Media

On the Cheap Listings

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

WEDNESDAY 29

Support SF Pride At Work Women’s Building, 3543 18th St., SF; www.sfprideatwork.org. 6-8pm, sliding scale donation. Help support the LGBTQ arm of the labor movement at SF Pride at Work’s annual fundraiser featuring art, music and karaoke, and tasty treats. This year, in addition to a silent auction and art sale featuring work from the Beehive Collective, Jamie Q, Lex Non Scripta, and others, DJ BootyKlap will take the decks to get you dancing.

THURSDAY 30

“Small” Creativity Explored, 3245 16th St., SF.; www.creativityexplored.org. 7-9pm, free. You won’t find “Guernica”-sized works at this art exhibition. “Small” is all about artwork that can fit in the palm of your hand, and features over 100 pee wee stylings from 40 big talents. There will be smatterings from art modes from ceramics to woodblock prints, and mixed-media pieces exploring a wide variety of themes – the only parameter given to the artists was the size (seven by seven inches) allowing them to either interpret life’s minutia or immensity in any media they choose.

FRIDAY 1

“Homebrew” Rare Device, 1845 Market, SF; www.raredevice.net. 7-9pm, free. Artist and founder of Born Ugly skate mag Mickael Broth shows all new work at this opening reception for the former hooligan (as a young’n, he enjoyed graffiti and stealing beer from neighbors’ garages, and later spent 10 months in the slammer for vandalism.) The show, up all month, features an installation composed of drawings, paintings, and photographs that follow the theme of the home – which helped Broth overcome a crippling fear of one day coming home to his house in flames with his dog trapped inside. However morbid the inspiration, the result is inspiring and surprisingly optimistic.

SATURDAY 2

Fillmore Jazz Festival Fillmore between Jackson and Eddy, SF; www.fillmorejazzfestival.com. Sat/2 and Sun/3, 10am-6pm, free. Celebrate the rich history and jazz tradition of San Francisco’s Fillmore District with two days, and three stages of up-and-coming acts and seasoned crooners – like Mingus Amungus, Scary Larry and many others. Of course there will also be arts and crafts to check out, eclectic cuisine from a variety of food vendors, and other goods to purchase.

SUNDAY 3

Neko Case at the Stern Grove Festival Stern Grove, 19th Ave. and Sloat, SF; www.sterngrove.org. 2pm, free. Enjoy a free concert at this beautiful outdoor amphitheater in the park. Singer-songwriter Neko “Lungs for Days” Case headlines this 74 year-old tradition of free performing arts at the Grove. Also performing is local faves the Dodos, and to occupy the kiddies, Magik Magik orchestra (the Tiny Telephone recording studio’s official house orchestra) will get them making music together at the “build a band” workshop.

These Colors Don’t Run SOMArts Cultural Center, 934 Brannan, SF; www.squart.eventbrite.com. 3-11:30pm, $10. There’s a lot going on at this nine hour party – a mini-Hard French complete with BBQ, an experimental drag show, live bands including Dave End, Night Call, and Double Dutchess, and something called – ahem — squart performances. Not to be confused with the flatulent surprise known as a shart, squarting involves glitter, nudity, adult diapers, and spandex and works like this: artists break into randomly assigned teams and receive a list of theme criteria, for which they have two hours to assemble a piece and face a panel of judges for anything-goes spontaneous performance art.

East Bay Symphony and fireworks Craneway Pavilion, 1414 Harbor Way South, Richmond; www.oebs.org. 6:30pm, free. Enjoy live music, food, and fireworks for this Independence Day weekend celebration. Oakland East Bay Symphony will perform patriotic standards and popular movie scores to fireworks and breathtaking views of the San Francisco skyline. The venue will host a Fourth of July-themed concession menu, and you’ve got options: the adjacent Boiler restaurant will remain open during the event.

MONDAY 4

Pier 39 July Fourth celebration Pier 39, Embarcadero, SF; www.pier39.com. 1pm, free. Take the family to Pier 39 for this year’s Independence Day celebration featuring live music, fireworks, and all the attractions that Pier 39 always has to offer (sea lions!) Live performances lined up for this event are beach pop-y Ruby Summer and Tainted Love, everyone’s favorite ’80s cover band. There will also be a Club 90 dance party featuring club hits from back in the day. After the sun goes down, be sure to stick around for the fireworks display.

 

 

Despite risks, Bay Area residents return to Gaza

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Kathy Sheetz says she isn’t afraid of what might happen when she sets sail again next week for Gaza. On her last trip she was welcomed by Israeli bullets, but she sees the message as more important than any possible consequences.

Her message, along with the hundreds of other activists who will be sailing to Gaza aboard 10 ships dubbed the Freedom Flotilla 2—Stay Human, is that Israel’s continued occupation of Gaza is unacceptable.

Sheetz, a 65-year-old Richmond resident, has sailed — or attempted to sail — to Gaza every year since 2008, when she and 43 other activists took two fishing boats to the shores of the Gaza. They had room only for themselves and safely arrived in Gaza. She realized the potential to come back with supplies and aid for the people. One necessity she had never thought of: hearing aids for children, some of whom are going deaf from the dropping of bombs.

Last year, the first Freedom Flotilla set sail for Gaza. Sheetz was one of many activists from around the world aboard six ships of the flotilla that were attacked by the Israeli Navy during an early morning raid in international waters.

Soldiers boarded the ships and attacked the unarmed passengers. They fired rubber bullets while a helicopter above the flotilla shot live rounds. In the end, nine activists died.

Still, she’s going back.

“I don’t think we have a choice,” Sheetz said. “(Palestinians in Gaza) seem to be paying a price and I think it’s wrong.”

Thirty-six activists, nine journalists, and four crew members will be aboard the American boat when it sets sail from an undisclosed port in Greece. Out at sea, it will meet up with nine other boats carrying activists from around the world. The port and launch date are being kept secret to avoid sabotage attempts by pro-Israeli enemies of the flotilla, said Jane Jewell, a media coordinator for the organization US Boat to Gaza.

The mission of the trip is not only to bring awareness to the situation in Gaza, but also to bring badly needed medical supplies and aid. Two of the ships in the flotilla are devoted to carrying cargo.

The American boat will only carry letters of support, though, in fear of retaliation by the U.S. government for being seen as aiding the terrorist organization Hamas.

All passengers aboard The Audacity of Hope, the name of the American boat, had to sign an awareness document that highlights the inherent dangers of the trip, including the possibility of death.

Henry Norr, 65, first visited Gaza in 2002 and has been to Palestine three times, witnessing injustices and working to spread the word. In 2005 he acted as a copy editor for the International Middle East Media Center, helping to report raids and arrests of activists.

“Everybody knows that there’s some danger,” Norr said. “We like to think that the Israelis will come to their senses.”

This will be the 10th trip made to Gaza since 2008. Of the previous nine, five arrived in Gaza successfully, three of the boats were detained in Israel and last years flotilla was outright attacked.

The Audacity of Hope, a name shared by the American boat and President Obama’s book, could signify the audaciousness of the journey or be a tongue-in-cheek joke, depending on who’s asked.

Both Jewell and Adam Shapiro, an organizer for the Free Gaza Movement, which helped organize the flotilla, felt Obama was just a puppet for Israel who does not have the courage to enact real change.

They said he backed down too easily to pressure from Israel’s Prime Minister Benjamin Netanyahu after Obama suggested earlier this year that Israel and Palestine revert to pre-1967 borders in an attempt to bring peace to the region.

The U.S. State Department also recently issued a statement condemning travel to Gaza.

“Previous attempts to enter Gaza by sea have been stopped by Israeli naval vessels and resulted in the injury, death, arrest, and deportation of U.S. Citizens,” said the statement. “The U.S. Embassy in Tel Aviv and the U.S. Consulate General in Jerusalem are not able to provide consular assistance in Gaza or on the high seas or coastal waters.”

Jewell, summing up the statement, said, “Americans citizens take second place to Israel.”

“They know that their American citizenship isn’t going to help them,” Jewell said of the activists.

Sheetz first found herself in Gaza in 1991 when trying to travel to Tel Aviv, Israel, for a conference. She hoped to rent a car in Rafah, Egypt, a border town with Gaza, but was instead forced onto a bus by an Israeli woman. She ended up in Tel Aviv, but not after wondering about what had happened.

“It was just a very odd experience,” Sheetz said. “I couldn’t describe it.”

Now she’s heading back, again, informed and with a mission.

“It’s not helping Israel,” Sheetz said of the occupation. “If they want security, this is not the way to go about it.”

 



The Guardian Hot Pink List 2011

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For the past few years, as part of our annual Queer Issue, we’ve rounded up a few of the people who have inspired us with their unique approaches to queer life. Whether they’re activists, artists, performers, or just plain hot-to-trot rabble-rousers, they’ve made our queer hearts beat a little faster (and reminded us of the fantastic diversity and dedication of the community). This year, we’ve gathered together another Hot Pink bunch, and asked them. “What inspires you right now — and what could the queer community use more of?” This year’s Hot Pink List was photographed by Keeney + Law

 

HONEY MAHOGANY

Singer, performer, social worker, photographer, glamour girl — Miss Honey Mahogany (www.itshoney.com) does it all and leaves you breathless. Catch up with her on the SFMOMA Pride Parade float (a drag salute to Paris, 1928) on Sunday, June 26, and look for her forthcoming EP this summer. “I feel really lucky to be coming of age as a performer at a time when there seem to be more and more queers out there in the public eye. Whether it be in popular media, politics, art, advocacy work, research … we are everywhere! One thing I would really like to see in the next few years is the rise of new, massively popular gay icons … and I mean ICONS, not celebrities. I think the world is ready for that. In fact, I think the world needs it.”

 

ROSE SLAM! JOHNSON

Have fun or make a difference? Bike-food-community activist Rose Slam! Johnson has found the two can make hot partners. She helped plan SF Bike Coalition’s Bike to School Day, and merrily oversees the Western Addition’s Urban Eating League, Apothocurious (a bike-powered organic food subscription service, www.apothocurious.com), and her own queer adult outdoors camp. This summer, she’s embarking on an multimonth bike ride and camping with Northwest queer youth. “Fear and defensiveness often distract us. By bringing people together around things we are passionate about — food, bikes, community, fun — we are able to move towards love, acceptance, and healing.”

 

KB BOYCE AND CELESTE CHAN

The masterminds behind Queer Rebels (www.queerrebels.com), an organization that showcases queer artists of color, KB and Celeste are involved in everything from Community United Against Violence (www.cuav.org) to “TuffNStuff: The Last Delta Drag King,” KB’s musical act. Upcoming “Queer Rebels of the Harlem Renaissance” (Friday, July 1 and Saturday, July 2), part of the national Queer Arts Festival (www.queerculturalcenter.org) is a stage extravaganza celebrating that great period. And TuffNStuff performs at the Trans March Rally (www.transmarch.org) Friday, June 24 from 3:30 p.m.-6:30 p.m. “We are inspired by new queer work that creates our own myths, reveals hidden histories, and is unapologetically, riotously gay!”

 

ALIX P. SHEDD

“It’s very rare to find an aesthetically dedicated queer space that isn’t centered around alcohol, includes queer youth, and is right for all different kinds of performers and performances. Somewhere you can scream, dance, and love everything that’s gay.” So Alix (with help from Lorin Murphy and a ton of volunteers) found a space, painted it pink, and launched the Big Gay Warehouse (www.biggaywarehouse.org). For the past year, the bGw has hosted many of the city’s most intriguing queercentric events, from punk concerts and video nights to sensory derangements and environmental makeovers. Alas, bGw’s days are numbered due to rising rents, but Alix — who’s also involved in trans-women-empowering nonprofit thrift store the Junque Shoppe and designs a clothing line called Apocalypse Vintage — already has the next move in mind.

 

MICAH TRON (WITH DJ JEANINE DA FEEN)

Super-sharp MC Micah Tron has been rising through the Bay’s hip-hop ranks with a deep electric sound and sexy come-ons. Check her out at www.soundcloud.com/Micahtron and peep her forthcoming EP “Jungle Music,” produced by the HOTTUB crew. She’ll be performing at the Crooked party at the Showdown on Friday, June 24 and on the Pride celebration main stage (www.sfpride.org) on Sunday, June 26 at 11:50 a.m. with her DJ Jeanine Da Feen. “Walking the streets of San Francisco inspire me, there’s nothing like being surrounded by people who aren’t afraid to be themselves. Our community could use more self-acceptance — we’re beautiful people!”

 

JOCQUESE “JOQ” WHITFIELD

Work! Voguer extraordinaire, Jocquese teaches the wonderful Tuesday night Vogue and Tone class — “a dance class with a party feel” — at Dance Mission Theatre (www.dancemission.com). He’s also part of the raucous Miss Honey nightlife crew and is a collaborator, with Shireen Rahimi, on the West Coast Dopest Outsiders youth life skills program, encouraging “movement through movement.” He’ll be performing at Crooked and Pride with Micah Tron. “I think we live in a society where we place sexuality on everything. I want to strip that away and tell people to just be themselves and dance.”

 

DIEGO GOMEZ/ TRANGELA LANSBURY

George Washington was due for a kick-ass sex change — so artist and illustrator Diego Gomez (designnurd.blogspot.com) started painting colorful characters like Storm from X-Men, She-Ra, and Jem on dollar bills, a.k.a. “Diego Dollars.” As the designer for Tweaker.org, he gets out valuable information from the San Francisco AIDS Foundation. He’s currently illustrating an “all-Latin porn-graphic novel” called Spicey and a comic book called “CuntBricks,” making clothes and accessories for Barney’s New York and local boutique Sui Generis, crafting with his “Needle X Change” knitting group, performing as his alter ego Trangela Landsbury, and a ton of other neon-bright activities. “I’d like to see more glitter and gold in the future and ‘happy’ surprises (not to mention endings).”

 

CHRISTOPHER REYNOLDS AND ALYSIA SEBASTIANI

Sustainability was all the queer conceptual rage this past year — but Christopher and Alysia, the powerhouses behind landscape design firm Reynolds-Sebastiani (www.reynolds-sebastiani.com) have been setting the principles in motion by designing and maintaining spaces throughout the city that morph norms to create alternative environments that adapt to change. Recent projects include a redesign of the Phoenix Hotel grounds, to be unveiled at Juanita More’s Pride Party on Sunday, June 26 and a show of amazing terrariums using vintage bottles they unearthed at St. Francis Fountain in the Mission’s new event space, Candy Kitchen, opening Thursday, June 23, 6 p.m.-10 p.m., and continuing for two weeks. “Like any cultural paradigm shift, sustainable practices must reach and change the popular vernacular in order to become truly sustainable — in this way they’re like queer culture,” says Christopher.

Our Weekly Picks: June 22-28, 2011

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WEDNESDAY 22

DANCE

Hard Core: Getting Raw

Finding your identity is tough unless you are a vegetable. Asserting your identity — going against mom and dad — can be tough. However, if who you are and who you want to be goes against societal norms, be prepared to fight for your life. People have died doing it. It’s what the Queer Arts Festival is all about: paying tribute to and celebrating being “out there.” It’s most appropriate that hip-hop — street-born, street-nourished — is part of this yearly event. Hard Core: Getting Raw is a multimedia show put together by Josh Klipp and members of the Freeplay Dance Crew in which each artist (Klipp, Liz Angoff, Kevan Arrington, Hana Azman, and Molly Tsongas) tells a story about a journey undertaken. (Rita Felciano)

Wed/22–Thurs/23, 8 p.m., $15

Garage

975 Howard, SF

(415) 518-1517

www.brownpapertickets.com


THURSDAY 23

EVENT

Manic D Press showcase

In concert with this month’s Pride festivities, the recently relocated Modern Times Bookstore hosts a reading to spotlight luminaries from the queer independent scene. Many affiliated artists stop by, none of whom are exclusively tied to the literary scene but many of whom are pursuing a more experimental approach instead The night features poet Daphne Gottlieb (author of nine books), zinester Larry-Bob Roberts (he’s been called “the Stephen Colbert of queer culture”), badass trans musician-performer Lynn Breedlove, and performance artist extraordinaire Alvin Orloff. With such an eclectic collection of artists of the queer community gathered in one space, the night looks to be a classy, entertaining classy bookend to the flashier parties and parades to come. (David Getman)

7 p.m., free

Modern Times Bookstore

2919 24th St., SF

(415) 282-9246

www.mtbs.com


EVENT

Mara Hvistendahl

On glimpsing the title of Science magazine correspondent Mara Hvistendahl’s new book Unnatural Selection: Choosing Boys Over Girls, and the Consequences of a World Full of Men, I immediately thought what any reasonable boy-crazy person would: yeeeeesssss! Because in the meat-marketplace of a society burdened by a capitalistic priapism, the more infinite the choices, the better. But as usual, first impressions are incomplete. Join Hvistendahl as she explains the repercussions of selective sex abortion and the resulting 160 million women missing from Asia. How is this imbalance tweaking entire nations, and what does the West have to do with it (aside from having invented the ultrasound)? Can I get some ladies here? (Kat Renz)

6 p.m., $5–$15

World Affairs Council Auditorium

312 Sutter, Suite 200, SF

(415) 293-4600

www.itsyourworld.org


FRIDAY 24

PERFORMANCE

I Love Being Me, Don’t You?

A cherished comedian, singer, actress, gay deity, and recent Sarah Palin pummeler, Sandra Bernhard comes to town with a new show and new songs from a new album (both show and album are called I Love Being Me, Don’t You?) as well as dependably cutting observations about the world as such — all in time for Pride. Judging by reports from New York City’s sold-out Town Hall appearance, Bernhard — also working on a new musical with Justin Vivian Bond titled Arts and Crafts — flourishes trademark comedic and vocal chops while keeping outspoken, outrageous, and just plain out. (Robert Avila)

Fri/24–Sat/25, 7 p.m., $45–$75

Marines’ Memorial Theatre

609 Sutter, Second Floor., SF

(415) 771-6900

www.marinesmemorialtheatre.com


MUSIC

Brainfeeder Records Showcase

Started in 2008, the Brainfeeder label has essentially the same musical genetics as its founder, Flying Lotus: bass, hip-hop, electronic, things that go bleep-bloop, and jazz (all with a distinctively experimental bent). Following performances in New York City and L.A., Flying Lotus and a collection of labelmates will be bringing a showcase to 103 Harriet. Of particular interest will be 20-year-old Austin Peralta, a composer and jazz keyboardist who has drawn comparisons to McCoy Tyner and Chick Corea. His album, Endless Planets, has a sense of continuity with the forward elements of the genre (that seemed in part to stall outside of Japan in the ’70s) modernized for the 21st century. (Ryan Prendiville)

With Flying Lotus, Thundercat, Austin Peralta, Teebs, and Strangeloop

9 p.m., $22.50

103 Harriet, SF.

(415) 431-1200

www.1015.com


EVENT

“World’s Ugliest Dog Contest”

Festival season has arrived, and if the tie-dye at the Haight Ashbury Street Fair and the impending smolder of the Queer Tango Fest (June 29-July 3) hasn’t yet reminded you of the all-consuming special-ness of the Bay Area, I hereby announce the entrance of the ugly dogs. Yes, the Sonoma-Marin Fair was the birthplace of the snaggle-toothed, wonky-tailed trend of funky puppy adulation that has since made its way from The Tonight Show with Jay Leno show to Europe and back again. The day culminates in the crowning of another freaky furry friend (the 23rd annual!), but get to the fair early to enjoy dog training lessons, treat demonstrations, and, oh yes, the rest of the pig-and-pie county fair action. (Caitlin Donohue)

6 p.m. (fair hours, noon–midnight), $8–$15

Sonoma-Marin Fairgrounds

175 Fairgrounds, Petaluma

www.sonoma-marinfair.org


FILM

San Francisco United Film Festival

As per its mission statement, the San Francisco United Film Festival draws from an impressively varied pool of films for its third year in the city. From Bhopali, a somber look at the 1984 Union Carbide disaster in Bhopal, India, to The Dead Inside, a zombie-centric musical (the first?), there are strong indicators that the oft-used mantra “something for everyone” is apropos. Documentaries are the meat of this year’s selection and provide some of the more outstanding picks. Eat the Sun examines the practice of sun-gazing, or staring directly into the sun for prolonged periods of time in the belief that this will provide miraculous sustenance, and Superheroes dives mask-first into the world of real-life costumed vigilantes. Superheroes particularly holds promise as a crowd favorite as director Michael Barnett follows avengers Mr. Extreme on patrol and in their daily lives. Super! (Cooper Berkmoyer)

June 24–30, $10.75 (all-film pass, $25–$50)

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.theunitedfest.com/sanfrancisco


SATURDAY 25

MUSIC

San Francisco Free Folk Festival

What better place than a middle school to host a wholesome folk festival? San Francisco’s 35th annual Free Folk Festival features music, dance, and art performances, workshops, and jam sessions for toddlers, teens, 20-somethings, and tried and true folks of any age. The festival provides a great opportunity to fine-tune your Gypsy jazz guitar, pennywhistle, left-handed mandolin, and countless other highly specialized instruments in hour-long workshops throughout the day. If listening and dancing are more your thing, there’ll be storytelling, Moroccan dance, jug band swing, and Bohemian national polka sessions galore. It seems no pocket of culture around the world will go untapped. On the off chance that you think something’s been overlooked, there’s a plain old open mic, too. (Getman)

Sat/25–Sun/26, noon–10 p.m., free

Presidio Middle School

450 30th Ave., SF

www.sffolkfest.org


MUSIC

“Rites of Massive”

Opulent Temple, the SF-based Burning Man camp that has been rocking the playa since 2003, is going big again on Treasure Island, drawing in a wide variety of Burning Man DJs, sculptures, performers, art cars, and music lovers. After filling Building 180 two years ago for its Massive Cox party featuring DJ Carl Cox, OT is moving to the larger Hangar 3 space for Rites of Massive (playing off this year’s Burning Man art theme “Rites of Passage”). Internationally acclaimed headliners DJ Dan, Christopher Lawrence, and Elite Force join notable local DJs on six stages, with burner sound collectives Distrikt, Symbiosis, and others joining the Opulent Temple hosts. Get ready to go big. (Steven T. Jones)

9 p.m.–4 a.m., $30–$50

Hangar 3, 600 California

Treasure Island, SF

www.opulenttemple.org


MUSIC

Cibo Matto

They’ve become hyperactive again. Prior to Cibo Matto’s split in 2001, the duo of instrumentalist Yuka Honda and singer Miho Hatori were responsible for some of the most infectious and bizarre sweet, sweet music of the 1990s. Based in New York City, Cibo Matto had a tendency to be mistaken for a J-Pop band at first listen, in part because of a consistent, aforementioned energy level, but in truth it skipped across the musical spectrum with a complete disregard for genres. The trip-hopping of “Sugar Water.” The ray-gun blap rap of “Working for Vacation.” The tropicalia version of “About a Girl.” Reunited for a Japanese benefit and now a small tour, the band is reportedly working on a new album. (Prendiville) With Chain Gang of 1974

9 p.m., $25

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com


SUNDAY 26

FILM

“Sand Up Your Vortex”

Since beach dreams rarely come true ’round these foggy, windy parts, why not ditch the S.P.F. and stuff your wild bikini at the Vortex Room instead? Tonight’s quadruple feature kicks off with Roger Corman’s 1957 Attack of the Crab Monsters (nukes made ’em giant; human flesh makes ’em hungry); Jack Curtis’ 1964 The Flesh Eaters (contains Nazis, beatniks, and — again — gruesomely gourmet human flesh); Monster from the Surf (1965), perhaps best explained by its alternate title, The Beach Girls and the Monster; and Nate Watt’s 1961 The Fiend of Dope Island (“He took everything and everyone he wanted!”), which is firmly ensconced on my list (along with 1976’s Shriek of the Mutilated and 1981’s Make Them Die Slowly) of all-time best movie titles. (Cheryl Eddy)

7 p.m., $5

Vortex Room

1082 Howard, SF

www.myspace.com/thevortexroom 


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.

 

Tonight: Freedom of information panel on press passes

A few articles have been published over the past year or so about the availability of press passes in San Francisco, spurring a slew of questions: Who gets them? Why are they needed? What are the laws surrounding media access? And what are the rules governing the local process of issuing press badges, anyway?

To sort it out, the Freedom of Information Committee of the Northern California Chapter of the Society of Professional Journalists is organizing a panel discussion today, June 21, at the San Francisco Public Library. It’s not intended to be a debate, but an informational session for journalists and other interested parties to clear up some of the misconceptions surrounding press passes. Panelists will include Lt. Troy Dangerfield of the San Francisco Police Department’s Media Relations unit, Acting City Administrator Amy Brown, Attorney David Greene of the First Amendment Project, and Chris Roberts, a reporter who has covered controversy surrounding press passes before.

The panel will be held at 5:30 p.m. at the San Francisco Public Library, 100 Larkin St., in the Latino/Hispanic Community Meeting Room, located on the Library’s lower level. (Enter at 30 Grove Street, proceed down stairs to the lower level.)

SFBG Radio: Free speech, regulation and the Internet

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A special episode today, featuring Perry Michael Simon of allaccess.com talking about what happens with media, including TV and talk radio, migrates to the web — and the ability of the FCC to regulate everything from obscenity to fairness and public accountability vanishes? Listen to the discussion after the break.

EndOfCensorship by endorsements2010

Schizoid trickster

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arts@sfbg.com

MUSIC Tyler, the Creator makes schizophrenic music. At least four entangled voices riddle his latest effort on XL Recordings, Goblin, the follow-up to his self-produced, rapped, and designed debut, Bastard, which he released on Tumblr.com in late 2009. One of those voices is some sort of inner conscience or demon, a pitched down grumble of bass, that doubles as Tyler’s obsequious therapist. But it also takes on the roll of ethical advisor and spiritual consultant: Tyler, you’re right to feel that way; people do like you; you shouldn’t kill all your friends. Even Tyler’s conscience disintegrates into corroded delusions and anxiety. Meanwhile, Tyler, at 20 years old, is an uncompromising, violent, self-hating, offensive, sexually repressed, obnoxious, yet sometime charming and funny protagonist who growls and spews partially digested rhymes over off-syncopated drum programming and synthetic keyboard washes.

The therapist conscience is a foil for Tyler’s caustic self-reflection in Goblin. This dynamic allows for multiple layers of inner dialogue, which subside only when other members of Los Angeles’ Odd Future collective (short for Odd Future Wolf Gang Kill Them All) give Tyler’s disturbed and heavily claustrophobic mental space some breathing room. Frank Ocean, the only member of the crew above the drinking age, waxes sincere R&B verses in “She,” bringing into contrast how Tyler’s unfulfilled desire for his lust interest degenerates into anger, voyeurism, and eventually, fantasies of possession. With Hodgy Beats, Tyler is hungriest on “Sandwitches.” Who the fuck invited ‘Mr. I Don’t Give a Fuck’/ Who cries about his daddy and a blog because his music sucks, he raps, before flipping the chorus of “Wolf Gang” into a call to arms for all who feel slighted by the establishment, any establishment.

In response to the rapid escalation of media attention circling Odd Future since last winter (which perhaps recently climaxed in a lengthy New Yorker article on the mysterious disappearance of member Earl Sweatshirt), Tyler negates excessively: the hip-hop blogs that gave him no love, kids with comfortable homes and families, music critics, moralists who accuse him of homophobia and misogyny. Tyler stands for defiance and offensiveness, rejection and swag, bastards and goblins, skateboards, skating apparel, and the simple joys of juvenile delinquency.

Another voice in Goblin is a rare appearance: some sort of helium-intoxicated creature. It slightly echoes Madlib’s incarnation of gratuitous violence in the Quasimoto character, culled straight from a Melvin Van Peebles’ film trailing a black man’s escape and redemption from the systematic violence brought to bear on his body in America’s inner city. But there’s not much of a redeeming light in Goblin. And the source of Tyler’s frustration and belligerent lashing out is all the more obscure. The record is thoroughly dystopian, despite its pretensions to comedy — a lonely soul trying to find its way in a desolate and often antagonistic world.

Tyler shares as much in spirit with the paranoid hallucinations of the Geto Boys’ “Mind Playing Tricks on Me,” minus the lighthearted melody, as with Eminem’s confessional tirades. Moments of vulnerability seem to, if not justify the violent outrage, then at least make it bearable (and for a certain listener, endearing). The critique in Goblin, if there is any critique, might be one of taking the system more seriously than it takes itself. The record is neither ironic nor detached, but a head-on dive into the gluttony of indulgences that comprise popular culture and much of everyday life today, as well as the psychological pain and alienation that the system manufactures in its wayside.

Goblin is not much of a crossover album, either. There aren’t many hooks to hold onto since much of the schizoid discourse replaces formal pop structures. It’s a sprawling record, some songs inching toward 10 minutes. The most memorable hook is the anarchic anthem of “Radicals” in which “Kill people! Burn shit! Fuck school!” is yelled in a repetitive chant. It’s hackneyed and silly enough to make you cringe. But the chant makes more sense when Odd Future performs live (let me tell you, shit is wild), where a sea of teenagers, and those of teen spirit, tap into the sort of rebellious energy you thought had dispersed into the dust of musical archives. This seduction also comes through in the recording. The beat fumbles sickly and the distorted melodic slime falls away to empty pockets of sound where Tyler calls to the listener: “Odd future, wolf gang. We came together cause we had nobody else. Do you? You just might be one of us. Are you?”

ODD FUTURE

Tues/21, 8 p.m., $20

Regency Ballroom

1300 Van Ness Ave., SF

(415) 673-5716

www.theregencyballroom.com

 

Play the game, preserve the wetlands for your grandkids

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Things we like: halting environmentally harmful development projects, healthy waterways, online timesucks, and free booze. So Save The Bay, thanks bunches for your new fundraising Internet game — but in the future, thanksmuch for staying out of our heads, regardless of the potential benefits of whatever mind reading technology you’ve got your benevolent little mitts on.

At the risk of revealing the pathway to our sasstivist hearts, meet Battle for the Bay. It’s Save The Bay’s newest gizmo, giving water-loving point-and-clickers the chance to journey from the 1960s (when the bay advocacy group was founded) to present day times, all the while besting historically accurate environmental menaces to our local lands, from David Rockefeller’s 1970s bid to level the San Bruno Mountains and create a Manhattanized version of the San Mateo County shoreline, to the Costco Busan spill, to Cargill’s current ploy to transform 1,436 acres of Redwood City salt ponds to suit its freaky agribusiness needs. (Coincidentally, Save The Bay is not in favor of this plan.)

You’ll never get your stubby fingers on Bair Island, 1980s Mobil man! 

And it’s not just an opportunity to crusade against cartoonized powers that be! Trivia questions give you a chance to brush up on your ephemeral wisdom of the Bay Area (from brothel main drags to historical transportation lines), and there are prizes: the Bay city with the most players will win a free happy hour at a watering hole in their ‘hood. 

Genius. “We worked with Free Range Studios to design the game,” says Cara Longpre, online communications manager at Save the Bay. “We heart them.” (You’ll heart them too after watching The Meatrix, the company’s viral video hit from 2003). 

Other people Longpre hearts: George A. Miller and Janet McKinley, two longtime Save The Bay members who’ve agreed to front up to $10,000 in $1 increments each time you (you!) click over to the site to defeat the evil Pete Wilson beast. 

So quick, go! We’ve already lost 90 percent of our tidal marsh to development. And we want our free happy hour, dammit. Longpre told us not to count our chickens before we hatch on that one, but hey, we know some people in the media. 

 

Our Weekly Picks: June 15-21, 2011

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WEDNESDAY 15

EVENT

“Snakes and Lizards: The Summer of Slither”

“It is I; be not afraid.” Such were the comforting words, according to the Gospel of John, spoketh by Jesus C. unto his disciples after he reportedly walked across the sea. Now imagine another creature — right here, right now — capable of sprinting across the water: the neon-emerald mini-pterodactyl “green basilisk lizard,” expressing the same sentiment through its namesake stare. Need you be afraid of the 60 snakes and lizards — collectively known as “squamates” — visiting the California Academy of Sciences till September? Maybe. But these scaly species, along with their academy interpreters, have an important role this summer as live ambassadors from the reptilian realm. You just might find God, the devil, Darwin, or all three. (Kat Renz) Through Sept. 5

Mon.–Sat., 9:30 a.m.–5 p.m.;

Sun., 11 a.m.–-5 p.m., $19.95–$29.95

California Academy of Sciences

55 Music Concourse, Golden Gate Park, SF

(415) 379-8000

www.calacademy.org


THURSDAY 16

PERFORMANCE

Fresh Meat Festival

Fresh Meat, the transgender and queer performance festival, is 10 years fresh this year. And to celebrate, the festival offers its most ambitious program to date, four full nights’ worth of work, including Vogue Evolution, the New York City LGBT street dance group featured on the reality competition America’s Best Dance Crew. Also fleshing out this year’s roster: Los Angeles–based Robbie Tristan and Willem DeVries (same-sex ballroom world champions), New Mexico’s Cohdi Harrell (world-class trapeze artist), Sean Dorsey Dance, Na Lei Hulu I Ka Wekiu (an all-male hula company), the Gay Asian Pacific Alliance Men’s Chorus, glamourpuss singer-songwriter Shawna Virago, and comedian Natasha Muse. (Robert Avila)

Thurs/16–Sat/18, 8 p.m.;

Sun/19, 7 p.m., $15–$20

Z Space at Theater Artaud

450 Florida, SF

www.freshmeatproductions.org


FRIDAY 17

DANCE

Epiphany Productions Sonic Dance Theater

Recently returned from Mexicali, Mexico, the globetrotting choreographer Kim Epifano brings her art and travels back to SF with a home season work at the ODC Theater. Solo Lo Que Fue, a dance film shot at Cantina El Norteño, a historic bar in Mexicali, features a site-specific dance with performers from the region. The program also includes Heelomali, a multimedia piece created with composer and didgeridoo master Stephen Kent and Burmese harp player Su Wai, as well as Alonesome/Twosome, a duet inspired by an airmail drawing sent to Epifano by acclaimed artist Remy Charlip with live music by Epifano and Kent. Enjoy this armchair travel from the theater. (Julie Potter)

Fri/17–Sun/19, 8 p.m.; Sun/19, 7 p.m., $16–$20

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odcdance.org


MUSIC

Horrid Red

Imagine an almost ludicrously compact car of obscure design speeding through the Teutonic countryside. It’s the early to mid-1980s. Driver and passenger, both with shaved heads and dressed entirely in black, are leaving their usual neon-soaked haunts in Berlin for a weekend in the mountains. They are very much in love, and Horrid Red is the soundtrack to their affections. Featuring three-fourths of shitgaze pioneers Teenage Panzerkorps, Horrid Red eschews the aggression of this other incarnation and opts instead for a near-perfect and haunting blend of krautrock, new wave, and early minimalist punk. Split between two continents (vocalist Bunker Wolf lives in Germany while the rest of the band resides right here in San Francisco), Horrid Red is a collaborative effort that only rarely allows for live performance. In other words, don’t miss them. (Cooper Berkmoyer)

With Burial Hex and Brute Heart

9:30 p.m., $8

Hemlock

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com


SATURDAY 18

DANCE

Patricia Bulitt

Patricia Bulitt is for the birds. Literally. She has been making dances about them for more than 30 years, first in Alaska, most recently in New Zealand and Japan. To her they are harbingers of peace and beauty, qualities she finds woefully absent in our humdrum existence, and her dances honor them. One piece was dedicated to the native birds of Lake Merritt in an Oakland refuge, another to a blackbird residing in grove on the UC Berkeley campus. But her biggest love is the majestic egret. Her Egretfully, performed on the lawn below the nesting couples at the Audubon Canyon Ranch, has become an annual event. (Rita Felciano)

2–4 p.m., free (contributions requested)

Audubon Canyon Ranch

4900 Shoreline Hwy., Stinson Beach

415-868-9244

www.egret.org


MUSIC

Pete Rock

Pete Rock recently tweeted about “dat Montel Williams blender, the fucking truth. Watch ur fingers, dat shit will blend ur joints up nicely lol.” A mainstay of classic 1990s hip-hop, Pete Rock isn’t new to blending, plucking from the depths of R&B, funk, and jazz records for his signature fusion of music styles. With his kitchen blender, Rock concocted an “apple, celery, parsley drink” and declared that “man dis shit is good.” Tonight is the chance to see what he’ll cook up outside the kitchen, as the legendary producer performs a two-hour set. In the spirit of remixes, Yoshi’s offers Japanese delicacies to sample alongside the music. (David Getman)

10:30 p.m., $25

Yoshi’s San Francisco

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com


EVENT

Northern California Pirate Festival

Arrr! Forget about all other expeditions ye may have plotted for this here comin’ weekend, ya lousy bilge rats! Ye best be settin’ sail for swashbuckling adventures of all manner at the fifth annual Northern California Pirate Festival, a true buccaneer’s dream come true. Costumed revelry, sword-fighting, sailing ships, canon firings, music, food, grog, wenches, treasure, and more be in store, whether ye be a seasoned deck hand or a curious landlubber. What better way to spend Father’s Day weekend than to take Dad to see the new Pirates of the Caribbean flick — be warned, ye may want to bring along a healthy ration of rum — and then make way for a festival where you may actually walk away with $5,000 in gold coins and treasure? (Sean McCourt)

10 a.m.–6 p.m., free

Vallejo Waterfront Park

Adjacent to Vallejo Ferry Terminal

298 Mare Island Way, Vallejo

1-800-921-YARR

www.norcalpiratefestival.com


MUSIC

Bill Callahan

Apocalypse, Bill Callahan’s follow-up to 2009’s beautiful Sometimes I Wish We Were an Eagle, is a striking left turn from the lush production and personal reflection that populated much of that album. Instead, with his deeply rich baritone always front and center in the mix, Callahan has created a song cycle more in line with the fractured folk and wry humor of Smog, the alias he worked under for nearly 20 years. Apocalypse stretches eight songs over the course of 40 minutes, each full of stark takes on American roots music and wrapped in simple, haunting arrangements. It’s another example of Callahan’s slow, steady climb to the upper echelon of modern American songwriters. (Landon Moblad)

With Michael Chapman

9 p.m., $20

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


SUNDAY 19

MUSIC

Sharon Jones and the Dap Kings

To ring in its 74th season of free summer performances, organizers of the Stern Grove Festival enlist Motown-revivalist masters Sharon Jones and the Dap Kings. With a massive voice in the lead and instruments authentic to the period, the band is tailor-made for the festival circuit and outdoor arenas. Today’s concert is the first of many to come this summer, including performances by Neko Case, Aaron Neville, and the trifecta that is the SF Symphony, Ballet, and Opera. Nothing beats listening to Sharon Jones and Co. jam — other than listening to Sharon Jones while picnicking on rolling hills.Beer and wine welcome. (Getman)

With Ben L’Oncle Soul

2 p.m., free

Sigmund Stern Grove

19th Ave. at Sloat, SF

(415) 252-6252

www.sterngrove.org


FILM

Wings of Desire

Before there was City of Angels (1998), and before there was “Stillness Is the Move,” there was 1987’s Wings of Desire. Three years after Paris, Texas, German New Wave director Wim Wenders made this art film that went on to inspire that insipid remake, as well as the Dirty Projectors’ pop song. An angel falls for a mortal trapeze artist amid the graffitied wasteland of West Berlin and sheds his wings in exchange for love, mortality, and coffee. With music from Nick Cave and Crime and the City Solution, it’s essential viewing for all the hopeless romantics hopelessly trapped in the ’80s, before being so was hip or ironic. Wenders just knows. (Ryan Lattanzio)

Sun/19–Mon/20, 7:30 p.m.

Also Sun/19, 2 and 4:45 p.m., $6–$9

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com


PERFORMANCE

“Hubba Hubba Revue: Flying Saucer Beach Party”

In the vein of classic B-movies from the 1950s and ’60s like Horror of Party Beach (1964), Hubba Hubba Revue’s Flying Saucer Beach Party promises to be a sci-fi summer kick off that will deliver a ghoulishly good time. In addition to a bevy of burlesque beauties from the Bay Area and the greater known universe, the afternoon will feature live surf rock from the Deadlies and Pollo Del Mar, special guests Balrok and the Cave Girls from Creepy KOFY Movie Time, a “Martians, Maidens, and Monsters” swimsuit and costume contest, and much more monstrous fun! (Sean McCourt)

2–8 p.m., $10–$12

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com


TUESDAY 21

MUSIC

Martyrdod

When you describe a band as blackened crustcore from Sweden, you’re bound to raise a few eyebrows. Blackened crustcore? Why not just crustcore? Wait … what the hell is crustcore? Martyrdod has been around since 2001 and has consistently carried the banner high for heaviness in punk. What sets it apart from contemporaries, besides how utterly crushing it is, is the subtle way a black metal influence has worked itself into Martyrdod’s records; it’s punk and it’s heavy, but its also gloomy and terse. It’s filled with despair and anger and totally without hope. Think Motorhead if Lemmy was really into Crass and Darkthrone. The atmospheric considerations don’t diminish the intensity of the assault, and Martyrdod emerges on this, its West Coast tour, as a punishing force in punk. (Berkmoyer)

With No Statik and Yadokai

9:30 p.m., $7

Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.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.

 

Alerts

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ALERTS

By Jackie Andrews

 

WEDNESDAY, JUNE 15

Golden Wheel Awards

Join the SF Bike Coalition to celebrate and congratulate the movers and shakers who realize the potential for connectedness and comfortable biking in San Francisco. Award recipients include the SFMTA for the safer green bike lanes installed along Market Street, which have attracted new commuter cyclists to the Financial District. Also hear from Leah Shahum about the Bike Coalition’s bold vision of cross-town bikeways.

6–9 p.m.,

$75 individual, group packages available

War Memorial Building

401 Van Ness, SF

www.sfbike.org

 

THURSDAY, JUNE 16

The Castro and LGBTQ history

Attend this panel discussion called “No Equality Without Economic Equality: The Struggle Against Gentrification and Displacement in the Castro in the Late 1990s” and learn about the tumultuous period of dot-com boom and doom in San Francisco’s Castro District — a time when rents soared, long-term tenants were displaced (many living with HIV and AIDS), and queer youth ended up on the street. But there was a silver lining. Out of the gentrification grew a strong community of activists and much- needed social services, as well as historical milestones like the Tom Ammiano write-in mayoral campaign of 1999 and the progressive takeover of the Board of Supervisors the following year. Speakers include Tommi Avicolli Mecca, Jim Mitulski and Gabriel Haaland, and Paola Bacchetta.

7–9 p.m., $5

GLBT Historical Museum

4127 18th St., SF

www.glbthistorymuseum.org

 

TUESDAY, JUNE 21

Guardian forum: Budget, Healthcare, and Social Services

This is the second forum in a five-part series that examine local issues that are expected to have a major impact in the upcoming mayoral race. Representatives from labor groups and local nonprofits will be on hand, as will budget experts, to discuss the city budget, access to healthcare for San Franciscans, and other useful and threatened social services. This is sure to be a lively discussion and a unique opportunity to get involved in local politics. Be there.

6–8 p.m., free

Local 2 Hall

309 Golden Gate, SF

www.sfbg.com

Media access here and now

Weigh in on the issue of media access in San Francisco and the controversy around the accessibility of media passes for journalists while out on assignment. Panelists at this conversation with the Society of Professional Journalists will include SFPD’s Lt. Troy Dangerfield, attorney David Greene with the First Amendment Project, interim City Administrator Amy Brown, and a local journalist who has experience going through the process of trying to obtain a press pass.

5:30 p.m., free

SF Public Library

Latino Community Room

100 Larkin, SF

www.spj.com 

 

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

How Recology will attack the garbage initiative

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We got an interesting call June 5 from a polling company. These folks typically ask if any member of the household works for the news media, and we have to figure out whether to lie and hear the questions or tell the truth and save 20 minutes. This time, the caller didn’t bother. So we agreed to answer “a few questions about the upcoming mayor’s race.”

Except the questions weren’t about the mayor’s race at all. They were about the proposal to mandate competitive bidding in the city’s garbage contract. And the poll, which was clearly testing different pro and con arguments, gave a good sense of how Recology, which holds the current monopoly, will try to frame the issues.

For starters, the pollster kept saying — without any evidence — that the proposal was the work of Waste Management Inc., a giant national garbage company. Among the arguments he presented: “This initiative is pushed by WMI, which puts profits ahead of customer service.” The pollster also charged that WMI had broken environmental laws and had a bad labor record.

Among the other arguments: “San Francisco should stick with a home-grown company that has done a good job.”

“The recycling system works.”

“A multinational Houston-based conglomerate wants to take over San Francisco’s recycling program.”

“Workers would lose their jobs.”

“Garbage rates would go up, and recycling would go down.”

“Politicians would have control over your garbage rates.”

That’s a nice snapshot of the campaign we’re going to see in the fall — and it’s utter bullshit.

The initiative is the work of retired Judge Quentin Kopp, Potrero Hill activist Tony Kelly and a few others. And it’s all about bringing competitive bidding to the city’s garbage contract. Waste Management Inc. has zero involvement.

“They haven’t give us a dime,” Kelly told me. “Nobody from Waste Management was involved in any way in our meetings or discussions. This isn’t about Waste Management Inc.; this has to do with the city and competitive bidding.”

In fact, the original idea came from the board’s budget analyst, Harvey Rose.

David Tucker, Waste Management’s community and public relations director, was happy to go on the record and “let the world know that WM has not contributed any funding to this effort.”

“While it would be nice to be able to compete in San Francisco, the truth is that our focus is on the city’s landfill disposal and facilitation agreements,” Tucker said, referring to the battle that WM has been waging for several years now to have a fair chance at being selected as the company that disposes San Francisco’s trash in a landfill outside city limits. (Right now, WM disposes the city’s trash at its Altamont Landfill near Livermore, and Recology hauls the city’s trash across the Bay Bridge to Livermore. But the city’s Department of Environment has tentatively awarded the landfill disposal AND the facilitation (which refers to transporting the trash) to Recology, essentially giving them a monopoly over the city’s entire waste stream, starting in 2016.)

Kelly told us he has nothing against Recology: “If Recology wins the competitive bid for the next century, it’s fine with me.”

Fine with us, too — and the odds are that’s exactly what will happen. The initiative states clearly that the bids have to include zero waste goals and worker protections — and the city already gives preference to locally owned companies. (You can read the text here (pdf)).

But in the process, Recology will have to accept better controls on rates — and will no doubt have to pay a franchise fee. So the city will get a better deal.

Recology knows that if the question on the ballot is framed as whether the garbage contract should be up for competitive bidding, about 90 percent of the voters will say yes. So the only way to block this initiative is to muddy the waters and make it about another company that has no role in the campaign.

Recology’s got a sweet deal, a no-bid $220 million deal that dates back to the 1930s. The company wants to protect it — and apparently is prepared to use whatever misinformation is necessary to do that.

Stage Listings

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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

Wish We Were Here New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $20-32. Previews Thurs/9, 8pm. Opens Fri/10, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through June 25. Slacker meets genie in this Michael Phillis comedy.

BAY AREA

Metamorphosis Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Previews Fri/10-Sat/11 and June 15, 8pm; Sun/12, 2pm; Tues/14, 7pm. Opens June 16, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through July 17. Aurora Theatre Company performs a terrifying yet comic adaptation of Kafka’s classic by David Farr and Gísli Örn Gardarsson.

 

ONGOING

All Atheists Are Muslim Stage Werx, 533 Sutter, SF; www.brownpapertickets.com. $20. Runs Sun, 7pm. Through July 10. Zahra Noorbakhsh returns with her timely comedy.

Assassins Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $20-36. Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 25. Ray of Light Theatre performs the Sondheim musical.

*Blue Man Group Golden Gate Theatre, 1 Taylor, SF; www.tickets.shnsf.com. $50-200. Tues-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 19. Jaw-slackening feats of circus skill combine with elaborate otherworldly percussion, subtle fresh-off-the-spaceship clowning, and of course lots of blue body paint in the updated version of the long-running now internationally strewn multi-group Blue Man Group. Mutatis mutandis, it’s a two decades–old formula. But its driving, eyeball-popping musical spectacle and wry, deft way with mass culture send-ups and (albeit rather pushy) audience participation can’t help but entertain. (Avila)

Fighting Mac! Thick House Theatre, 1695 18th St, SF; 1-800-838-3006, www.therhino.org. $15-30. Opens Fri/10, 8pm. Runs Wed-Sat, 8pm; Sun, 3pm. Through June 19. Theatre Rhinoceros performs John Fisher’s play about real-life queer British general Hector MacDonald.

“Fury Factory 2011” Various venues and prices; www.brownpapertickets.com. Through July 12. Over 30 Bay Area and national companies participate in this bi-annual theater festival.

*Little Shop of Horrors Boxcar Theatre Playhouse. 505 Natoma; www.boxcartheatre.org. $20-50. Tues-Sat, 8pm; Sun, 2pm. Through June 26. From the moment the irritable Mr. Mushnik (Alex Shafer) chases his temp clerk (Amy Lizardo) out the lobby door and onto the street for the opening number, it’s clear that Boxcar Theatre’s production of Little Shop of Horrors is going to be unique. Boasting an energetic cast, an ingenious set, a few updated lyrics, and a marvelously menacing man-eating plant, Little Shop is engaging enough to distract from the somewhat awkwardly-mixed wireless mikes, and the fact that the doo-wop trio (Nikki Arias, Lauren Spencer, and Kelly Sanchez), though each individually blessed with awesome pipes, don’t always vocally blend well together. But they play their streetwise characters to a tough and tender T, while the awkwardly schlubby Seymour Kleborn (John R. Lewis) and his battered muse Audrey (Bryn Laux) tend Seymour’s mysterious botanical discovery and their burgeoning love affair with real sweetness. Everyone’s favorite badass dentist is played to sadistic perfection by Kevin Clarke, who rolls up Natoma Street on an actual motorcycle, while the able chorus morphs from skid row bums to cynical ad execs without missing a musical beat. As usual, Boxcar Theatre’s design team is a strong one, particularly in the case of puppet designers Greg Frisbee and Thomas John, whose trio of Audrey Jrs. are superbly executed. (Gluckstern)

Much Ado About Lebowski Cellspace, 2050 Bryant, SF; www.sfindie.com. $25. Fri-Sun, 8pm. Through June 28. SF IndieFest and the Primitive Screwheads perform a Shakespeare-inflected take on the Coen Brothers’ classic film.

Nobody Move Intersection for the Arts, 925 Mission, Golden Gate; 626-2787, www.brownpapertickets.com. $20-35. Thurs/9-Sat/11, 8pm; Sun/12, 3pm. Intersection for the Arts and Campo Santo present a play based on the novel by Denis Johnson.

The Pride New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through July 10. New Conservatory Theatre Center performs the West Coast premiere of Alexi Kaye Campbell’s love-triangle time warp drama.

Reborning SF Playhouse, 533 Sutter; 677-9596. www.sfplayhouse.org. Wed/8, 7pm; Thurs/9-Sat/11, 8pm (also Sat/11, 3pm). Though emphatically fictional, Zayd Dohrn’s play Reborning, currently receiving its world premiere at the SF Playhouse, provides an intriguing introduction to a decidedly fringe occupation. That of reborning: the art of crafting photo-realistic doll children commissioned by collectors, and sometimes by grieving parents. The play opens with an act of creation, as Kelly (Lauren English) tidies up a closed eye with a sculptor’s blade while a joint burns in the ashtray beside her. Enter Lorri Holt as Emily, a crisp, efficient businesswoman, and a client, come to check on the progress of her “baby” Eva. Things start to go South when Emily suggests some modifications and Kelly’s own obsession with the project eventually spirals out of control. Amiable foil, Alexander Alioto as Kelly’s boyfriend Daizy, exudes eager, golden retriever-like loyalty, but as Emily coolly observes, has “nothing to offer someone who is drowning.” All three actors are top-notch and do a fine job processing thoroughly uncomfortable moments, and the crack design team set the stage and mood precisely. Unfortunately the script itself skews towards melodrama and certain themes (dildo-design, drug abuse, “the dumpster darling”) imbue Reborning with an almost seedy, Jerry Springer vibe that seems inconsistent with director Josh Costello’s strictly straightforward approach to the charged material. (Gluckstern)

Risk is This…The Cutting Ball New Experimental Plays Festival EXIT on Taylor, 227 Taylor; (800) 838-3006, www.cuttingball.com. Free. Fri-Sat, 8pm. Through June 25. Cutting Ball Theater closes its 11th season with a festival of experimental plays, including works by Eugenie Chan, Rob Melrose, and Annie Elias.

The Stops New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through June 25. New Conservatory Theater Center presents a musical comedy set in San Francisco.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 25. Actors Theatre of San Francisco presents the Tennessee Williams tale.

*Vice Palace: The Last Cockettes Musical Thrillpeddlers’ Hypnodrome, 575 10th St; (800) 838-3006, www.brownpapertickets.com. $30-35. Fri-Sat, 8pm; Sun, 7pm. Through July 31. Hot on the high heels of a 22-month run of Pearls Over Shanghai, the Thrillpeddlers are continuing their Theatre of the Ridiculous revival with a tits-up, balls-out production of the Cockettes’ last musical, Vice Palace. Loosely based on the terrifyingly grim “Masque of the Red Death” by Edgar Allan Poe, part of the thrill of Palace is the way that it weds the campy drag-glamour of Pearls Over Shanghai with the Thrillpeddlers’ signature Grand Guignol aesthetic. From an opening number set on a plague-stricken street (“There’s Blood on Your Face”) to a charming little cabaret about Caligula, staged with live assassinations, an undercurrent of darkness runs like blood beneath the shameless slapstick of the thinly-plotted revue. As plague-obsessed hostess Divina (Leigh Crow) and her right-hand “gal” Bella (Eric Tyson Wertz) try to distract a group of stir-crazy socialites from the dangers outside the villa walls, the entertainments range from silly to salacious: a suggestively-sung song about camel’s humps, the wistful ballad “Just a Lonely Little Turd,” a truly unexpected Rite of Spring-style dance number entitled “Flesh Ballet.” Sumptuously costumed by Kara Emry, cleverly lit by Nicholas Torre, accompanied by songwriter/lyricist (and original Cockette) Scrumbly Koldewyn, and anchored by a core of Thrillpeddler regulars, Palace is one nice vice. (Gluckstern)

BAY AREA

Care of Trees Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $17-26. Thurs-Sat, 8pm; Sun, 5pm. Through June 26. E. Hunter Spreen’s Care of Trees, which is receiving an inventively bold world premiere production in Shotgun’s capable hands is at once ambitious yet unsatisfying. The basic plot — “girl meets boy then turns into a tree &ldots; sort of” — is a quirky premise full of untapped potential. With so many possible interpretations of Georgia’s (Liz Sklar) unique predicament, the one that seems most predominant is an unwitting critique of the banality of the self-realization movement. “If I don’t do &ldots; what I see as right, then I’ll be lost to myself,” she tells her understandably frustrated husband Travis (Patrick Russell), as she abruptly shuts off her empathy-meter and bids him to do the same. During isolated pockets of dramatic tension, Georgia is stabbed in an altercation with a tree-hugger, suffers a series of violent seizures, is shuttled off to a battery of clueless doctors, and granted an audience with a Peruvian shaman, yet the underlying significance of actually turning into a tree, is barely explored, certainly never understood. Sklar and Russell turn in standout performances as the forest-crossed lovers, and the canopy of Nina Ball’s inventive set soars, but overall this Tree could stand to develop some stronger roots. (Gluckstern)

Distracted 529 South Second St, San Jose; (408) 295-4200, www.cltc.org. $15-35. Thurs-Sat, 8pm; Sun, 2pm. Through June 19. City Lights Theater Company of San Jose presents a drama written by Lisa Loomer and directed by Lisa Mallette.

Edward Albee’s Tiny Alice Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $32-53. Tues, Thurs-Sat, 8pm (also June 16, 1pm; Sat/11 and June 25, 2pm); Wed and Sun, 7:30pm (also Sun, 2pm). Through June 26. Marin Theatre Company performs Albee’s most divisive play, an erotic thriller-cum-comic allegory.

Let Me Down Easy Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $17-73. Tues and Thurs-Sat, 8pm (also Sat, 2pm); Wed, 7pm; Sun, 2pm. Through June 26. Anna Deavere Smith performs her latest solo show.

Open Central Stage, 5221 Central, Richmond; 1-800-838-3006, www.raggedwing.org. $20-35. Thurs/9-Sat/11, 8pm. Ragged Wing Ensemble performs Amy Sass’s world-premiere play, inspired by the story of Bluebeard.

[title of show] TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-42. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through June 26. TheatreWorks performs a new musical about musicals by Hunter Bell and Jeff Bowen.

*Welcome Home, Julie Sutter Marion E. Greene Black Box Theater, 531 19th St, Oakl; www.theatrefirst.com. $10-30. Thurs-Sat, 8pm; Sun, 2pm. Through June 19. On her first day back from Iraq, African American Marine, mother, and amputee Jenny Sutter (a pensive, quietly affecting Omoze Idehenre) sits in Beckett-like stasis at a bus depot operated by a wound-up cockroach-crazed attendant (Joe Estlack), until a chatty middle-aged woman named Louise (Nancy Carlin), recovering from addiction to everything, convinces her to come to Slab City. The off-the-grid settlement of semi-permanent campers and kooks on the desert edge of Los Angeles turns out to have once been a Marine base, much to the dismay of traumatized and anguished Jenny, who can’t work up the courage to answer the cell phone calls from her mother and children, let alone return to them. A physically handicapped internet-certified preacher (Brett David Williams) meanwhile takes it upon himself to help Jenny, with assistance from sometime girlfriend and recidivist Louise and a local soi-disant shrink (Karol Strempke). They throw a public coming-home ceremony for the cast-off vet. It’s Slab City’s socially awkward and pugnacious jewelry maker Donald (a sharp Jon Tracy) who challenges the militarism and religious pabulum in this enterprise, even as he finds himself irresistibly drawn to the deeply wounded Jenny. Nevertheless, playwright Julie Marie Myatt’s involving story (smoothly and engagingly directed for TheatreFIRST by Domenique Lozano) carries a real if not quite heavy-handed spiritual dimension, peppered with traditional gospel tunes (heard in Johnny cash recordings during scene transitions but echoed by cast members at other times) and undergirded by doubting Jenny’s unconscious quest for signs of a seemingly absent Christian god. What she finds is a community of equally messed up but compassionate souls, and that’s enough. (Avila)

PERFORMANCE/DANCE

Dance Continuum SF Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri-Sun, 8pm. $20. The dance-theater company performs their fifth annual concert, Darkness Before Light, featuring three premieres and two repertory works.

Garrett + Moulton Productions ODC Theater, 3153 17th St, SF; (415) 863-9834, www.odctheater.org. Thurs-Fri, 8pm; Sat-Sun, 2pm (also Sun, 7pm). $24-30. Janice Garrett and Charles Moulton join forces to co-choreograph the new dance theater work The Experience of Flight in Dreams.

Joe Goode Performance Group Yerba Buena Center for the Arts, Novellus Theater, 701 Mission, SF; (415) 978-2787, www.joegoode.org. Fri/10-Sat/11 and June 16-18, 8pm; Sun/12, 7pm. $19-49. The acclaimed choreographer presents a world premiere work about a restless soul.

“The Legend of Hedgehog Boy” San Francisco LGBT Center, 1800 Market, SF; www.renecapone.com. Sat, 7:30pm. $12. Author René Capone reads from his graphic novel in a staged, multi-media performance.

Mary Carbonara Dances Kunst-Stoff Arts, 1 Grove, SF; www.brownpapertickets.com. Wed-Sat, 8pm. $20. The world premiere What Does It Feel Like to Kill Someone? addresses acts of violence in the contemporary world.

BAY AREA

San Francisco Ethnic Dance Festival Zellerbach Hall, UC Berkeley, Bancroft at Telegraph, Berk; (415) 474-3914, www.worldartswest.org. Sat, 8pm; Sun, 3pm. $18-58. The 33rd annual festival continues with its second of five weekends of performances. Performers include Gadung Katsuri Balinese Dance and Music, Shabnam Dance Company, African Heritage Ensemble, and more. 

 

Alerts

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ALERTS

By Jackie Andrews

 

THURSDAY, JUNE 9

Reporting back from Cuba

Gloria la Riva, recent winner of the Friendship Medal by the Cuban Council of State, will update the public on the new Cuban economic policies, their impact on the country’s economy, and the Latin American struggle for liberation — often called the Bolivarian Revolution. Afterward, check out a special screening of South of the Border, Oliver Stone’s investigative documentary that exposes the mainstream media’s misrepresentation of Latin America in its demonization of the Venezuelan President Hugo Chavez.

7–9 p.m., free

ANSWER Coalition

2969 Mission, SF

www.answersf.org

 

FRIDAY, JUNE 10

Protest nuclear power

It’s been almost three months since the earthquake in Japan and resulting Fukushima nuclear disaster, and many fear that California’s coast is similarly vulnerable. Rally against the corporations that influence the U.S. government in favor of nuclear industry despite its dangers to people and the environment. Demand that all U.S. power plants — funded by tax dollars — be shut down and help promote a cleaner public power.

3:30–5:30 p.m., free

The Consulate General of Japan

50 Fremont, SF

Facebook: No Nukes Action SF-Solidarity with 6.11 Action in Japan

 

SATURDAY, JUNE 11

World Naked Bike Ride

Ride your bike in the buff to express the public’s vulnerability to the social, economic, and environmental dangers caused by a global dependence on oil. A kind of naked Critical Mass, this fun, provocative bike ride will tour the city’s hot spots including Fisherman’s Wharf, the Marina, and Civic Center. All are welcome, so ride as you dare — bare or square — but don’t forget the sunscreen.

11 a.m., free

Justin Herman Plaza

Market and Embarcadero , SF

Facebook: World Naked Bike Ride-San Francisco

 

International Day of Solidarity

Enjoy an evening of solidarity and support for Marie Mason and Eric McDavid, two political prisoners sentenced for Earth Liberation Front-endorsed actions — what the feds call ecoterrorism. This event features a screening of If a Tree Falls: A Story Of the Earth Liberation Front, as well as information about the so-called “green scare,” or the recent wave of government repression meant to disrupt and discredit environmental activism.

7–9:30 p.m., $15

Women’s Building

3543 18th St., SF

www.june11.org 

 

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Don’t undo ballot measures

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EDITORIAL The California initiative process is broken. The state’s too big, and it costs too much to gather signatures and mount a media campaign for or against a ballot measure.

But in San Francisco, the initiative process has traditionally been, and for the most part continues to be, a check on corrupt or ineffective political leaders and a chance for progressive reforms that can’t make it through City Hall. That’s why Sup. Scott Wiener’s proposal to allow the supervisors to amend (or, in theory, abolish) laws passed by the voters is a bad idea.

Since 1968, the San Francisco voters have approved 96 ordinances; that’s an average of about two a year. Obviously the pace has picked up since the 1970s. In 2008, there were eight measures approved; in 2010 there were four. The length and complexity of the ballot makes it appear that the supervisors aren’t doing their work, Wiener says. He notes that when he was campaigning, one of the most common complaints was that the voters were being asked to decide too many things that should have been handled at City Hall.

Some of that is the result of an unwieldy City Charter. Benefits for police and firefighters, for example, are specified in the charter, and any change needs voter approval. Wiener’s measure, aimed only at initiatives and not charter amendments, wouldn’t change that situation.

But some of it relates to the political alignments in San Francisco. For much of the past decade, the supervisors and the mayor were at odds over major issues. The mayor couldn’t get his (bad) proposals, like a ban on sitting on the sidewalks, through the board, and the progressives couldn’t get their proposals past a mayoral veto. So both sides went directly to the voters.

That’s a lot better than the paralysis we’re seeing in Sacramento. At least the issues are getting decided.

And over the years, some of the most important legislation in San Francisco — growth controls, tenant protections, protections for children’s programs, the city’s landmark open-government law — has come through ballot initiatives. The only way public power advocates have been able to get the issue on the agenda has been through ballot initiatives.

Those were issues that generations of supervisors and mayors wouldn’t take on — the developers and landlords and secrecy lobbyists and Pacific Gas and Electric Co. had too much power at City Hall. And those protections for the public, the environment, and the most vulnerable residents only survive today because they’re set in law and can’t easily be changed.

If Wiener’s measure has been in effect a decade ago, for example, Proposition M — the 1986 law that set neighborhood planning priorities and limits on office development, would have been summarily scrapped by Mayor Willie Brown and a pro-developer board. Key rent-control laws would have been repealed or amended to death. The ban on buildings that cast shadows on parks would be gone. Killing the Sunshine Ordinance would have been Brown’s first act.

Today’s district-elected board is far more accountable to the voters — but there’s hardly a reliable progressive majority. And the point of ballot initiatives is that you can’t predict who will control City Hall next year, or in 10 years.

We don’t think the initiative process in San Francisco is out of control. Sure, big money wins the day too often — but on balance, it’s a check that the Board of Supervisors should leave alone.

Dancing in the light

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arts@sfbg.com

DANCE The Ka-Ren people, who live on the border between Thailand and Burma and who have never recognized these political divisions, are known for their indigenous jewelry-design traditions. They didn’t get a gemologist in Ledoh, though they did get a dealer in a different kind of jewel — dances — and not because of a well-developed plan. Rather, it was serendipitous.

Performer-choreographer Ledoh — one name only, as is common among the Ka-Ren — came to this country at age 11 when his father realized that the family, although relatively well-off economically, might not have much of future in Burma. (Ledoh’s preferred name for his country; it is also called Myanmar.) The boy found the contrast between “garden parties and embassy events” and “having to take care of my sisters and slug to the Laundromat in the snow” striking, to say the least. But he dove into his American life, focusing his energy on visual arts and athletics. Dance, and butoh in particular, was nowhere near his horizon. But the Ka-Ren culture was ingrained into his DNA.

After college, on his way to Bangkok to study gemology — “I wanted to help my people,” Ledoh explains in a post-rehearsal conversation — his life took an unexpected turn. During a stopover in Kyoto, a friend took him to a butoh concert by one of the Japan’s great practitioners, Katsura Kan. Ledoh was hooked, and an intended three-month stay in Asia turned into three years.

This weekend sees the premiere of another of Ledoh’s full-evening works, Suicide Barrier: secure in our illusion, choreographed and performed by himself and dancers Iu-Hui Chua and Tammy Ho.

Even though he has lived in San Francisco since 1998, Ledoh has stayed on the margins of Bay Area dance. For one thing, he works very slowly. You can expect about one piece every two years; in the swirl of local dance-making, their impact has been low-key until recently. He gets an idea, he explains, “and then I crawl under a rock and come out when it’s time to do so.” The name of his company, Salt Far, says it all. Salt is the result of crystallization when “nothing is left except the essence of what there was.” His most recent work started as Signature Required: Life During Wartime, a response to 9/11 that evolved into ColorMeAmerica, a meditation on a personal journey through a strange land. It took him two-and-a-half years to complete.

While the influence of butoh is unmistakable in the choreographer’s work, the label doesn’t quite stick. Borrowing a definition from film, he calls what he does “butoh vérité.” He wants to pierce the genre’s trappings — glacial speed, bodily distortions, and white body paint — and focus the attention on the reality underlying the external phenomena.

Ledoh also works out his pieces into the smallest details. Nothing is left to chance. They are tightly structured multimedia events evincing a hands-on approach to integrating dance, sound, and visual elements. For Suicide he is again working with composer Matthew Ogaz and videographer-media artist Perry Hallinan.

All these aspects of Ledoh’s artistic temperament have earned him the admiration of ODC Theater director Rob Bailis. ODC Theater, in collaboration with Circuit Network, is producing Suicide. “Frankly, Ledoh is a genius,” Bailis says. “He is extremely diligent, lives a good long time with a subject, and comes to the table with a well-realized and courageous approach to a topic.”

Ledoh lives in Sonoma and San Francisco. His daughters, whom he had to take to their piano lessons between a rehearsal and this interview, live in SF. The eternal commute between the two places may well have sown the seeds for what has become Suicide. The Golden Gate Bridge Authority is considering installing a wall and a net to discourage jumpers. The intent may be to save lives but, in all likelihood, an ancillary purpose may be avoiding lawsuits. It’s a very fractured approach to seeing reality.

For Ledoh, this act of wall-building became an image of a self-deception that inevitably alienates us from full consciousness. For some, that blindness is hubris; for others, it means an inability to see the “other.” In his work, Ledoh tries to penetrate the false sense of reality and security that he observes everywhere in contemporary life. It’s in the dancer whom he sees only as a reflection thrown back by a mirror — and in the shopper who walks the aisles of a supermarket. He finds it even in the Ka-Ren, who, with the advent of ecotourism, “are now stuck in a game reserve of a natural forest.”

In a publicity shot, Ledoh is shown with a white flower stuck in his mouth. Is it a chrysanthemum, a funeral flower in many cultures? “It is a Gerbera daisy, and yes, it is a mourning flower for me,” he explains. The Ka-Ren grow them — for export.

Ledoh is not naïve about our ability to break through the walls we build around ourselves. He calls it “chasing our tail and never biting into it.” In his art, he tries to get as close as he can. Butoh, he says, is the means to “keep it honest, not to stylize,” which would distort the perspective. Working with the exquisite, ballet-trained Ho, he whispers images to her: “brush it away”; “reach for the apple.” These images, he later explains, are grasped by the mind that then has to let them sink inside the body. Gradually, Ho transforms herself into a vessel beyond what she thought she was. Then the choreographer encourages her to open and neutralize her eyes. When she no longer focuses, her eyes have become lenses through which we can look inside.

SUICIDE BARRIER: SECURE IN OUR ILLUSION

Fri/3-Sat/4, 8 p.m.; Sun/5, 7 p.m., $15–$18

ODC Theater

3153 17th St., SF (415) 863-9834 www.odctheater.org

FBI spying will be an issue for new Police Commissioner

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When Police Chief Greg Suhr got sworn in at City Hall a month ago, reporters each got to ask one question during a hastily convened media roundtable inside Mayor Ed Lee’s office. And since the Guardian’s story about the FBI’s secret agreement with the San Francisco Police Department had just hit the streets, I asked the new Chief, if he would welcome clarification around the duties of SFPD officers assigned to the FBI’s Joint Terrorism Taskforce.

Chief Suhr said he believed an examination of the wording of the FBI’s most recent memorandum of understanding (MOU) with the department was already under way. “I believe that the MOU is being revisited,” Suhr said. “I have not been a part of that, but again I think we have a real good policy with regard to our intelligence gathering and that does supercede any ask of any other agency. The officers are bound by policies and procedures. And that policy was well thought out with tremendous community and group input years and years ago, from situations that have not since repeated themselves. I think a lot of people back then couldn’t believe they happened in the first place, but I think measures were well thought out and put in place to make sure we don’t have a problem again.”

Fast forward three weeks, and Suhr found himself in the hot seat at a May 18 joint meeting of the Human Rights Commission and the Police Commission, where commissioners got an update about the Police Department’s response to community concerns about surveillance, racial and religious profiling of Arab, Middle Eastern, Muslim, and South Asian Communities and the potential reactivation of SFPD Intelligence Gathering.

After Suhr introduced his new Command Staff—and stressed their great diversity–Police Commission President Thomas Mazzucco, who was Suhr’s football coach in high school, tried to assure folks that the Police Commission, the Human Rights Commission, the FBI, the SFPD, the American Civil Liberties Union and the Asian Law Caucus had already addressed the community’s intelligence-gathering concerns, in part through a bureau order that Chief Suhr then introduced during the hearing, in which Suhr clarified that SFPD policies trump FBI guidelines every time.

And Mazzucco,  a former Assistant U.S. Attorney for the Northern District of California and a former Assistant District Attorney for San Francisco, before Mayor Gavin Newsom appointed him to the Commission in 2008, noted that the community’s concerns were based on allegations. not factual findings.

But his comments got folks wondering whether Mazzucco’s prior involvement with the feds left him with a blind spot that is preventing the Police Commission from dealing with the issue in a timely and effective manner, particularly since Commissioner Jim Hammer’s term has expired, and the rest of the Commission is waiting for the Board’s Rules Committee to decide between nominating David Waggoner, L. Julius Turman, Phillip Hogan or Vanessa Jackson as the next new Police Commissioner.

For, as members of the public observed during the meeting, if the Police Commission President himself expresses no outrage at finding that the Commission’s policies have been undercut for the past four years by secret agreements between SFPD and the FBI, how can San Francisco claim to have a credible system of civilian oversight?

Instead, they felt that Mazzucco seemed more concerned about defending federal practices and officials, who were unwilling to show up at the May 18 hearing, than worrying about the role and authority of the civilian oversight body he now represents. And attorneys with the ACLU and the Asian Law Caucus noted that though Suhr characterized his new order as being based on the Portland resolution and a prior proposal from community advocates, they believe Suhr’s approach can only work with the written consent of the FBI, (which SFPD doesn’t have) if the FBI’s 2007 contract is left in place.

“That’s why there is a need for a transition to a non-MOU, Portland-style resolution,” ACLU’s John Crew told the Guardian, noting that ACLU’s willingness to work collaboratively with the commissioners and the new Chief should not be confused with a willingness on ACLU’s part to roll over and accept an approach that is based on wishful thinking rather than the realities of the MOU that’s still in place.

During the May 18 joint hearing, Chief Suhr acknowledged “the validity of the perceptions raised by the community,” even as he insisted that SFPD has “very strict policies” in place to ensure appropriate oversight for investigation- involving activities.

Suhr summarized the history of those policies, including ACLU’s John Crew’s involvement in creating Department General Order (DGO) 8.10, which establishes that there must be reasonable suspicion before SFPD intelligence gathering can occur.

Suhr noted that SFPD joined FBI’s Joint Terrorism Taskforce (JTTF) after the September 11, 2001 attacks, and SFPD officers assigned to the JTTF subsequently came under control of the Department of Homeland Security unit, but starting now, they are back under SFPD’s special investigations.

“I gave the order today that JTTF will be moved back under SFPD’s special investigation unit,” Suhr said. “They will have the security clearance necessary to oversee the activities. The members are required to comply with all department policies, even if they can conflict with FBI policies. Simply said, San Francisco policies, procedures, laws, and statute trump any federal policy or procedure. Our officers are bound by those.”

Suhr said that to ensure everyone is clear about the chain of command, he’d drafted his May 18 bureau order. “It essentially turns back the clock and emphasizes that officers are responsible for our policies and procedures first, and our officers are bound to identify themselves as San Francisco police officers,” Suhr said, further noting that he’d be happy to further amend his new order as needed.

And Mazzucco noted that SFPD has absolutely no jurisdiction whatsoever over the Transportation Security Administration’s activities at the airport.

But while Human Rights Commission Chair Michael Sweet said Suhr’s new bureau order,  “goes a long way toward helping to alleviate some of the concerns,” he and many commissioners noted that this was their first chance to read the order. And Sweet said he saw the May 18 joint hearing “as by no means the end of the discussion.”

HRC director Theresa Sparks, who was on the Police Commission when the FBI drafted its 2007 JTTF MOU, noted that the issue is not whether we should opt out, but what we can do to ensure that officers involved in activities have “strong civilian oversight of their activities and report activities through the established civilian oversight mechanisms and procedures defined in DGO 8.10.”

” Our approach to achieve this objective is to publish internal directives ensuring our officers only participate in activities that meet our local standards of reasonable suspicion,” Sparks stated, claiming that Suhr’s order will “ give the city control over misconduct charges and allegations of misconduct charges.”

Sparks noted that the May 18 hearing was a status report about “alleged violations by the FBI and SFPD, as well as airport police,” and that the HRC “did no independent investigation” to verify these allegations.

Sparks added that HRC and the Immigrant Rights Commission has a tentative agreement to move forward with townhall meetings to address community concerns, and will encourage the Board to appoint a special prosecutor to determine if the prosecution of terrorism cases is valid and fair, and discuss the need for an Ombudsman at the airport. And she talked about the need for SFPD to establish legal safeguards, mechanisms for greater transparency and oversight, and conduct more detailed yearly audits.

“Tonight was a real dialogue about the issues,” Sparks said, further noting that civilian oversight of local JTTFs is also a popular discussion in Oakland and in Portland, Oregon, which has decided to rejoin its local JTTF after opting out in March 2005. But she didn’t mention that Portland had entered into a resolution with the FBI, instead of signing a new MOU with the feds.

That explanation was left to Veena Dubal of the Asian Law Caucus and ACLU’s Crew– in between explaining why they believe Suhr’s Bureau Order isn’t enough. “The good news is that we all collectively agree that SFPD policies should apply to SFPD officers assigned to the JTTF,” Dubal said. “The bad news is that the recently released MOU, which was secret for four years, doesn’t reflect our collective desires.”

Dubal stated that the FBI won’t amend its 2007 MOU with the SFPD.
“And that is why the Chief issued the bureau order,” Dubal stated, claiming that the FBI Special Agent in Charge of JTTF involvement recently told ALC and the ACLU that the FBI will continue to block key parts of local policy central to accountability and oversight.

“But there’s a solution and it doesn’t necessitate a divorce from the joint terrorism task force,” Dubal continued, noting that there are now two ways for local law enforcement officers to participate in JTTFs: an MOU, in which SFPD resources are put into the hands of FBI with relatively no local control, as in the SFPD’s 2007 agreement with the FBI. Or via a resolution which the federal government just approved in Portland, which allows participation in the JTTF, but provides much better protection for civil rights and gives the police department and the police commission more control of the relationship.

Dubal noted that in the decade since 9/11, the FBI has expanded its intelligence powers, and its agents are now allowed to conduct intelligence without a factual connection to criminal activity.

“Given these massive shifts in FBI activity, the question is, what should the relationship between the SFPD and the FBI look like?” Dubal said.

“Unlike the FBI, the SFPD is not a national security organization, “ Dubal continued, noting that when SFPD signed up to work with the JTTF under an MOU that preserved local control and policies, “it wasn’t assuming that some of its officers, paid for by San Francisco taxpayers, could be transformed into national security agents.”

”The SFPD signed on without telling anyone, not even the police commission,” Dubal said, noting that SFPD cannot afford to participate in these practices. “We need community trust to keep all of our communities safe.”

ACLU’s Crew noted that the FBI came to the SFPD in 2007 with a new MOU. “And perhaps inadvertently, there was no review by the City Attorney, and no notice to the police commission,” Crew said. “And it’s a drastically different MOU, unfortunately.”

“Now, we didn’t know about that MOU because it was kept secret at the insistence of the FBI for four years,” Crew continued, further noting that when ACLU and ALC met with the SFPD in 2010, they were suddenly told that the police department couldn’t talk about these issues without FBI permission.

“That set off a warning sign,” Crew observed, noting that in early April, when the ACLU and ALC finally got the MOU released, their worst suspicions were confirmed.

“There was no public discussion of transforming the SFPD into a national intelligence gathering association,” Dubal said. “The problem is that the FBI changed the deal, and the SFPD signed it, without telling anyone.”

Dubal noted stark differences between the FBI’s 2002 MOU and the one the SFPD signed in 2007, along with stark changes to FBI guidelines that occurred in 2008, in the dying days of the Bush administration, and that now allow a new assessment category, that does not require reasonable suspicion and has been criticized by civil liberties groups.

And according to Crew, the FBI’s new MOU “puts at risk the very concept of civilian control.” As Crew noted, between the mid 1990s, when the SFPD developed DGO 8.10, which governs its officers’ intelligence-gathering policies and procedures, and 2007, when the FBI prepared a new JTTF MOU, there’d been little controversy over intelligence-gathering in San Francisco.

 “And then, perhaps inadvertently, the SFPD signed that MOU and it was drastically different and kept secret at the insistence of the FBI for four years,” Crew observed.

And in 2010, the SFPD suddenly said it couldn’t talk about the issue without the permission of the FBI, Crew added, noting that “Unnecessary secrecy breeds suspicion.”

“We don’t think the Bureau Order is sufficient,” Crew concluded. “This is an issue that has to be dealt with at the Police Commission level.”

Crew noted that the Portland City Council chose not to enter into an MOU, “specifically because it restricts the ability to provide local control and local oversight. “

“So, we are not saying opt out, but we are saying there needs to be a transition to a resolution that maintains local control over the assignment of officers and provides all these elements of civilian oversight,” Crew continued.

He claimed that the federal government says a resolution is possible, as long as you’re not doing it under an MOU.
“So the question is, if that level of protection is available now to the people in Oregon, why would San Francisco not take the same deal?” Crew said. “All you have to do is give 60 days’ notice to the FBI that are you going to start this transition to a resolution. That notice period allows the FBI to have any comments or express any concerns they want, I think it’s very regrettable that they chose not to participate tonight and unfortunately I think it says something in terms of how seriously they take these concerns.”

Crew concluded that such a transition would be a win-win situation.

”If we went to a resolution that merely asserted local policy, then they could keep doing exactly what they’re doing now,” Crew said. “On the other hand, if it turns out that there’s activities SFPD is involved in that they shouldn’t be involved in, don’t we want those stopped?

“The one comment I will make of the bureau of general order is that I’m thankful to hear it’s a work in progress,” Crew added, noting that ACLU and ALC “don’t think a bureau order is sufficient. That’s because it can be changed at any time without the notice of the police commission, without a public hearing.”

But Mazzucco disagrees with ACLU and ALC’s claims that FBI intelligence-gathering guidelines have been relaxed since 2008.
 “There are no random assessments, and there has to be a predicate of a criminal violation,” Mazzucco told commissioners, noting that ” with honorable people like Bob Mueller” (Mazzucco’s former boss) “running the FBI, there should be a level of confidence that there will not be any violations.

And in a follow-up call, Mazzucco told the Guardian that he thought Suhr’s bureau order clarifies that “local officers follow SFPD rules.”

Mazzucco also suggested that Police Commission oversight, “is more over policy and procedures and less about operations,” by way of explaining how the SFPD’s 2007 MOU  with the FBI never came before the Commission.
“But I suggested that we see the next MOU in this area,” Mazzucco added.

And he proposed “a simple solution” moving forward, namely transparency and educating the public,” about the JTTF.

“SFPD is probably the most diverse police department in the country,” Mazzucco said. “And there is civilian oversight. We won’t let anything untoward happen.”

And he praised the new US Attorney for Northern California Melinda Haag, and FBI Special Agent Stephanie Douglas for their participation in recent meetings with city officials about the community’s intelligence-gathering concerns.
“The good news is that nothing controversial is going on here,” he said, noting that out of the broad array of community advocates who showed up at the May 18 joint hearing, there were maybe five citizens who spoke about encounters with the FBI, and only one from the Bay Area. ”My goal is to make everyone feel comfortable,” he said.
 
But HRC Chair Sweet acknowledged at the May 18 joint hearing that it was “very difficult” to know from a first reading of Suhr’s Bureau Order if it fully addressed the community’s intelligence-gathering concerns. “I think a great deal of discussion really needs to take place on that particular issue,” he said.

And HRC Vice Chair Douglas Chan dug into the details, starting with the apparently now classified question of how many SFPD officers are currently assigned as deputized FBI officers.
”We don’t generally discuss the specific numbers, but I will tell that you we’ve never had less than two officers assigned to the JTTF,” Suhr replied.

And he told Chan more work can be done on the Bureau Order. 
“The intent of the order was to align it with DGO 8.10 and to close any gap that was in the 2007 MOU,” Suhr said.

Chan asked if SFPD has in mind “ a framework or an approach” if a case arises, wherein an officer, in order to defend himself against an allegation of misconduct, or a citizen seeking to discover facts and other evidence relating to an incident, bumps up against this need to know and the fact that apparently JTTF activities are, “under a federal classified information.”

“I think that would probably need to be flushed out in subsequent drafts of the bureau order,” Suhr replied. “I think we could turn the clock back to where the officers are ultimately accountable to the police department, the commission and the citizens of San Francisco.  I think that the most recent MOU, as has been discussed, there was somehow a mishap where it was not reviewed.”

 And while Police Commissioner Petra DeJesus said Suhr’s Bureau Order was, “a step in the right direction,” she added that she felt it needs to be amended to clarify how the Police Commission would truly have oversight of SFPD officers’ JTTF activities.
‘Even though a commissioner is going to look at what’s been done monthly, that commissioner doesn’t have the clearance, and we’d only see a sanitized version of the events,” she observed. “And we need to look at the auditing report part of it.”
 
 And Police Commissioner R. James Slaughter said he thought everyone was “frustrated that the FBI is not here to answer some of these questions.” I think that would help us.”

And now, with four candidates vying to replace Jim Marshall as the seventh Police Commissioner, it’s not clear what the Police Commission will do beyond Suhr’s Bureau Order. But clearly that question now becomes part of the commission selection process.

And so here is the basic direction of Suhr’s new Bureau Order:

 
Under Suhr’s new Bureau Order (not to be confused with an FBI order) SFPD officers assigned to the FBI’s terrorism task force must abide by local policies protecting civil rights rather than looser federal rules.

 “It is the responsibility of the Federal Bureau of Investigations (FBI) to prevent, investigate and respond to terrorism in the United States.” Suhr’s May 18 order states. “The FBI has established local Joint Terrorism Task Forces (JTTF) to share resources and coordinate among federal, state, tribal and local governments. It is the policy of the [San Francisco Police] Department to help prevent and investigate acts of terrorism, protect civil rights and civil libertes under United States and California law, and promote San Francisco as an open and inclusive community by participating in the FBI Joint Terrorism Task Force.”

“The Chief may assign SFPD offices to work on JTTF investigations that comply with the requirements stated above regardless of whether or not the investigation is based in the City & County of San Francisco,” Suhr’s order, which was issued by Deputy Chief Kevin Cashman, continued.

 “SFPD offices shall work with the JTTF only on investigations of suspected terrorism that have a criminal nexus,” Suhr’s Bureau Order concludes. “In situations where the statutory law of California is more restrictive of law enforcement than comparable federal law, the investigative methods employed by SFPD officers working on JTTF investigations shall conform to the requirements of such California statutes. While cross-designated and deputized as federal officers for the purposes of their JTTF assignments, when not operating in a covert or undercover capacity, SFPD officers shall always identify themselves to members of the public as SFPD officers.”

Or as Suhr told commissioners May 18, “Our officers will follow our department orders.”
.

 

Our Weekly Picks: June 1-7, 2011

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THURSDAY 2


MUSIC

Architecture in Helsinki

Some bands like to have fun. Not in trashing hotel rooms or humiliating groupies with fish, but actually in the music. OK Go, Los Campesinos!, and Of Montreal: different tones, different levels of schizophrenia, but always a pervasive sense of enjoyment in making music. Australia’s Architecture in Helsinki has always had a random streak: shifting vocal harmonies of its members atop music that might emerge from a glockenspiel one second, an mbira the next. The latest album, Moment Bends, finds the group embracing a more polished, electronic sound. But one thing remains true: no matter what adjective precedes it, any description of the band is still going to contain the word “pop.” (Ryan Prendiville)

With Hooray For Earth

9 p.m., $21

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

9 p.m., $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

EVENT

Fred Armisen

One of the brightest stars on the roster of players on Saturday Night Live, Fred Armisen has created a host of hilarious characters and is a master of side-splitting celebrity impersonations, channeling people such as President Obama, Larry King, and former New York governor David Paterson. Armisen’s latest project is the outstanding Portlandia, which he cocreated and costars in with former Sleater-Kinney guitarist Carrie Brownstein. Fans won’t want to miss tonight’s special event, where Armisen will engage in an on stage conversation with Mythbusters host Adam Savage about his career and life. (Sean McCourt)

8 p.m., $23

Herbst Theatre

401 Van Ness, SF

(415) 392-4400

www.cityarts.net


DANCE

Zeropoint

Choreographer Sara Shelton Mann and media artist David Szlasa join forces for Zeropoint, a multimedia performance event presented by Z Space and Mixed Bag Productions, tackling nuclear meltdown, perception, and world healing. Composed of dance, video, and social experiment, this world premiere rises on the heels of the team’s powerful recent production, Tribes/Dominion. Shelton Mann, the longtime leader of Contraband (a group of artists working together during the 1980s and ’90s who profoundly influenced Bay Area dance), continues to employ cross-disciplinary work addressing human potential in a time of global change. Don’t miss the latest creation by this dynamic duo layering video and contemporary performance. (Julie Potter)

Thurs/2–Sat/4, 8 p.m., $25

Z Space

450 Florida, SF

(415) 626-0453

www.zspace.org

 

FRIDAY 3


DANCE

Embodiment Project

Nicole Klaymoon’s Embodiment Project bridges modern dance with the longstanding cultural tradition of street dance in Of Her Rib, a hip-hop drama. Singer-songwriter Valerie Troutt performs live vocals and special guest performances include L.A. funk and hip-hop band, the Elevaters as well as Bay Area hip-hop dance company, Mix’d Ingrdnts to open the evening. Having worked with Rennie Harris and Marc Bamuthi Joseph, Klaymoon is among a growing number of artists folding street dance into theatrical contexts. Through song, movement, and spoken word, the Embodiment Project initiates a conversation about unity, action, and strength. (Potter)

Fri/3–Sun/5, 8 p.m., $20–$28

Dance Mission Theater

3316 24th St., SF

(415) 826-4441

www.dancemission.com


DANCE

Anne Bluethenthal and Dancers

Anne Bluethenthal’s work is so embedded in San Francisco’s dance culture that we tend to take it for granted. Not a good idea. She started out as a gorgeous dancer making exquisite solos for herself and expanded into choreography grounded in the vulnerable human heart. A few years ago, producing had become financially so onerous that she almost gave up. Fortunately, she didn’t. Somewhere she picked up more energy and has been as productive as ever. In its 26th year, her company is presenting a triple bill, Goin’ Gaga, which looks at generational differences between queer women; ABD’s Year of Guerrilla Art, a documentation of weekly public dance making; and excerpts from Daughters Untold, a work that examines violence and sexual exploitation. A rich program by a rich artist. (Rita Felciano)

Fri/3–Sat/4, 8 p.m.; Sun/5, 6 p.m., $15–$20

CounterPULSE

1310 Mission, SF

1-800-838-3006

www.counterpulse.org


DANCE

Rotunda Dance Series

Long before the gold rush settlers and Spanish missionaries descended on the Bay Area, the Ohlone people populated the region, living in a hunter-gatherer society with a culture of sweat lodges, talking circles, and healing ceremonies. The tribe shares their traditions with a free Rotunda Dance Series performance by Rumsen Ohlone Tribe’s Humaya Singers and Dancers presented by Dancers’ Group and World Arts West. As the kickoff for the 2011 Ethnic Dance Festival, this special opening ceremony illustrates an important part of Bay Area history and the Ohlone’s enduring heritage, presence, and cultural life. (Potter)

Noon, free

San Francisco City Hall Rotunda

1 Dr. Carlton B. Goodlett, SF

(415) 920-9181

www.dancersgroup.org


SATURDAY 4


FILM

The Love Bug

Featuring the wacky adventures of Herbie, the beloved Volkswagen Beetle with a mind of its own, Walt Disney’s 1968 movie The Love Bug remains an endearing family favorite. Set in San Francisco and boasting shots of a variety of local landmarks and locations, the film is a great selection for an afternoon matinee to help celebrate the 75th anniversary of Cliff’s Variety, the neighborhood store that stands in the Castro Theatre’s original location. Tickets, soda, and popcorn are all 75 cents, and as an added treat, kids and kids at heart will be able to have their pictures taken with ol’ No. 53 himself. (McCourt)

Noon, 75 cents

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com


MUSIC

Saturn Returns

Unlike our frantic Earth, with its 365- day orbit, the ringed planet Saturn moseys through the cosmos, revolving around the sun only once every 29 years. Some say this three-decade cycle symbolizes a person saying astrological sayonara to one major phase of existence and entering another, a.k.a. your “Saturn return.” Saturn Returns — a localized super group made up of members of Old Grandad, Acid King, and Night After Night, all bands with various metallic tendencies — might be melodically embodying this starry maxim. With a softness unlike any of their other projects, it’s almost as though they’ve rocked across some fiery threshold and into a focused, dare I say, pretty, melancholy on the other side. Heavy mellow. (Kat Renz)

With Walken and Aerial Ruin

9:30 p.m., $7

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com


SUNDAY 5


VISUAL ART

“Court Sketches From the New Frontier”

Best known ’round these parts as a David Lynch-inspired singer-songwriter after her critically-acclaimed 2008 album The Ideal Hunter, Kira Lynn Cain originally trained as a fine artist at the San Francisco Art Institute. Her first solo art show hangs in the site that hosted her first musical performance, the appropriately noir-ish Rite Spot. The highly detailed pen-and-ink drawings in “Court Sketches From the New Frontier” are indeed inspired by a new frontier — Cain’s recent move from the Mission District to the historic town of Nevada City, a gold rush-meets-New Age hideout in the Sierra foothills. Cain’s surreal, playfully grim works incorporate strange creatures, even stranger landscapes, and a distinctively dreamlike sensibility. Come out, and be enchanted. (Cheryl Eddy)

Through Aug. 6 (reception tonight, 6–8 p.m., free)

Rite Spot

2099 Folsom, SF

(415) 552-6066

www.ritespotcafe.net

 

MONDAY 6


MUSIC

Winter’s Bone: The Complete Musical Score”

Get ready for a musical journey deep into the Ozarks, steeped in the rich traditions of classic Americana as the musicians behind the stellar soundtrack to the Oscar-nominated 2010 movie Winter’s Bone come to the city tonight as part of their first-ever national tour. Marideth Sisco, Blackberry Winter, Bo Brown, Van Colbert, Dennis Crider, Tedi May, and Linda Stoffel will all perform the songs — including “Missouri Waltz” and “High On A Mountain” — that helped set the stark tone and created a rich backdrop for the excellent film. (McCourt)

8 p.m., $20

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com


TUESDAY 7


MUSIC

Gates of Slumber

It may have taken bruising Indianapolis power trio Gates of Slumber awhile to unleash its full potential, but now that it’s untrammeled, nothing can stand in its way. New platter The Wretch features a new, more thunderous drummer, improved production, and a stripped-down, somber songwriting style that showcases singer-guitarist Karl Simon’s haunting vocals. Lyrics about barbarians with battle-axes — a staple of the band’s previous offerings — make way for tortured, introspective ruminations on life’s many vicissitudes. Also augmented is the presence of bassist Jason McCash’s languid, groovy low-end. Touring in support of UK legends Orange Goblin, these mournful Midwesterners are a must-see. (Ben Richardson)

With Naam and DJ Rob Metal

9 p.m., $14

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.

Muni strike averted as a tenative contract deal is reached

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After months of contentious negotiations and a vote by Muni workers to authorize a strike if necessary, San Francisco Municipal Transportation Agency and the Transport Workers of America Local 250A have reached a tentative contract deal. But union members still need to review and ratify the deal, which is far from certain for a union whose members have been some of the most militant city workers.

“These contract talks were intense but both sides acted professionally. Ultimately, we arrived at a contract compromise that will produce significant cost savings and will change how Muni is managed over the long term,” MTA negotiator Debra Johnson said in a public statement distributed by the agency about an hour ago.

Local 250A Secretary-Treasurer Walter Scott cautioned that members still haven’t reviewed the deal, which they will vote on in 10-12 days. But he told the Guardian, “I’m glad that we came to a tentative agreement and we don’t have to go to arbitration.”

Among the terms proposed for this three-year contract are a wage freeze, a redefinition of overtime and other structural changes, provisions for hiring part-time workers, and other changes that MTA officials say will save the agency at least $21.3 million over the contract term. This was the first contract negotiation since voters approved Prop. G in November, ending the union’s guarantees of some of the nation’s highest driver salaries, thus giving the city more leverage in the collective bargaining process.

But Muni workers have been frustrated with the pace of negotiations and what they felt was a demonization of Muni workers by officials and media outlets in the city, leading union members to authorize a strike despite the prohibition on such work stoppages in their contract and in the city charter. Union officials had argued that a strike might have been legally permissible after the current contract expires on July 1, but the City Attorney’s Office disagreed.

At a time when public employee pension reform and the city budget are some of the biggest topics at City Hall, most political observers say a shutdown of the Muni system would have been a nightmare for both commuters and the union. Now, we’re all left to wait and see whether members accept the proposed deal or whether they want to keep fighting.

UPDATE (3:17 pm): Local 250A has issued a public statement announcing the deal and expressing irritation with the MTA and its public relations consultant for announcing the terms of the deal. Union President Rafael Cabrera said, “Part of our agreement with SFMTA was not to discuss the terms and conditions with the public until our members have had a chance to review the TA. It’s very disappointing that SFMTA’s outside media consultant Charles Goodyear has already violated the terms of our agreement with a detailed and inaccurate press release earlier today.” The union also said a vote on the deal will take place on June 8.

Editorial: Don’t undo ballot measures

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The California initiative process is broken. The state’s too big, and it costs too much to gather signatures and mount a media campaign for or against a ballot measure.

But in San Francisco, the initiative process has traditionally been, and for the most part continues to be, a check on corrupt or ineffective political leaders and a chance for progressive reforms that can’t make it through City Hall. That’s why Sup. Scott Wiener’s proposal to allow the supervisors to amend (or, in theory, abolish) laws passed by the voters is a bad idea.

Since 1968, the San Francisco voters have approved 96 ordinances; that’s an average of about two a year. Obviously the pace has picked up since the 1970s. In 2008, there were eight measures approved; in 2010 there were four. The length and complexity of the ballot makes it appear that the supervisors aren’t doing their work, Wiener says. He notes that when he was campaigning, one of the most common complaints was that the voters were being asked to decide too many things that should have been handled at City Hall.

Some of that is the result of an unwieldy City Charter. Benefits for police and firefighters, for example, are specified in the charter, and any change needs voter approval. Wiener’s measure, aimed only at initiatives and not charter amendments, wouldn’t change that situation.

But some of it relates to the political alignments in San Francisco. For much of the past decade, the supervisors and the mayor were at odds over major issues. The mayor couldn’t get his (bad) proposals, like a ban on sitting on the sidewalks, through the board, and the progressives couldn’t get their proposals past a mayoral veto. So both sides went directly to the voters.

That’s a lot better than the paralysis we’re seeing in Sacramento. At least the issues are getting decided.

And over the years, some of the most important legislation in San Francisco — growth controls, tenant protections, protections for children’s programs, the city’s landmark open-government law — has come through ballot initiatives. The only way public power advocates have been able to get the issue on the agenda has been through ballot initiatives.

Those were issues that generations of supervisors and mayors wouldn’t take on — the developers and landlords and secrecy lobbyists and Pacific Gas and Electric Co. had too much power at City Hall. And those protections for the public, the environment, and the most vulnerable residents only survive today because they’re set in law and can’t easily be changed.

If Wiener’s measure has been in effect a decade ago, for example, Proposition M — the 1986 law that set neighborhood planning priorities and limits on office development, would have been summarily scrapped by Mayor Willie Brown and a pro-developer board. Key rent-control laws would have been repealed or amended to death. The ban on buildings that cast shadows on parks would be gone. Killing the Sunshine Ordinance would have been Brown’s first act.

Today’s district-elected board is far more accountable to the voters — but there’s hardly a reliable progressive majority. And the point of ballot initiatives is that you can’t predict who will control City Hall next year, or in 10 years.

We don’t think the initiative process in San Francisco is out of control. Sure, big money wins the day too often — but on balance, it’s a check that the Board of Supervisors should leave alone.

 

Our Weekly Picks: May 25-31, 2011

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WEDNESDAY 25


MUSIC

Stiff Little Fingers

Led by founding member and singer Jake Burns for 34 years now, Belfast’s punk legends Stiff Little Fingers remain a stalwart musical force to be reckoned with. Fueled by the same energy and edgy political criticism that drove classic tracks like “Alternative Ulster” and “Suspect Device,” the band may have changed lineups over the years, but still delivers the goods live, and will likely showcase some songs from its forthcoming album, due out later this year. Be sure to catch SLF tonight in all its glory in a small club — later this weekend they co-headline the Punk Rock Bowling festival in Las Vegas. (Sean McCourt)

With Sharks

8 p.m., $20

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com


MUSIC

Yeasayer

After listening to its self-described “Middle Eastern-psych-snap-gospel” music on its second studio album Odd Blood, you’ll only be yelling “yay!” to the stylings of Brooklyn-based trio (Chris Keating, Ira Wolf Tuton, and Anand Wilder), Yeasayer. Truth be told, the threesome admitted that Odd Blood was conceived because of a “massive” acid trip in New Zealand. Psychedelics or not, Yeasayer managed a more poppy feel to its much-acclaimed sophomore releases as opposed to its previous recordings. What’s more of a trip is that Peter Gabriel’s drummer, Jerry Marotta, assisted Yeasayer with its recording in an upstate New York studio. Trust me — you won’t be saying “nay” to Yeasayer.(Jen Verzosa)

 With Smith Westerns and Hush Hush

Wed/25-Thurs/26, $20

Fillmore

1805 Geary, SF

(415) 346-6000

www.livenation.com


THURSDAY 26


EVENT

“Muybridge in Three Movements”

It’s Eadweard Muybridge madness with performance, film, and conversation about the artist wrapped into one evening at SFMOMA. A pioneering spirit whose work led to early motion pictures, Muybridge began his artistic career in the 1860s in California. In conjunction with the retrospective exhibition “Helios: Eadweard Muybridge in a Time of Change,” SFMOMA presents excerpts from Catherine Galasso’s Bring On The Lumière!, a performance meditation on early cinema and the basic components of light and movement, key to Muybridge’s work. Also on the program: related short films selected by San Francisco Cinematheque’s Steve Polta and a conversation on cinematic space and time led by Infinite City: A San Francisco Atlas author Rebecca Solnit. (Julie Potter)

7 p.m., $10

Phyllis Wattis Theater

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org


MUSIC

Atomic Bomb Audition

The first time I heard the Atomic Bomb Audition, I wondered what film the band was scoring: desolate yet pretty, surreal but cohesive, complete with natural scene changes and visible textures. The Oakland band thus succeeds in its explicit compositional goal — to make music for films that don’t exist. Self-described “cinematic sci-fi metal” (Oh Lucifer, please not another heavy metal sub-sub-subgenre … ), ABA channels psychedelic black doom tainted with Mr. Bungle’s carnie creed and heartened by the fearlessness reminiscent of Pink Floyd’s Animals. The resulting soundtrack rings equally holy and dissonant; get your cinematic self to the show because this is the band’s last live one of the year. (Kat Renz)

With Listo, and Moe! Staiano

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com


DANCE

“Post:Ballet Sneak Peek”

Rooted in ballet with an eye toward the future, Robert Dekkers’ Post:Ballet thrives on fresh, edgy collaborations with artists in other disciplines. “Sneak Peek” offers an interactive preview of Interference Pattern, a work in progress with film excerpts by Amir Jaffer, performances by the company, audience experiments, and discussion. In discovering how observations influence the subconscious, the exchange during the evening aims to draw a variety of responses from the dance-artists and the audience. Before starting Post: Ballet in 2009, Dekkers performed in the Bay Area with ODC/Dance and Company C Ballet. These days his gorgeous troupe breathes new movement and ideas into ballet. Go ahead, sneak a peek! (Potter)

7–9 p.m., $10

Public Works

161 Erie, SF

(415) 932-0955

www.postballet.org


FRIDAY 27


MUSIC

“Carnaval Fever”

Just can’t get enough SF Carnaval? Sparkly revelers: stray ye not far from the Mission this Memorial Day weekend. Go beyond the free parade and festival (more info on those events at www.sfcarnaval.com) and shake your feathers at the multi-venue after-party, “Carnaval Fever.” Brick and Mortar, newly opened in the old Coda space at Mission near Division, hosts a trio of live bands, starting with Latin American-Caribbean funksters B-Side Players (Fri/27) and followed by retro funksters Monophonics (Sat/28) and the not-purportedly-funky-but-no-doubt-will-make-you-dance-anyway Brazilian accordion slingers Forró Brazuca (Sun/29). For those who’d rather party in a club pounding with Latin beats, there’ll be DJ sets at Public Works (with headliner Marques Wyatt, Sat/28) and Som. (with Sabo, Sun/29). (Cheryl Eddy)

Fri/27–Sun/29, 9 p.m., $12–$15

Brick and Mortar

1710 Mission, SF

Sat/28, 9 p.m., $10

Public Works

161 Erie, SF

Sun/29, 9 p.m., $10

Som.

2925 16th St., SF

www.carnavalfever.com


SATURDAY 28


DANCE

“RAWdance Concept Series: 8”

I’m here to tell you: RAWdance’s Concept Series can become addictive. Few mixed programs of excerpted or in-progress works are as much fun as these occasional showings hidden in the Duboce Triangle (with parking as difficult as North Beach). Presided over — if such it can be called — by RAWdance’s Wendy Rein and Ryan Smith in a venue where, quite unceremoniously, you have to move your butt if the choreographer needs your space, the evenings offer glimpses of what these choreographers are up to. Rarely does it lack for something intriguing, even if it’s just a question the choreographer hasn’t found the answer to yet. This time AXIS’ Margaret Crowell, Amy Seiwert, and wild-woman Christine Bonansea join the hosts, along with the South Bay’s Nhan Ho. As always, coffee and popcorn are included. (Rita Felciano)

Sat/28–Sun/29, 8 p.m.;

Sun/29, 3 p.m., pay what you can

James Howell Studio

66 Sanchez, SF

(415) 686-0728

www.rawdance.org


SUNDAY 29


FILM

Saicomanía

If you haven’t heard of Los Saicos, you’re not alone — though Héctor M. Chávez’s new rockumentary, Saicomanía, aims to shed some long-deserved light on “the best-kept secret from the ’60s.” Formed in 1964 Peru, at the height of worldwide Beatlemania, the members of Los Saicos were anything but fresh-scrubbed mop tops (see: the band’s name, which recalls a certain 1960 Hitchcock movie). Amid (unfounded) rumors that its members were cannibals and played their instruments with hand tools, a raw, frenzied, jangly sound emerged, surging forth to influence countless other bands (including present-day darlings the Black Lips, who appear in the doc), but earning few props from music historians beyond connoisseurs of early garage rock. Saicomanía traces the band’s origins and catches up with its surviving members, still giving off mischievous punk-rock vibes after all these years. The film’s U.S. premiere is hosted by Colectivo Cinema Errante; the screening also features music videos by contemporary South American bands influenced by los abuelos of garage-punk. (Eddy)

7:30 p.m., $6

Artists’ Television Access

992 Valencia, SF

(415) 824-3890

www.atasite.org

 

TUESDAY 31


DANCE

Royal Danish Ballet

The 19th century Bournonville repertoire is what the Royal Danes — a.k.a. the Royal Danish Ballet, founded in 1748 — is best known for. With this company, forget about errant princes and lost princesses, sky-high extensions, and tornado like whirligigs. Instead, watch for ordinary folks in feathery footwork, rounded arms, suppleness, and ease. That’s what you’ll get with La Sylphide — the oldest extant Romantic ballet. But the Danes, no longer exclusively Danish, also are resolutely 21st-century dancers. That’s why the company is also bringing Nordic Modern, four hot-out-of-the-studio choreographies. Why won’t we see some of Bournonville’s fabled full-evening story ballets? Everyone else on this U.S. tour is getting them, but we don’t have an available theater that can accommodate the designs. What a pity. (Felciano)

Tues/31, June 1, and June 3–4,

8 p.m., $38–$100

Zellerbach Hall

Bancroft at Telegraph,

UC Berkeley, Berk.

(510) 642-9988

www.calperfs.berkeley.edu


MUSIC

Antlers

There are depressing albums, and then there is Antlers’ 2009 LP Hospice. Based on musician Peter Silberman’s intimate solo recordings, Hospice paints nightmares of hospitals, terminally ill children, death, and depression, all with such solemnity that it made this listener egregiously bummed. The band’s follow-up, Burst Apart, drops hospital drama for what might as well be a psychologist’s office — this time wrestling with universal themes of love, scary dreams, and putting the dog to sleep. It’s a far easier pill to swallow, and the newfound keyboard melodies provide a strong backbone for Silberman’s sing-along “ooh and ah” falsetto. It’s also the year’s first firmly melodramatic release to play equally well whether it’s late at night or a sunlit day. (Peter Galvin)

With Little Scream

8 p.m., $18

Great American Music Hall

859 O’Farrell, SF

(315) 885 0750

www.gamh.com 

 

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Big launch for Avalos, emphasizing unity and integrity

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John Avalos launched his mayoral campaign yesterday with a spirited event in a sunny SoMa park that drew several hundred enthusiastic supporters, ranging from elected officials such as Assemblymember Tom Ammiano and Sups. Ross Mirkarimi and Eric Mar to representatives of a wide variety of progressive and community organizations.

There was also an unlikely supporter: Sen. Leland Yee, who is also running for mayor but spoke to reporters wearing an Avalos sticker and said he was pleased that Avalos is in the race. The two men were each endorsed by the SF Bay chapter of the Sierra Club over weekend, and Yee’s campaign appears to be trying to court the second place votes from supporters of Avalos, the only solid progressive in the race.

But political sideshows aside, this was a day for Avalos and his supporters to shine, and they demonstrated a larger and more energetic event than other mayoral candidates have managed to pull together so far. And the crowd took the opportunity to emphasize Avalos’ progressive values of integrity and collaboration, in the process taking subtle swipes at the ambitions and egocentrism of other mayoral candidates.

“We are for John Avalos because John Avalos is for all of us,” was the repeated refrain in a strong speech by “progressive Christian pastor” and blogger Bruce Reyes-Chow.

Ammiano noted that it was the birthday of Harvey Milk and said that Avalos is the heir to Milk’s legacy of promoting progressive change through community organizing. “Harvey Milk knew the secret and the secret was grassroots…Without that tethering together, we never move forward,” said Ammiano, whose endorsement of Avalos could be a significant factor in the race, particularly as Bay Area Reporter writers and other LGBT entities support other candidates.

Ammiano offered a few reasons for his endorsement, joking that, “He has the best hair of all the candidates.” But even more important was the issue of integrity and trustworthiness, where Ammiano said Avalos really shines. “Trust is a significant attribute and you don’t see a lot of that [in public life]. And John is honorable,” Ammiano said.

Other speakers from labor and progressive organizations emphasized how Avalos has been fighting for progressive causes his entire adult life. “John cares about the issues we care about and he listens,” said Andrea Buffa of Global Exchange, who also worked with Avalos on campaigns against corporate dominance when she worked for Media Alliance.

“I’m here to fight for John because John fights for all of us,” was the conclusion of the fifth-grade student from San Francisco Community School, who introduced Avalos.

During his speech, Avalos said he was touched by the huge turnout and display of enthusiasm. “It’s such a joy to see you here. My heart is swollen,” he said, before introducing his family and telling a story of his father’s lifetime of union activism on behalf of Los Angeles dock workers. “I learned from him the value of hard work and devotion to something much greater than yourself,” Avalos said.

And the main cause that Avalos has devoted himself to in San Francisco has been the progressive movement, with its commitment to workers rights and social and economic justice. “We see that wealth is accumulating into fewer and fewer hands,” Avalos said, one of several core problems that he said his candidacy is committed to addressing, later adding, “I’m running for mayor to even the playing field.”

While he advocated for creating safe streets for pedestrians and cyclists, stimulating job growth, and adopting a housing policy designed to promote diversity by creating more homes for low- and middle-income San Franciscans, he devoted much of his address to addressing the core problem of wealthy special interests getting their way at City Hall.

“We cannot have the same business as usual that greases the wheels with lobbyists,” Avalos said. “I’ll put the interests of the collective above the interests of the few, day in and day out.”

Avalos cast this year’s mayoral election as pivotal to San Francisco’s future. “As a city, we are at the crossroads and only we can turn the tide,” Avalos told a crowd from which almost 400 people signed up to volunteer on his campaign, closing with a line that echoed Milk’s refrain from almost 40 years ago: “I want to recruit you to this movement.”