Media

Shutting down Sunshine

Andrew Lam
-
8

EDITORIAL The unwillingness of the San Francisco Board of Supervisors to follow the City Charter’s rules on open government has reached a new level of absurdity: The Sunshine Ordinance Task Force voted July 11 to stop meeting, because the supervisors wouldn’t appoint the legally mandated members.

Technically, the fuss is over a provision in the law creating the Task Force that mandates one member must be a physically disabled person with a demonstrated interest in open-government issues. That was written into the law in part because access to meetings for people with disabilities is an ongoing area of concern.

But the supervisors refused to reappoint Bruce Wolfe, a longtime task force member who met that criterion — and who had the respect of independent and progressive leaders all over town. And none of the six people the board did appoint qualify as physically disabled.

So the City Attorney’s Office advised the task force that it would be violating the charter if it met and took any action — and although the chance that the courts would invalidate task force decisions might be slim, the members could face fines. So the panel did the prudent thing and quit meeting.

Now, for all practical purposes, there is no Sunshine Ordinance Task Force, and it will be in legal and political limbo until the supervisors appoint a disabled member.

That follows on the heels of the board refusing — for the first time since the creation of the task force in 1999 — to seat the nominees of the Society of Professional Journalists, New American Media, and the League of Women Voters. Those organizations were given the right to submit names for three seats as a way to ensure that some of the task force members were from outside City Hall and represented media and good-government groups.

So the agency that it supposed to protect the public’s right to access records and meetings has been stacked with City Hall-friendly appointees and now is unable even to hear complaints.

There’s no question that some supervisors are annoyed with the task force, in part because it’s issued some rulings that board members disagreed with. But the task force is supposed to come down on the side of public access whenever possible, and if the agency is doing its job, it’s going to piss off politicians. The response shouldn’t be to seek retribution by denying its ability to function.

The supervisors are demanding that SPJ, NAM and the League submit new lists of nominees, with multiple names, which is unprecedented and difficult: These grassroots groups are supposed to line up a group of volunteers for a difficult, time-consuming, unpaid job — then tell them that all but one of them will be rejected by the supervisors? Who’s going to want to be in that position?

The three organizations should hold their ground, resubmit their nominees and ask the supervisors to follow the City Charter. And the City Attorney’s Office needs to offer some clarity here: Can the supervisors, in a fit of pique, shut down a Charter mandated watchdog agency? Really?

 

Dick Meister: Labor and the media

-
1

By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www,dickmeister,com, which includes more than 350 of his columns.

The coming of the Internet has had a profound impact on media coverage of working people and their unions. No, the mainstream media have not expanded their generally limited and shallow labor reporting or their generally anti-labor editorial positions. But there now are dozens of non-mainstream websites and blogs, such as the Bay Guardian’s, that provide in-depth labor coverage. The print versions of union newspapers and newsletters could never reach the very much larger audience that’s now available via the Internet.

There are even pro-labor broadcast outlets, such as Pacifica Radio’s KPFT in Houston, that cover labor issues in depth. The broadcasts and labor websites and blogs expose many people to labor activities and issues they may not otherwise have heard of, or understand – including pro-labor views,

Use of the Internet also has made it easier for unions to communicate with their own members.

But there’s still a major problem. Those pro-labor online outlets don’t necessarily reach the general audience that labor needs to reach. They primarily or solely reach only labor supporters and union members who often are in effect talking only to each other.

That may be good for the morale of unions and union supporters and provide them ammunition to use in their struggles. But unions need to reach a broader audience if they are to effectively combat the anti-unionism that’s so commonly voiced in the mainstream media.

How would they do that? That’s not for me to say, but I am confident that it can be done. After all, unions got their message out in the pre-Internet years when the media were at least as ant-labor as they are today, probably even more so.

The pre-Internet newspapers that unions had to rely on to spread their message were at best indifferent to working people and their unions. That basic situation hasn’t much changed. As in those days, it isn’t so much that the mainstream media are anti-union – though they are that – but that their labor coverage is generally limited. In-depth reporting of labor issues is as rare as pro-labor editorials.

As in the pre-Internet days, many of today’s media outlets are not much interested in covering labor except in a clearly anti-labor manner. They devote their closest attention to critics of union actions and especially the attacks on the public employees who have become the vanguard of the labor movement and thus the main target of anti-union forces.

But at least the Internet gives unionized workers and their supporters an option,  and their militant actions, such as those opposing Wisconsin Gov. Scott Walker,  have forced many in the previously labor-indifferent media to pay close attention to their activities, however much they may disparage them.

But it remains that despite the complexity of labor issues and the importance of labor to many of their readers, very few of today’s newspapers have reporters who are assigned to cover labor exclusively.  mainstream radio and TV stations have never had such reporters.

Some media outlets assign labor coverage to business reporters, who typically cover labor from the generally adversarial approach of their business sources. They’re concerned with the effect of labor on business, and, of course, labor’s role in politics, which is also usually covered from a non-union, if not anti-union point of view.

Internal union matters such as the election of officers are generally ignored unless there’s a scandal involved. Strikes that draw lots of public attention are heavily covered, but with the stress on the strikes’ affect on the general public rather than on the issues involved. Only very rarely does a mainstream media outlet side with a striking union or even explain the union’s position thoroughly.

Part of the reason for this is simply that newspapers and other mainstream outlets generally are themselves in adversarial relationships with unions – those that represent their employees.

During the formative years of American unions long before the Internet, when unions engaged in highly visible and often exciting organizing attempts, newspapers had little choice but to cover their activities in some detail.  Union activity was news, big news, as it has again become just recently with massive pro-worker demonstrations nationwide.

But there is a major difference between then and now. In those pre-Internet years labor was covered extensively and usually by reporters assigned to that specific task. Virtually every newspaper had a labor reporter or two.

But the number of labor reporters has declined steadily ever since organized labor established itself and became merged into the middle class, ever since its activities lost their novelty, and were expanded to encompass complex matters far beyond the easily covered issue of simply seeking union recognition.

The major turning point came just after World War II. At first there was a great deal of newsworthy labor activity, including many strikes and other highly visible actions as union members sought to make up for the compensation they lost under the tight wage and price controls that prevailed during the war years.

But after that surge of postwar strikes, labor turned to less exciting, less visible activities that are not as easily covered  as are strikes and related matters. That takes expert labor reporters and few have been available. That basic situation has not changed over the past half-century.

There have been some important exceptions to the dismal mainstream media coverage of labor in recent years, notably including the country’s major newspaper of record. The New York Times still covers labor fairly and in some detail, and its labor reporter, Steven Greenhouse, is among the best U.S. reporters of any kind.

Most media outlets, however, are still concerned primarily with labor’s militant actions and cover even those superficially. Most see no need for coverage that goes beyond the surface excitement, no need for expert reportage, although some recent labor actions, such as those of the Occupy Wall Street movement, have forced the media to look closer at some issues that previously have been only superficially examined – if examined at all.

There are, in any case, too few mainstream reporters who are adequately versed in labor matters. There are too few who have the trust of workers and their unions, which naturally hesitate to provide them much of the information that’s needed to adequately and fairly explain labor’s positions. The result has been labor coverage that’s generally shallow, often uninformed and frequently biased.

Unfortunately, that is unlikely to change any time soon.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www,dickmeister,com, which includes more than 350 of his columns.

Appetite: Sipping caramel, tasting pastry breadth at Craftsman and Wolves

-
1

Media hype has been fierce for pastry chef and owner William Werner’s new Craftsman and Wolves, a unique Mission bakery-cafe-patisserie for creative baked goods and sweets, changing sandwiches and salads, Sightglass Coffee, Naivetea, crave-inducing Valrhona drinking chocolate and (you’re hearing right) dreamy, sippable caramel made with salted butter and mini-croissant crostini to dunk.

At a media preview on 6/13 a few days before the cafe opened, I sampled in an ideal way through nearly the entirety of offerings (though they will continue to change), a helpful way of grasping the menu’s breadth and vision. In keeping with Werner’s past, it’s an impeccable selection that thankfully does not duplicate what you find in many topnotch cafes and pastisseries around the city. In fact, it does its own thing entirely: foods made with a fine-dining aesthetic and forward-thinking creativity, but served casually to-go or in the inviting, skylit, brick-walled space.

Besides my early taste-through, I’ve been back for a couple visits during initial opening days. Here is a photo journey with stand-outs noted.

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

Oakland councilperson responds to Harborside Health Center targeting by feds

Andrew Lam
-
19

Have you heard the news about our most Hollywood dispensary getting put on notice by the feds? Harborside Health Center staff, stars of everyone’s favorite marijuana reality show Weed Wars, arrived to work July 9 to a letter from US Attorney Melinda Haag.

She’s no one’s favorite pen pal in the medical cannabis industry these days. (xoxo) In the letter, she filed civil forfeiture actions against Harborside, despite the fact that unlike most of her office’s previous targets, the two Harborside dispensaries are not within 1,000 feet of a school or park. After the federal raid of educational institution Oaksterdam University in April it seems that now, all dispensaries are fair game for federal targeting. This could be curtains for patients’ safe and easy access to cannabis. 

Haag explained her office’s reasoning in a statement released yesterday.

This office has used its limited resources to address those marijuana dispensaries that operate close to schools, parks and playgrounds. As I have said in the past, this is a non-exclusive list of factors relevant to whether we should commence civil forfeiture actions against marijuana properties, and circumstances may require us to address other situations. 

I now find the need to consider actions regarding marijuana superstores such as Harborside. The larger the operation, the greater the likelihood that there will be abuse of the state’s medical marijuana laws, and marijuana in the hands of individuals who do not have a demonstrated medical need.

The filing of the civil forfeiture complaints against the two Harborside properties is part of our measured effort to address the proliferation of illegal marijuana businesses in the Northern District of California.

Basically, no rationale for targeting Harborside besides the fact that it’s a big operation (probably the largest in California.) The situation echoes the recent federal raid of cannabis educational institution Oaksterdam University. Harborside has struggled in the past with castigating audits by the IRS, which declared that the collective was unable to claim simple business expenses on its taxes. 

Oakland city councilperson Rebecca Kaplan recently released a statement in response. Here is the full text:

We are disappointed to learn that yet another licensed, legal and locally regulated medical cannabis facility has come under federal attack.

The last time that the federal government used its resources to go after a permitted facility with no history of crime or violence, there was a school shooting taking place across town while federal agents tagged and bagged medical marijuana plants.

We can’t let this happen again.

The Justice Department has said in the past that it wouldn’t target medical marijuana.

They went back on their word – starting to target medical cannabis facilities allowed under California law.  Then, the U.S. Attorney’s Office said they are specifically targeting cannabis facilities located within 1,000 feet of parks and schools.

Let’s be clear: Harborside Health Center is in compliance with our democratically-enacted laws – and is not near either a park or a school.

During the raid on Oaksterdam University, the federal government used cops – this time they’re using lawyers.

If federal prosecutors have extra time available, I ask – on behalf of my constituents all across the city – that they instead prosecute the illegal gun dealers who are the source of death and violence in Oakland.

Federal agents have worked successfully with local law enforcement this year to go after guns and violence – and we are deeply thankful and appreciative of that help.

That’s what we need more of.

If there are federal resources available, we need them directed against the violent perpetrators and co-conspirators of the senseless gun violence on our streets. 

Local news media reported recently that, on the day of the federal raid and the school shooting, local law enforcement said the federal raid against Oaksterdam University ‘drained the vast majority of [the department’s] west-end staffing thus resulting in several priority calls being stacked — something that might have [been] prevented.

Wasting resources going after legal, licensed and locally regulated medical marijuana facilities is not only inappropriate, but directly harms our ability to fight crime and respond to violence in our city.

We respectfully ask the Justice Department to devote any available resources to fight gun crime and stop the interstate flow of illegal guns into our city.

Thank you.

Guardian Voices: My San Francisco

Zelda Bronstein
-
29
Guardian Voices: My San Francisco

I’ve spent the last 12 years learning to love and sometimes hate San Francisco, and I’ve made it my home. A few months after my 31st birthday, I drove out here from the midwest to contribute to social change in a place where I could be Black, LGBT, and a community organizer – and not be forced to have my dyke identity matter quite so much. (More on that history somewhere else…) While doing grassroots community work in this city, I found love, made life-long friends, started a family and developed an incredible multi-ethnic community that has deeply enriched my life. Over the years, we’ve shared moments of tragedy and the sweetness of victory, and all of it together has defined a “San Francisco experience” quite different from what I expected. And quite different from what the tour guides sell.

Over these years, I developed an analysis of the political, economic and cultural life of this incredibly contradictory city. I’ve come to understand the structural roots of gentrification, the nature of corporate elite rule in a supposedly progressive town, and the challenges white activists face dealing with the complexities of politics in a “majority minority” city. But most of all, it’s the people in my particular San Francisco who I’ve come to love, and I’m now carrying all of their stories with me as I move in new directions. 

My San Francisco is the people rarely quoted in the local media and most often mentioned only in the context of one social problem or another. They are the mostly poor and working-class families of color I’ve been learning from all these years, people whose daily suffering goes mostly unnoticed, whose political leadership is rarely respected, and whose view of San Francisco is rarely taken into account. This is the San Francisco largely off the political and geographic map, where neither tour buses nor politicians tend to go.

My San Francisco has been in the southeast quarter, the Frisco where people work hard and do whatever is necessary to feed their families, have loud family BBQs in the park, and rock their Giants gear as much and as often as possible. The folks getting evicted, foreclosed on, and displaced by being priced out. They are Black and Latino folks who’ve joined grassroots organizations — mostly women — who make incredible daily sacrifices to change the world. They are volunteer community organizers, who might go to school or take care of other people’s children during the day, and organize for change one meeting at a time, at night. They face the threat of deportations, police harassment, and stressful low-wage work. When they join a membership-based organization, they get a community with shared values and support, but they don’t get money, status or personal power. The Frisco families I know and love don’t identify as “moderate” or “progressive,” but they know that rich people don’t have the right to rule the world, that public education and decent housing should be basic human rights, and that it makes no sense, in the middle of such deep unemployment, to raise bus fares and make it more expensive to take the bus to work. They have compassion, common-sense, critical thinking, and courage. They should be running the city.

The grassroots leaders, activists and organizers who’ve become such an intimate part of my life and whose stories now make up “my San Francisco” don’t align nicely with most dominant ideas about this place. They are not cool, cosmopolitan and carefree. But neither are they simply victims of downtown’s political power. Their leadership is the only hope for this city that I have.

It’s the young Black women with heartbreaking stories of brothers and cousins lost through gun violence, and with less public but equally horrifying private horrors of sexual violence and abuse that have traumatized them to their core.  But they are proud to be born and raised in this city and are leading community meetings, developing campaign strategies, educating their peers about Prop. 13 and their right to quality education. I have their tears, their youthful giggles, and their dreams for the future, all here in my head. 

I have the stories of undocumented Latina immigrant women, who too suffered sexual abuse when crossing the border, but now here in the US take incredible risks and do practically everything in their power to ensure their children have a better life than their own. I have the sound of their laughter together, often in Spanish —  of  these mamas, as they make plans to call 100 people for the next meeting, and the shaking in their voice when they rise to speak out in public against the racism they witness in our public schools. These women in my San Francisco have knocked on thousands of doors, talked to tens of thousands of people about the pressing issues of our times. But they are ignored on the streets of our city and in the halls of power, invisible to so many middle class, often white, professionals and activists who just don’t know, understand, or appreciate this ‘other’ San Francisco.

I love this San Francisco, and my hope is that this column can lift up these stories in coming weeks and months. San Francisco will never, ever, become the city of our dreams until the people doing the hard, often invisible work of grassroots organizing in the communities most impacted by city’s contradictions, play a more central role in defining the city’s politics. There is new leadership emerging in communities of color, and the future of San Francisco lies in their power.

Our Weekly Picks: July 11-17

Andrew Lam
-
0

WEDNESDAY 11

Marat/Sade

San Francisco theater fiends: are you ready for this? Marc Huestis — local producer of such memorable star ‘n’ movie events as “A Carrie White Christmas with Piper Laurie” and “Linda Blair Live!” — is collaborating with Thrillpeddlers — San Francisco’s delightfully daring theater troupe, known for its Grand Guignol and Cockettes-inspired productions — to heat up foggy July with Marat/Sade. Peter Weiss’ play with music (it won a Tony for Best Play; the 1967 movie version starred most of the Royal Shakespeare Company actors who’d originated the roles) is set just after the French Revolution and is “performed” by Charenton Asylum inmates, with the Marquis de Sade directing. Judging by the talent behind this show, you’d be insane (ahem) to miss it. (Cheryl Eddy)

Through July 29

Previews Wed/11-Thu/12, 8pm, $20

Opens Fri/13, 8pm, $38

Runs Wed-Sat, 8pm; Sun, 7pm (also July 22, 1:30pm), $25–$38

Brava Theater

2781 24th St., SF

(415) 863-0611

www.ticketfly.com

 

Campfire Guitar Lessons

If you’ve ever felt bummed when a friend whips out a guitar at a group gathering, a jam session begins, and you’re the only person who can’t join in on the fun, this class may be for you. The San Francisco Free School offers weekly Campfire Guitar Songs lessons to those in need of practice. The songs change every week but teachers Joergen and Marco favor classic bands and musicians such as the Beatles, Bob Dylan, Cat Stevens, and the Who, as well as Gospel music, nursery rhymes, and traditional tunes. They recommend doing some preliminary guitar playing at home so the group can work at a good pace, and remember: bring your own guitar. Learn the basics so you can impress your musically inclined friends, and join in at the next impromptu band night. (Shauna C. Keddy)

6pm, free

The Hapiness Institute, SF

1720 Market, SF

www.thehappinessinstitute.org

 

FIDLAR

Looking for a new party mantra? FIDLAR’s got you covered. This LA band’s name is an acronym for Fuck it Dog Life’s a Risk. If that’s not what you’re looking for, check out its singles “Wake Bake Skate” and “Black Out Stout.” This band’s lo-fi garage-punk is the perfect summer soundtrack, whether you’re surfing, skating, crowd surfing, or drinking. Especially drinking. Instead of pointing to like-minded artists, the band credits Four Loko, Coors Light, and a laundry list of college-caliber booze brands as its influences. Take a hint, grab your tall cans, and get ready to rage. (Haley Zaremba)

With Meat Market, the Shrills

9pm, $10

Bottom of the Hill

1233 17th St., SF

(415) 626-4455

www.bottomofthehill.com


THURSDAY 12

Steel Panther

For the spandex-clad, Aqua Net-sprayed members of Steel Panther, the 1980s hair metal scene never went away; the Los Angeles quartet keeps the glory days of the Sunset Strip alive and well with its hilariously over the top and outrageous, but nonetheless hard rocking, sound and attitude. The band’s second album, Ball Out, dropped last year, and featured a host of anthem-worthy tunes that you and your bandana-wearing buddies can sing along with tonight when it hits the city — “Supersonic Sex Machine,” “17 Girls In A Row,” and of course, “It Won’t Suck Itself.” (Sean McCourt)

8pm, $22.50–$25

Regency Ballroom

1290 Sutter St., SF

(415) 673-5716

www.theregencyballroom.com


FRIDAY 13

Mugsy Wine Bar Bastille Day pop-up happy hour

Storm the fortress of this Mission dive’s patio — it shouldn’t be too hard, there’s no cover — for El Rio’s new pop-up wine bar. Mugsy Wine Bar is organized by Granate Sosnof, mainly so that Sosnof could have a decent cup of vino while her partner works behind the Tecate-margarita-serving bar. Sosnof focuses on wines made by queer, people of color, and family producers and to honor the 223rd year of commemoration of the storming of the Bastille, Mugsy will be serving a sparkling Blanc de Noir Cremant de Bourgnone, the 2009 Cotes du Rhone from Le Clos du Caillou. If ever there were an excuse to wear your sequined beret around any one besides your cat, this is it. (Caitlin Donohue)

5:30-8:30pm, free

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

mugsywinbar.tumblr.com

 

Reverend Horton Heat

It may be hard to believe, but the rockabilly juggernaut that is the Reverend Horton Heat has been hitting stages for more than 25 years now — and as fans of the Texas musician and same-named trio know, the band’s strong suit is its live show, which the group captured for posterity during an August 2010 concert at the historic Fillmore right here in San Francisco. Due for release later this month, 25 To Life is the new DVD/CD set documenting that night’s musical mayhem; until then, get off the couch and catch the boys live and in person, back in the Bay. (McCourt)

With Supersuckers, Goddamn Gallows

Fri/13-Sat/14, 9pm, $20–$25

Uptown

1928 Telegraph, Oakl.

(510) 451-8100

www.uptownnightclub.com

 

SS2

There is no single unifying thread that weaves all the motley, underground S.S. Records bands together. As the laudable DIY Sacramento label and online shop puts it, “the records we put out and the ones that we carry we actually listen to” (emphasis mine). Crystal balling it, chances are that you’ve listened to some of these bands too, or you should be: San Francisco legends Icky Boyfriends, Spray Paint, Lamps, Musk, and the list goes on. Last year, the label celebrated a decade of life with its own intimate music fest. It went so well, they’re doing it again. Bands such as the aforementioned Icky Boyfriends along with late ’80s psych-garage stalwarts Monoshock, and newer Modern Lovers-ish LA weirdos Wounded Lion (now on In the Red) will come together to play the two-day 11th anniversary gathering this weekend. (Emily Savage)

Fri/13-Sat/14, 9pm, $12 each day

Hemlock Tavern

1131 Polk Street, SF (415) 923-0923

www.hemlocktavern.com

 

Com Truise

Seth Haley’s technicolor electro-funk under the Com Truise moniker has all the subtlety of a giant bowl of Fruity Pebbles. His newly released full-length, In Decay, finds the Jersey-based synth-nut fine-tuning his bloggy brand of retro-futurism, with a nostalgic approach resembling Rustie or Onra. The oversaturated arpeggios pop like neon paintballs; the basslines rip like buzzsaws; the hex-drums evoke every supposedly ill-advised ’80s-ism you secretly never want to forget. Haley’s giddily excessive production ties this all together with an immediacy that should result in an exhilarating live show. Throwing restraint to the wind, Com Truise’s music revels in its garishness. (Taylor Kaplan)

With Baauer, Kid 606, Jim-E Stack, Giraffage

10pm, $15

103 Harriet, SF

(415) 264-1015

www.1015.com

 

SATURDAY 14

DJs from Mars

You know the basics: European DJ duo dons masks for a frisson of anonymity in our Age of Overexposure (in this case basically cardboard boxes with faces painted on them), mashes up popular tunes over aggressive electro beats, and become renowned for their antics both onstage and off, possibly involving bared breasts and chainsaws — don’t worry, not both things simultaneously. You are perhaps also familiar with that great contemporary international DJ woe: having to cancel your tour due to visa issues. Happily, Italian duo DJs from Mars manage to transcend all your familiarities. Sure, the boys(?) have got the EDM rock star schtick down, but it’s never been more polished or goofy-nuts. They’ve also got the visas, and their rescheduled tour stop at the Bootie mashup party should be what the kids used to call a real banger. (Marke B.)

9pm, $10–$20

DNA Lounge

375 11th St., SF

www.bootiesf.com


SUNDAY 15

Aesop Rock

Recently rated the industry’s most intelligent rapper by Listverse, San Francisco resident Aesop Rock is a hip-hop maverick with a quick tongue and sharp wit that will leave your feet tapping and your head spinning. His je ne sais quois coolness seems to increase with every move he makes, from collaborating with Atmosphere’s Slug to peppering his rhymes with obscure science fiction references to touring with alternative folk royalty Kimya Dawson to writing a song about Grubstake, Polk Street’s notorious greasy spoon and late-night vomitorium. See you there after the show. (Zaremba)

With Rob Sonic & DJ Big Wiz

8pm, $22.50 Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com


MONDAY 16

Janka Nabay & the Bubu Gang

Sierra Leone’s Janka Nabay is the self-proclaimed King of Bubu — a traditional Muslim music genre with a lightning tempo. When Nabay relocated to New York in 2009, his passion for music and the frenetic energy of bubu gained the attention of the local music scenesters. As a result, Nabay is now backed by the Bubu Gang, an impressive array of Brooklyn indie-rockers that includes members of Chairlift, Skeletons, and Gang Gang Dance. The group recently signed with David Byrne’s record label Luaka Bop; now they’re bringing their catchy beats and bamboo pipes to the West Coast, so dust off those dancing shoes. (Zaremba).

With Sun Araw, Cash Pony

8pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


TUESDAY 17

Shearwater

You’d be forgiven for thinking Shearwater was beamed in from a bygone era. A time when lush, spacious production wasn’t restricted to lifestyle music for the boomer-dad demographic. On its eighth LP, Animal Joy, the Austin-based collective, and Okkervil River spinoff, out-luxuriates the competition yet again, further developing its high-concept brand of art-rock with a cavernous, naturalistic production sound worthy of Talk Talk. Frontperson Jonathan Meiburg’s vocals are surprisingly elegant for a guy on Sub Pop, bearing the full-throated quiver of Antony Hegarty or Scott Walker via Climate of Hunter. Shearwater’s Animal Joy is the sound of analog integrity trumping digital expedience; hopefully, Shearwater’s stage presence will reflect this old-school sense of refinement. (Kaplan)

With Husky, Gold Leaves

9pm, $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.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.

A Republican feminist

-
13
A Republican feminist

caitlin@sfbg.com

LIT “Do you consider yourself sex-positive?”

If you have a chance to interview John McCain’s daughter, and she identifies as a feminist, and is demonstrably more comfortable in strip clubs than the “liberal comedian” with whom she has embarked on a tour with in promotion of their book America, You Sexy Bitch! (Da Capo Press, $26, 352pp), you have to seize your moment to ask the big questions.

The pause from the other end of the telephone line tells me Meghan McCain, however, does not know what this term refers to. “Do I consider myself sex-positive? I’m not sure what you mean.” See?

She and Michael Ian Black will be in conversation at the Castro Theatre on Tue/17 at an event sponsored by the Commonwealth Club, by the way.

“It’s a term that we use — keep in mind I’m calling from San Francisco,” I say. “To mean not ashamed of sex. Of the opinion that having sex with people is OK. Different kinds of sexualities?” Apparently I don’t know what sex-positive means either, or else I am awkward in explaining the term to Republicans.

McCain, having been raised in the belly of a well-oiled political machine, is wary of potentially loaded questions from reporters. But she has also built her adult career on being a fiscally conservative woman who delights in bucking the social mores of the Republican Party. As such, she is able to compose a categorical response that is still pretty charming to her commieweirdo interviewer.

“I’m a big supporter of the gay community, if that’s what you’re asking me. And when it comes to my personal life, I am not abstinent, if that’s what you’re asking me as well. I am straight, if that’s what you’re asking me. I only date men. But sex and sexuality, I’m not terribly prudish. I think it’s private in nature but as far as I’m concerned, everybody can do whatever they want as long as it’s legal. In the privacy of their own homes, that’s their business, literally. As long as they’re not hurting anybody, I don’t care. Do your thing.”

Despite the many pages McCain and Black spend casting themselves as a “real” conservative and liberal — McCain as a gun-loving war eagle, Black as a snarky priss — the secret-not-secret point made by America, You Sexy Bitch is: politics don’t make the person. To that end, readers are taken on a RV tour of the country with McCain and Black, a trip that threatens to reveal the real America. We learn that McCain is far more comfortable in strip clubs than Black and is happily single at 27, while the Ed veteran has been married since his early 20s, rarely gets drunk, and lives in the suburbs with the wife and kids.

One of my favorite aspects of McCain (and I have many), is the way she speaks out against the treatment of women in the media. Her fervor should come as no surprise: last year, she wrote a scathing open letter to Glenn Beck when he called her fat on his radio show. (“As a person known for his hot body, you must find it easy to judge the weight fluctuations of others, especially young women.”)

“I would have an entirely different career, an entirely different life if I were a man, which I think is just ridiculous,” she tells me. She laments the fact that women politicians have to deal with the “complete BS” that is appearance-driven mainstream media reportage.

She’s great! We’re best friends! Hang out with me, Meghan! But then, this, meant to be completely free of irony: “I hate this idea that the feminist movement has been caught up in the pro-choice movement and somehow the denial of femininity, which is something I don’t understand. For me being a feminist means giving women the choice to do whatever they want.”

Wa-wahhh. Still, I’ll take her over Beck any day.

MEGHAN MCCAIN AND MICHAEL IAN BLACK

Tue/17, 7pm, $15–$45

Castro Theatre

429 Castro, SF

www.commonwealthclub.org

 

Stage Listings

Andrew Lam
-
0

Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

Marat/Sade Brava Theatre, 2781 24th St, SF; (415) 863-0611, www.ticketfly.com. $20-38. Previews Wed/11-Thu/12, 8pm. Opens Fri/13, 8pm. Runs Wed-Sat, 8pm; Sun, 7pm (also July 22, 1:30pm). Through July 29. Marc Huestis and Thrillpeddlers present Peter Weiss’ macabre Tony-winner.

Sweeney Todd: The Demon Barber of Fleet Street Eureka Theatre, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Aug 11. Ray of Light Theatre performs Stephen Sondheim’s sexy, sinister musical.

BAY AREA

Ma Rainey’s Black Bottom Sister Thea Bowman Memorial Theater, 920 Peralta, Oakl; www.lowerbottomplayaz.com. $10-25. Opens Fri/13, 7pm. Runs Fri-Sat, 7pm; Sun, 2pm. Through July 22. Lower Bottom Playaz perform August Wilson’s music-industry expose.

The Marvelous Wonderettes Fox Theatre, 2215 Broadway, Redwood City; www.broadwaybythebay.org. $20-48. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm (also July 21 and 28, 2pm); Sun, 2pm. Through July 29. Broadway By the Bay performs Roger Bean’s retro musical, featuring classic tunes of the 1950s and ’60s.

Roald Dahl’s Willy Wonka and the Chocolate Factory Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Previews Sat/14, 2pm. Opens Sat/14, 7pm. Runs Thu, Sat, and July 25, 7pm (also Sat, 2pm); Sun, noon and 5pm. Through Aug 19. Berkeley Playhouse performs a musical based on the candy-filled book, with songs from the 1971 movie adaptation.

Upright Grand TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $24-73. Previews Wed/11-Fri/13, 8pm. Opens Sat/14, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 7pm. Through Aug 10. TheatreWorks launches its 43rd season with the world premiere of Laura Schellhardt’s play about a musical father and daughter.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm. Through Aug 18. A multi-character solo show about the characters of San Francisco.

Duck Lake The Jewish Theater, 470 Florida, SF; www.duck-lake.com. $17-35. Fri-Sat, 8pm. Through July 28. By terns gross and engrossing, PianoFight’s Duck Lake — written and produced by associated sketch comedy locals Mission Control — proves a gangling but irresistible flight, a ballet-horror-comedy-musical with fair helpings of each. By the shore of the eponymous watery resort with a mysterious past as an animal testing site, a perennially “up-and-coming” theater director named Barry Canteloupe (poised and sassy Raymond Hobbs) marshals a pair of prosthetic teats and other trust-building paraphernalia in a cultish effort to bring off yet another reimagining of Swan Lake. His cast and crew include a rebounding TV starlet (a sure and winsome Leah Shesky), a lazy leading man (delightfully dude-ish Duncan Wold), a supremely confident and just god-awful tragedian (a duly expansive Alex Boyd), and a gleeful misfit of a tech guy (an innocently inappropriate, very funny Joseph Scheppers). When the thespians come beak-to-beak with a handsome local gang leader (a nicely multifaceted Sean Conroy) and his rowdy band of sun-addled jet-skiers (the awesome posse of Daniel Burke, David Burke, and Meredith Terry), a star-crossed college reunion ensues between the tattooed tough and the hapless production’s white swan. Meanwhile, “scary fucked-up super ducks” go on a killing rampage under tutelage of some cave-bound weirdo (an imposing, web-footed Rob Ready), leading to love, mayhem, and shameless appropriation of timeless musical numbers. It’s all supported by four tutu’d mallards (the po-faced, limber ensemble of Christy Crowley, Caitlin Hafer, Anne Jones, and Emma Rose Shelton) and flocks of murderous fellow fowl (courtesy of Crowley’s fine puppet design). And don’t worry about the convoluted plot, all will be niftily explained by an old codger of a groundskeeper (a hilariously persuasive Evan Winchester). If the action gets attenuated at times across two-plus hours, a beguilingly agile cast and robust concept more than compensate for the loosey-goosey. (Avila)

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

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (Sun/15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Thu/12-Fri/13, 7:30pm; Sat/14, 2pm; Sun/15, 3pm. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed/11-Sat/14, 8pm. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

“Risk Is This…The Cutting Ball New Experimental Plays Festival” Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Fri/13-Sat/14, 8pm. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Tue-Sat, 8pm (also Wed and Sat, 2pm). Extended through July 22. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

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

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $49-75. Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through August 4. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Bloody Bloody Andrew Jackson The Stage, 490 S. First St, San Jose; www.thestage.org. $25-$50. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through July 29. An overrated president and rock musical at once, the 2010 Broadway hit by Alex Timbers (book) and Michael Friedman (music, lyrics) takes its first Bay Area bow in San Jose Stage’s ho-hum production, directed by Rick Singleton. In this proudly irreverent but rarely very witty take on mob-democracy and the pack of jackals that are our illustrious political forefathers, a vicious and ambitious cornpone Jackson (David Colston Corris, subbing for Jonathan Rhys Williams) takes his Indian-hating ways to the top of the political establishment on a wave of backwoods resentments and Tea Party-style populism. Present-day parallels should run deep here, but the play is so shallow in its humor that it feels one-note for the most part, while its South Park-like insouciance has an unintentional way of making jokes about the Trail of Tears feel “too soon.” This American Idiocy and the 13 accompanying musical numbers are gamely if not always smoothly essayed by cast and band alike (under musical direction by Allison F. Rich), but dumb satire lines up with a generally unappealing score, straining after saucy eloquence while sounding derivative of the emo fare served up by the likes of Spring Awakening and that lot. A tack away from sheer vulgarity and buffoonery toward moralizing history lesson comes late in the hour and its guilty pretention — along with earlier gratuitous, vaguely uncomprehending references to Susan Sontag and Michel Foucault — only makes matters worse. (Avila)

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Wed/11 and Sun/15, 7pm (also Sun/15, 2pm); Thu/12 and Sat/14, 8pm (also Sat/14, 2pm). It’s not easy being a girl, and Eve Ensler’s newest play Emotional Creature leaves no scenario unexplored: from high school shaming rituals to ritual clitorectomies. If that sounds like a jarring juxtaposition, you’d be right. It’s difficult theatrically to transition seamlessly from a deeply affecting monologue about being a teenage sex slave in the Democratic Republic of Congo to a cute song about wearing miniskirts, and it’s equally difficult for the audience to change emotional gears rapidly enough to be able to adequately absorb the impact of each individual segment. Instead, the play comes off as an earnest but awkward Girl Scout Jamboree variety show — attempting to address as wide a variety of social ills as possible (from teen suicide to industrial pollution) — despite the strong and savvy acting chops of the six performers. In contrast to Ensler’s most popular work, The Vagina Monologues, which effectively “humanized” a part of the body by giving it something highly personal to say, Emotional Creature weirdly depersonalizes its girls by putting lines in their mouths (“I’m not the life you never lived”) that clearly come from an adult perspective. And as for those girls who don’t particularly identify as “emotional creatures” at all? For them, there are no words. (Gluckstern)

For the Greater Good, Or The Last Election This week: Cedar Rose Park, 1300 Rose, Berk; www.sfmt.org. Free (donations accepted). Sat/14-Sun/15, 2pm. Various venues through Sept. 8. SF Mime Troupe launches its annual political musical (this year’s theme: one percenters behaving badly); the show travels around NorCal parks and other venues throughout the summer.

King John Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Opens Fri/13, 8pm. Runs Sun/15, July 21, 27, 29, Aug 4, 10-12, 8pm; July 22 and Aug 5, 4pm. Marin Shakespeare Company kicks off its 2012 outdoor summer festival season with this history play.

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

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of “sexual deviance” and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling “deviants” of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

Truffaldino Says No Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $18-25. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through July 22. For centuries, stock characters have insidiously demonstrated to the working classes the futility of striving against type or station with broadly comedic pratfalls, doomed to play out their already-written destinies with no hope for a change in script. Truffaldino (William Thomas Hodges) is one such pitiable character. Longing for his airheaded mistress, Isabella (Ally Johnson), playing second fiddle to his father, the iconic Commedia dell’Arte fool Arlecchino (Stephen Buescher), Truffaldino becomes increasingly dissatisfied with the monotony of the “old world” and strikes out for the new one — eventually washing up in Venice Beach. Despite their dayglo California veneer and sitcom-appropriate shenanigans, the new world characters he meets quickly come to resemble the stock commedia characters Truffaldino has left behind, and he finds himself similarly trapped in their incessantly recurring cycle — pining predictably for valley girl waitress, Debbie (Johnson again). What thankfully cannot be predicted is how Truffaldino manages to rewrite his destiny after all while reconciling his two worlds in a raucous comedy of errors anchored by the solid physical comedy of its stellar cast, particularly that of Stephen Buescher as both Arlecchino and Hal, who bounces, prances, tumbles, and falls down the stairs with the kind of rubber-jointed dexterity that should come with a “kids, don’t try this at home” warning label. (Gluckstern)

PERFORMANCE/DANCE

“Ballroom With a Twist” Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; www.marinesmemorialtheatre.com. $49-79. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 6pm. Through July 29. Dancing With the Stars pros and contestants from American Idol and So You Think You Can Dance perform pumped-up ballroom dance and music.

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. Fri, 8pm, through July 27: “Naked” Theatresports, $17. Sat, 8pm, through July 28: “Spontaneous Broadway,” $20.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

“Expiration Date: Still Good” Jewish Theater, 470 Florida, SF; www.pianofight.com. Thu, 8pm. Through July 19. $20. PianoFight’s female-driven comedy group ForePlays performs fan-fave sketches.

“The Front Row: Live at the Dark Room!” Dark Room, 2263 Mission, SF; www.thefrontrow4.com. Sat/14, 8:30pm. $8. The all-girl sketch comedy troupe performs.

Keith Lowell Jensen San Francisco Punch Line, 444 Battery, SF; www.punchlinecomedyclub.com. July 17-18, 8pm. $15. The comedian performs and tapes a new CD for Stand Up! Records.

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

“Majestic Musical Review Featuring Her Rebel Highness” Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

“Mediate presents Soundwave ((5)) Humanities: Human Bionic” Lab, 2948 16th St, SF; www.projectsoundwave.com. Sat/14, 8pm. $12-25. Multimedia and interactive performances by Joe Cantrell, Kadet Kuhne, and Les Struck + Sonsherée Giles.

“Mediate presents Soundwave ((5)) Humanities: Sonicplace Exhibition” Intersection for the Arts, SF Chronicle Building, 925 Mission, SF; www.projectsoundwave.com. Opening night event Fri/16, 6-10pm, free. Exhibit runs Tue-Sat, noon-6pm. Through Sept 28. Innovative sound installations and exhibits presented by UC Santa Cruz’s OpenLab/Mechatronics Group.

“Stripping Down to Story” Garage, 715 Bryant, SF; www.brownpapertickets.com. Fri/13-Sat/14, 8pm. $10-20. Comedian and performance artist Jovelyn Richards performs her solo show.

 

Film Listings

Andrew Lam
-
0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Max Goldberg, Dennis Harvey, and Lynn Rapoport. For rep house showtimes, see Rep Clock. For complete film listings, see www.sfbg.com.

OPENING

Ballplayer: Pelotero With upbeat music, slick editing, and narration by John Leguizamo, Ballplayer: Pelotero is an entertaining, enlightening investigation into exactly why the Dominican Republic produces so many baseball stars. Comparisons to acclaimed sports doc Hoop Dreams (1994) are apt, as filmmakers Ross Finkel, Trevor Martin, and Jonathan Paley travel to the DR to follow a pair of teenage baseball players dreaming of big-league stardom (and big-league paychecks). But the Hoop Dreams kids weren’t being confronted by the shady, sinister, bottom-line-obsessed recruiters working for Major League Baseball, which maintains a pee-wee farm system of sorts in the country to train young prospects — the best of whom are snapped up at the magic age of 16 for bargain-basement (relatively speaking) prices. And in this environment, questions about numbers reign supreme: how much with each kid be signed for? And, more intriguingly, is either kid lying about his true age? (1:12) SF Film Society Cinema. (Eddy)

Bonsái Awkward young love blooms in this Chilean import, a hit at the 2012 San Francisco International Film Festival. (1:35) SF Film Society Cinema.

Crazy Eyes Los Angeles thirtysomething Zach (Lukas Haas, playing a character apparently based on writer-director Adam Sherman — which, if true, yikes) doesn’t do anything but party from the minute he wakes up ’till the moment he passes out. Since he’s conveniently, inexplicably rich, he also has plenty of time to chase tail; occasionally, very occasionally, he’ll make time for his concerned parents and young son, the product of a failed marriage to a woman openly portrayed as a gold digger. Adding to this noxious brew is Rebecca (Madeline Zima), Zach’s vapid drinking buddy; she refuses to have sex with him, so he becomes obsessed with her — see, she’s the one thing the man who has everything can’t have. Deep, man. This is the cinematic equivalent of all that slurring, flailing, late-night drama that goes down outside your local dive bar, amplified to magnificently self-indulgent levels. (1:36) Lumiere, Shattuck. (Eddy)

Crazy Wisdom Not exactly your average Buddhist leader, Chogyam Trungpa was one part monk to two parts rock star. Recognized as a reincarnated master while still an infant, he left Tibet behind to flee Chinese government forces in 1960, eventually landing in the UK, where he founded its first Buddhist center. A decade later he’d move to the US, founding its first Buddhist university. Amidst all that achievement and enlightenment-spreading, however, he also found time to marry a 16-year-old upper-class Brit, have myriad affairs with students, partially paralyze himself driving a car into a shop front, frequently get drunk in public, and so forth — even though, incongruously, he frowned upon marijuana (and rock music). All this made sense in a tradition of Tibetan Buddhist “crazy wisdom” — or so his supporters would (and still) claim in his defense. Having left this life at age 48, his body exhausted by decades of hedonistic excess, he still has a powerful hold over diverse, multi-faith followers and acquaintances who recall his extraordinary spiritual-personal magnetism. Johanna Demetrakas’ entertaining documentary gathers up testimony from a gamut of them, including Ram Dass, Allen Ginsberg, Robert Thurman, and Anne Waldman. (1:26) Roxie. (Harvey)

The Do-Deca-Pentathlon An annual family gathering sets the stage for revival of the poisonously competitive rivalry between two thirty-something siblings. Mark (Steve Zissis) has a devoted wife (Jennifer Lafleur), a teenage son (Red Williams), a home, and steady job, but he can still be easily goaded into a frustrated rage by brother Jeremy (Mark Kelly), who has none of the above but still gloats over his alleged victory in an adolescent fraternal mini-Olympics two decades earlier. Their uncomfortable reunion provides an opportunity to settle that score once and for all — even if they must (not very successfully) try to hide this epic athletic rematch between nearly middle-aged schlubs from their disapproving relatives. Penned by the Duplass Brothers (2011’s Jeff, Who Lives at Home), and shot several years ago, this feels like a Will Ferrell-John C. Reilly (or whoever) comedy writ small, with the variously normal and silly competitive heats only mildly amusing, and the character drama only slightly more depthed than it would be in a more commercial, slapsticky vehicle. Plus, it’s hard to care much about whether the bros achieve reconciliation, since Jeremy is a little too effectively drawn as an annoying, bullying prick in the early going. There’s a clever idea at Pentathlon‘s center, but this just passably diverting feature doesn’t make all that much of it. (1:30) Sundance Kabuki. (Harvey)

“Family Screening: The Storytellers Show” A one-time-only engagement, this cosmopolitan, family-friendly compilation of short films is a mixed bag, both content and quality-wise. Certain selections — the beautifully, imaginatively animated, Storyteller (Kahanikar) of England; the live-action, Aussie Play Lunch — are inhibited by the heavy-handed drive to tell a linear story or push a message, while others (the Tim Burton-ish, Alan Rickman-narrated Boy in the Bubble) put forth compelling narratives, hindered by wishy-washy CGI. Strongest are the visually-driven films (the silent, mixed-media Paper Piano from Venezuela, in which a young girl crosses the “dangerous urban jungle” to get to her music lesson), and those whose stories flow naturally (the live-action, left-field documentary The Vacuum Kid, about a tweenage boy who enthusiastically collects vacuum cleaners). As a whole, “The Storytellers Show” is perfectly viable entertainment — but with competition like A Cat in Paris, it’s not compulsory viewing, either. (1:06) SF Film Society Cinema. (Taylor Kaplan)

Farewell, My Queen (Benoît Jacquot, France, 2012) Opening early on the morning of July 14, 1789, Farewell, My Queen depicts four days at the Palace of Versailles on the eve of the French Revolution, as witnessed by a young woman named Sidonie Laborde (Léa Seydoux) who serves as reader to Marie Antoinette (Diane Kruger). Sidonie displays a singular and romantic devotion to the queen, while the latter’s loyalties are split between a heedless amour propre and her grand passion for the Duchess de Polignac (Virginie Ledoyen). These domestic matters and other regal whims loom large in the tiny galaxy of the queen’s retinue, so that while elsewhere in the palace, in shadowy, candle-lit corridors, courtiers and their servants mingle to exchange news, rumor, panicky theories, and evacuation plans, in the queen’s quarters the task of embroidering a dahlia for a projected gown at times overshadows the storming of the Bastille and the much larger catastrophe on the horizon. (1:39) Embarcadero. (Rapoport)

Ice Age: Continental Drift This time with pirates. (1:27) Presidio.

Magic of Belle Isle Morgan Freeman and Virginia Madsen star in this Rob Reiner-directed drama about an alcoholic writer who gets a new lease on life after befriending the neighbors at his lakeside cabin. (1:49) Opera Plaza.

Patang (The Kite) Loving memories tethered to a place (Ahmedabad, India), moment (the city’s kite festival, the largest of its kind in the country), and season (according to the Hindu calendar, the event coincides with the day that wind direction shifts) beautifully suffuse this first feature film by director and co-writer Prashant Bhargava. Certainly Patang (The Kite) is the story of a family: Delhi businessman Jayesh (Mukund Shukla) has returned with his freewheeling, movie-camera-toting daughter Priya (Sugandha Garg) to his majestically ramshackle family home, where he supports his mother, sister-in-law (Seema Biswas of 1994’s Bandit Queen), and nephew Chakku (Nawazuddin Siddiqui). He’s come to indulge his childhood love of kite flying and to introduce Priya to Ahmedabad’s old-world sights and ways. Entangled among the strands of story are past resentments —harbored by Chakku against his paternalistic uncle — and new hopes, particularly in the form of a budding romance between Priya and Bobby (Aakash Maherya), the son of the kite shop owner. Above all — and as much a presence as any other — is the city, with its fleeting pleasures and memorable faces, captured with vérité verve and sensuous lyricism on small HD cameras by Bhargava and director of photography Shanker Raman. Their imagery imprints on a viewer like an early memory, darting to mind like those many bright kites dancing buoyantly in the city sky. (1:32) Metreon. (Chun)

Red Dog Already a monster hit in Australia, provenance of the Babe movies, this animal-centric charmer comes to the Bay Area as part of the Windrider Bay Area Film Forum in Atherton. It’s based on Louis de Bernières’ collection of tales (and tall tales) about a legendary canine that roamed the country’s Northwestern wilderness in the 1970s. Director Kriv Stenders centers his film in the mining burg that erected a statue to the animal after its death — an event that serves as the movie’s starting point, as the townspeople gather to toast Red Dog’s many contributions to the community (in addition to providing a much-needed source of amusement in a bleak, barren place, he also became a mascot for the local union, match-made multiple couples, prevented a suicide-by-shark attempt, and engaged in epic brawls with his arch-nemesis, Red Cat). It’s a shaggy, sentimental story elevated by some appealing human performances — Josh Lucas is the token American star, though Aussie film fans will recognize Noah Taylor and Keisha Castle-Hughes — and, of course, one very charismatic pooch. If you can’t make the trek down the peninsula for the screening, Red Dog will be available On Demand starting August 14; the DVD will be out September 4. (1:32) Menlo-Atherton Performing Arts Center. (Eddy)

ONGOING

Beasts of the Southern Wild Six months after winning the Grand Jury Prize at Sundance (and a Cannes Camera d’Or), Beasts of the Southern Wild proves capable of enduring a second or third viewing with its originality and strangeness fully intact. Magical realism is a primarily literary device that isn’t attempted very often in U.S. cinema, and succeeds very rarely. But this intersection between Faulkner and fairy tale, a fable about — improbably — Hurricane Katrina, is mysterious and unruly and enchanting. Benh Zeitlin’s film is wildly cinematic from the outset, as voiceover narration from six-year-old Hushpuppy (Quvenzhané Wallis) offers simple commentary on her rather fantastical life. She abides in the Bathtub, an imaginary chunk of bayou country south of New Orleans whose residents live closer to nature, amid the detritus of civilization. Seemingly everything is some alchemical combination of scrap heap, flesh, and soil. But not all is well: when “the storm” floods the land, the holdouts are forced at federal gunpoint to evacuate. With its elements of magic, mythological exodus, and evolutionary biology, Beasts goes way out on a conceptual limb; you could argue it achieves many (if not more) of the same goals Terrence Malick’s 2011 The Tree of Life did at a fraction of that film’s cost and length. (1:31) Bridge, California, Embarcadero, Smith Rafael. (Harvey)

Neil Young Journeys Interested in going back further with Neil Young, back beyond 1969’s Everybody Knows This Is Nowhere? With Neil Young: Heart of Gold (2006) and Neil Young Trunk Show (2009) under his belt, Jonathan Demme has clearly earned the trust of the singer-songwriter, who occasionally likes to flex his multi-hyphenate creative muscles as a director himself, working under the name Bernard Shakey. The music-loving filmmaker tails Young as he drives through his hometown of Omemee, Ontario, shares glimpses of his school, named after his newspaper-man father, his small-town streets, and his home, and then takes it back to the stage and performs at Toronto’s Massey Hall. The stories and sights will interest mostly Young fans — you definitely get a feel for Young’s roots, but the place and its tales won’t jump out dramatically; they merely visualize factoids one can cull from sources like James McDonough’s bio Shakey — but performance dominates this concert film. Playing solo on guitar, harmonica, and in at least one memorable instance, pipe organ (for a hammered-home “After the Gold Rush”), the songs range from the still-moving, sprawling “Ohio” to “Love and War” off 2010’s Le Noise. It’s all love here for the Young diehard, though for an insightful, passionate tour doc, one might look to Shakey’s own CSNY/ Deja Vu (2008) or, for the performer’s finest cinematic performances, to Rust Never Sleeps (1979) and The Last Waltz (1978). (1:27) SF Center, Shattuck. (Chun) *

 

Black and white and red all over

-
3
Black and white and red all over

cheryl@sfbg.com

LIT “Death at SeaWorld.” The phrase implies a gruesome demise, combining the man vs. beast connotations of Siegfried and Roy’s last show with the amusement-park horrors of Wikipedia’s “incidents at Disneyland” page. Death isn’t supposed to pop up in environments carefully choreographed for family fun. But as David Kirby’s eye-opening Death at SeaWorld: Shamu and the Dark Side of Killer Whales in Captivity (St. Martin’s Press, 469 pp., $26.99) discovers, the marine-themed attraction has hosted its share of tragedies, and not just of the human variety.

Its most high-profile loss was Orlando employee Dawn Brancheau, killed in 2010 by a 12,000-pound orca named Tilikum. Though SeaWorld has long been a target of animal-rights groups, Brancheau’s death set in motion a rigorous Occupational Safety and Health Administration (OSHA) investigation into whether or not trainers should be allowed to keep performing the spectacular aquatic stunts that SeaWorld has long been famous for. (As of this writing, the case is still in legal-wrangling mode.)

Kirby, a journalist whose previous books include Evidence of Harm and Animal Factory, found the OSHA inquiry — and the fact that it had been met with strong SeaWorld resistance — instantly compelling. He soon understood there was much more to the story.

“I started out to write a book about corporate malfeasance and obstructing a federal investigation,” he remembers. “[Killer whale] captivity had not ever struck me as an issue. But I realized that even though a lot of people were screaming about how safe it was to be in the water during performances, the much larger question was: do these animals belong in captivity at all?”

As a kid in SoCal, Kirby says, he visited SeaWorld and went on whale-watching trips. But until he started writing Death at SeaWorld, “I didn’t know that killer whales are dolphins, that they don’t kill people in the wild, how highly intelligent they are, or that they are so attached to their families,” he says. “When Dawn Brancheau died, I remember feeling very bad for her and her family, but I don’t remember feeling bad for the whale.”

His research made him rethink his ambivalence toward not just Tilikum, but all killer whales in captivity. Very few “display industry representatives” were willing to speak on the record, but Kirby connected with several “anti-cap” figures — including the Humane Society’s Dr. Naomi Rose, a whale expert who was involved in the campaign to return Keiko, star of 1993’s Free Willy, to his native Iceland.

“When you write narrative nonfiction, you really do need one character who is going to carry the reader through the whole story,” Kirby says. “[Rose] was the best person to do that because she started studying these animals in 1985. She spent years doing field research, and [later became] involved in organizing against the industry, starting anti-captivity campaigns, and trying to protect these whales through federal law. She was also involved with the OSHA investigation and the media.”

In addition, “I was so lucky to have ex-trainers who came forward after Dawn died. [They had] come to the same conclusion through different channels [than Rose]: captivity is bad for the whales. I felt super-fortunate to have first-person accounts of whales in nature and whales in captivity,” Kirby says. “I really wanted to bring readers to two different worlds that most people have never been to: the far Northern reaches of Vancouver Island, where these whales live — and then, backstage in Orlando. I felt that juxtaposing them would really show why captivity is inappropriate. I wanted the readers to get to know the whales in the wild, and to appreciate their life in the wild, in order to understand why captivity for this particular species is so wrong.”

Though Brancheau’s death was the impetus for Death at SeaWorld, it is not the book’s sole focus. The “death” referred to in the title has multiple meanings.

“Two people [Brancheau, plus an after-hours trespasser in 1999] have died in SeaWorld pools,” Kirby says. “Two other people have died because of SeaWorld whales: in British Columbia before Tilikum was bought by SeaWorld, and in the Canary Islands by a whale owned by SeaWorld.”

But while human deaths grab headlines, whale deaths are far more common. According to Rose and other experts, orcas live far fewer years in captivity than they would in the wild.

“Death at SeaWorld also absolutely refers to all of the orcas who have died at SeaWorld, and continue to die at SeaWorld,” Kirby says. “To me, the whales are as important as any of the people in the book — Tilikum becomes a main character that you get to know. I used to tell people when I was writing the book, it’s like Jaws, only it’s non-fiction, more people die, and you actually care about the whale.”

DAVID KIRBY PRESENTATION AND BOOK SIGNING

July 25, 7pm, free

The Hub

901 Mission, Ste 105, SF

www.deathatseaworld.com

Check out the Hidden World of Girls

Maria Poblet
-
0
Check out the Hidden World of Girls

The Cabrillo Festival of Contemporary Music is a hip and splashy event, North America’s most important festival of new orchestral music”  (San Jose Mercury News) The Festival turns 50 this summer, and its commitment to orchestral innovation is as fearless as ever, with six world and three west coast premieres and 14 composers-in-residence. Marin Alsop leads the Cabrillo Festival Orchestra, joined by guest artists David Krakauer, klezmer clarinet; Cristina Pato, Galician bagpipes; Kayhan Kalhor, kemancheh; and Michael Ward-Bergeman, hyper-accordion. July 28 through August 12 will be filled with concerts, forums, and open rehearsals in Santa Cruz. August 4 and 5 includes the Church Street Fair, a two-day celebration of Santa Cruz’ vibrant arts scene. The season will open on July 28 with Hidden World of Girls: Stories for Orchestra, a groundbreaking multimedia collaboration with NPR’s Kitchen Sisters, five female composers, and media design by renowned Obscura Digital.

For more information, tickets, and a full list of events going on this summer click here

Saturday, July 28 – Sunday, July 29 @ Santa Cruz Civic Auditorium, 307 Church Street, Santa Cruz | $32

Win a pair of tickets to Man Ray & Lee Miller’s art exhibition

Maria Poblet
-
0
Win a pair of tickets to Man Ray & Lee Miller’s art exhibition

Man Ray and Lee Miller’s brief, mercurial love affair resulted in some of the most powerful works of each artist’s career, helping shape the course of modern art. See the first exhibition to focus on the pair’s artistic relationship, with approximately 115 photographs, paintings, drawings, and writings exploring the creative interaction between these two giants of European Surrealism. The exhibition also includes selected works by artists in Ray and Miller’s circle in Paris, including paintings by Pablo Picasso, Max Ernst, Roland Penrose, Dora Maar, and a small sculpture by Alexander Calder.

From 1929 to 1932, Man Ray and Lee Miller lived together in Paris, first as teacher and student, and later as lovers. The two artists inspired each other equally, collaborating on several projects, and though they lived together for only three years, the exhibition examines the lingering effect each had on the other’s art. Connecting photography with other media, the exhibition also reveals how the Surrealists combined imagery in unexpected ways, creating extraordinary feats of imagination.

For more information about the event click here.

Enter for your chance to win a pair of tickets by emailing sfbgpromos@sfbg.com with the title as “Man Ray” along with your name and mailing address for your chance to win a pair of tickets.  Ten lucky winners will win a pair of tickets that are valid anytime through October. Winners will be announced on July 25th.

July 14 through October 14 @ Fine Arts Museum of San Francisco, 100 34th Ave, SF | $15

Perjury allegations against Lee gain more support

Sasha Cuttler
-
126
Perjury allegations against Lee gain more support

San Francisco Democratic Party Chair Aaron Peskin has confirmed his role in extending a city job offer from Mayor Ed Lee to Sheriff Ross Mirkarimi if Mirkarimi had been willing to resign in March, bolstering allegations that Lee may have committed perjury when testifying under oath before the Ethics Commission on Friday.

But even as more media outlets report the possible perjury (a story we broke first here), which is further complicating the already complicated official misconduct proceedings that Lee brought against Mirkarimi, the Mayor’s Office and key Lee allies have refused to comment on the perjury allegations or the strange circumstances surrounding the alleged bomb threat that temporarily got Lee off the hot seat.

As we reported in this week’s Guardian, Building Inspection Commissioner Debra Walker said Lee was lying when he said that he hadn’t spoken with any members of the Board of Supervisors before charging Mirkarimi with official misconduct. Walker said Sup. Christina Olague told her she had spoken with Lee about the matter, which Olague now denies.

Lee also responded “absolutely not” when asked by Mirkarimi attorney Shephard Kopp whether he authorized Peskin or development consultant Walter Wong, a close Lee ally, “to convey to Sheriff Mirkarimi if he would stop down, you’d get him another job.”

At press time for this week’s article, Peskin was backpacking in the Sierras and couldn’t be reached, but he has now confirmed to the Guardian that he met with Wong at 11:30am on March 19 – just hours before Lee met with Mirkarimi to say he would be removed from office unless he resigned – at Cafe Trieste.

In that meeting, Peskin said Wong asked him to convey to Mirkarimi an offer from the mayor of a job with the San Francisco Public Utilities Commission or the Airport Commission if Mirkarimi would voluntarily resign. Asked whether Wong indicated that he had discussed the offer with the mayor, Peskin told us, “He certainly left me with that impression.”

Mirkarimi refused to accept the offer, insisting on fighting to keep his job, which was one factor in Peskin’s subsequent public statement calling for Mirkarimi to resign. “There were a lot of things that factored into that,” Peskin said of his call for Mirkarimi to step down, although he wouldn’t discuss other factors on the record.

Efforts by both the Guardian and the Examiner to reach Wong have been unsuccessful, and messages to the Mayor’s Press Office on this and related issues also haven’t been answered. But just as Walker has offered to do, Peskin said he’s willing to testify under oath if asked.

“I am prepared, if subpoenaed, to tell the truth, the whole truth, and nothing but the truth,” Peskin told us.

Lee hasn’t had any public events or made any public comments on the matter since the scandal broke on Friday. The other unanswered mystery is why Lee was whisked from the hearing room just 15 minutes into his testimony, shortly after making the statements that Walker alleges amounted to perjury.

As we reported, neither the SFPD nor the Sheriff’s Department ordered the room evacuated, meaning that decision must have been made by someone within the Mayor’s Office. Press Secretary Christine Falvey’s last statement to the Guardian, on July 2, said, “Again, the mayor’s office did not recess the meeting. I still have to refer you to the Police Department which maintains Mayor Lee’s security or the Ethics Commission about the decision to recess the meeting for (I believe) about 90 minutes.”

Yet neither body seems to know who made the call, and follow-up questions asking the Mayor’s Office to disclose any information they have about that decision have gone unanswered. District Attorney George Gascon — whose office would need to pursue the perjury allegations considering the city’s official misconduct rules don’t apply to the mayor — also didn’t return our call asking generally how allegations of this fashion should be handled.

The official misconduct proceeding continue in front of the Ethics Commission on July 18 and 19 when Mirkarimi’s wife, Eliana Lopez, is scheduled to testify. But that has also been complicated by the Mayor’s Office’s refusal to authorize payment for a plane ticket for Lopez to return from her native Venezuela to testify. Mirkarimi and his legal team say they can’t afford to pay for that plane ticket after Lee suspended Mirkarimi without pay.

Faces of feminism

Andrew Lam
-
7
Faces of feminism

Is San Francisco still on the cutting edge of women’s issues? I recently spent a sunny Saturday morning buried in the radical archives of Bolerium Books (www.bolerium.com) — which is by the way, an amazing resource for anyone researching labor, African American, First Peoples, and queer history, among other things. Me, I was looking into our city’s rich history of feminist activism, inspiration for our upcoming Guardian “Bay Area Feminism Today” panel discussion. The event will unite amazing females from across the city who have but one thing in common: they’re pushing the envelope when it comes to the definition of what a “women’s issue” is, in a time when very few people claim feminism as their primary crusade. We’ll be talking more about their exciting projects –- but also touching on more universal issues. What is San Francisco’s role in fighting the nationwide attack on reproductive rights? How is our progressive community doing in terms of supporting women and maintaining a feminist perspective on issues?

Women’s work: it’s alive and kicking, and it deserves its moment in the spotlight. Meet our panelists here, in preparation for the real deal. 

THE GUARDIAN PRESENTS: “BAY AREA FEMINISM TODAY”

Wed/11 6-8pm, free

City College of San Francisco Mission campus

1125 Valencia, SF

www.sfbg.com/bayareafeminismtoday


STEPHANY ASHLEY

St. James Infirmary programs director, ex-president of Harvey Milk LGBT Democratic Club

 

For me, sex worker rights are a feminist issue because they are about body autonomy. As much as reproductive choice is a feminist issue, so too is the right to determine the ways in which we use our bodies, change our bodies, and take care of our bodies. When people are criminalized for their HIV status, denied access to hormones and safe gender transitions, or are afraid to carry condoms because it might lead to police harassment or arrest — these are all feminist issues. At St. James Infirmary (www.stjamesinfirmary.org), we provide healthcare and social services from a peer-based model, so community is really the central aspect of the project. I was excited to chair the Harvey Milk LGBT Democratic Club (www.milkclub.org) last year, because I wanted to keep raising sex workers rights issues as part of the LGBT agenda. At St. James, nearly 70 percent of our community members are LGBTQ, so it’s really critical that sex workers rights are treated as a queer issue, a feminist issue, and a labor issue.

CELESTE CHAN

Artist and founder of Queer Rebels

My partner KB Boyce and I started our production company Queer Rebels (www.queerrebels.com) to honor the feminist and queer of color artists and elders who paved the way. Our main project is “Queer Rebels of the Harlem Renaissance,” a performance extravaganza which took place June 28-30. Such an exciting time! The Harlem Renaissance legacy remains with us to this day. It was an explosion of art, intellect, and sexual liberation led by queer Black artists. I’m also a board member at Community United Against Violence (www.cuav.org). CUAV was formed in the wake of Harvey Milk’s assassination and the White Night riots, and does incredible work to address violence within and against the LGBTQ community. Another way I’m involved with women’s issues is through Femme Conference (www.femme2012.com). In a culture where femininity is both de-valued and the expected norm, Femme Con creates a vital feminist space — this year it takes place in Baltimore, Maryland.

EDAJ

DJ and promoter of queer nightlife

I work in nightlife to provide space for communities that often don’t have spaces to come together. For 15 years, I have been providing music for women as the resident DJ at Mango (every fourth Sunday at El Rio, www.elriosf.com). I also work to support my fellow LGBT veterans by promoting their visibility through my nightlife projects. Ex-Filipino Marine and two-spirit drag king Morningstar Vancil’s story has inspired me to work on creating a space that raises awareness about LGBT veterans, especially women living with disabilities. I also think it’s important to do outreach in the Black LGBT community to help strengthen support for organizations such as the Bayard Rustin LGBT Coalition (www.bayardrustincoalition.com), a group that is not only fighting for Black LGBT equality, but is focused on social change for all oppressed people. After 10 years of executive producing the Women’s Stage at SF Pride, I was honored as a grand marshal this year at an event hosted by the BRC and Soul of Pride. It was beautiful to see so many Black LGBT people dedicated to moving global equality forward. Although there is a need to reach out to everyone in the Black LGBT community, naturally my goal is to first focus on connecting more women, a group that has always been less visible.

JUANA FLORES

Co-director of Mujeres Unidas y Activas

My organization Mujeres Unidas y Activas (www.mujeresunidas.net) is based on a double mission: personal transformation and community power for social justice. MUA is a place where women arrive through different challenges in their lives. We try to provide emotional support and references so that they don’t feel like they’re alone, so that they have strength to begin the process of healing and making changes. Those can include issues of domestic violence, problems with teenage children, labor or housing issues — when they arrive at MUA they begin the process of developing their self esteem and becoming stronger. They also begin to participate in trainings and making changes in their community and to the system through civic and political participation. At MUA, women find a home. They feel comfortable because they’re always welcome. We’re developing strong leadership, leadership that is at the table when it comes to making decisions about our campaigns, like our letter of labor rights and the help we give to victims of domestic violence through our crisis line. Every day our members are developing their ability to be involved in the organization and community, and making changes in their personal and familial lives.

ALIX ROSENTHAL

Attorney and elected member of the SF Democratic County Central Committee

As an elected member of the SF DCCC (www.sfdemocrats.org), the governing body of the SF Democratic Party, I am working to involve the party in recruiting more women to run for political office locally. In the June 2012 election, I assembled a slate of the female candidates for DCCC — we called ourselves “Elect Women 2012.” It was a controversial effort, because it included both progressives and moderates. In the wake of a highly contentious and factional term on the DCCC, we hoped to prove that moderates and progressives can work together to re-energize Democrats in this important presidential election cycle. Running for office in San Francisco is a high stakes game; it is costly and requires an extensive political network. And so the DCCC is where many future candidates get their start — it is where they build the connections necessary to run for higher office, and where they hone their fundraising abilities. By recruiting and supporting women candidates for the DCCC, I am hoping to build a “farm team” of female candidates within the party. This year, I am proud that the seven women incumbents on the DCCC retained our seats in the June election, and that we achieved parity by electing four new women to the party’s governing board. I look forward to seeing what these women can accomplish together.

LAURA THOMAS

Deputy state director of Drug Policy Alliance

Ending the failed war on drugs is a women’s issue because women are far too often bearing the brunt of that failure, losing their freedom, children, economic independence, safety, health, and sometimes their lives as victims of the war on drugs. Women in prison in California can be shackled during childbirth, lose custody of their children because they use legal medical marijuana. They’re vulnerable to HIV and hepatitis C because they or their partners don’t have access to sterile syringes for injecting drugs. My major project for the Drug Policy Alliance (www.drugpolicy.org) is mobilizing San Francisco to show the rest of the world how effective progressive drug policy can be. I want to see San Francisco open the first supervised injection facility in the United States, to end new HIV and hepatitis C infections among people who use drugs. I want us to truly have effective, culturally appropriate substance use treatment for everyone who requests it. I want San Francisco to end the cycle of undercover drug buys-incarceration-recidivism. I want us to address the appalling racial disparities in who gets arrested, convicted, and incarcerated for drug offenses here. I want us to aggressively defend our ground-breaking, well-regulated medical cannabis dispensary system against all federal intervention. San Francisco is leading the way in the United States in addressing the harms of drug use and drug prohibition but we have a lot more we can do.

MIA TU MUTCH

Transgender activist and SF Youth Commission officer

I’ve worked for a plethora of LGBTQ organizations and have been on several national speaking tours. I currently serve as media and public relations officer of the San Francisco Youth Commission, and use my position to promote LGBTQ safety and overall health. I’ve partnered with several city departments in order to create a cultural competency video that will train all service providers on best practices for working with LGBTQ youth. As a vocal advocate against hate crimes and sexual assaults, I’m working with local groups to create a community patrol in the Mission to prevent violence against women and transgender people. I’m also the founder of Fundraising Everywhere for All Transitions: a Health Empowerment Revolution! (FEATHER), a collective aimed at making gender-affirming transitions more affordable for low income transgender people. I work to create avenues of equality for those who benefit the least from patriarchy by creating a culture of safety and support for people of all genders.

Stage Listings

Andrew Lam
-
0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

Duck Lake The Jewish Theater, 470 Florida, SF; www.duck-lake.com. $17-35. Opens Fri/6, 8pm. Runs Fri-Sat, 8pm. Through July 28. PianoFight’s resident sketch comedy group, Mission CTRL, performs its new "ballet-horror-comedy."

For the Greater Good, Or The Last Election This week: Dolores Park, 18th St at Dolores, SF; www.sfmt.org. Free (donations accepted). Opens Wed/4, 2pm. Runs Sat/7-Sun/8, 2pm. Various venues through Sept. 8. SF Mime Troupe launches its annual political musical (this year’s theme: one percenters behaving badly); the show travels around NorCal parks and other venues throughout the summer.

BAY AREA

King John Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Previews Fri/6-Sun/8, 8pm. Opens July 13, 8pm. Runs July 15, 21, 27, 29, Aug 4, 10-12, 8pm; July 22 and Aug 5, 4pm. Marin Shakespeare Company kicks off its 2012 outdoor summer festival season with this history play.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm (no show Fri/6). Through Aug 18. A multi-character solo show about the characters of San Francisco.

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

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Hedwig and the Angry Inch Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Wed/4-Thu/5, 8pm; Fri/6-Sat/7, 7 and 9:30pm; Sun/8, 5pm. Boxcar Theatre performs John Cameron Mitchell’s musical about a transgendered glam rocker.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Thu-Fri, 7:30pm; Sat, 2pm; Sun, 3pm. Through July 15. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

The Magic Flute War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $31-340. Fri/6, 8pm; Sun/8, 2pm. San Francisco Opera adds some unexpected vitality to its new star-studded production of one of the world’s most popular operas, Mozart’s whimsical but philosophical tale of a romance and (Mason-inspired) spiritual evolution. Prince Tamino (poised tenor Alek Shrader) and sidekick Papageno (fine baritone Nathan Gunn in a blithe comedic performance) are on a quest to rescue from sorcerer Sarastro (imposing bass Kristinn Sigmundsson) the lovely Pamina (appealing soprano Heidi Stober), daughter of the Queen of the Night (the rousingly virtuosic Russian soprano Albina Shagimuratova). The battle royal between the Queen and Sarastro is one between darkness and light, but the emphasis of this joyful production is rightly on the latter, even as Tamino and Papageno’s journey takes them through the ritual rite of passage in Sarastro’s order, the Temple of Light. Visual artist Jun Kaneko (responsible for the giant ceramic heads on view outside the War Memorial Opera House until November) marshals a brightly extensive color palette and some state-of-the-art 3D software to create a mise-en-scène out of parallel planes of patterned line and color. These enveloping and fascinating geometric flights of fancy — animated by a drawn, human touch and organic trickles and blushes of color throughout — come complimented by wildly playful costumes, including a host of wonderfully oddball brightly painted birds, that make for some pleasantly cackling entrances. David Gockley’s English-language translation of the libretto, meanwhile, adds a zesty colloquial freshness whose tinge of irony contributes to an intellectual roominess that matches the aesthetic one, both together offering some necessary reflective space to the contemporary audience vis-à-vis the certainties of this Enlightenment fairytale. (Avila)

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed-Sat, 8pm. Through July 14. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

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

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Tue-Sat, 8pm (also Wed and Sat, 2pm; no matinee Wed/4); Sun/8, 7pm. Extended through July 22. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

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

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $69-75. Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through August 4. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show Wed/4); Sun, 2 and 7pm. Through July 15. It’s not easy being a girl, and Eve Ensler’s newest play Emotional Creature leaves no scenario unexplored: from high school shaming rituals to ritual clitorectomies. If that sounds like a jarring juxtaposition, you’d be right. It’s difficult theatrically to transition seamlessly from a deeply affecting monologue about being a teenage sex slave in the Democratic Republic of Congo to a cute song about wearing miniskirts, and it’s equally difficult for the audience to change emotional gears rapidly enough to be able to adequately absorb the impact of each individual segment. Instead, the play comes off as an earnest but awkward Girl Scout Jamboree variety show — attempting to address as wide a variety of social ills as possible (from teen suicide to industrial pollution) — despite the strong and savvy acting chops of the six performers. In contrast to Ensler’s most popular work, The Vagina Monologues, which effectively "humanized" a part of the body by giving it something highly personal to say, Emotional Creature weirdly depersonalizes its girls by putting lines in their mouths ("I’m not the life you never lived") that clearly come from an adult perspective. And as for those girls who don’t particularly identify as "emotional creatures" at all? For them, there are no words. (Gluckstern)

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

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of "sexual deviance" and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling "deviants" of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

PERFORMANCE/DANCE

"Channels: An Evening of Cross-Disciplinary Performance" Shotwell Studios, 3252-A 19th St, SF; www.ftloose.org. Fri/6-Sun/7, 8pm. $10-20. Dancers Daria Kaufman, Bianca Brzezinski, and musician-composer Richard Warp perform Arti Ulate, a dance-theater piece; Brzezinski also performs a solo, Non-self.

"Comedy Bodega" Esta Noche Nightclub, 3079 16th St, SF; www.comedybodega.com. Thu/5, 8pm. Free (one drink minimum). Weekly free stand-up show. This week: Yayne Abeba, David Hawkins, Anna Seregina, Veronica Porras, Baruch P. Hernandez, and George Chen.

"Comedy Returns to El Rio" El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon/9, 8pm. $7-20. With Joe Klocek, Josh Healey, Regina Stoops, Johan Miranda, Shanti Charan, and Lisa Geduldig.

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

"The Eric Andre Show" Rickshaw Stop, 155 Fell, SF; www.rickshawstop.com. Mon/9, 8pm. $10. Adult Swim-spawned, SF Sketchfest-presented faux-cable access variety show with musical guests and "real and fake celebrity appearances," hosted by actor Eric André.

"The Fag Hag Comedy Show" Deco Lounge, 510 Larkin, SF; www.brownpapertickets.com. Sun/8, 8pm. $10. Charlie Ballard hosts this stand-up comedy extravaganza, with headliner Glamis Rory and more.

"A Funny Night for Comedy" Actors Theatre of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/8, 7pm. $10. Natasha Muse and Ryan Cronin host stand-up comedians, including headliner Jason Wheeler, at their monthly talk show.

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

Carolina Lugo and Carolé Acuña’s Café Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/8, 6:15pm. $15-19. Mother-daughter flamenco dance and music company.

"Majestic Musical Review Featuring Her Rebel Highness" Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

"Schwabacher Summer Concert" Herbst Theatre, 401 Van Ness, SF; www.sfopera.com. Thu/5, 7:30pm. $25-40. The young talent of the Merola Opera Program performs scenes from works by Bizet, Stravinsky, and more.

Under oath

Andrew Lam
-
19
Under oath

steve@sfbg.com

Mayor Ed Lee and suspended Sheriff Ross Mirkarimi each took some lumps on June 29 as they were cross-examined by opposing attorneys in front the Ethics Commission, which is conducting the official misconduct case that Lee brought against Mirkarimi over a Dec. 31 domestic violence incident. But the hearings proved unexpectedly dramatic when the room was suddenly cleared for an undisclosed security threat — following testimony by Lee that a city commissioner alleges included perjury.

The incident raises a number of issues that officials hadn’t yet answered by Guardian press time. Was the security threat real? If so, why wasn’t the room or the rest of City Hall properly secured after the mayor was whisked away? If not, who ordered the room cleared and why?

Undersheriff Paul Miyamoto, who ran against Mirkarimi last year, told the Guardian that the San Francisco Police Department notified his office that a caller claimed to have planted bombs outside of City Hall and on the Golden Gate Bridge. Deputies conducted a search and found nothing, and his office didn’t order the recess of the hearing. “We did not evacuate anyone,” he told us.

Speculation about the incident was heightened during the break when Debra Walker, a Mirkarimi supporter and longtime member of the city’s Building Inspection Commission, told the Guardian that Lee committed perjury when he denied speaking with any members of the Board of Supervisors before filing official misconduct charges. Lee was responding to a direct and pointed question from Mirkarimi attorney Shepherd Kopp — one that that Lee’s attorneys had unsuccessfully objected to.

Specifically, Walker said that her longtime friend and political ally Sup. Christina Olague — who Lee appointed to serve the last year of Mirkarimi’s term for the District 5 seat — had told her repeatedly that Lee had asked her advice before filing the charges against Mirkarimi, and that Olague’s advice was that Lee should ask for Mirkarimi’s resignation but drop the matter if he refused.

That allegation, which was first reported on the Guardian’s Politics blog shortly after the commission went into recess (Olague had not yet returned a call from the Guardian asking whether she had spoken to Lee about Mirkarimi), prompted reporters to confront Olague in the hallway outside her supervisorial office, where she tersely denied the allegation and then took refuge behind closed doors.

When the reporters lingered and persisted, waiting for a more complete answer, Olague finally emerged, reiterated her denial, refused to speculate about why her friend Walker would make that claim, and said, “We’re not allowed to discuss this matter with anyone before it comes to the board…I may have to recuse myself from voting on this.”

It was unclear why she thought recusal might be necessary, but if she does disqualify herself from voting on Mirkarimi’s removal later this summer after Ethics completes its investigation and makes its recommendations to the board, that would hurt Lee’s effort to get the nine votes needed to remove Mirkarimi.

When the Ethics Commission hearing resumed after a couple hours, Lee was again placed in a position of denying specific factual allegations that others have made, again raising the possibility that he committed perjury in his sworn testimony, which could expose him to felony criminal charges while undercutting his moral authority to remove Mirkarimi over the single misdemeanor count of false imprisonment that he pleaded guilty to in March.

The second instance was when Kopp asked Lee, “Did you ever extend any offer through third parties that you would find him another job if he resigned?”

“I don’t recall offering Sheriff Mirkarimi any job,” Lee replied.

Kopp specifically asked whether that job offer had been extended on Lee’s behalf by permit expediter Walter Wong or by San Francisco Democratic Party Chair Aaron Peskin, to which Lee replied, “Absolutely not.”

Mirkarimi supporters have told the Guardian that Peskin had made that offer, which Mirkarimi refused, shortly before the party chair publicly called for Mirkarimi’s resignation. The outgoing message on Peskin’s cell phone said he was unavailable and wouldn’t be checking his messages until July 5. Mirkarimi’s attorneys said they’re still figuring out how to respond to the developments and had no comment, but Walker said she’s willing to testify under oath.

But the dramas underscore the treacherous grounds opened up by these unprecedented proceedings, the first involving the Ethics Commission and the broadened definition of official misconduct placed into the City Charter in 1996. As baseball great Barry Bonds and former President Bill Clinton learned, being forced to testify under oath about sensitive topics can be a tough trap to negotiate.

 

MIRKARIMI TESTIMONY

Deputy City Attorney Peter Keith also seemed to be trying to spring that perjury trap on Mirkarimi as he took the stand on the morning of June 29 following an hour on the stand at the previous night’s hearing. Keith reminded Mirkarimi that he was advised not to discuss his testimony with anyone and asked, “Who have you spoken to since last night?”

“My attorneys,” Mirkarimi answered.

“What did you say to them?” Keith asked, drawing objections about attorney-client privilege that Commission Chair Benedict Hur sustained.

“Did you stop for coffee?” Keith then asked, seemingly concerned that Mirkarimi may have discussed his testimony with someone at the coffee shop that morning, which Mirkarimi denied. Keith let the allegation go but maintained an accusatory, hectoring tone throughout the next three hours that he had Mirkarimi on the stand, two more hours than he had told the commission he would need.

Much of the time was spent trying to establish support for the allegation that Mirkarimi had dissuaded witnesses and sought to thwart the police investigation, which was triggered by a call from Ivory Madison, a neighbor to whom Mirkarimi’s wife, Eliana Lopez, had confided. But the testimony yielded little more than the city’s unsupported inference that Mirkarimi must have directed Lopez and his campaign manager, Linnette Peralta Haynes, to contact Madison after she had called the police and urged her to stop cooperating with them.

Mirkarimi has maintained that he did nothing to dissuade Madison or anyone from talking to police, and that he wasn’t aware of the investigation or that Madison had made a videotape of Lopez showing a bruise on her arm until hours after the police were involved. He even sent a text to Lopez saying there was nothing he could do, as he noted.

“It was after 4pm on January 4 when I first learned of any of this,” Mirkarimi testified, later adding, “I was very clear to her in saying you can’t unring the bell, we have to follow through with this.”

Yet Lee and the deputy city attorneys who are representing him also maintain that they needn’t prove witness dissuasion or other allegations they have made, and that the Dec. 31 incident and Mirkarimi’s guilty plea to a single misdemeanor count of false imprisonment are enough to constitute official misconduct and warrant his removal, an interpretation that Mirkarimi’s attorneys dispute.

Keith sought to hammer home how Mirkarimi should have admitted to and publicly atoned for his crime right away rather than telling reporters it was a “private family matters” (which Mirkarimi admitted was a mistake) or fighting the charges by trying to discredit Madison publicly, an allegation he denies.

After unsuccessfully trying to get Mirkarimi to admit to directing efforts to question Madison’s credibility in local media accounts, Keith asked, “Did you ever direct anyone not to attack Ivory Madison?”

“I never directed anyone to attack or not attack,” Mirkarimi replied.

Keith also clarified that Mirkarimi denies the allegation Madison made that the physical abuse on Dec. 31 went beyond grabbing Lopez’s arm once in the car, as the couple has maintained. “It’s your testimony there was no punching, pulling, or grabbing in the house?” Keith asked, which Mirkarimi confirmed.

Yet Keith said that given the totality of what happened, Mirkarimi should have known he couldn’t continue on as sheriff. “Under those circumstances, wouldn’t resigning be the honorable thing to do?” Keith said, to which Mirkarimi replied that it’s a hard question and that he’s doing what he thinks is right.

Faced with friendlier questions from his own attorney, David Waggoner, Mirkarimi apologized for his actions, saying “I feel horrible and ashamed,” but that he was “sad and scared” to have his family torn apart against their will. He also said that he believes he can still be effective as sheriff because “what makes San Francisco special is our forward-thinking approach to criminal justice.”

Longtime Sheriff Michael Hennessey — who endorsed Mirkarimi and continues to support him — established a variety of programs emphasizing redemption and rehabilitation, hiring former convicts into top jobs in the department to emphasize a belief in restorative justice that Mirkarimi ran a campaign promising to continue.

“Never in my wildest dreams did I think I would be an example of what this redemption process looks like,” Mirkarimi said, choking back tears.

But Keith had the last word before Mirkarimi left the stand, belittling the idea that Mirkarimi offers an example to follow by noting how much probation time and court-ordered counseling he still has to undergo and asking, “The process of redemption doesn’t happen overnight, right?”

 

LEE ON THE STAND

Under questioning by Kopp, Mayor Lee admitted that he doesn’t have a written policy on what constitutes official misconduct, that his decisions are made on “a case by case basis,” and that he’s not sure whether conviction of a crime would always constitute official misconduct “because I’ve never confronted this before.”

“Were you aware that many members of the Sheriff Department have criminal convictions?” Kopp asked. Lee said he was not aware. Asked whether he was aware that Sheriff Hennessey had hired a convicted murderer into a top command staff position (see “The unlikely sheriff,” 12/21/11), Lee said he wasn’t.

Lee’s insistence that Mirkarimi’s crime makes him unable to deal effectively with other officials was also attacked by Kopp, who asked, “Isn’t it true that people get elected who have disagreements with other city officials?” He pointed out that City Attorney Dennis Herrera had nasty conflicts with Lee when they ran against each other for mayor last year, but that they’re working well together now.

Kopp also drilled into Lee about his decision to bring official misconduct charges before conducting an investigation or speaking with any witnesses besides Madison — an answer Lee blurted out just as city attorneys objected to the question. Much of Madison’s written testimony has been rejected by the commission as prejudicial hearsay evidence (see “Mayor vs. Mirkarimi,” July 27).

But the public’s perception of this case, if not it’s outcome, could turn on whether Lee is holding Mirkarimi to standards that he himself — as someone appointed mayor on a later-broken promise not to run for a full term — couldn’t meet. It was what Kopp seemed to be driving at before the bomb scare.

“You have asserted in your written charges that Sheriff Mirkarimi’s conduct fell below the standard of decency, good faith, and right action that is impliedly required of all public officials, correct?” Kopp asked.

“Yes,” Lee replied.

“We expect certain things of our elected officials, right?” Kopp asked.

After a long pause, in which Lee appeared to be thinking through his answer, he replied, “That’s generally true, yes.”

“And when the charter speaks of official misconduct, it doesn’t say we expect a certain standard for the sheriff, a different standard for the mayor, a different standard for the DA, a separate standard for the assessor, it just speaks in general terms about official misconduct for public officials, right?” Kopp asked.

Kaiser objected to the question on three counts, sustained on the grounds that it calls for a legal conclusion.

“Do you yourself believe there’s a separate standard for sheriff than for other elected officials?” Kopp asked, and this time the city’s objection was overruled and Lee replied, “It should be the same standard.”

“And would you agree with me that one of the things that is expected of elected officials is for them to be honest and forthright when dealing not only with their constituents, but with other elected officials?” Kopp asked, his final question before Chair Benedict Hur announced that the hearing would be suspended and the room would need to be cleared.

After the hearing reconvened, Kopp drew parallels to other city officials who remained on job after scandals, including former Mayor Gavin Newsom (who had an affair with a subordinate who was married to his campaign manager), former Sheriff Dick Hongisto (who was jailed for refusing to carry out a court’s eviction order), and current Fire Chief Joanne Hayes White (whose husband reported that she hit him in the head with a pint glass).

Asked about the latter case, Lee responded, “I don’t know all the circumstances around that and I don’t believe I was mayor at the time.”

 

Midnight in Woodyland

Jesse Hawthorne Ficks
-
0
Midnight in Woodyland

arts@sfbg.com

FILM Woody Allen’s film legacy is not like anybody else’s — his imitators don’t count — and is likely to grow ever more interesting in retrospect, as it becomes clear how even his (by now many) bad or indifferent movies still provided some idiosyncratic diversity in American comedy. (For the most part his few straight dramas are, face it, only really interesting as digressions from his strengths.)

At present, however, he suffers from a sense that he’s been too prolific for too long. It’s been nearly two decades since a new Woody Allen was any kind of “event,” and the 19 features since Bullets Over Broadway (1994) have been hit and-miss — the “hits” just nice rather than truly memorable, the misses landing with a soft, listless thud. Every few films there’s a heralded “return to form,” whether it’s Melinda and Melinda (2004), Match Point (2005), Vicky Christina Barcelona (2008), or last year’s Midnight in Paris. But they’re just pretty good, and no one should be surprised anymore when something as dismal as Cassandra’s Dream (2007) or Anything Else (2003) pops up between them.

Still, there’s the hope that Allen is still capable of really surprising us — or that his audience might, as they did by somewhat inexplicably going nuts for Midnight in Paris. That mild, harmless amusement had a half-developed clever concept and a snugly-fitting lead in Owen Wilson, one of few actors who’ve held on to their own personality while playing Allen’s surrogate. It was Allen’s most popular film in eons, if not ever, probably helped by the fact that he wasn’t in it — for reasons beyond the real-life distaste some have felt toward him ever since the Mia/Soon-Yi fracas. With increasing age, he’s become an onscreen liability to his own movies.

http://www.youtube.com/watch?v=dZcip9HY1Pw

Unfortunately, he’s up there again in the new To Rome With Love, familiar mannerisms not hiding the fact that Woody Allen the Nebbish has become just another Grumpy Old Man. He has trouble making eye contact with other actors, and his fussbudgeting is now a long way from cute, well into annoying. He’s meant to annoy the other characters in his scenes, but still, there’s a doddering quality that isn’t intended, and is no longer within his control.

But then To Rome With Love is a doddering picture — a postcard-pretty set of pictures with little more than “Have a nice day” scribbled on the back in script terms. Viewers expecting more of the travelogue pleasantness of Midnight in Paris may be forgiving, especially since it looks like a vacation, with Darius Khondji’s photography laying on the golden Italian light and making all the other colors confectionary as well. But if Paris at least had the kernel of a good idea, Rome has only several inexplicably bad ones; it’s a quartet of interwoven stories that have no substance, point, credibility, or even endearing wackiness. The shiny package can only distract so much from the fact that there’s absolutely nothing inside, not even Styrofill.

Allen’s segment has him as Jerry, a retired opera director married to Judy Davis (wasted, which could be said of everyone here), reaching the Eternal City to meet the fiancé (Flavio Parenti) of his daughter (Alison Pill). He’s distracted by discovering the latter’s father (tenor Fabio Armiliato) is a superb singer — albeit only in the shower. The joke is that Jerry gets him to sing publicly … in showers. Yep, that’s the whole joke.

The other threads are, if anything, even feebler. Through inane mix-ups a honeymooning couple (Alessandro Tiberi, Alessandra Mastronardi) end up separated, paired respectively with a prostitute (Penélope Cruz) and veteran movie star (Antonio Albanese).

The relationship between study-abroad students Jack (Jesse Eisenberg) and Sally (Greta Gerwig) is complicated when her seductive actress friend (Ellen Page) shows up; Alec Baldwin plays a visiting architect who, for no apparent reason, acts as their omnipresent adviser à la the Bogart ghost in 1972’s Play It Again, Sam.

Worst of all is an utterly stupid non-story in which Roberto Benigni — who doesn’t need to imitate Woody because he’s already annoyingly mannered enough — plays an ordinary family man suddenly treated, and paparazzi-hounded, as a celebrity. There’s no explanation for this, and the presumably intended spoof of meaningless media fascinations famous-for-being-famous folk is so cluelessly handled you wonder if Allen was having a senior moment while writing it.

At the beginning a stereotypical traffic-directing polizia tells the camera directly that he sees all of Rome pass by and knows all their stories. At the end, he tells us there are plenty more where the ones we’ve just seen came from. Pretty as it’s been to look at, after 112 barely chuckle-prodding minutes of To Rome With Love that sounds very much like a threat.

 

TO ROME WITH LOVE opens Fri/29 in San Francisco.

Our Weekly Picks: June 27-July 3

Andrew Lam
-
0

WEDNESDAY 27

“Turbulence (a dance about the economy)”

Breaking down the proscenium is one thing. Favoring installations over stage presentation is another. But messing with the distinction of representation and participation is something else entirely. No one I know of so radically questions the very essence of performance as does Keith Hennessy. What do you call it when in the process of creation, the viewer disappears into the action? For Hennessy it’s a political act. “Turbulence, (a dance about the economy),” which he describes as a “collaborative failure,” was already in the making when Occupy Wall Street exploded. Just as in life, during the “Turbulence” presence at CounterPULSE last December, some people stepped up, others left, the majority sat and waited. (Rita Felciano)

8pm, free

CounterPULSE

1310 Mission, SF

(415) 626-2060

www.counterpulse.org


THURSDAY 28

Andy Rourke of the Smiths (DJ set)

Your inner disco dancer better not be dead, because Smiths bassist Andy Rourke is coming to town, with a crate of records in tow. Ever since he moved to NYC from across the pond, Rourke has become a fixture in the city’s DJ circuit. Instead of aiming for a unified sound with his sets, he jumps impulsively between pop, funk, and electronica, compiling a vibrantly erratic patchwork quilt of his musical influences. Will Rourke tip his hat to the Mozfather with a few beloved Smiths numbers when we least expect it? Only one way to find out, so, clubgoers of the world unite! (Taylor Kaplan)

With Aaron Axelsen and Omar

10pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

Russian Circles

These dudes produce a lot of noise for just three people. The Chicago-based Russian Circles employ heavy use of effects pedals to layer their instrumental, wallowing metal, creating a deep pitß of sound. Their songs seamlessly transition from chugging, mathematical guitar riffs to soft, melodic interludes. In concert, the band is impressively able to replicate and expand upon their complex recorded work, which features enough tempo, time signature, and key shifts to awe anyone with a basic understanding of music theory. It’s metal for the thinking (wo)man, but not to worry, it still shreds. (Haley Zaremba)

With Deafheaven, And So I Watch You From Afar

8pm, $14

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com


FRIDAY 29

“The Official Blues Brothers Revue”

With an all-star musical cast and the comedic genius of John Belushi and Dan Aykroyd, the beloved 1980 film The Blues Brothers paired one of the best soundtracks of all time with an action packed storyline that continues to thrill. The movie — which screens at the Paramount Theatre in Oakland on Friday night — has also inspired a top notch musical tribute show, “The Official Blues Brothers Revue,” featuring the talents of Wayne Catania and Kieron Lafferty as Jake and Elwood, all with the approval of Belushi’s estate and Aykroyd. So put on your suits, shades, and fedoras and get ready to join the boys this weekend on their “mission from God!” (Sean McCourt)

Fri/29-Sat/30, 8 and 10pm, $25–$35

Yoshi’s

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

Pepper 19-Year Anniversary

It’s been 19 years since a gaggle of scruffy dance-and-drink fanatics took over Monday nights at Don’s Different Ducks bar in the Lower Haight, spun some funky house records, and imbibed with abandon, often using the plywood-covered pool table as a dance floor. Pepper, they called it, and although it’s moved around a lot since the Don’s days (it was one of the Guardian’s favorite roving parties of the 1990s), it’s still held strong, retaining its ragtag aura even as its players have become lionized. For this installment, at 222 Hyde in the Tenderloin, DJ Charlotte the Baroness returns from her new home in Chicago to join originator Toph One, fresh out of the hospital after a tragic hit-and-run, on the decks with the Pepper family. Good friends, good fortune, new faces, no-holds-barred dancing. (Marke B.)

9pm, $5

222 Hyde, SF

(415) 345-8222

www.222hyde.com

 

Dent May

She visits from Brooklyn, he attempts to show her a fun time. “You Can’t Force a Dance Party,” from 2009’s The Good Feeling Music of Dent May & His Magnificent Ukulele, wryly introduced May as an affective personality to rival Jonathan Richman and Jens Lekman. It’s not hard to see the autobiographical elements in his music when he sings of his native state, “For you I’ll try so hard to make you see, it ain’t so bad in Mississippi.” Dropping out of NYU, May returned home to work on music and helped found the Cats Purring arts collective/”infotainment cult.” With his new release, Do Things — a slice of sun that sounds like the product of playing with a drum machine after listening to “Wouldn’t It Be Nice” on repeat/acid — May proves that the party is wherever he goes. (Prendiville)

With Quintron and Miss Pussycat

9pm, $9–$12

New Parish

579 18th St., Oakl.

www.thenewparish.com

 

Sat/30 9:30pm, $10–$12

With Quintron and Miss Pussycat, Shannon and the Clams

Elbo Room

647 Valencia, SF (415) 552-7788

www.elbo.com

 

Sandwell District

The SF techno scene blossomed nicely in spring, a kaleidoscope of pixellated textures, live experiments, and visiting representatives of a global scene unburdened from any anti-intellectual strains by the rise of pop EDM. There was also some damn good dancing to be had, no lie. Perhaps auguring a summer full of even deeper, and, perhaps, harder sounds, a showcase from Berlin’s Sandwell District label kicks the season off with some sophisticated boom-boom from Function, Rrose, and Silent Servant at Public Works, presented by the As You Like It party crew. Entrancing UK slow-burn disco king Mark E gives something to swing our skirts to upstairs, and the whole shebang kicks off with the debut of Amélie Ravalec’s documentary Paris/Berlin: 20 Years of Underground Techno. (Marke B.)

9pm, $15–$20

Public Works

161 Erie, SF

(415) 932-0955

www.ayli-sf.com


SATURDAY 30

The Slow Motion Cowboys

The music of the Slow Motion Cowboys has a subtle summery ease — it makes you want to pick up a banjo and play along, perhaps while sipping some lemonade out on the porch. You’d close your eyes and strum along to the sounds of upright bass, gentle guitar picking, baritone ukulele, and fiddle. The group’s original songwriting style and arrangements capture that wistful feeling of yearning that so characterizes classic folk and bluegrass music. While contemporary enough to strike interest in a city audience, their sound is country enough to provide you with much needed peace of mind on a Saturday night out on the town. (Shauna C. Keddy)

6pm, $8–$10

Amnesia

835 Valencia, SF

(415) 970- 0012

www.amnesiathebar.com

 

Kafana Balkan

Admit it: you could use a lot more woozy oompah-pah in your life, a splash of wheeling fiddle-dee-dee, soaring hurrah, and bouncey bass arpeggio. Forget the automated four-four march of your quotidian existence, and whirl away from the rat race like a romanticized gypsy, a musical nomad free of the cubicle, the log-in, the comments section, the endless update. Kafana Balkan, one of our best Romani-inspired parties, mixes gypsy tunes and strong drink with a wee bit of playa dust to conjure non-stop ecstatic dancing: this blowout with live powerhouses Brass Menazeri and Fishtank Ensemble (and fantastic DJ Zeljko) is just the ticket to chase away any reality blues. (Marke B.)

9pm, $15

Great American Music Hall

859 O’Farrell, SF.

www.slimspresents.com


SUNDAY 1

Party Hard(ing)

When it comes to the high stakes game of gentrification, the Divisadero Corridor — lovingly dubbed DivCo by the passels of farmers market-minded individuals that have repopulated the once-African American, once-Western Addition — is betting high. The neighborhood has the critical mass of sustainability activists needed to launch high profile wars against big bank incursion, and drive the conversation on what kinds of new businesses belong on their street. The Harding Theater at 616 Divisadero is a new battle site. Neighborhood groups hope to thwart the efforts of condo developers and make it a community space. Today, come party and fundraise to that end with local vendors, barbers, musicians, and chefs in a gorgeous Alamo Square mansion. (Caitlin Donohue)

7-10pm, $20

Westerfield Mansion

1988 Fulton, SF

Facebook: Party Hard(ing)

www.nddivis.org

 

Lower Dens

Ever since Lower Dens made some year-end lists with 2010’s Twin Hand Movement, bandleader Jana Hunter has kept Kraftwerk’s Radio-Activity in heavy rotation. And, it shows. The Baltimore outfit’s breakthrough follow-up record, Nootropics, doubles down on thick, Krautrockabilly grooves, with the Zen-like propulsion of Lou Reed cruising the Autobahn. The production aesthetic is fascinating in its ability to sound both dry and soaked in reverb, and the album’s second half reveals a newfound interest in Musique concrète, giving the material an artier edge. Sure, they’ve upped their studio game, but the question remains: how will the band rock these songs in a live setting? (Kaplan)

With No Joy, Alan Resnick

8pm, $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


MONDAY 2

The Casualties

Punk’s not dead! The Casualties made sure of it when they formed in New York in 1990 with the purpose of bringing punk back to its roots, in the style of the Exploited and pre-Rollins Black Flag. More than 20 years and eight studio albums later, they’re following through on their proclamation “The punx are fucking here/ You know who we are/ We’re here til the end/ Die hards! Die hards!” With over two decades to perfect their stage dives and liberty spikes, the Casualties are guaranteed to deliver a killer show. Expect some brutal circle pits. (Zaremba)

With Nekromantix, Down By Law, Lower Class Brats, the Sheds

7pm, $16

Oakland Metro Opera House

630 Third St, Oakl.

(510) 763-1146

www.oaklandmetro.org

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage Listings

Andrew Lam
-
0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Opens Thu/28, 8pm. Runs Thu-Sat, 8pm (no show Fri/29 or July 6). Through Aug 18. A multi-character solo show about the characters of San Francisco.

Hedwig and the Angry Inch Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Opens Wed/27, 8pm. Runs Wed-Thu, 8pm; Fri-Sat, 7 and 9:30pm; July 8, 5pm. Through July 8. Boxcar Theatre performs John Cameron Mitchell’s musical about a transgendered glam rocker.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Previews Fri/29, 7:30pm. Opens Sat/30, 5pm. Runs Sun/1, 4:30; Thu-Fri, 7:30pm; Sat, 2pm; Sun, 3pm. Through July 15. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $69-75. Opens Fri/29, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

ONGOING

Aftermath Stagewerx, 446 Valencia, SF; www.brownpapertickets.com. $25. Thu/28-Sat/30, 8pm. Theatre, Period presents Jessica Blank and Erik Jenson’s docu-drama, based on interviews with Iraqi civilians forced to flee after the US military’s arrival in 2003.

A Behanding in Spokane SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $20-70. Wed/27-Thu/28, 7pm; Fri/29-Sat/30, 8pm (also Sat/30, 3pm). If Garth Ennis had been asked to write a comic book about a one-handed sociopath with a dark obsession, he might well have written something similar to Martin McDonagh’s A Behanding in Spokane. And admittedly, approached from that angle, a lot of the script’s dramatic flaws are more easily forgiven. There’s not a whole lot of subtle context or languid metaphor to be found in McDonagh’s criminal caper about the little-known “hand-dealing” trade, but as in Ennis’ best known work, Preacher, the pretty girl (Melissa Quine) is the smartest one in the room; the sociopath (Rod Gnapp) is interested in enacting as vicious a revenge on all humanity while spewing as many blatantly offensive invectives as possible; the boyfriend (Daveed Diggs) has some arrested development issues to work out; and the receptionist (Alex Hurt) takes the caricature of man-child to a whole new level. In fact, while all four actors deliver rock-solid performances of their mostly unsympathetic characters, it’s Hurt’s that impresses most. His spooky intensity and goofily tone-deaf determination plays like a combination of Adam Sandler and Arno Frisch, and if there’s a real sociopath in the room, the evidence suggests it’s probably him. Ultimately though the piece relies too heavily on hollow one-liners to remain interesting — a 20-minute farce stretched to 90 minutes — and quite unlike an Ennis comic, it does not leave one wanting more. (Gluckstern)

Bruja Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Extended run: Wed/27-Fri/29, 8pm; Sun/1, 2:30pm and 7pm. Although San Francisco’s Mission District is inexorably morphing into an empire of twee boutiques and haute cuisine, it’s still the first port of call for many Latin American migrants, and there are plenty of panaderias and botanicas tucked in between the sushi joints. In the Magic Theatre’s production of Bruja, playwright Luis Alfaro transplants the story of Medea to 24th Street by way of Michoacán, exploring the tension between retaining old-country values and staking out a future in a new world. Directed by artistic director Loretta Greco, the title role played by a stunning Sabina Zuniga Varela, this chamber version of the Greek tragedy hits hard, exposing each character’s darkest secrets to an unforgiving light. And every character, save the doomed brothers Acan and Acat (played the night I saw it by Daniel Castaneda and Gavilan Gordon-Chavez), has a secret to hide, even Medea, a curandera or healer by trade, whose powers run deeper and darker than her new world acquaintances, or even her old servant (Wilma Bonet) suspect. And when Jason (Sean San José) and his callous boss Creon (Carlos Aguirre), ruthlessly push Medea to her breaking point, her bloody vengeance proves, if little else, that she can play at ruthlessness better than anyone, whatever the consequences. (Gluckstern)

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

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Thu/28-Sat/30, 8pm (also Sat/30, 2pm). In desperate times, how far would you go to turn a buck? The central premise of the 1997 movie and its namesake musical comedy The Full Monty, the answer to this question is right in the title, which limits the suspense, but amps up the expectations. Set not in Sheffield, England as in the movie, but the similarly economically challenged climate of Buffalo, New York circa the late nineties, the comical romp follows a group of unemployed steel workers who decide, rather optimistically, that spending one night as exotic dancers will solve their immediate financial woes. Banish all notions of a Hot Chocolate sing-along; the soundtrack of the stage musical has little in common with its cinematic predecessor, but there are a couple of toe-tappers, particularly the songs writ for the ladies: a belter’s anthem for their spry but elderly accompanist Jeanette (Cami Thompson), a snarky commentary on male beauty, “The Goods,” for the ensemble. On opening night, Ray of Light’s production ran about 15 minutes long after a late start, and the tempo seemed sluggish in parts, but once it hits its stride, The Full Monty should provide a welcome antidote to the ongoing, we’re-still-in-a-recession blues, red leather g-strings and all. (Gluckstern) Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Lips Together, Teeth Apart New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed/27-Sat/30, 8pm; Sun/1, 2pm. New Conservatory Theatre Center performs Terrence McNally’s play about two straight couples spending July 4 amid Fire Island’s gay community.

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Fri/29-Sat/30, 8pm; Sun/1, 3pm. Homespun scenic design notwithstanding, Theatre Rhinoceros and artistic director John Fisher offer a fine, engrossing production of this 2007 play by Kate Fodor (Hannah and Martin, RX), a sturdy comedy-drama about two fractured families colliding awkwardly in a sort of spiritual vacuum. Matthew (an intriguingly restrained Wiley Herman) is a desolate but forbearing Catholic priest sent on a leave of absence after a venial transgression involving some artful nude male photographs. Returning home, he endures a pained relationship with his devout, passively domineering Irish mother (Tamar Cohn, channeling a nicely measured mixture of stony discipline and childlike vulnerability). Soon Matthew gets an unexpected visit from single mom Theresa (a bright but shrewdly self-possessed Ann Lawler), a former Deadhead who now cleans the rectory and finds herself overcome with an urge to ask the gentle priest about prayer — just at the moment his faith seems to have left him. Meanwhile, Theresa’s too-cool-for-school teenager, Abby (a deft and hilarious Kim Stephenson), waits outside and does some preying of her own on a slower-witted but game young man from the neighborhood (a charmingly quirky Michael Rosen), both of them roiling with confused yearnings. The appealing characters and unexpected storyline come supported by some excellent dialogue, developing a searching theme that ultimately has less to do with formal religion than the ordinary but ineffable need it promises (problematically) to meet. “I think I could be religious or whatever if it made any sense,” notes Abby, “but it doesn’t make any sense.” It’s easy to agree with the teenager on this one. 100 Saints is a genuinely funny and compassionate play discerning enough to avoid naming the depths it sounds. (Avila)

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed-Sat, 8pm. Through July 14. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

Reunion SF Playhouse, Stage Two, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20. Wed/27-Thu/28, 7pm; Fri/29-Sat/30, 8pm. SF Playhouse presents a world premiere drama by local playwright Kenn Rabin.

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

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Opens Wed/27, 8pm. Runs Tue-Sat, 8pm (Tue/3 performance at 7pm; also Wed and Sat, 2pm; no matinee July 4); Sun/1 and July 8, 7pm. Through July 15. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

Slipping New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed/27-Sat/30, 8pm; Sun/1, 2pm. Midwestern high-school senior Eli (Evan Johnson), a recent transfer from San Francisco, is a rebellious gay teen with issues — what American teen doesn’t have issues? But then Eli’s, which include the loss of a beloved father and a Hamlet-like resentment for his recently widowed, sexually liberated academic of a mom (a subtle Stacy Thunes), have already driven him over the ledge. Eli’s “slip” into a state of deep grief is further accelerated by the complicated, violently closeted love he left back in San Francisco. In flashbacks, Eli relives this punishing, irresistible relationship with Chris (a coiled, forceful Fernando Navales) as meanwhile new best friend Jake (Benjamin T. Ismail) gradually expresses more than platonic interest and life with mother builds toward a showdown, in New Conservatory’s Bay Area premiere of Bay Area–born playwright Daniel Talbott’s thoughtfully drawn if dramatically underdeveloped play. In contrast to Ron Gasparinetti’s purposefully vague “anywhere” of a monochrome set (consisting of several low or sloped stone slabs), director Andrew Nance’s cast are engagingly precise in their clear-eyed take on adolescent anguish. Johnson proves gracefully multifaceted as Eli, at turns unbearable in his loose, simmering rage and disarming in his helplessness and heartbreak. And a charmingly awkward and earnest Ismail makes wholly convincing Jake’s innocent moth-to-flame attraction. Indeed, the play’s weaknesses — including a dizzying amount of hopping around the time-space continuum and, more critically, a dramatic arc that’s too neat and shallow to be really satisfying — do not completely detract from a worthwhile subject that often feels drawn from life. (Avila)

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

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

BAY AREA

Emilie: La Marquise Du Chatelet Defends Her Life Tonight Berkeley City Club, 2315 Durant, Berk; www.brownpapertickets.com. $18-25. Thu/28-Sat/30, 8pm; Sun/1, 2pm. Symmetry Theatre Company presents Bay Area playwright Lauren Gunderson’s romantic drama centering on the life of 18th-century French physicist and mathematician, Émilie du Châtelet (Danielle Levin) and her (here tempestuous) long-term romance with Voltaire (Robert Parsons). In a familiar conceit left accordingly vague, fate rematerializes Emilie from some hazy afterlife so that she may relive key moments in her life and account for herself. A Cartesian mind/body split rules the replay, with Emilie finding herself painfully attenuated from the world of the senses — her flashback self (played by an impressive Blythe Foster) alone able to enjoy sensual contact with her surroundings. Meanwhile, love and loyalty face the test as Emilie goes head-to-head with a male-dominated scientific establishment over a certain theorem she calls “force vivre” — a formula into which Gunderson cleverly folds theoretical physics and the irrational heart. There’s even a visual aid: a running tally is kept throughout on a screen at the back of the stage, where hash marks appear and disappear under the headings “philosophy” and “love” as the scenes wind their desultory way back toward the moment of her demise. Chloe Bronzan directs a cast of strong actors but their work is uneven. Foster alone is consistently commanding in a part that, while minor, suggests what a more muscular approach overall might have accomplished. The normally formidable Parsons seems uncommitted in the part of Voltaire, admittedly a character too simpering and watery as written to merit much credence. Instead of palpable relationships — whether with lovers or ideas — Emilie deploys self-conscious verbiage, strained repartee and heavy thematic underscoring to churn what amounts to thin drama. (Avila)

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show July 4); Sun, 2 and 7pm. Through July 15. Berkeley Rep presents Eve Ensler’s world premiere, based on her best-seller I Am an Emotional Creature: The Secret Life of Girls Around the World.

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

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Fri/29, 8pm; Sat/30, 5pm. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

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

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Previews Wed/20, 8pm. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Throgh July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of “sexual deviance” and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling “deviants” of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

Wheelhouse TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Wed/27, 7:30pm; Thu/28-Sat/30, 8pm (also Sat/30, 2); Sun/1, 2 and 7pm. TheatreWorks’ 60th world premiere is a musical created by and starring pop-rock trio GrooveLily.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Fri/29, 6pm; Sat/30, 11am. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

Alicia Dattner Exit Theatre, 156 Eddy, SF; www.theexit.org. Thu/28-Sat/30, 8pm. $26. The comedian performs.

“DEEPER, Architectural Meditations at CounterPULSE” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/29-Sun/1, 8pm. $25. Lizz Roman and Dancers perform a site-specific work.

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

“I Heart Hamas: And Other Things I’m Afraid to Tell You” Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. Fri/29-Sat/30, 8pm. $20. Jennifer Jajeh performs her solo show, soon to be presented at the Edinburgh Festival Fringe.

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

“Majestic Musical Review Featuring Her Rebel Highness” Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

“Mission in the Mix” Dance Mission Theatre, 3316 24th St, SF; www.brownpapertickets.com. Fri/29-Sat/30, 8pm; Sun/1, 7pm. $17. SF Hip-Hop DanceFest producer Micaya presents new work by her SoulForce Dance Company, plus guest performances.

“Nerdgasm” Garage, 715 Bryant, SF; wonderdave.wordpress.com. Thu/28, 8pm. $12. Poetry, storytelling, and more, for nerds and by nerds. Part of the National Queer Arts Festival.

“One Night Only Benefit Cabaret” Marines Memorial Theater, 609 Sutter, SF; www.richmondermet.org. Mon/2, 7:30pm. $25-65. Cast members from the American Idiot tour perform original music and comedy to raise money for the Richmond/Ermet AIDS Foundation and Broadway Cares/Equity Fights AIDS.

“Picklewater Clown Cabaret: Robot’s Revenge!” Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. Mon/2, 8pm. $15. Picklewater and guests perform physical comedy and other circus acts.

“Same Amor” Shotwell Studios, 3252-A 19th St, SF; www.ftloose.org. Fri/29-Sat/30, 8pm; Sun/1, 3pm. $10-20. Flamenco and contemporary dance, comedy, and live music, featuring Acuña Danza Teatro.

San Francisco Ethnic Dance Festival Novellus Theater, Yerba Buena Center for the Arts, 700 Howard, SF; www.worldartswest.org. Sat/30-Sun/1, 3pm (also Sat/30, 8pm). $18-58. This final weekend of programming includes dance from Hawaii, India, Indonesia, Japan, Liberia, Mexico, the Philippines, Spain, Tajikistan, and Uzbekistan.

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

“This Is What I Want Performance Festival” SOMArts Cultural Center, 934 Brannan, SF; thisiswhatiwant.eventbrite.com. Wed/27-Fri/29, 8pm. $20. Part of the National Queer Arts Festival, this event features different bills each night of new, multidisciplinary performances from San Francisco and Los Angeles-based artists.

“Walking Distance Dance Festival” ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/29-Sat/30, 6:30pm; Sun/1, 2pm. $20-75. LEVYdance, inkBoat, Kunst-Stoff, and more participate in this new festival, featuring dance artists performing throughout ODC’s two-building campus.

“When We Fall Apart” Z Space, 450 Florida, SF; www.zspace.org. Wed/27-Sat/30, 7pm (also Fri/29-Sat/30, 9pm). $25-35. Joe Goode Performance Group presents a world premiere, an exploration of “home” with a set designed by architect Cass Calder Smith.

Poverty Scholars Unite

-
2

This post has been updated. RYME orientation is July 3, not June 27.

July 3 will begin another session of Poor Magazine’s revolutionary youth media education program, or RYME.

Poor Magazine was founded in 1996 as a way to bring together poor people to produce media, teach and learn, and create community. From their space in the Mission, they have launched the printed Poor Magazine, Poor News Network TV and Poor Radio, published dozens of books at Poor Press, and hold programming throughout the year.

One such program is People Skool, sessions for and by the people. Poor rejects status indicators like degrees and job titles in favor of expertise based on experience. People are esteemed as Indigenous Scholars, Poverty Scholars, Youth Scholars, and Mama Scholars share their knowledge at People Skool.

The RYME session is “a multi-generational , mutli-lingual skool,” according to Tiny Gray-Garcia, Poor Magazine’s co-founder.

The program will “teach our children and families back their stolen indigenous languages through art and project based learning– this summer we will be teaching media, radio, music, art and journalism with a focus on eldership, indigenous herstories and histories ” Gray-Garcia said in an email.

Tuition for the program is based on ability to pay, and can range from $90 – 500. There are full scholarships and stipends provided for youth in poverty.

At tomorrow’s orientation, youth can learn about the program, which runs through July 31, and a “healthy homemade lunch” with “vegan and meat options provided” will be served, Gray-Garcia said.

Revolutionary Youth Media Education orientation/registration

July 3, 4pm, free

Poor Magazine

2940 16th St., #301, SF

www.racepovertymediajustice.org

Youth scholars from last summer’s RYME program conduct interviews outside City Hall

1...323334...121Page 33 of 121

48hills.org is the official publication of the non-profit San Francisco Progressive Media Center.
Contact us: info@48hills.org