one-fifth of Alabama families making less than $13,000 pay almost 11 percent of their income in state and local taxes, compared with less than 4 percent for those who make $229,000 or more.

2. The wealthiest Americans don’t carry the burden.

This is one of those oft-used canards. Senator Rand Paul, the tea party favorite from Kentucky, told David Letterman recently that “the wealthy do pay most of the taxes in this country.”

The Internet is awash with statements that the top 1 percent pays, depending on the year, 38 percent or more than 40 percent of taxes.

It’s true that the top 1 percent of wage earners paid 38 percent of the federal income taxes in 2008 (the most recent year for which data is available). But people forget that the income tax is less than half of federal taxes and only one-fifth of taxes at all levels of government.

Social Security, Medicare, and unemployment insurance taxes (known as payroll taxes) are paid mostly by the bottom 90 percent of wage earners. That’s because, once you reach $106,800 of income, you pay no more for Social Security, though the much smaller Medicare tax applies to all wages. Warren Buffett pays the exact same amount of Social Security taxes as someone who earns $106,800.

3. In fact, the wealthy are paying less taxes.

The Internal Revenue Service issues an annual report on the 400 highest income-tax payers. In 1961, there were 398 taxpayers who made $1 million or more, so I compared their income tax burdens from that year to 2007.

Despite skyrocketing incomes, the federal tax burden on the richest 400 has been slashed, thanks for a variety of loopholes, allowable deductions and other tools. The actual share of their income paid in taxes, according to the IRS, is 16.6 percent. Adding payroll taxes barely nudges that number.

Compare that to the vast majority of Americans, whose share of their income going to federal taxes increased from 13.1 percent in 1961 to 22.5 percent in 2007.

(By the way, during seven of the eight Bush years, the IRS report on the top 400 taxpayers was labeled a state secret, a policy that the Obama overturned almost instantly after his inauguration.)

4. Many of the very richest pay no current income taxes at all.

John Paulson, the most successful hedge fund manager of all, bet against the mortgage market one year and then bet with Glenn Beck in the gold market the next. Paulson made himself $9 billion in fees in just two years. His current tax bill on that $9 billion? Zero.

Congress lets hedge fund managers earn all they can now and pay their taxes years from now.

In 2007, Congress debated whether hedge fund managers should pay the top tax rate that applies to wages, bonuses and other compensation for their labors, which is 35 percent. That tax rate starts at about $300,000 of taxable income; not even pocket change to Paulson, but almost 12 years of gross pay to the median-wage worker.

The Republicans and a key Democrat, Sen. Charles Schumer of New York, fought to keep the tax rate on hedge fund managers at 15 percent, arguing that the profits from hedge funds should be considered capital gains, not ordinary income, which got a lot of attention in the news.

What the news media missed is that hedge fund managers don’t even pay 15 percent. At least, not currently. So long as they leave their money, known as “carried interest,” in the hedge fund, their taxes are deferred. They only pay taxes when they cash out, which could be decades from now for younger managers. How do these hedge fund managers get money in the meantime? By borrowing against the carried interest, often at absurdly low rates — currently about 2 percent.

Lots of other people live tax-free, too. I have Donald Trump’s tax records for four years early in his career. He paid no taxes for two of those years. Big real-estate investors enjoy tax-free living under a 1993 law President Clinton signed. It lets “professional” real-estate investors use paper losses like depreciation on their buildings against any cash income, even if they end up with negative incomes like Trump.

Frank and Jamie McCourt, who own the Los Angeles Dodgers, have not paid any income taxes since at least 2004, their divorce case revealed. Yet they spent $45 million one year alone. How? They just borrowed against Dodger ticket revenue and other assets. To the IRS, they look like paupers.

In Wisconsin, Terrence Wall, who unsuccessfully sought the Republican nomination for U.S. Senate in 2010, paid no income taxes on as much as $14 million of recent income, his disclosure forms showed. Asked about his living tax-free while working people pay taxes, he had a simple response: everyone should pay less.

5. And (surprise!) since Reagan , only the wealthy have gained significant income.

The Heritage Foundation, the Cato Institute, and similar conservative marketing organizations tell us relentlessly that lower tax rates will make us all better off.

“When tax rates are reduced, the economy’s growth rate improves and living standards increase,” according to Daniel J. Mitchell, an economist at Heritage until he joined Cato. He says that supply-side economics is “the simple notion that lower tax rates will boost work, saving, investment, and entrepreneurship.”

When Reagan was elected president, the marginal tax rate for income was 70 percent. He cut it to 50 percent and then 28 percent starting in 1987. It was raised by George H.W. Bush and Clinton and then cut by George W. Bush. The top rate is now 35 percent.

Since 1980, when President Reagan won election promising prosperity through tax cuts, the average income of the vast majority — the bottom 90 percent of Americans — has increased a meager $303, or 1 percent. Put another way, for each dollar people in the vast majority made in 1980, in 2008 their income was up to $1.01.

Those at the top did better. The top 1 percent’s average income more than doubled to $1.1 million, according to an analysis of tax data by economists Thomas Piketty and Emmanuel Saez. The really rich, the top 10th of 1 percent, each enjoyed almost $4 in 2008 for each dollar in 1980.

The top 300,000 Americans now enjoy almost as much income as the bottom 150 million, the data show.

6. When it comes to corporations, the story is much the same — less taxes.

Corporate profits in 2008, the latest year for which data is available, were $1.8 billion, up almost 12 percent from $1.6 billion in 2000. Yet even though corporate tax rates have not been cut, corporate income-tax revenues fell to $230 billion from $249 billion — an 8 percent decline, thanks to a number of loopholes. The official 2010 profit numbers are not added up and released by the government, but the amount paid in corporate taxes is: in 2010 they fell further, to $191 billion — a decline of more than 23 percent compared with 2000.

7. Some corporate tax breaks destroy jobs.

Despite all the noise that America has the world’s second highest corporate tax rate, the actual taxes paid by corporations are falling because of the growing number of loopholes and companies shifting profits to tax havens like the Cayman Islands.

And right now America’s corporations are sitting on close to $2 trillion in cash that is not being used to build factories, create jobs or anything else, but act as an insurance policy for managers unwilling to take the risk of actually building the businesses they are paid so well to run. That cash hoard, by the way, works out to nearly $13,000 per taxpaying household.

A corporate tax rate that is too low actually destroys jobs. That’s because a higher tax rate encourages businesses (who don’t want to pay taxes) to keep the profits in the business and reinvest, rather than pull them out as profits and have to pay high taxes.

The 2004 American Jobs Creation Act, which passed with bipartisan support, allowed more than 800 companies to bring profits that were untaxed but overseas back to the United States. Instead of paying the usual 35 percent tax, the companies paid just 5.25 percent.

The companies said bringing the money home — “repatriating” it, they called it — would mean lots of jobs. Sen. John Ensign, the Nevada Republican, put the figure at 660,000 new jobs.

Pfizer, the drug company, was the biggest beneficiary. It brought home $37 billion, saving $11 billion in taxes. Almost immediately it started firing people. Since the law took effect, it has let 40,000 workers go. In all, it appears that at least 100,000 jobs were destroyed.

Now Congressional Republicans and some Democrats are gearing up again to pass another tax holiday, promoting a new Jobs Creation Act. It would affect 10 times as much money as the 2004 law.

8. Republicans like taxes too.

President Reagan signed into law 11 tax increases, targeted at people down the income ladder. His administration and the Washington press corps called the increases “revenue enhancers.” Among other things, Reagan hiked Social Security taxes so high that by the end of 2008, the government had collected more than $2 trillion in surplus tax.

George W. Bush signed a tax increase, too, in 2006, despite his written ironclad pledge to never raise taxes on anyone. It raised taxes on teenagers by requiring kids up to age 17, who earned money, to pay taxes at their parents’ tax rate, which would almost always be higher than the rate they would otherwise pay. It was a story that ran buried inside The New York Times one Sunday, but nowhere else.

In fact, thanks to Republicans, one in three Americans will pay higher taxes this year than they did last year.

First, some history. In 2009, President Obama pushed his own tax cut—for the working class. He persuaded Congress to enact the Making Work Pay Tax Credit. Over the two years 2009 and 2010, it saved single workers up to $800 and married heterosexual couples up to $1,600, even if only one spouse worked. The top 5 percent or so of taxpayers were denied this tax break.

The Obama administration called it “the biggest middle-class tax cut” ever. Yet last December the Republicans, poised to regain control of the House of Representatives, killed Obama’s Making Work Pay Credit while extending the Bush tax cuts for two more years — a policy Obama agreed to.

By doing so, Congressional Republican leaders increased taxes on a third of Americans, virtually all of them the working poor, this year.

As a result, of the 155 million households in the tax system, 51 million will pay an average of $129 more this year. That is $6.6 billion in higher taxes for the working poor, the nonpartisan Tax Policy Center estimated.

In addition, the Republicans changed the rate of workers’ FICA contributions, which finances half of Social Security. The result:

If you are single and make less than $20,000, or married and less than $40,000, you lose under this plan.

But the top 5 percent, people who make more than $106,800, will save $2,136 ($4,272 for two-career couples).

9. Other countries do it better.

We measure our economic progress, and our elected leaders debate tax policy, in terms of a crude measure known as gross domestic product. The way the official statistics are put together, each dollar spent buying solar energy equipment counts the same as each dollar spent investigating murders.

We do not give any measure of value to time spent rearing children or growing our own vegetables or to time off for leisure and community service.

And we do not measure the economic damage done by shocks, such as losing a job, which means not only loss of income and depletion of savings, but loss of health insurance, which a Harvard Medical School study found results in 45,000 unnecessary deaths each year

Compare this to Germany, one of many countries with a smarter tax system and smarter spending policies.

Germans work less, make more per hour and get much better parental leave than Americans, many of whom get no fringe benefits such as health care, pensions or even a retirement savings plan. By many measures the vast majority live better in Germany than in America.

To achieve this, single German workers on average pay 52 percent of their income in taxes. Americans average 30 percent, according to the Organizations for Economic Cooperation and Development.

At first blush, the German tax burden seems horrendous. But in Germany (as well as Britain, France, Scandinavia, Canada, Australia, and Japan), tax-supported institutions provide many of the things Americans pay for with after-tax dollars. Buying wholesale rather than retail saves money.

A proper comparison would take the 30 percent average tax on American workers and add their out-of-pocket spending on health care, college tuition, and fees for services and compare that with taxes that the average German pays. Add it all up and the combination of tax and personal spending is roughly equal in both countries, but with a large risk of catastrophic loss in America, and a tiny risk in Germany.

Americans take on $85 billion of debt each year for higher education, while college is financed by taxes in Germany and tuition is cheap to free in other modern countries. While soaring medical costs are a key reason that since 1980 bankruptcy in America has increased 15 times faster than population growth, no one in Germany or the rest of the modern world goes broke because of accident or illness. And child poverty in America is the highest among modern countries — almost twice the rate in Germany, which is close to the average of modern countries.

On the corporate tax side, the Germans encourage reinvestment at home and the outsourcing of low-value work, like auto assembly, and German rules tightly control accounting so that profits earned at home cannot be made to appear as profits earned in tax havens.

Adopting the German system is not the answer for America. But crafting a tax system that benefits the vast majority, reduces risks, provides universal health care and focuses on diplomacy rather than militarism abroad (and at home) would be a lot smarter than what we have now.

Here is a question to ask yourself: We started down this road with Reagan’s election in 1980 and upped the ante in this century with George W. Bush.

How long does it take to conclude that a policy has failed to fulfill its promises? And as you think of that, keep in mind George Washington. When he fell ill his doctors followed the common wisdom of the era. They cut him and bled him to remove bad blood. As Washington’s condition grew worse, they bled him more. And like the mantra of tax cuts for the rich, they kept applying the same treatment until they killed him.

Luckily we don’t bleed the sick anymore, but we are bleeding our government to death.

 

ABOUT THE AUTHOR:

David Cay Johnston is a columnist for tax.com and teaches the tax, property, and regulatory law of the ancient world at Syracuse University College of Law and Whitman School of Management. He has also been called the “de facto chief tax enforcement officer of the United States” because his reporting in The New York Times shut down many tax dodges and schemes, just two of them valued by Congress at $260 billion.

Johnston received a 2001 Pulitzer Prize for exposing tax loopholes and inequities. He wrote two bestsellers on taxes, Perfectly Legal and Free Lunch. Later this year David Cay Johnston will be out with a new book, The Fine Print, revealing how big business, with help from politicians, abuses plain English to rob you blind.

 

Our Weekly Picks: April 13-19, 2011

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THURSDAY

APRIL 14

MUSIC

 

Two Door Cinema Club

Featured as a “You Oughta Know” artist on VH1, Northern Ireland’s Two Door Cinema Club is an indie electropop trio comprised of Alex Trimble (lead vocals/guitar), Sam Halliday (vocals/guitar), and Kevin Baird (bass/vocals). (What of the drummer, you ask? Sometimes human, sometimes a computer.) The band’s Tourist History recently picked up the 2010 Choice Music Prize for Irish album of the year, suggesting its making good on the promise shown by opening for indie rock greats like Foals, Phoenix, and Delphic. If you’re one of the working schmucks who can’t take the time off for Coachella, catch Two Door Cinema Club before it goes to Indio. (Jen Verzosa)

With Globes and Work Drugs

8 p.m., $20

Fillmore

1850 Geary, SF

(415) 346-6000

www.livenation.com

EVENT

 

“Charles Phoenix Retro Slide Show”

Oddball Americana guru Charles Phoenix has explored and celebrated the best in kitschy, cool, kooky artifacts and history for many years now, having written several books on mid-20th century deep-fried pop culture, fashion, lifestyles, and more. The author of tomes such as Southern California In The ’50s and Americana The Beautiful brings his hilarious slide show and talk to the city, set to roast the imagery found in some of the thousands of vintage Kodachrome slides has collected at flea markets over the years. Be sure to keep an eye out for some familiar places and things — Phoenix has promised to include a bevy of vintage San Francisco slides for this entertaining ode to the odd and unique. (Sean McCourt)

8 p.m., $25

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

PERFORMANCE

 

Our Daily Bread

Carb load on this: in a collaboration between Amara Tabor-Smith’s Deep Waters Dance Theater, director Ellen Sebastian Chang, and visual artist Lauren Elder, Our Daily Bread delves into the folklore and stories surrounding food traditions. The socially conscious hybrid theater experience draws from a family gumbo tradition, examining how industrialized agriculture, fast food culture, and our global food crisis affect current food practices. In addition, CounterPulse resident artist Tabor-Smith also considers who is missing from the sustainable food movement. With red beans and rice on the mind, expect to fill your plate with individual food legacies and questions regarding your own relationship to food. You are what you eat. (Julie Potter)

Thurs/14–Sun/17, 8 p.m., $18–$22

CounterPulse

1310 Mission, SF

(415) 626-2060

www.counterpulse.org

EVENT

 

Nikki Sixx

Known not only for his fiery stage presence and key songwriting contributions as bassist for Mötley Crüe, Nikki Sixx also gained a notorious reputation for his off-stage antics, particularly his legendary appetite for drugs and debauchery. Sober now for several years, Sixx detailed many of these early escapades and horrors in his 2007 book The Heroin Diaries. He returns — just before a major summer tour, which includes a June stop in SF — with the follow-up, This Is Gonna Hurt: Music, Photography, and Life through the Distorted Lens of Nikki Sixx, a look at his post-addiction life that finds him a successful author, radio host, and of course, still rocking the stage with the Crüe. (McCourt)

6 p.m., $29.99 (includes book)

Book Passage

One Ferry Building, SF

(415) 835-1020

www.bookpassage.com

FRIDAY

APRIL 15

DANCE

 

Alonzo King’s Lines Ballet

The longer I watch Alonzo King’s Lines Ballet, the more this choreographer manages to surprise me. What intrigues is not so much his language — intricate, idiosyncratic, and demanding — or even the way he uses it on his dancers. But there is a vision, a philosophy behind his work, that we get glimpses of in every new piece. That’s what good dance is supposed to do. King also goes out of his way to find collaborators who can envelop his choreography in the mantle of new contexts. Of course, it helps that these other-than-dance contributions, in particular, are often spectacular on their own. But to get Mickey Hart, who actually is philosophically pretty close to King, create a score for Lines Ballet is a coup even for a choreographer with a growing international reputation. Architect Christopher Haas, who worked on the de Young Museum, created the set. (Rita Felciano)

Through April 24

Fri.–Sat., 8 p.m.; April 20–21, 7:30 p.m.;

April 24, 5 p.m., $25–$65

Yerba Buena Center for the Arts

Novellus Theater

700 Howard, SF

(415) 978-2787

www.linesballet.org

MUSIC

 

The Residents

Hang on to your eyeballs, San Francisco’s most enigmatic art-rock collective the Residents will storm the stage at Bimbo’s in support of its for-no-particular-reason, ghost-story themed “Traveling Light” tour. The calculatedly anonymous group (currently a trio), as well known for its elaborately costumed stage personae and mixed-media presentations as for its deconstructed lyrics and dystopian musical baditude, is fast approaching its fourth decade. But don’t expect a set stuffed merely with humdrum nostalgia. Actually, don’t expecting any particular thing, because defying expectations is what the Residents do best. Word is the group will be recording the proceedings in three (possibly four ) dimensions, so wearing your very best top hat to the show might not be a bad idea. (Nicole Gluckstern)

Fri/15–Sat/16, 9 p.m., $30

Bimbo’s

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com

PERFORMANCE

 

Zaccho Dance Theatre

With a title — The Monkey and the Devil — taken from racial slurs, Joanna Haigood’s dance theater performance installation, performed by Zaccho Dance Theatre, addresses lingering contemporary racism, rooted in the lasting effects of America’s slave trade. Even in the age of Obama, the performance acknowledges how Americans grapple with the residue of slavery and reunite a split house. Surrounded by two massive, rotating set pieces designed by visual artist Charles Trapolin, audience members are free to navigate the continuously running performance installation in the Yerba Buena Center for the Arts Forum. A post-performance discussion follows Friday’s installment. Don’t miss this immersive, compelling work. (Potter)

Fri/15, 8–10 p.m.;

Sat/16-Sun/17, 12-2 p.m. and 3–5 p.m., free

Yerba Buena Center for the Arts Forum

701 Mission, SF

(415) 978-5210

www.ybca.org

SATURDAY

APRIL 16

EVENT

 

“How-to Homestead: 11 in 11 Tour”

You can go on tour without ever leaving your city. That’s the idealistic message of How-to Homestead’s “11 in 11 Tour,” a yearlong barnstorming series with dates planned for each of San Francisco’s districts. Spearheaded by Melinda Stone, a University of San Francisco professor equally knowledgeable in matters of celluloid and soil, How-to Homestead’s homebrew of entertainment and education draws on alternative cinema, practical workshops, and live music to create a distinctly flavorful commons. The fourth “11 in 11” program takes place at the historic Bayview Opera House and features a “Chickens in the City” workshop and contra dance call, in addition to the usual potluck dinner and film treats. With spring in the air, it should be an especially lively installment. (Max Goldberg)

4–10:30 p.m., $5 suggested donation

Bayview Opera House

4705 Third St., SF

www.howtohomestead.org

DANCE

 

ODC Dance Jam

At first the ODC Dance Jam consisted of half a dozen cute kids showing their prowess on an ODC/Dance opening night. Today ODC’s youth program is much too big for such capers, and the tables have been turned. This year the professional company will make an appearance — with Brenda Way’s John Somebody — at ODC Dance Jam’s own concert, “Make the Road by Walking.” Taking classes five times in addition to rehearsing, the 14-member troupe, ages 13-18, may not call itself pre-professional, but its dancers surely are on the way. KT Nelson, Kimi Okada, Bliss Kohlmeyer-Dowman, Greg Dawson, and Kim Epifano, about as professional a group as any, created choreography for them. (Felciano)

Sat/16, 8 p.m.; Sun/17, 4 and 7 p.m., $12

ODC Dance Commons

351 Shotwell, SF

(415) 863-9830

www.brownpapertickets.com/event/166923

SUNDAY

APRIL 17

MUSIC

 

Foxtails Brigade

(((folkYeah!))) and Antenna Farm Records host a release party in honor of San Francisco duo Foxtails Brigade’s full-length debut, The Bread and the Bait. On its surface, The Bread and the Bait is as delicate as lace — the album art depicts a ladylike tea party in progress. But look closer (why are two of the women blindfolded? And why is one clutching a knife?) and listen closely: there’s an underlying darkness cloaked in those ethereal vocals set against simple cello and violin melodies. Join in the celebration with musical performances by ‘Tails and Rachel Fannan of Sleepy Sun, plus comedy by Brent Weinbach and Moeshe Kasher, and a fashion show featuring designs by Verriers and Sako, Lecon de Vetement, and Zoe Hong. (Verzosa)

With Rachel Fannan

8 p.m., $15

Swedish American Music Hall

2174 Market, SF

(415) 861-5016

www.swedishamericanhall.com MUSIC

 

Wire

On a recent trip to New York City, I won tickets to watch Wire from the “Band Bench” on Late Night with Jimmy Fallon. Arriving at 30 Rock, I found a few other awkward music nerds who refused to take off their jackets looking forward to the performance. In a bit of TV magic, they filled out the 30 or so “hardcore fans” with tourists eager for a glimpse of Fallon guest Keanu Reeves. It could just be the standard practice, but it’s also typical of the U.K. band’s U.S. reception, remaining relatively unknown despite being perpetual critical darlings and inspiring alternative rock bands throughout a career spanning from the release of 1977’s influential punk album, Pink Flag, to their most recent, Red Barked Tree. (Ryan Prendiville) With Lumerians and DJ Callum McGowan

8 p.m., $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.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.

Music Listings

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Music listings are compiled by 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. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 13

ROCK/BLUES/HIP-HOP

Broken Social Scene, Gord Downie Warfield. 8pm, $27.

Francis and the Lights, Oh Land, Sunday Ghost Café Du Nord. 9:30pm, $15.

Girls in Trouble, Jascha vs. Jascha Viracocha, 998 Valencia, SF; www.viracochasf.com. 8pm, $5-10.

Hammerlock, Scheisse Minnelli, Seven Crowns, Lecherous Gaze Thee Parkside. 8pm, $6.

Black Joe Lewis and the Honeybears, Those Darlins Independent. 8pm, $18.

Lightning Bolt, Tits, High Castle Rickshaw Stop. 8pm, $12.

Majesty, Sweet Chariot, Tarantula Tango Knockout. 9pm, $6.

Curtis Peoples, Keaton Simons, Whitney Nichols Hotel Utah. 8pm, $10.

Porch, Bone Dweller Hemlock Tavern. 9pm, $6.

Rural Alberta Advantage, Lord Huron, Birdmonster Bottom of the Hill. 9pm, $14.

Chelsea TK and the Tzigane Society, Parlour Suite, Starfish in the Clouds, Uni and Her Ukelele, DJ Neil Martinson Elbo Room. 9pm, $7.

Yacht, Bobby Birdman Bimbo’s 365 Club. 8pm, $20.

JAZZ/NEW MUSIC

Cosmo Alleycats Le Colonial, 20 Cosmo, SF; www.lecolonialsf.com. 7pm.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

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

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

New Rite Spot All-Stars Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Rudy Simone 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

DANCE CLUBS

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

Buena Onda Little Baobab, 3388 19th St., SF; (415) 643-3558. 10pm, $3. Soul, funk, swing, and rare grooves with residents Dr. Musco and DJB.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

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

Mod vs. Rocker Make-Out Room. 10pm, free. DJs all night spinning 60s pop; come at 7:30 p.m. (cover $7) for a live concert with Bond Girl and 10 ft. 5.

No Room For Squares Som., 2925 16th St, SF; (415) 558-8521. 6-10pm, free. DJ Afrodite Shake spins jazz for happy hour.

Obey the Kitty Vessel. 10pm, $10. With a Ladytron DJ set.

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

Strutter El Rio. 9pm, $3. DeeJay Andre spins electro, booty bass, hip-hop, and more for lesbians and friends.

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

“When I Was a Youth: Big Up Magazine Issue Release” Mezzanine. 9pm, $10. With Breakage, Goth Trad, and a screening of the documentary Bassweight.

THURSDAY 14

ROCK/BLUES/HIP-HOP

Cults, Magic Kids, White Arrows Independent. 8pm, $13.

Cute Lepers, Re-Volts, Complaints, Lydia and the Projects Thee Parkside. 9pm, $10.

Delorean, Water Borders Slim’s. 9pm, $21.

“Eddie Dane Memorial” DNA Lounge. 9pm, $5 suggested donation. With Hi-Rhythm Hustlers and burlesque performances.

Ellie Goulding, Knocks Rickshaw Stop. 9pm, $13.

Joy Formidable, Lonely Forest Bottom of the Hill. 8:30pm, $12.

Lake, AgesandAges, Michael Beach Hemlock Tavern. 9pm, $8.

Little Mercury, Exit Wonderland, Curly El Rio. 8pm, $5.

Vonda Shephard Yoshi’s San Francisco. 8pm, $25.

Tomihara, My Second Surprise, Haberdasher Red Devil Lounge. 8pm, $6.

Two Door Cinema Club, Globes, Work Drugs Fillmore. 8pm, $20.

Matt Wertz, Ben Rector Swedish American Hall (upstairs from Café Du Nord). 8pm, $15.

JAZZ/NEW MUSIC

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

Organsm featuring Jim Gunderson and “Tender” Tim Shea Bollyhood Café. 6:30-9pm, free.

Ken Sealy Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

SF Jazz Hotplate Series Amnesia. 9pm.

Scott Sier Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

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

FOLK/WORLD/COUNTRY

Meredith Axelrod 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Bay Island Ramblers Atlas Café. 8-10pm, free.

Amy Obienski Mama Art Café, 4754 Mission, SF; www.mamasf.com. 8pm, free.

Yeye Suárez Red Poppy Art House. 7pm, $12-15.

“Twang! Honky Tonk” Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm.

DANCE CLUBS

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

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Culture Corner Koko Cocktails, 1060 Geary, SF; www.kokococktails.com. 10pm, free. Roots reggae, dub, rocksteady, and classic dancehall with DJ Tomas, Yusuke, Vinnie Esparza, and Basshaka and ILWF.

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

Electric Feel Lookout, 2600 16th St, SF; www.fringesf.com. 9pm, $2. Indie music video dance party with subOctave and Blondie K.

80s Night Cat Club. 9pm, $6 (free before 9:30pm). Two dance floors bumpin’ with the best of 80s mainstream and underground with Dangerous Dan, Skip, Low Life, and guests. This week’s theme is Duran Duran; come dressed as a member of the band and get in free before 11pm.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Kissing Booth Make-Out Room. 9pm, free. DJs Jory, Commodore 69, and more spinning indie dance, disco, 80’s, and electro.

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

Motion Sickness Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Genre-bending dance party with DJs Sneaky P, Public Frenemy, and D_Ro Cyclist.

1984 Mighty. 9pm, $2. The long-running New Wave and 80s party has a new venue, featuring video DJs Mark Andrus, Don Lynch, and celebrity guests.

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

Thursday Special Tralala Revolution Café, 3248 22nd St, SF; (415) 642-0474. 5pm, free. Downtempo, hip-hop, and freestyle beats by Dr. Musco and Unbroken Circle MCs.

FRIDAY 15

ROCK/BLUES/HIP-HOP

Blank Tapes, Little Wings, Kacey Johansing, Rad Cloud Great American Music Hall. 8:30pm, $13.

Burmese, CCR Headcleaner, Crib Death Hemlock Tavern. 9:30pm, $7.

“Cheerleader Graduation Party” Rickshaw Stop. 8pm, $10. With Cock-Ts, Devil-Ettes, Boner Jams, and Six Million Dollar Band.

Entrance Band, Rachel Fannan, Nick Waterhouse, Allah Las, DJ Selections by KC Bull Slim’s. 9pm, $13.

Gr’ups, Swann Danger, Street Eaters, Hounds and Harlots Thee Parkside. 9pm, $8.

Katdelic, DJ K-Os Boom Boom Room. 9:30pm, $15.

Naked Fiction Amnesia. 7pm.

Night Call, Purple Rhinestone Eagle, Bad Dream El Rio. 9pm, $5.

Nodzzz, Art Museums, Gun Outfit Bottom of the Hill. 10pm, $10.

Residents Bimbo’s 365 Club. 9pm, $30.

Raphael Saadiq, Quadron Regency Ballroom. 9pm, $39.50-49.50.

Scissor Sisters, Oh Land Warfield. 9pm, $37.

Upsets 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

JAZZ/NEW MUSIC

Emily Anne Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

“B3 Bash” Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 8pm, $25-60. With Dr. Lonnie Smith and Barbara Dennerlein Trio.

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

Chelle! and friends Red Poppy Art House. 8pm, $12-15.

Melees, Ken Sealy Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Maceo Parker Yoshi’s San Francisco. 8 and 10pm, $20-30.

FOLK/WORLD/COUNTRY

Deke Dickerson, B-Stars, Golddigger Elbo Room. 9pm, $13.

Amjad Ali Khan Palace of Fine Arts, 3301 Lyon, SF; www.ciis.edu/publicprograms. 8pm, $25-100.

Amy Obienski Velo Rouge Café, 798 Arguello, SF; www.velorougecafe.com. 7pm, free.

Pine Box Boys, Hubba Hubba Revue, Possum and Lester Café Du Nord. 9:30pm, $14.

Shakulintang Rancho Parnassus, 505 Minna, SF; www.ranchoparnassus.com. 8pm, $10-15.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Chase and Status, 2cents, Lukeino, Kuze DNA Lounge. 10pm, $20.

DJ Momentum Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

DJ What’s His Fuck Riptide. 9pm, free. Old-school punk and other gems.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

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

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

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

Mary Anne Hobbs 1015 Folsom. 10pm, $15. With Joy Orbison, Kode9, Lorn, Gonja Sufi, and more.

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

Radioactivity 222 Hyde, SF; (415) 440-0222. 6pm. Synth sounds of the cold war era.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 16

ROCK/BLUES/HIP-HOP

All Time Low, Yellowcard, Hey Monday, Summer Set Warfield. 7pm, $27.

Arrival, Luvplanet, Relay Company Showroom, 1000 Van Ness, SF; (415) 346-5597. 8:30pm, $12-15.

Crazy Alligators Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Forrest Day, Bayonics, Ghost and the City Great American Music Hall. 9pm, $14.

Druglords of the Avenues, Fracas, Street Justice Bender’s, 806 S. Van Ness, SF; www.bendersbar.com. 9:30pm, $5.

Duran Duran Fillmore. 9pm, $57.50.

Full on Flyhead, Lavish Green, Ben Benkert Band, Scholar and the Melting Pot Slim’s. 9pm, $14.

Heavy Liquid, Tempermentals Thee Parkside. 3pm, free.

Maserati, Kenseth Thibideau, Glaciers Hemlock Tavern. 9:30pm, $10.

OONA, Super Adventure Club, Dogcatcher Bottom of the Hill. 10pm, $10.

Orgone, Quinn Deveaux and the Blue Beat Review Independent. 9pm, $16.

Residents Bimbo’s 365 Club. 9pm, $30.

Stymie and the Pimp Jones Love Orchestra Café Du Nord. 9pm, $15-25.

JAZZ/NEW MUSIC

Billy White Quintet West Red Poppy Art House. 8pm, $12-20.

JP and the Rhythm Chasers, Petunia and the Vipers Verdi Club, 2424 Mariposa, SF; www.oldtimey.net. 8pm, $15.

Maceo Parker Yoshi’s San Francisco. 8 and 10pm, $30.

Proverb Trio with Dafnis Prieto, Kokyai, and Jason Lindner Swedish American Hall (upstairs from Café Du Nord). 8pm, $30.

FOLK/WORLD/COUNTRY

Culann’s Hounds, Lucia Comnes St. Cyprian’s Church, 2097 Turk, SF; www.noevalleymusicseries.com. 8pm, $20.

Octomutt, Lily Taylor Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Cock Fight Underground SF. 9pm, $7. Gay locker room antics galore with electro-spinning DJ Earworm, MyKill, and Dcnstrct.

Bootie SF: Bootiechella DNA Lounge. 9pm, $8-15. Coachella artists get mashed up by Adrian and Mysterious D, and more.

DJ Nik Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

Fringe Madrone Art Bar. 9pm, $5. Indie music video dance party with DJ Blondie K and subOctave bringing the best of Coachella to SF.

Full House Gravity, 3505 Scott, SF; (415) 776-1928. 9pm, $10. With DJs Roost Uno and Pony P spinning dirty hip hop.

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.

Prince vs. Michael Madrone Art Bar. 8pm, $5. With DJs Dave Paul and Jeff Harris battling it out on the turntables with album cuts, remixes, rare tracks, and classics.

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

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 17

ROCK/BLUES/HIP-HOP

“Bands for the Rising Sun: Benefit for Japan Tsumani Quake Relief” Maggie McGarry’s, 1353 Grant, SF; bandsfortherisingsun@gmail.com. 2-9pm, donations accepted. With Dyno Cats, Deepest Purple, Project Gojira, and more.

“Battle of the Bands” DNA Lounge. 5:30pm, $12. With Glorious Birds, Style Like Revelators, and more.

Black Wizard Hemlock Tavern. 9pm, $6.

Foxtails Brigade, Rachel Fannan Swedish American Hall (upstairs from Café Du Nord). 8pm, $15.

Hauschka, Magik*Magik Orchestra Great American Music Hall. 8pm, $18.

Goh Nakamura, Come Gather Round Us, Yea-Ming Café Du Nord. 8pm, $10.

Vostok-Zapad Rickshaw Stop. 7pm, $25.

Wire Slim’s. 9pm, $21.

JAZZ/NEW MUSIC

“Bruno’s/Wayne Niethold Tribute” Public Works, 161 Erie, SF; www.publicsf.com. 4-10pm, $15-50. With DJ Chase Gowdy, Todd Sickafoose Group, Graham Connah’s Sour Note Seven, Scott Amendola Quartet, and more.

Jennifer Bryce and Josh Workman Bliss Bar, 4026 24th St., SF; www.blissbarsf.com. 4:30pm, $10.

Jazz jam 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Ellis Marsalis Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 7pm, $25-65.

Tom Lander Duo Medjool, 2522 Mission, SF; www.medjoolsf.com. 6-9pm, free.

FOLK/WORLD/COUNTRY

Andy y Callao El Rio. 4-8pm, $8.

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

Silver Threads, Kitchen Fire Thee Parkside. 4pm, free.

Venezuelan Music Project Yoshi’s San Francisco. 7pm, $16.

DANCE CLUBS

Batcave Cat Club. 10pm, $5. Death rock, goth, and post-punk with Steeplerot Necromos and c_death.

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

Chocolate Sundays Beauty Bar. 9pm. With DJs 4AM and Automatic Transmission, plus a drunken spelling bee.

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

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

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

La Pachanga Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 6pm, $10. Salsa dance party with live Afro-Cuban salsa bands.

MONDAY 18

ROCK/BLUES/HIP-HOP

!!! Independent. 9pm, $20.

New Pornographers, Menomena Regency Ballroom. 8pm, $32.

One Way Station, Califia, Songs for Snakes Elbo Room. 9pm.

Spiral Bombs, Narooma, Hazel’s Wart El Rio. 7pm, $5.

Tame Impala, Yuck Fillmore. 8pm, $20.

DANCE CLUBS

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

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

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

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 19

ROCK/BLUES/HIP-HOP

Marcia Ball Yoshi’s San Francisco. 8pm, $20.

“Beyond the Music Label Series” Boom Boom Room. 6-9pm, free. With Blind Willies.

Grooming the Crow, Scott Gagner El Rio. 7pm, free.

Janet Jackson Bill Graham Civic Auditorium, 99 Grove, SF; www.ticketmaster.com. 8pm, $49.50-149.50.

Pains of Being Pure at Heart Amoeba, 1855 Haight, SF; www.amoeba.com. 6pm, free.

Pains of Being Pure at Heart, Twin Shadow, Catwalk Great American Music Hall. 8pm, $17.

Rubber O Cement, Dental Work, Shortwave Surfers, Terror Apart Hemlock Tavern. 9pm, $6.

FOLK/WORLD/COUNTRY

Bomba Estéreo, Bayonics Independent. 8pm, $18.

Lumanation, Dubtown Dread John Colins, 138 Minna, SF; www.johncolins.com. 9pm, $5.

Sue Quigley Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

DANCE CLUBS

Boomtown Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 9pm, free. DJ Mundi spins roots, ragga, dancehall, and more.

Brazilian Wax Elbo Room. 9pm, $7. Forro and samba with Razteria, DJ Carioca, and DJ P-Shot.

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

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

 

On the Cheap Listings

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

WEDNESDAY 13

Party to save the Dyke March! El Rio, 3158 Mission, SF; www.elriosf.com. 8:30-11:30pm, $3. Strut your stuff at this new dance party – appropriately called “Strutter,” featuring DJ Andre, who will be busting out all the right hip-hop stops and a few rock tunes for good measure. The organizers will be donating all of the profits from the night to help the annual Dyke March promenade to take to the streets for another year. Of course, feel free to dig deeper into your pockets and donate even more to help this important San Francisco institution remain visible in the community.

Beatbox how-to Bazaar Cafe, 5927 California, SF; (415) 831-5620, www.howtonight.com. 7pm, free with food and beverage purchase. Another boring day at the office got you down? Maybe the fancy PowerPoint transitions and fonts fail to add the same level of oomph they once had in the past? Maybe it’s time to go big and add some live vocal percussion to your presentation. Tonight, you can learn how when the talented Wes Carroll helps you transform your mouth into a human drum machine. He’ll get you up and beatboxing like Biz Markie in no time.

THURSDAY 14

Spring into health Marine Mammal Center, 2000 Bunker, Sausalito; www.marinemammalcenter.org. 2-6pm, free. Quit putting off that yearly physical and take advantage of free health screenings all day long at the first ever Sausalito Wellness Fair. Get your blood pressure checked out and get screened for high cholesterol and diabetes – no fasting required for any of these, so feel free to help yourself to the plethora of healthy snacks on hand. Afterward, talk to the experts and create a health action plan, enjoy a relaxing chair massage, collect free health-related giveaways, and even learn about what we have in common with our marine mammal friends.

FRIDAY 15

C. Ryder Cooley performance art Luggage Store Gallery, 1007 Market, SF; www.luggagestoregallery.org. 8pm, $5-10 sliding scale. Come check out this new multimedia exhibit by inter-disciplinary artist C. Ryder Cooley with videos, musical performances, and performances that may or may not fall in to the “other” category. The theme of her show “Ximalia” is extinction, and Cooley, once an active member in the SF art and music scenes, will perform with her usual singing saw and accordion – although these days, she’s really more into her six-stringed ‘uke – and yes, there will be taxidermy. We hear a be-dazzled dear skull may be involved in some way, so be sure to circle today on your calendar and find out what that’s all about.

SATURDAY 16

Central YMCA’s Healthy Kids Day Shih Yu-Lang Central YMCA, 387 Golden Gate, SF; www.ymcasf.org. 2-8pm, donations encouraged. Calling all parents – take your kids to the YMCA today for an all-day play date! Healthy Kids Day is the nation’s largest health-themed day for families, and San Francisco’s central YMCA has got a fun-filled carnival planned for you and your brood, featuring games and prizes, performances, exercise demos, health screenings, and (yes!) even a bouncy house! It’s never to late to be healthy, active, and connected.

SUNDAY 17

Doggie Easter egg hunt Wag Hotel, 25 14th St., SF; (415) 876-0700, www.waghotels.com. 11am-2:30pm, donations encouraged. Dust off your Easter hats – human and canine alike – and bring your furry friends over to the Wag Hotel to sniff out treat-filled eggs and meet the Easter Bunny himself. Critter-less? That’s OK. Stop by anyway and meet adoptable dogs, schmooze with fellow dog-lovers, and ogle the adorable spectacle that is a doggie Easter egg hunt. All donations go directly to the Animal Care and Control of San Francisco.

MONDAY 18

105th anniversary of The Big One Meet at Lotta’s Fountain, corner of Kearny, 3rd Street, and Geary, SF.; www.sanfranciscostories.com. 4:30am, free. Whether it’s your Monday morning or you’re still rocking Sunday night, you won’t want to miss this annual San Francisco tradition commemorating the great earthquake and fire of 1906. Since this year’s ceremony is dedicated to the Japanese quake victims, San Franciscan Nisei and Sansei will join Ed Lee and others at Lotta’s fountain to kick off the event. After 5:11am, which marks the exact moment of the quake, attendees can go to Dolores Park for the annual painting of the fire hydrant that saved the Mission District. Afterward, head over to Lefty O’Doul’s at 333 Geary for a Bloody Mary breakfast (sadly, not free) before you inevitably go home and crawl back in to bed.

 

The online-learning challenge

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culture@sfbg.com

CAREERS AND ED Mixing, mashing, chatting, tweeting: This is how the University of California envisions the future of learning for what it calls a new breed of students. Also on the syllabus? Podcasting, vodcasting, blogging, and Skype.

Last week, UC was awarded a $750,000 Next Generation Learning Challenges grant, moving it one step closer to a curriculum composed of words that barely existed a decade ago. But some fear — with good reason — that online education will become a low-cost, high-return alternative to traditional instruction. And the students will be the losers.

UC’s Online Instruction Pilot Program grew out of recommendations to explore online learning discussed by the UC Commission on the Future over the past two years. This spring, a subcommittee of faculty and administrators selected 29 courses to be developed over the next two years.

The pilot program is a long-term initiative to evaluate and ultimately increase the role of online education as a regular part of the UC curriculum — a chance to respond, according to the program’s website, to a “transformation” in the way students learn.

The commission promotes online learning as a boon without trade-offs, a way of answering questions of accessibility, efficiency, and, ultimately, costs — and is not shy about outlining the relationship between the three. Chartered to help wiggle UC out of a “vise of rising costs and drastically reduced resources,” the commission is proposing sweeping changes to California’s public university system.

 

ALL BUT THE KEG PARTY

UC envisions a greater number of students served and increased diversity, “from Kentucky to Kuala Lampur,” according to Law School Dean Chris Edley, cochair of the commission’s Education and Curriculum Working Group.

Edley, one of the most enthusiastic proponents of digital learning, initially referred to online education as an 11th UC campus, promising it would offer an equivalent college experience — minus only the “keg party.”

Critics were quick to condemn the plan as overblown excitement. Concerned undergraduates and skeptical faculty raised questions about the quality of online learning. Angry graduate student instructors (understandably) balked at Edley’s grandiose vision of a cybercampus where “squadrons of GSIs” will serve on the “frontline of online contact” with undergraduates.

Political science professor Wendy Brown is one of the leading critics. “Personal engagement with students is crucial,” she told us in a phone interview. “Real teachers don’t just teach subject matter. You have to know students and where their experience and level of engagement is. I don’t want them just to come out with content — I want them to come out as thinkers … have a new way to analyze the world.”

Brown said she believes that acclimating to the intellectual culture of a university — especially important in the first year — can’t be achieved online. Yet first-year courses are exactly where administrators are looking to channel online efforts.

Administrators hope to relieve pressure on overcrowded gateway math and science courses, as well as freshman reading and composition. As many as 40 percent of first-year students test out of their first semester of reading and composition, indicating that the students remaining are those most in need of attention. Even so, a generous smattering of general chemistry, intro calculus, and reading and composition classes like Humanities 1A are among the pilot courses moving forward.

Craig Evans, professor of mathematics and chair of the course committee for calculus, echoes Brown’s concerns. “I don’t think it’s impossible to make this work, but I think it would be very, very difficult,” he said. “Part of what we do as teachers is applied psychology, things like checking in with students and keeping up morale, in addition to teaching classical mathematics. It’s hard to see how to convey that in an online course.”

Robert Anderson, faculty representative to the Board of Regents and professor of economics and mathematics, agreed that there is “something important about being on campus for four years, rubbing shoulders with students and faculty.”

And when short-term goals — taking pressure off overcrowded introductory courses — are met, what comes next?

The academic senate approved the pilot program on the condition that the necessary funding — as much as $7 million — come from outside sources. With the exception of the $750,000 NGLF grant, that money hasn’t materialized. The university has borrowed money from internal sources; half of that will be directed toward infrastructure development, according to Anderson.

With money-saving rhetoric underlining every stage of the program’s development and millions to be invested in online infrastructure, how will UC officials avoid the temptation to simply use online learning as a revenue source — regardless of what academic benefits pilot program researchers find?

 

CASH COWS

The answer is: they won’t.

In a post on the Berkeley Blog last summer, Edley attempted to allay fears that an online program would eliminate campus learning by assuring that future online pupils would be “new, tuition-paying, UC-eligible students we otherwise wouldn’t have the room or resources to serve. And any net revenue would be plowed back into supporting the on-campus program.” In this model, off-campus students would be cash cows milked for the additional revenue they could produce.

Though the committee has delayed visions of an entirely online degree since then, crucial questions regarding a long-term trajectory remain: Would online students pay the same price? Would they be accepted exclusively for online matriculation? Would their degrees be identical?

Nobody knows, but already the pilot program is relying on projected revenue from off-campus students to help recoup some of the borrowed $7 million, according to Anderson.

Keith Williams, Edley’s cochair on the commission’s education and curriculum working group, confirmed that UC is planning to offer newly developed classes on a per-credit basis to students enrolled at UC and others.

According to Williams, these new courses will offer full course credit — and the full price tag. Pricing was made consistent with brick-and-mortar courses, Williams explained, to avoid causing UC students to make a tough decision: either pay full price for an on campus course or save money by taking a less desirable online course.

And yes, conveniently, offering the courses at full price does generate revenue to be reinvested. (Williams balked at the phrase “skimmed off the top.”)

Now that the pilot program is underway, administrators are treading more lightly around its money-making intentions. But for a reminder of the project’s origins, one need only look at the commission’s recommendation to up enrollment quotas for nonresident students — a recommendation slated to be met next year.

The commission’s final report explicitly calculates the amount of money ($12,000) that can be generated for each Californian replaced with a nonresident student, stating “each 1 percent increase in nonresident students would generate almost $1 million” — a dubious maneuver at a time when the university claims it must expand online education to meet the shortages of space for its own residents.

The culture betrayed by this vision of UC education is clear — one in which educational models are constructed according to business practices.

Despite the pilot program’s rhetoric of innovation and breakthrough, it’s not the first to fuse Internet with education. Brown is quick to note that despite her criticism of the pilot program “[she] is not a Luddite.” She described to us how the faculty is increasingly making use of online educational aids.

Many professors choose to broadcast their lectures online, allowing students — and anyone else for that matter — to virtually peek in on a lecture, either live or with a delay of hours or days.

Currently, more than 40 UC Berkeley lecture halls are fitted for video and/or audio recording. Thousands of transmissions, from biology to history, have been uploaded to iTunes and YouTube (see sidebar).

Although webcasts are highly popular with students — and students are undoubtedly the main priority for the program — people are tuning in from all continents, according to Benjamin Hubbard, who runs the webcast program.

For Hubbard, webcasts “[broaden] the window of access to all the scholarly activity on campus. We are fortunate in that we are public university, so first and foremost we have a mission of community service and making this content freely and publicly available matches this mission.”

 

THE PUBLIC OPTION

Recognizing the enormous challenges of decreased accessibility and increasing cost, a growing consortium of educators and researchers are building momentum and developing a vision for a truly public online educational program.

Lisa Petrides, president and founder of the Institute for the Study of Knowledge Management in Education, calls herself a “public education fanatic.” She told us that the instead of using online teaching as a money-maker, schools can adopt a principled, egalitarian approach.

Petrides is a signatory of the Capetown Declaration, a manifesto for the open education movement. The declaration calls for collaboration that cuts across institutional lines; for the use and promotion of free educational resources; and for policy support for open education.

“You start to have this pedagogical collaborative community that can use resources in this way, changing how we teach and how we learn,” she said. To take analogy for computer software, Petrides says her movement is akin to the open source movement.

Now there’s an innovative approach to online education — with its eyes on the future, not its pocket.

 

The loveliness of libraries, now at your local library

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En route to City Hall the other day, the wind must have been at my back. Because? I got there very early, nearly a half hour before the intermidable Board of Appeals hearing I’d convinced myself was a good idea to attend was slated to begin. A couple options here:

a. Arrive at City Hall early and see how the government is coping with loiterers these days. 

b. Lounge about on the wind-swept tundra that the Civic Center often becomes in this uncertain world in which we live

c. Go to the library.

So thank goodness for the library. Of course, my holds queue is currently stuffed with requests for Joan Didion and David Byrne’s The Bicycle Diaries, but even setting aside its magic book-producing capabilities, consider what the institution of the free library brings to us all. A place to hang or hide or study, mercifully free of commerce, the last place in polite society where you can use someone else’s computer.

Charming people, those libraries. Sadly, along with everything else that is neither money-grubbing nor environmentally harmful, they are on the chopping block of many a local government these days. And though here in San Francisco we’d be able to go make asses of ourselves in any number of community and cultural centers across town, in many places in America if the library closes, it marks the end of any indoors public space not geared towards selling stuff. Or specifically built for the education of children, who get all the breaks. 

At any rate, it is a good moment to breathe in the steadfastness of the library, illustrated nicely in the photos of Robert Dawson and on display in our main library through June. Our main library, by the way, has these amazing historical-artistic exhibitions, on view free of charge of course, all the time. Last go-round, it was a round-up of San Francisco restaurant ephemera.

Dawson is showing up later today to do an artist Q&A on what would appear to be a very nice road trip he took all about the country, snapping shots of our book receptacles, public rec rooms, bastions of civilization. I’d like to ask him how big of a late fee balance it is acceptable to carry, in this era of cash-strapped social services and people. 

For a more extensive slideshow of Dawson’s libraries, you can go here

 

“Public Library: An American Commons”

Through June 12

Artist talk with Robert Dawson:

Tues/12 6 p.m., free

Koret Auditorium

Main Library

100 Larkin, SF

www.sfpl.org

 

Live Shots: Caitlin Rose at Cafe du Nord, 4/7/11

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To be honest, I could have cared less who the Cafe Du Nord headliners were that night. I was there for only one reason: to see the opener, Nashville-born singer Caitlin Rose.

I found Caitlin Rose’s music on one of those lucky Youtube click-happy sessions. You know what I’m talking about. Where you go from one “recommended” video to the next, until finally you land on something good. And that goodness was Caitlin Rose’s “Own Side,” a melancholy, sweet bluesy, twang-licious song. Oh yes, this was a very good recommendation. And as luck would have it, she was going to be coming to San Francisco in less than three weeks. Perfection.

At the show last night, Rose brought a beautiful set of songs to the stage about everything from sleeping around to pushing people into wells. Her voice has a bit of Iris Dement and Patsy Cline, mixed in with classic country chords, that rolled effortlessly off the lap steel guitar. 

I’ll confess, I used to be a pretty big country music fan back in high school, but then when Bush took over the White House, I just couldn’t do it anymore. It just felt dirty and wrong. But I think Caitlin Rose has got me back into it, because her music is not about American pride or getting a new washing machine. Her songs are about teen pregnancy and the inevitable shotgun wedding, or about falling in love with a gorilla man. This is new country, that’s quirky, catchy, and it’s music that I would definitely recommend to you and yours.

 

And below — this is amazing. Best cover by a 5 years old ever:

 

Ammiano says support is growing for TRUST Act

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Assemblymember Tom Ammiano says that statewide support is building for AB 1081 (the TRUST Act), which would give local governments the right to opt-out of the controversial Secure Communities program.

As the Guardian previously reported, ten months after ICE’s controversial S-Comm program was activated in San Francisco, our “sanctuary city” ranks among the top 38 counties nationwide deporting “non-criminal aliens.”

“Unlikely allies are lining up behind this bill because ICE misled the public about S-Comm, whose real focus is more spin than safety,” Ammiano said in a press release today. “In fact, seven in ten Californians deported under S-Comm had committed no crime or were picked up for minor offenses like traffic violations. The program is ruining trust between immigrant communities and the police. But here in California, we can do better. This bill is a practical solution that lets local governments have a say and restores some balance to this dysfunctional system.”

Joining Ammiano as co-sponsors of the TRUST (Transparency and Responsibility Using State Tools) Act are Assemblymembers Gil Cedillo and Bill Monning and Sen. Leland Yee. And the act, which is billed as a pro-safety and pro-transparency proposal, already has the support of over 50 organizations and a slew of elected local officials.

These officials include San Francisco Sheriff Mike Hennessey who blew the whistle on the program last May, when federal authorities privately told local law enforcement agencies that S-Comm was going live in San Francisco in June 2010. At the time, there had been no public hearings on the proposed program, which links fingerprints taken when folks are booked at county jails with federal and international databases—in other words, before folks charged with crimes have had their day in court.

A press release from Ammiano’ s office states that S-Comm’s “misleading focus, over-broad reach and lack of transparency” has eroded trust between police and immigrant communities and sparked considerable open government concerns —problems the TRUST Act aims to fix.

In addition to allowing municipalities to opt-out, the TRUST Act would also sets basic safeguards for local governments that participate in the program to guard against racial profiling, protect the rights of children and domestic violence survivors. And it would uphold the right to a day in court by only reporting for deportation individuals convicted, not merely accused, of crimes. 

“Under S-Comm, a desperate call for help can quickly turn into a nightmare situation for victims of domestic violence,” said Tara Shabazz, Executive Director of the California Partnership to End Domestic Violence. “We’ve seen victims of abuse reported for deportation from San Francisco to Lodi, California. This bill will protect abuse victims and remove an important barrier to reaching out for help, and we are proud to support it.”

Ammiano’s office says that these serious public safety and civil liberties concerns have pushed local governments to seek a way out of the program, imposed on communities with no transparency or opportunity for local oversight. They note that the Santa Clara Board of Supervisors unanimously requested to opt out of S-Comm program in September 2010, but after months of confusion, ICE refused to honor the county’s request.

“The Federal Government forced this program on my jail without my consent,” SF Sheriff Michael Hennessey said. “By allowing local governments to opt out of this flawed program, AB 1081 will help law enforcement win back some trust with immigrant communities. That, in turn, will help improve public safety for everyone.” 

 “The TRUST Act raises this unregulated and inaccurate program to California’s standards and ensures transparency and accountability through clear data reporting requirements for local jurisdictions opting to participate in S-Comm,” said Chris Newman, National Day Laborer Organizing Network’s legal director.
 AB 1081 will be heard in the Assembly Committee on Public Safety on Tuesday, April 26 at 9 a.m. in State Capitol Room 126.