Media

The news that didn’t make the news in SF

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Every year, the Guardian features the Top 10 Project Censored stories presented by the Sonoma State University project that spends all year analyzing which stories the mainstream media missed. But which stories did not find their way into the mainstream press here in the San Francisco Bay Area?

News outlets other than the Guardian typically ignore Project Censored (unless you count SF Weekly’s snark), so you might say that even Censored tends to be censored. Other than that, we note that issues not hand-delivered via press release or PR campaign might receive less attention than those obvious stories. Using a rather unscientific process of surfing alternative news sites online to find out which stories didn’t get a lot of play in the mainstream, we’ve come up with an assortment of Local Censored stories – though this is by no means a comprehensive list. What other news didn’t make the news?

Local Censored stories:

* What we didn’t hear about when PG&E was pushing Prop 16

Speaking at an informational hearing in Sacramento in February 2010 about Pacific Gas & Electric Co.’s ballot initiative, Proposition 16, former California Energy Commissioner John Geesman noted that the state’s most powerful utility company was using customer money to finance a bid to change the state constitution for its own purposes. Prop 16, which earned a thumbs-down from voters in the June election, would have created a two-thirds majority vote requirement before municipalities could set up electricity services separate from PG&E. While there was no shortage of reporting about the astounding sums of cash that PG&E sank into Prop. 16, hardly anyone aside from Geesman picked up on the more salient point of what PG&E was not spending its money on.

“California’s investor-owned utilities face a Himalayan task in modernizing our electricity system and building the infrastructure necessary to serve a growing economy,” Geesman wrote on his blog, titled PG&E Ballot Initiative Fact Sheet. “They ought to focus on that, rather than manipulating the electorate to kneecap their few competitors.” It is now abundantly clear that PG&E’s aging gas pipelines in San Bruno were badly in need of replacement – and the utility’s neglect opened the door the catastrophic explosion that occurred Sept. 9, resulting in tragic loss of life and destroying homes. “The current leadership at PG&E has lost its way. Nobody is minding the ship,” senator Mark Leno told the Guardian shortly after the blast. “Enough with the self-initiated, self-serving political campaigns. … How about focusing on the current mission — to provide gas and electricity safely, without death and destruction?”

PG&E Ballot Initiative Fact Sheet: http://pgandeballotinitiativefactsheet.blogspot.com/
Huffington Post: http://www.huffingtonpost.com/christine-pelosi/deadly-priorities-why-did_b_713800.html

* What you might not have read about Johannes Mehserle’s murder trial
 
If you looked to Colorlines.com, Blockreportradio.com, the San Francisco Bay View, or Indybay.org for coverage of Johannes Meherle’s murder trial for the fatal shooting of Oscar Grant, then you got a different picture from the one offered by mainstream Bay Area news outlets. There may well be plenty of details about the trial that didn’t make the cut for mainstream news, but one particular point caught our eye as something that should’ve warranted more prominent coverage, or at very least sparked deeper questions from mainstream press. According to the witness testimony of Jackie Bryson, who was with Grant on the train platform the night of the shooting, Grant’s friends immediately urged BART police to call an ambulance after Grant had been shot, but police didn’t do it right away.

Here’s the report from Block Report Radio: “Jack Bryson said he yelled at Oscar after he was shot to stay awake and to the police to call the ambulance. The unidentified officer who was on Bryson declared, ‘We’ll call the ambulance when you shut the fuck up!’ Bryson went on to say that he was never searched on the Fruitvale platform or at the Lake Merritt BART police station, which seems ridiculous if you consider the earlier testimony of former BART police officers Dominici and Pirone, who were involved in the murder and who testified last week that they had felt threatened by Oscar Grant and his friends.” So, if it’s true that Grant’s friends were told to “shut the fuck up” when they were urging BART cops to call an ambulance, and that the supposedly threatening parties weren’t ever searched, why didn’t these points receive as much attention in the media as, say, the claim that years earlier, Grant may have resisted arrest? After witnessing the death of his friend, Bryson said in his testimony, he was detained for hours while wearing handcuffs pulled so tight that his wrists hurt, only to be told afterward that since he had not been read his Miranda rights, he was not under arrest. To be fair, the detail about calling the ambulance did make it into the Chronicle, near the bottom of a blog post, under the subhead, “Friend’s claim.”

Block Report Radio: http://www.blockreportradio.com/news-mainmenu-26/894-jack-bryson-hits-the-stand.html
Colorlines: http://colorlines.com/archives/2010/06/defense_opens_with_gripping_testimony.html

* Homelessness on the rise in San Francisco

The controversy surrounding Prop L, a proposed ordinance to ban sitting and lying down on the sidewalk, has been widely reported on — but there’s a more pressing issue related to homelessness that hasn’t gotten nearly as much ink. An article in New America Media, “Shelters predict homeless count to skyrocket,” highlighted a perceived surge in San Francisco’s homeless population, evidenced by overwhelmed service providers who can hardly keep up with demand. “We’re serving 200,000 more meals per year than two years ago, but we haven’t had the capacity to add staff,” the chief executive officer of the Glide Foundation noted in the article. The drop-in center, she added, no longer had enough seats to accommodate those in need. According to a fact sheet issued by the Coalition on Homelessness in July of 2009, 45 percent of respondents to a COH survey were experiencing homelessness for the first time. The overwhelming majority of respondents, 78 percent, became homeless while living in San Francisco.

New America Media: http://newamericamedia.org/2010/04/shelters-predict-homeless-count-to-skyrocket.php
Coalition on Homelessness: http://www.cohsf.org/en/

* The long wait for Section 8

It isn’t easy for a tenant with a Section 8 voucher to find housing in the San Francisco Bay Area. In San Francisco, there’s a barrier to getting the voucher in the first place, since the waitlist is currently closed. Those who have vouchers are often passed over by landlords, and the string of denials can drive people to unstable housing situations such as extended hotel stays. An article in POOR Magazine features the story of Linda William, a woman who left a San Francisco public housing project with a Section 8 voucher in hand only to embark on a wild goose chase, ultimately winding up in a low-end motel outside Vallejo. “Well whaddya know,” William told the POOR magazine reporter, “I found closed wait lists on almost all the low-income housing units in all of those places and all the rest of the landlords wouldn’t even return my calls when I told them I had section 8.” An article by Dean Preston of Tenants Together that appeared in BeyondChron, meanwhile, spotlights the issue of landlord discrimination against Section 8 tenants.  “In the Section 8 voucher program, participating tenants pay 30 percent of their rent and the Housing Authority pays the balance to the landlord,” Preston writes. “It takes years for eligible tenants to be able to participate in the program. Once tenants get off the wait list, the landlord must sign a payment contract with the housing authority in order to receive the portion of the rent paid by the government. By refusing to sign onto the program, some landlords seek to force rent controlled tenants into situations where they cannot pay their rent.”
POOR Magazine: http://www.poormagazine.org/node/3277
BeyondChron: http://www.beyondchron.org/news/index.php?itemid=8012

* San Francisco’s trashy secret

Despite being thought of as a beacon of sustainability, San Francisco’s not-so-green waste stream is something that didn’t make the front page of many papers – except, of course, this one. Sarah Phelan’s “Tale of Two Landfills,” a Guardian cover story this past June, examined San Francisco’s decidedly unenlightened policy of transporting waste far outside of the city despite a goal of reducing waste to zero in the next 10 years. Here’s an excerpt: “It’s a reminder of a fact most San Franciscans don’t think much about: The city exports mountains of garbage into somebody else’s backyard. While residents have gone a long way to reduce the waste stream as city officials pursue an ambitious strategy of zero waste by 2020, we’re still trucking 1,800 tons of garbage out of San Francisco every day. And now we’re preparing to triple the distance that trash travels. ‘The mayor of San Francisco is encouraging us to be a green city by growing veggies, raising wonderful urban gardens, composting green waste and food and restaurant scraps,’ Irene Creps, a San Franciscan who owns a ranch in Wheatland, told us. ‘So why is he trying to dump San Francisco’s trash in a beautiful rural area?’”

SFBG: http://www.sfbg.com/2010/06/15/tale-two-landfills

* The real unemployment rate

The Bureau of Labor Statistics makes a distinction between so-called “discouraged workers” who have stopped looking for jobs, and the jobless who are actively seeking employment, so the official unemployment rate (9.7 percent in San Francisco, according to the most recent data) may be much lower than the actual unemployment rate.

We haven’t seen any brilliant local reporting on this issue, but the problem is summed up nicely in this YouTube video produced by a personal finance software firm.

http://www.youtube.com/watch?v=Ulu3SCAmeBA&feature=player_embedded

Quick Lit: Sept 15-Sept 21

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Literary readings, book tours, and talks this week

Jonathan Safran Foer, Rebecca Solnit, How to Grow a School Garden, digital art collecting, and more.

Thursday, Sept 16

Stephen Breyer
Supreme Court Justice Stephen Breyer will discuss his new book, Making Our Democracy Work.
8 p.m., $20
Herbst Theater
401 Van Ness, SF
www.cityboxoffice.com

East Eats West: Writing in Two Hemispheres
Hear author Andrew Lam in conversation with Richard Rodriguez about his new collection of essays about the unexpected consequences of the Vietnamese diaspora.
6 p.m., $12
Mechanics’ Institute
57 Post, SF
(415) 393-0100

How to Grow a School Garden
Author Arden Bucklin-Sporer will discuss How to Grow a School Garden: A Complete Guide for Parents and Teachers, which offers parents, teachers, and school administrators tips and advice on how to build school gardens and how to develop the programs that support them. 
7 p.m., free
BookShop West Portal
80 West Portal, SF
(415) 564-8080

Rebecca Solnit
Hear one of San Francisco’s most provocative writers discuss her past book, which include Wanderlust, A Paradise Built in Hell, and A Field Guide to Getting Lost, and her upcoming book, Infinite City: A San Francisco Atlas.
7 p.m., $10-$20
JCCSF
3200 California, SF
(415) 292-1233

Saturday, Sept 18

Diane K. Martin, Lisa Gluskin, and Melissa Stein
Attend this poetry reading with recently published poets Diane K. Martin, author of Conjugated Visits, Lisa Gluskin, author of Tulips, Water, Ash, and Melissa Stein, author of Rough Honey.
7:30 p.m., free
Pegasus Books Downtown
2349 Shattuck, Berk.
(510) 649-1320

Sunday, Sept 19 

“Collecting the Impossible”
Prominent collectors, critics, and artists will discuss the historical dynamics or collecting digital art and building an art market for challenging work. Panel participants will include Richard Rinehart, Digital Media Director & Adjunct Curator of the Berkeley Art Museum and Pacific Film Archive, collectors Dennis Scholl and Jeff Dauber, Katie Clark from the Catharine Clark Gallery in San Francisco, Chief U.S. Correspondent for The Art Newspaper Jason Kaufman, and artist Lynn Hershman Leeson.
2 p.m., $12
Yerba Buena Center for the Arts
701 Mission, SF
(415) 978-2787

Tuesday, Sept 21

Jonathan Safran Foer
Join Foer, author of Everything is Illuminated and Eating Animals, as he talks about our dining habits, insatiable appetites, and the cultural meaning of food. He will explore the ethical, environmental, and health risks behind commercial fishing and factory farming.
7 p.m., $18
Shultz Cultural Hall
Oshman Family JCC
3921 Fabian, Palo Alto
www.tickets.commonwealthclub.org

Words for Empty and Words for Full
Poet Bob Hicok will read from his new collection.
7 p.m., free
BookShop West Portal
80 West Portal, SF
(415) 564-8080

Music to cross the globe for

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If you hoisted up a park bench, cut the back off of it, removed the legs, placed it on top of cushion on a saw stand, and commenced to thrum on it with headless croquet mallets with a dear friend, you’d have created a bootleg version of the txalaparta, a traditional instrument from the Basque region of Spain. Two of the area’s most renowned musicians took this contraption on a trip to play with indigenous nomadic musicians the world over, creating Nomadak TX, a music documentary where notes are exchanged in culture-to-culture melodies.

Igor Otxoa is a member of the group, Oreka TX, that embarked on the project that took them to India, Mongolia, Lapland, and the Sahara. Days away from the group’s launch of their North American tour –and in the midst of a visa kerfuffle that threatened to derail the whole thing — Otxoa (who is staying in Spain while band members Mikel Ugarte and Harkaitz Martinez de San Vicente man the txalaparta in the States) answered our questions via email from San Sebastian. His group will be in town next week (Thurs/23) at the Basque Cultural Center for a live performance of the music in Nomadak TX.

Oh you say you like guttural rhythm? Do we have the trailer for you… 

San Francisco Bay Guardian: Why do you play the txalaparta? 

Igor Otxoa: I saw it played in my neighborhood fiesta and I loved it. “Percussion and related to Basque culture, that’s for me!” I told myself. After that I saw it again at school played by the Artze brothers, some of the ones that brought back the instrument. After that, I started looking for somewhere I could learn it.

 

SFBG: The txalaparta almost disappeared at one point in the 20th century. Is there a well-documented tradition of how to play it, or have you developed your approach independently?

IO: The way to play it that we received was the one that the last of the old txalaparta players left to us. In the ’60s there were only two txalaparta player couples, the Zuaznabar brothers and the Goikoetxea brothers, and they left us the way of playing that they learned from their grandfathers. But after that there was a process in which the Beltran brothers and the Artze brothers started to develop the instrument in a more musical way. We are from the next generation — we learned from the Beltrans, and we developed the instrument in our own way.

 

SFBG: Why is it important that it be a two person instrument? 

IO: It was related to the work on the farms, and as in many percussion instrument that come from a tradition of work, it became an instrument. For us the txalaparta it is not the physical instrument itself — it is the way of playing it, sharing the rhythm between two people. That is why we don’t understand the txalaparta without two players. It’s its peculiarity, what makes it unique in the world, this way of sharing the rhythm between two players.

 

SFBG: Tell us about the motivation behind the film Nomadak TX. Why nomadic peoples?

IO: We choose the countries and peoples we wanted to meet for different reasons. One was the level of nomadity that they had. Another reason was the music of those cultures. We were very interested in the Khoomi singing in Mongolia. And the Bereber women´s singing. And the Indian rhythms. Another reason was the materials that condition the way of living in those parts of the world. The ice and snow that takes up many months in Saapmi, the sand and stones of in the Sahara dessert, the wood in India, and the air in Mongolia. We wanted to play txalaparta with those materials. And we got to!

 

SFBG: How did you locate the musicians that would be in the movie?

IO: Sometimes we made the arrangements before traveling. The musicians, we contacted them by different ways — the Internet helped a lot. Other times we didn’t contact any of them and it was just who we found on the trip. We think that like in music, on the trips the improvisation was the most interesting as we never knew what we would find. We had unforgettable musical surprises on all the trips. For us it had the same value: the music of a professional musician in a studio or old men singing in a yurt in the Mongolian steppe. 

 

SFBG: In Nomadak TX you make txalapartas out of everything from ice to stone — why the multi-media?

IO: That was one of the most marvelous moments of the project. We never expected to do a txalaparta with ice. Our idea was that we were going to play with the txalaparta of wood and the Terje Isungset “Iceman” in Saapmi would play with ice. But we tried it, and it was so nice to work with the ice. If you cut too much we would throw water on it and in few seconds it was frozen and the note was changed!

 

SFBG: Now that you’re doing the North America tour, inquiring minds want to know — when’s the Oreka TX hip hop remix coming out?

IO: Good question! I hope that during the USA Tour we will be able to contact good hip-hop musicians that can work on it. It is not our music style, so if we want to have a quality result, better if someone from USA makes it!

 

Oreka TX’s Nomadak TX live concert

Thurs/23 8 p.m., free

SF Basque Cultural Center

599 Railroad, SF

www.sfbcc.us

 

Our Weekly Picks: September 15-21, 2010

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WEDNESDAY 15

 

MUSIC

Head Cat

Boasting a bona fide all-star lineup of musicians, rockabilly super group the Head Cat features Lemmy Kilmister of Motorhead on bass and vocals, Slim Jim Phantom of the Stray Cats on drums, and Danny B. Harvey of the Rockats on guitar and piano. Breathing new life and a new attitude into classic tunes by Buddy Holly, Eddie Cochran, Carl Perkins, Johnny Cash, and others, the trio hits the road for a few special gigs whenever they can find the rare time in their mutually busy touring schedules. Fans can expect a new slew of hell-bent covers from their yet untitled forthcoming second album, along with a couple of original songs born from the same vein of the seminal sound that forged the template for all rock ‘n’ roll to come. (Sean McCourt)

With Red Meat and Bad Men

9 p.m., $20

Uptown

1928 Telegraph, Oakl.

www.uptownnightclub.com

 

THURSDAY 16

 

MUSIC

Wild Nothing

Don’t call it “chillwave:” Wild Nothing’s Jack Tatum makes woozy beach music that owes more to ’80s Cocteau Twins dream-pop than the recent lo-fi progeny who bear that wince-inducing label. The dream-pop badge is one Tatum wears proudly, initially gaining online chatter from a faithful rendition of Kate Bush’s “Cloudbusting” before releasing debut album Gemini, which features a lot of those deep drum machine sounds you used to hear out of Collins and Gabriel before they moved on to Disney theme songs and cover albums, respectively. Joining Tatum at this Popscene event is Swedish Balearic pop star Eric Berglund, of Tough Alliance fame, performing as DJ CEO. Don’t forget the beach ball! (Peter Galvin)

With DJ CEO and JJ

9 p.m., $10–$13

Popscene

330 Ritch, SF

www.popscene-sf.com

EVENT

“w00tstock”

Though the Revenge of the Nerds movies were made back in the 1980s, the collective social paradigm had yet to really shift in favor of our pocket protector-wearing brethren. But now, with the near ubiquity of computers, entertainment technology, and mainstream success of events like Comic-Con, the time has come to push those horn-rimmed glasses back up our noses and bask in the geek glory that is upon us. Join Adam Savage from Mythbusters, Wil Wheaton from Star Trek: The Next Generation, music-comedy team Paul and Storm, and others for a night of music, comedy, readings, films, demonstrations, and more that embrace geek pride. (McCourt)

Through Fri/17

7:30 p.m., $30

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

FRIDAY 17

 

FILM

The Room

Oh, hi. You know, we have a policy about not running sold-out events in Picks, and I suspect tickets for the Red Vic’s screenings of 2003’s The Room — hot commodities under any circumstances — are in scarce supply, especially since writer-director-producer-star Tommy Wiseau plans to attend each showing in person. But how could I naaaht include what just might be the cinematic event of the year? If you’ve seen The Room, you know whereof I speak. If you haven’t seen it, you are tearing me a part [sic]. Gather your spoons, your football, your red roses, your red dress, your pizza, your tuxedo, your drug debts, your green screen, your phone-tapping device, and your most romantic slow jamz — maybe that’ll be enough Room mojo to secure a front-row seat. (Cheryl Eddy)

Through Sat/18

8 p.m. and midnight, $15

Red Vic

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

 

SATURDAY 18

 

MUSIC

Kele

Kele Okereke has a deeply soulful voice that forms the heart of his steady band, Bloc Party, consistently matching dramatic post-punk guitars and ruthless drums with gusto. But it appears Kele’s interests are more far-reaching than anyone ever thought: he brings those soulful vocals to a collection of chintzy U.K. house in his first ever solo album. The Boxer is a hodgepodge of ideas and styles that survives solely on the exuberance Okereke brings to each performance. He’s so happy to be making these songs, you can literally hear him smiling as he sings. (Galvin)

With Does It Offend You, Yeah?, Innerpartysystem, Aaron Axelsen, and Miles

9 p.m., $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

DANCE

Mary Armentrout Dance Theater

Mary Armentrout is a choreographer of keen perception and sharp intelligence. As an artist, her pieces are witty and wonderfully theatrical — yet they also explore important ideas. Unfortunately, she is not very prolific, so this premiere should be a real treat. The site-specific the woman invisible to herself explores issues around identity even as it questions the very nature of performance — as a state of being and as a theatrical practice. Armentrout structured woman as a solo for herself — and for Natalie Green, Nol Simonse, and Frances Rotario. It will be performed for small audiences at sunset in and around her studio, the Milkbar in East Oakland. (Rita Felciano)

Through Oct. 3

Sat.–Sun., 6:30 p.m. (times vary), $20

Milkbar at the Sunshine Biscuit Factory

851 81st St., Oakl.

(510) 845-8604

www.maryarmentroutdancetheater.com

EVENT

Creature Feature Night at AT&T Park

Beloved local TV horror host and writer John Stanley resurrects the classic Creature Features show for a spooktacular evening at the ballpark tonight — after cheering on the Giants as they take on the Milwaukee Brewers, fans can head out onto the field for some eerie entertainment, prizes, and limited edition T shirts. Then, under cover of darkness (and likely shrouded in a perfect scene-setting fog), the high tech scoreboard will transform into a giant movie screen, showing the 1954 Universal monster melee Creature From The Black Lagoon. Be sure to bring a blanket — and watch out for any beasts clamoring out of McCovey Cove! (McCourt)

6:05 p.m., $25

AT&T Park

24 Willie Mays Plaza, SF

www.sfgiants.com/specialevents

www.bayareafilmevents.com

EVENT

“A Tribute to Fess Parker”

For multiple generations of kids, Fess Parker was a true American hero. Though he was just an actor, he came to embody the stature and values of the roles he played, particularly those of Daniel Boone, and of course, the one he is most remembered for, Davy Crockett. Parker passed away earlier this year, but his legacy will live on in the hearts of his fans, who can celebrate his life and work this weekend with a series of Davy Crockett screenings and a special tribute event featuring members of his family. (McCourt)

Sat/18–Sun/19, 3 p.m. (also Sat/18, 10:15 a.m.), $5–$12

Walt Disney Family Museum Theater

104 Montgomery, Presidio, SF

(415) 345-6800

www.waltdisney.org

EVENT

UFO X Fest

Because you’ve only got 472 days left until 2012. Because that lenticular cloud you peeped over Mount Shasta on Labor Day weekend left you a little tingly. Because The X-Files hasn’t been on TV for eight years. Whatever the reason, mysterious forces are pulling you to UFO X Fest. G’wan, heed them — the two-day lineup of speakers, films, and collegiate paranoia is just the ticket for truthiness. Speakers include a chappie who has assembled a database of 142,000 recorded UFO sightings and a cryptohunter whose specialty lies in scrutinizing unexplained cattle mutilations. Through Sun/19. (Caitlin Donohue) 

9:30 a.m., $89.99 (weekend pass, $149.99)

Historic Bal Theater

14808 East 14th St., San Leandro

(510) 614-1224

www.ufoxfest.com

 

SUNDAY 19

 

MUSIC

Melvins

No strangers to the SF stage, Seattle’s iconoclastic sludge merchants the Melvins are back, with a new album, The Bride Screamed Murder, in tow. The band has long specialized in mind-bending songwriting and arrangement, and The Bride doesn’t disappoint, working in everything from free jazz to boot camp-style call-and-response — “Captain Beefheart playing heavy metal” according to guitarist/vocalist King Buzzo (and his legendary coiffure). The dual-drummered quartet (Big Business skinsperson Coady Willis joined in 2006) will be presaged by the delectably grungesque L.A.-by-way-of-SF trio Totimoshi, touring on 2008’s thumping Milagrosa but touting a new record very soon. (Ben Richardson)

With Totimoshi

9 p.m., $21

Slim’s

333 11th St, SF

(415) 255-0333

www.slims-sf.com

FILM

 

“Radical Light: Landscape as Expression”

San Francisco plays itself in dozens of Hollywood movies, but the avant-garde works featured in the inaugural “Radical Light” program explore the imaginary city, the one perpetually coming into shape through the fog and over the hills. Of the city’s topography, filmmaker-teacher Sidney Peterson noted with some delight, “The straight line simply resisted use.” Tonight’s bill draws on the works of artists similarly disinclined: Bruce Baillie’s lovely Ella Fitzgerald-scored camera movement (1966’s All My Life); Chris Marker’s science-fiction views of Emeryville trash sculptures (1981’s Junkopia); Dion Vigne’s electrifying survey of North Beach’s surfaces (1958’s North Beach); and in-person appearances from two established masters, Lawrence Jordan (1957-78’s Visions of a City) and Ernie Gehr (1991’s Side/Walk/Shuttle). (Max Goldberg)

6:30 p.m., $9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-1412

www.bampfa.berkeley.edu


TUESDAY 21

 

MUSIC

Cloud Cult

The inspiration for much of Craig Minowa’s music with Cloud Cult is, and seemingly will always be, the sudden death of his two-year-old son in 2002. An event like that is likely to shape any man’s future. Although the Cloud Cult moniker existed previous to that devastating moment, it’s absolutely appropriate for a band that thrives on songs about the next life, fear, and pain. Let me backpedal a bit though, because while those are scary subjects, this is not scary music. We’re talking jubilant indie music here, and, judging the tunes apart from their lyrical content, Minowa crafts some wildly fun, experimental beats that prove that the things that shape you don’t have to define you. (Galvin)

With Mimicking Birds

8 p.m., $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

FILM

“Robert Altman vs. Friendship!”

Of the three consecutive Robert Altman double-headers at the Roxie this week, I’ll put my money on this one every time. California Split (1974) remains one of the great troves of talk in American movies and a prime example of the director’s open sound design. In a just world, lovers of 1998’s The Big Lebowski would line up for Elliot Gould and George Segal as compulsive gamblers and friends, blurting out pearls on betting, the Seven Dwarves, stealing time, and California (“Everybody’s named Barbara”). As for 3 Women (1977), I still think I must have dreamed Shelley Duvall and Sissy Spacek being in the same movie. (Goldberg)

7 and 9 p.m., $6–10

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com 

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Michael Franti’s bare feet

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Entering into its twelfth year of existence this weekend, Michael Franti’s Power to the Peaceful music and yoga festival doesn’t appear to pack quite the big name punch on (recycled, written on with hemp ink) paper – the Talib Kwelis and String Cheese Incidents that shared the bill with Franti in years past have been cycled out for Rupa and the April Fishes, SambaDa, and other relatively little known acts. But we caught up with Franti a few weeks ago to talk about this weekend’s (Fri/10-Sun/12) life-loving festivities while he was driving through the Nevadan desert, and he says there’s a method to the grooviness.

“It’s like being in a western movie out here,” Franti tells me after our call is dropped for lack of service. Reconnected, I ask: Michael, how’d you choose your supporting lineup for the concert you created to free Mumia, spread love, and perpetuate peace in Speedway Meadows?

“Last year we had Alanis Morrissette, lots of groups that we brought in from afar. This year we wanted to highlight Bay Area music,” says Franti, a Hunter’s Point resident himself. He took me through the lineup, which truth be told will probably make for a far more fun crowd than that of the year I had to throw bows to make it through the Indigo Girls crush. 

The patchouli-heavy roster includes the Santa Cruz capoeira crew SambaDa, bringing in a high-energy sound straight from the beach. All the acts involved have some smattering of multi-culturalism, including the Rupa and the April Fishes, of whose front lady Franti tells me “her family is Indian, but she grew up in America and sings in French and Spanish. She’s a M.D. half the year, and tours the other half of the year. I’ve always thought she was an amazing person.” We’ve got Rebelution to look forward to, surf-reggae boys from Santa Barbara, local emcee Sellassie, and… American Idol‘s Crystal Bowersox? She’s from Ohio, but hey she’s got dreadlocks – she’s in!

Most of the acts on the roster share the distinction for explicitly progressive social thinking, pretty key for a concert that Franti says he started to raise awareness of the fight to free Mumia Abu-Jamal, the Black Panther sentenced to Death Row for his alleged murder of a Philadelphia police officer. Tied to the concert, which focuses on promoting peace on an institutional and personal level, will be a 9 a.m. “1,000 Yogis for Peace” mass sun salutation (Sat/10), and a variety of paid shows meant to raise funds for future PTTP events. Though the Saturday Golden Gate shows will be the only free events of the weekend, the Fillmore Theater will also play host to Franti’s vibe, starting on Friday night when he’ll perform his new album, The Sound of Sunshine, continuing with a Talking Heads tribute Saturday night, and yoga-Brazilian dance workshops during the day on Sunday.

But before I hung up with Franti we had another hard-soled issue to discuss. That being, his lack of them. Franti threw off the shackles of tounges and laces a decade ago – kinda. “It comes up quite regularly that I go into a restaurant or store and they’ll ask me to wear shoes. So I put on flip-flops.” Damn the man! Oh, and he wears them running as well. 

Must we ask why? We must. Franti tells me through the savannah-induced static that he had been playing a lot of shows in developing countries, and the kids there thought his fragile, callus-free feet hilarious. Once back in SF, he decided to go unshod for three days, and the rest is history. Ironically, he’s been pretty involved in getting those things back on the feet of people that need them – donations are being collected at the concert for one of his favorite charities, Souls 4 Souls. That group will join over 100 social justice organizations at the concert on Saturday, where they will be offering information on everything from environmental issues to gang intervention. So wait, we’re listening to propaganda here? “The idea is to plug people into serving,” Franti says. 

 

As a willing member of the liberal media, I’ll be at Power to the Peaceful all weekend, and how! Check out my take on the downward dogs and loosely cinched fisherman’s pants in next week’s print edition of the SFBG

 

Power to the Peaceful 

main concert: Sat/11  9 a.m.-5 p.m., $5 suggested donation

Speedway Meadows

Golden Gate Park, SF

other live events: Fri/10-Sun/11, times and prices vary

Fillmore Theater

1805 Geary, SF

www.powertothepeaceful.org

Our Weekly Picks: September 8-14, 2010

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WEDNESDAY 8

DANCE

Project Thrust

Many might think the bigger the bust, the better. But when it comes to the female body, shit gets complicated. Tits are either too big, too small, too this, too that. “How, when, and why are women aware and unaware of their feminine features? When do women hide curves and when do they flaunt them? Is it difficult to sustain sexiness?” These are some of the crucial questions choreographer and dancer Malinda LaVelle — who has danced with the Foundry and is now an artist in residence at the Garage — explores with her dance company Project Thrust and its newest work, Project Bust. Whether you love or hate the twins, LaVelle’s bold and funny choreography will leave you with a profound new respect for the female form. (Katie Gaydos)

Through Thurs/9

8 p.m., $15

Garage

975 Howard, SF

(415) 518-1517

www.projectthrust.org

 

THURSDAY 9

THEATER

Jerry Springer the Opera

Time for a big, dramatic, Jerry Springer Show-style revelation: I’m the father of your baby! Uh, just kidding. Actually, I was going to say that I had to ask the Googles if The Jerry Springer Show is still on TV. And indeed, 19 seasons along, it is. Even if its zeitgeist was a few years ago, and the most scandalous stuff on the idiot box now comes courtesy of Real Housewives, there’s no excuse for any self-respecting Springer fan (oxymoron?) to miss Jerry Springer the Opera, which promises “strippers and rednecks, incest and coprophilia, Jesus, Satan, and the Virgin Mary, the Ku Klux Klan, and a lesbian dwarf.” Adventurous local company Ray of Light Theatre ushers in its 10th anniversary season with this lurid, award-winning spectacular. (Cheryl Eddy)

Through Oct. 16

Wed.–Sat., 8 p.m., $20–$36

Victoria Theatre

2961 16th St, SF

www.jerrysf.com

 

MUSIC

Apocalyptica

Thanks to Judgement Day, Grayceon, and Giant Squid, San Francisco concert-goers are familiar with the peculiar potency of heavy metal cello. Unlike those bands, however, Finland’s Apocalyptica consists entirely of cellists. Since its beginnings in 1993 (sawing out Metallica covers), the quintet (four cellos, drums) has built up a cult following and turned its talents toward writing original songs. A new album, 7th Symphony, was released Aug. 20, featuring collaborations with Dave Lombardo (strong) and Gavin Rossdale (weak). Apocalyptica’s live show, nevertheless, is not to be missed. If you’re never seen someone play a cello while standing up and headbanging — well, what’s taken you so long? (Ben Richardson)

with Dir En Grey, Evaline

8 p.m., $28

Regency Ballroom

1290 Sutter, SF

1-866-448-7849

www.theregencyballroom.com

 

FILM

“Infinite City: Cinema City”

Writer Rebecca Solnit’s “Infinite City: A San Francisco Atlas” mapmaking project has investigated butterflies, queer history, hippies, and the SF vs. L.A. rivalry. Now, and perhaps inevitably, Solnit and her collaborators turn their attention to local cinema. Tonight’s work-in-progress screening, “Housing Shadows and Projecting Fog,” includes films on film (and fog) by Andy Black and Sam Green, and Christian Bruno. Saturday’s sprawling “cinema crawl” invites the movie-minder to various theaters. Two highlights: the Roxie spreads sparkle with Pickup’s Tricks, Gregory Pickup’s 1973 profile of founding Cockette Hibiscus; and the obligatory Vertigo screening (1958) at the Vogue. (Eddy)

7 p.m., free with museum admission ($9–$18)

(Sat/11, “A Few Dream Palaces of San Francisco” cinema crawl, various venues and times)

Phyllis Wattis Theater

SF Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

 

MUSIC

Coliseum

Having stormed out of Kentucky onto the national scene with 2007’s No Salvation LP, Coliseum took an abrupt left turn when it came time to write this year’s follow-up, House With A Curse. Throttling back the incendiary crust-punk crossover of their previous albums, the trio debuted a new drummer and a stately post-punk sound — its tempos, at least when compared to precedent, sound almost meditative. Despite the switch, the songwriting remains stellar, and mastermind Ryan Patterson’s throaty yowl is wielded with mastery. Joined by local troublemakers Walken on Potrero Hill’s lowest stage, the band will deploy its new bread and circuses. (Richardson)

With Burning Love, Walken, Buried at Birth

9 p.m., $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

MUSIC

The Gories

Looking for some good clean fun? This ain’t the show for you. As their name suggests, garage-rock vets the Gories play dirty, sinister blues with vocals that wail about feral girlfriends, explosive girlfriends, and motorcycle heroes, intercut with harmonica blasts and impassioned, slightly insane woo-hoo!s. Formed in Detroit circa 1986 — when squares were jamming to Whitney Houston and “Addicted to Love” — the band’s sound suggests nothing about the ’80s; it’s more like the tunes you’d want to hear while drag-racing to a midnight rager in a cemetery. Singer Mick Collins went on to form the Dirtbombs, a band that’s commanded its own rightful following, and this Gories reunion gig is a rare affair indeed. Turn up early for Haunted George, a kindred lo-fi cat whose discography includes an album titled Pile O’ Meat. Have mercy! (Eddy)

With Haunted George and Nice Smile

8 p.m., $20

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

FRIDAY 10

 

DANCE

Paul Laurey and Christine Bonasea

Paul Laurey grew up in the Blue Ridge Mountains of West Virginia; he was training to be a scientist when the desire to dance hit him. Christine Bonasea was born in France and also tried academia and dance. Dance won out for her as well. Now courtesy of Joe Landini’s RAW — or resident artist workshop, which offers no money but free rehearsal space — they are sharing an evening of independent choreography. Both work with excellent, equally committed fellow performers: Laurey in Pull, Push and Things that Matter with Christine Cali and Sonsheree Giles; Bonasea in the matter of things with Rosemary Hannon, Jorge Rodolfo de Hoyos, and Kira Kirsh. The thrill comes from watching good dancers taking new risks and committing themselves to new contexts. (Rita Felciano)

Through Sat/11

8 p.m., $15

Garage

975 Howard, SF

www.975howard.com

 

FILM

“Drawn From Life: Comic Books and Graphic Novels Adapted”

When it comes to adapting a work for film, some preexisting properties have proven more successful than others. Video games: bad; Jane Austen novels: better; comic books: blockbusters, even when the movie ends up sucking. There’s yet to be a Best Adapted Screenplay Oscar doled out for a graphic novel or comic adaptation, but can such a breakthrough be far off? Missing from the Pacific Film Archive’s lineup are Ghost World (2001) and Scott Pilgrim vs. the World (still in theaters), but as graphic novel geeks the world over await/assault news regarding the Y: The Last Man movie, there’s plenty of tiding-over afoot. Campy delight Flash Gordon (1980) kicks off the series, with Hellboy (2004), Popeye (1980), American Splendor (2003), and Wes Craven’s oft-overlooked 1982 Swamp Thing among future selections. (Eddy)

“Drawn From Life: Comic Books and Graphic Novels Adapted”

Through Oct 31, $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

 

SATURDAY 11

COMEDY

Craig Ferguson

In the supposedly madcap, late-night TV landscape (see: 1996’s The Late Shift), it’s surprising that Craig Ferguson has ultimately emerged as the least traditional of them all. The Scottish comedian — accent and all — makes up jokes on the fly, curses like a sailor, and often references his past as an alcoholic, a bartender, and a punk band drummer, every night on The Late Late Show. But in sticking to his guns, Ferguson comes off as a real talent rather than a manufactured experience, and the program’s unpredictable nature is the real reason to tune in — who cares about the guests anymore? You don’t have to visit the L.A. studio to see the man work; this week he brings his wanton charm to Davies Symphony Hall. (Peter Galvin)

8 p.m., $45–$55

Davies Symphony Hall

201 Van Ness, SF

1-866-448-7849

www.ticketmaster.com

 

VISUAL ART

“Castration Myth”

So there was this artist named Rudolf Schwarzkogler who was affiliated with Viennese Actionism — a 1960s art movement that used the body as canvas and violence as paint — and in 1965 he scared the art world and discredited the avant-garde by cutting off his penis. Or so people thought; turns out it was just a friend and a filleted fish. Fast-forward 36 years to 9/11 and we have the whole world scared, the term post-avant, and not one, but two dismembered phalluses — this time for real. Is there another fish myth at stake? Seeing this exhibit of Rudolph’s “Aktion” performance photographs is one way to find out. (Spencer Young)

Through Oct. 9

6–8 p.m., free

Steven Wolf Fine Arts

2747 19th St, SF

(415) 263 3677

www.stevenwolffinearts.com

 

COMEDY

Dylan Moran

Perhaps best known to American audiences for his appearances in Shaun of the Dead and Run, Fatboy, Run, Irish comedian Dylan Moran is a huge hit in his native U.K., notably for his brilliant role as a cantankerous and drunk yet lovable book shop owner in the tragically short-lived BBC series Black Books. His live stand-up is where he’s really made his name though; biting, sarcastic, and side-splittingly hilarious observations of a variety of topics we all encounter in our day-to-day lives — along with ones that most of us presumably don’t, such as having a weekend tryst with a Smurf. (Sean McCourt)

8 p.m., $36

Marines Memorial Theatre

609 Sutter, 2nd floor, SF

(415) 771-6900

www.marinesmemorialtheatre.com

 

TUESDAY 14

 

MUSIC

Suckers

Taking equal parts David Bowie-fetishism, avant-garde pop, and the sort of world eclecticism pioneered by Paul Simon and Peter Gabriel — and recently invigorated by Yeasayer and Vampire Weekend — this Brooklyn band hits just the right measures of each to create its signature Suckers sound. While that description might lead you to believe the foursome’s sound might be aloof or reserved, its debut Wild Smile is surprisingly sunny, like a collection of the slowest dance songs. Forget the name, a sucker is the last thing you’d be for getting a ticket to this one. (Galvin)

With Menomena and Tu Fawning

Through Sun/15

8 p.m., $18

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com 


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Azztronaughty

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It’s impossible for me to think of Big Freedia without exploding into happy feathers. As the fierce national face of New Orleans’ bounce music movement (along with her drag daughter, Sissy Nobby), Freedia’s been shoehorned into several media narratives that don’t necessarily do her justice — popular performer who bridges a supposed gap between flamboyant gayness and macho rap, evidence that original regional roots music is still being generated in our monocultural-seeming musical world, post-Katrina beat-healer of ravished communities, anthropological curiosity. But she’s all that and more: a canny, hard-working force of nature who can really turn you out.

Bounce, with its quick-step, butt-thundering beats and hypersexual call-and-response template, has done a lot to push New Orleans back to the forefront of the American dance music scene. That a shoulder-shrugging attitude toward its superstar’s transgender appearance and cartoonish sexuality accompanies the sound should only surprise those who somehow missed Little Richard and Prince, not to mention Cameo and Cam’ron. Still, Freedia’s matter-of-fact, out-and-proud “Queen Diva” stance is all too rare in hip-hop. First-time listeners, after taking in Freedia’s feminine peacocking, still get floored when her gravelly voice orders straight crowds to “bend ovah like I told ya!” in her hit “Azz Everywhere.” (And then they do.)

Outsiders have called Freedia’s style “sissy bounce” — a niche label she rejects, and one that’s pretty inaccurate. Freedia’s first appearance in the Bay, last year at a San Francisco drag party, left the sissy audience completely befuddled. This time around, she’ll be in Oakland at a mixed affair put on by the fab Le Heat and Hella Gay parties. And now that she’s been featured everywhere from Diplo’s blog to The New York Times Magazine, Bay crowds may be ready to “jump back, shoot it up now, bitches get down” the Big Easy way.

Big Freedia Wed/9, 9 p.m., $10. The New Parrish, 579 18th St., Oakl. www.thenewparish.com

 

PEPE BRADOCK

The jazz-educated Frenchman could have been beamed up after he gifted the world with orchestral house classic “Deep Burnt” in 1999 and still been lionized. But he’s consistently delivered deep-streaming tracks that drop at just the right moments. He’ll be headlining the Staple boys’ ear-ticking Darkroom monthly with Fil Latorre and Javaight.

Thu/9, 9 p.m., $10. 222 Hyde, SF. www.222hyde.com

 

DRUMCODE: ADAM BEYER AND IDA ENGBERG

Attack of the Swedish techno giants! Drumcode label head Adam Beyer and “Disco Volante” hitmaker Ida Engberg bring news from the detail-oriented Stockholm scene to the perfectly curated weekly Base party at Vessel. My longtime local bass-maven crush Nikola Baytala warms up.

Thurs/9, 10 p.m., $15. Vessel, 85 Campton Place, SF. www.vesselsf.com

 

ARTIFICIAL

The debut of this dark wave, minimal synth, and rare post-punk party last month was fashionably bananas — don’t miss the follow up with DJ Justin of Nachtmusik, Banshee, Dreamweapon, Julian DeStrukt, and Nary Guman of Warm Leatherette.

Fri/10, 9:30 p.m., $7. Cat Club, 1190 Folsom, SF. www.sfcatclub.com

 

BACK TO SCHOOL

Aw, already? Meet and greet the new freshman class of clubgoers, probably wearing even more fantastically mismatched ensembles than previously imagined, at this electro blowout put on by the Blow Up kids. Tenderloins, Udachi, Sticky K, Lucky Date, Jeffrey Paradise, and more stoke your higher learning.

Sat/11, 9 p..m.–3 a.m., $15 for 18+, $10 for 21+. Kelly’s Mission Rock, 817 Terry Francois Blvd., SF. www.blowupsf.com

 

BLOOD, SWEAT, AND QUEERS

Bmore funk and booty jams from DJs Davo and Bunnystyle for two floors of hot queers in a Chinatown dive. ‘Nuff said!

Sat/11, 10:30 p.m., $5. Li Po Lounge, 916 Grant, SF.

 

MIXMASTER MIKE WITH DEL THE FUNKY HOMOSAPIEN

It’ll be a classic hip-hop throwdown when the Beastie Boys DJ and mind-warping rapper join forces at this Electronic Arts shindig. There’s something about a ” sexy exotic cars” showcase, too, but why burn the fossil fuels when you can inflame the brain cells? With DJs Sake One, Ren the Vinyl Archeologist, and more.

Sat/11, 9 p.m., free with RSVP at Mighty website. Mighty, 119 Utah, SF. www.mighty119.com

Our Weekly Picks: September 1-7, 2010

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WEDNESDAY 1

FILM

“Oskar Fischinger Classics”

That one of cinema’s greatest modernists should have worked in animation is perhaps not so surprising — it’s the mode of film production most easily bent by a singular vision, in which aesthetic achievement is inextricable from mechanical innovation. Still, there’s no accounting for a genius like Oskar Fischinger, who channeled his knowledge of engineering, architectural design, and organ-building into his dense visual symphonies. Like many intellectual émigrés who fled Nazi Germany for Southern California, Fischinger found L.A.’s bottom-line culture inhospitable to his working methods. But a career-spanning program at the Pacific Film Archive reveals a master artisan who devised countless fresh ways to impress the rigor of form with sheer delight. (Max Goldberg)

7:30 p.m., $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-1412

www.bampfa.berkeley.edu

 

EVENT

Ending Mountaintop Removal: Appalachian Activists in San Francisco

Another talk on humankind’s crusade to beat our planet to a bloody pulp is coming to town. But be forewarned: this ain’t no Sierra Club meeting. To save the last remaining mountaintop in their home from removal by coal mining corporations, the Appalachian community in Coal River Valley, W.V., (the name alone implies environmental havoc) has gone rogue — tree sittings, road blockades, and protests, leading to more than 150 arrests and exorbitant bail fees. Key activists from their group Climate Ground Zero have taken to the road to share the underreported story of their struggle. Raise a nonviolent fist in solidarity. (Caitlin Donohue)

7–9 p.m., $5–$10 donation suggested

Station 40

3030B 16th St., SF

(415) 235-0596

www.indybay.org

www.climategroundzero.org

 

THURSDAY 2

MUSIC

“On Land Festival”

Noise-waffle diehards, aural experimentalists, and, yes, Mills College students, have a world of ear-tugging wonder in store when Jefre Cantu-Ledesma’s and Maxwell Croy’s Root Strata label throws its second annual On Land music festival. “What I felt most happy about was the fact that the musicians thought it was really great,” Cantu-Ledesma said. “Not ‘blah, blah, blah,’ but a good response that really made it worth doing it another year.” This time they unearth a veritable treasure trove of juicy, internationally recognized undergroundlings, including some past residents of the Bay like Charalambides’ Tom Carter, Grouper’s Liz Harris, and Yellow Swans’ Pete Swanson. Top it off with the first West Coast appearance by New York’ Citys Oneohtrix Point Never (which put out the stirring Returnal not long ago and performs with live video by local artist Nate Boyce) and Zelienople, and you have something you might dub “must-see sounds” for the serious follower of well-grounded, out-there sounds. (Kimberly Chun)

Through Sun/5

7:30 p.m. (Sun/5 show at 6:30 p.m.), $10–$20 (four-show pass, $45)

Café du Nord and Swedish American Hall

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

EVENT

Arts Market SF

The Tenderloin-Civic Center neighborhood takes its knocks, but its rough exterior belies an urban work of art. Even historically speaking: Miles Davis blew his horn at the Blackhawk nightclub at the corner of Turk and Hyde streets and the Grateful Dead recorded American Beauty here. Today it’s one of the last remaining places in the city a real boho can afford to hunker down and throw paint at a canvas. So it makes perfect sense the hood hosts the city’s newest arts bazaar. Participating locals include T-shirt company the loin (which screens its wares in a nearby basement), plus jewelry artists, painters, and printers. Go to grow the artist network in our city’s hard knocks hub. (Donohue) Noon–8 p.m., free

U.N. Plaza

Market and Seventh, SF

www.artsmarketsf.org

 

FRIDAY 3

MUSIC

Terry Riley

At 75, “In C” composer Terry Riley is still capable of guiding several thousand souls in devotional listening. His caterwauling piano figures are anything but immobile, so it’s a dream to be able to move around during one of his concerts. Circling the Berkeley Art Museum during his last performance there, I came upon several unexpected pockets of resonance; for his part, Riley seemed perfectly calm, as if playing in his own private den (or geodesic dome, as the case may be). He returns for an encore performance tonight, again accompanied by his son Gyan on guitar, and once again for a bargain price. (Goldberg)

8 p.m., $7

Berkeley Art Museum

2626 Bancroft, Berk.

(510) 642-0808

www.bampfa.berkeley.edu

 

MUSIC

Miami Horror

Australian producer Benjamin Plant started out just a few short years ago as a remix artist and DJ in Melbourne, Australia, creating dance music inspired by ’70s disco and electronic soundtracks. The name said it all, really — Miami Horror. Since then, his quickly rising profile has sent Plant branching out (natch) into pop and making the inspired decision to tour with a live band. Having added the pizzazz of on-stage guitar and drums to the shimmery synths, Miami Horror isn’t just referencing the past any longer, it’s challenging contemporary dance acts to pick up the pace. (Peter Galvin)

With Parallels, Pance Party, and Eli Glad

9 p.m., $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

SATURDAY 4

DANCE

RAWDance

Lots of people, apparently, like watching dance in an almost-hidden space spawned from a ballroom hooking up with a bowling alley. RAWdance’s biannual Concept series has been smash hit ever since the first one in 2007. The idea is to informally present in-progress or excerpts from recent works on a pay-as-you-can, free-popcorn-and-coffee-and-snacks basis. Unfortunately, the current lineup — Holly Johnston, Lisa Townsend, Kelly Kemp, RAWdance, Catherine Galasso, and Laura Bernasconi/Carlos Ventura — may be one of the last. The James Howell Studio is on the market. Any suggestions for a new home for this nicely curated, always intriguing, and ever-so-welcoming dance series? (Rita Felciano)

Through Sun/5

8 p.m. (also Sun/5, 3 p.m.), pay what you can

James Howell Studio

66 Sanchez, SF

(415) 686-0728

www.rawdance.org

 

SUNDAY 5

MUSIC

Abe Vigoda

Once you get over the initial disappointment that this is not the actor Abe Vigoda opening for Cold Cave, I think you’ll be pleased to find an L.A. punk crew that plays a distinctly Caribbean style of punk — a lot of steel drums and reverbed guitars — and sounds like fellow Smell bands No Age and HEALTH while maintaining a personality very much their own. Abe Vigoda also exhibits something slightly unusual in the punk industry: a willingness to grow. Each subsequent record release has introduced new ideas into the band’s sound, from changes in tempo to exploring electronic textures. With a seemingly bright future, it’s possible that someday the band might even overtake the actor in popularity. Tell Abe it was only business; I always liked him. (Galvin)

With Cold Cave

9 p.m., $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

MONDAY 6

MUSIC

Panda Bear

One of the many mysteries of the intentionally mysterious Animal Collective is how the group’s later albums manage to make indie music so danceable. The man behind that particular mystery is Panda Bear (a.k.a. Noah Lennox), co-singer and sampling man, who seems to draw as much inspiration from electronic music as the ’70s psychedelia that is the Collective’s bread and butter. In his solo incarnation, Lennox tones down the grandiosity of his day job, drawing inspiration from the Beach Boys, R&B, and the widely eulogized hip-hop producer extraordinaire J Dilla to create a slower and more laid back atmosphere. Currently residing in Lisbon, which Lennox calls “the European California,” Panda Bear’s music is a clear reflection of a sunnier, sweeter lifestyle than we normally see here in Fogland. (Galvin)

With Nite Jewel

8 p.m., $25

Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

www.thefoxoakland.com

 

MUSIC

“Cowgirl Palooza”

Saddle up, buttercup. It’s Labor Day weekend, all your pals are on the Playa, and you don’t know what to do with your dog day afternoon but head out for some honky-tonkin’. And sugar, El Rio’s got you covered. At the eighth annual Cowgirl Palooza, you can drown your sorrows with one of its signature margaritas, eat your fill of free BBQ (while supplies last), and scoot your boots to the cheekily country-fried tunage of one of San Francisco’s finest, most underrated bar bands, 77 El Deora. When Jenn Courtney dominates the mic, demanding a bad boy to do her good, poison for her heartbreak, and someone to please change the record, which sucks because it reminds her of “you,” you’ll be glad you skipped that silly little party in the desert after all. What’s it called again? (Nicole Gluckstern)

With Wicked Mercies, Bootcuts, Evangenitals, and Los Train Wrecks

3 p.m., $10

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

 

TUESDAY 7

MUSIC

Extreme Animals

The Extreme Animals are difficult to pin down. The band’s website describes its sound as “No Doubt + Linkin Park + New Red Hot Chili Peppers,” and Jacob Ciocci, TEA’s spasmodic, pepperoni-pizza-eating leader, tries to pinpoint it further with this recent tweet: “If anyone ever asks, ‘What is Extreme Animals the band?’ say ‘it’s like Lady Gaga — it’s music AND art!'” Far from some self-effacing ironic gesture, these descriptors are entirely genuine and accurate. If anything, they leave out a smorgasbord of equally embarrassing acts and kitsch culture destined to be forgotten if not for zealous karaoke bars and garage sales. In other words, TEA doesn’t shy from absorbing and acknowledging its influences; it binges on anything and everything the pop entertainment world dishes out, then it shits and pukes it out on stage in phantasmagoric pixelated form. (Spencer Young)

9 p.m., free

Southern Exposure

3030 20th St., SF

(415) 863-2141

www.soex.org

 

MUSIC

Hope Sandoval and the Warm Inventions

Hope Sandoval’s voice remains a seductive study in contrast, sounding at once near and far, with a hollowed core and warm edges, always lingering. The darks shadows of that voice flicker over a whole generation of younger singers — male and female — woozy bedroom-pop types, and psych-folk melancholy cases. Mazzy Star’s “Fade Into You” is still a classic slow-burn ballad, but she’s recorded several fine, less remarked-upon albums since. In any case, you don’t forget a voice like hers. Sandoval doesn’t play out much. Jim Jarmusch talked her into his All Tomorrow’s Parties dream bill in New York City, but that’s her only other show in the States on this “tour” — so expect the Great American to be packed to sway. (Goldberg)

8 p.m., $26

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.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. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

 

On the Cheap listings

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On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 1

People in Plazas Various locations, SF; www.peopleinplazas.org. Shows begin at Noon all week, all shows are free. Check out one of the many free concerts in plazas on or surrounding Market street, including Rose Los Santos playing Peruvian music at 525 Market Plaza, SF on Wed/1, Ritmojito playing salsa at Embarcadero Center 3, SF on Thurs/2, Fromagique playing traditional jazz at 101 California Plaza, SF on Fri/3, Steven Espaniola playing Hawaiian music at Rincon Courtyard, SF on Tues/7, and many more.

"Shanghai’s Green Giant" USF Main Campus, Fromm Hall, 330 Parker, SF; (415) 422-6828. 5:45pm, free. Learn about the ongoing construction of the Shanghai Tower, or "The Shanghai Dragon", designed by the San Francisco based design firm, Gensler. Architect Steve Weindel will discuss the crafting of the 121-story, environmentally conscious structure that will be a "vertical city," with eight separate neighborhoods stacked on top on one another. The building is slated for completion in 2014 and will be the tallest building in China. Reservation recommended.

THURSDAY 2

"Everyday" 111 Minna Gallery, 111 Minna, SF; (415) 974-1719. 5pm, free. Attend the opening of this new exhibit showcasing new works by California tattoo artists Shawn Barber, Mike Giant, Mike Davis, Henry Lewis, Daniel Albrigo, and more. Gain insight into the artistic commitment and subculture lifestyle of these artists with displays of tattoo designs, photos, and more that demonstrate shop culture.

"Families, Death Row, and Animation" SOMArts, 934 Brannan, SF; www.somarts.org. 6:30pm, free. Attend this screening of an untitled animated documentary by local artists Dee Hibert-Jones and Nomi Talisman that tells the stories of three families whose loved ones faced a trial for a capital crime, are on death row, or have been executed. The film is in conjuction with the current exhibit, "What Cannot Be Taken Away," a series of collaborative paintings with Evan Bissell and youth in with parents in the legal justice system.

"Over Normal" Fifty24SF Gallery, 218 Fillmore, SF; (415) 312-4120. 7:30pm, free. Attend this opening of this solo exhibition show by Stanley Donwood, inspired billboards in Los Angeles and their use of seven basic colors to attract viewers’ attention in a primal way and the parallel between those colors and the use of words that play on our insecurities in spam emails. Donwood also created a 12 page newspaper and sound installation called "The Overnormaliser" to accompany the exhibit.

Walking Tour of the Ferry Building Meet at the foot of the stairs, Main Entrance, Ferry Building, 101 Embarcadero, SF; www.sfcityguides.org. Noon, free. Join tour guide Patricia Coyle for an hour-long walk through one of San Francisco’s most renowned landmarks and learn about the rise, tragic fall, and rebirth of the building, filled with tales of ferries, freeways, and earthquakes.

SATURDAY 4

Shakespeare in the Park Presidio Main Post Parade Ground Lawn, 34 Graham, SF; www.sfshakes.org. Sat. 7:30pm, Sun. 2:30pm; free. Pack a picnic and enjoy some free professional theater in the Presidio with a performance of William Shakespeare’s Two Gentlemen of Verona with some added 1960’s go-go flair. Director Kenneth Kelleher presents this classic story about a friend who dumps his girl to steal the other’s, causing cross-dressing, misbehaving, and other antics.

SUNDAY 5

BAY AREA

Enkutatash Martin Luther King Jr. Civic Center Park, 2151 Martin Luther King Jr. Way, Berk; (510) 681-5652. 11am-7pm, free. Celebrate Enkutatash, the Ethiopian New Year Festival, a celebration of new life, fresh starts, and Ethiopian culture featuring traditional Ethiopian cuisine, clothing vendors, visual arts, handcrafts, live dance and music performances, and children’s activities.

MONDAY 6

Free Fishing Day Lakes and piers all over the Bay Area, visit www.dfg.ca.gov. All day, free. The Department of Fish and Game is inviting all Californians to fish at any freshwater lake without a fishing license. It’s a great, low-cost way to give fishing a try. Nearby lakes and piers that won’t require a sport fishing license include Lake Merced, Pier 7, Fort Baker Pier, Alameda, Temescal Lake, and more.

TUESDAY 7

"Extreme Animals Sit Down" Southern Exposure, 3030 20th St., SF; (415) 863-2141. 8:30pm, free. Extreme Animals, Jacob Ciocci and David Wightman, present a mash-up of live music, video, staged theatrics, and global meltdowns that delves into the world of tween culture and the current obsession with staying young.

BAY AREA

American Taliban Books Inc. Berkeley, 1760 4th St., Berk.; (510) 525-7777. 7pm, free. Author and founder of the Daily Kos, Markos Moulitsas, will read and discuss his new book that compares the policies and tactics of the Republican Party to those of Islamic radicals, finding many similarities. Moutlitsas calls on the media, progressives, and elected officials to confront the radical right in their jihadist tactics.

Our Weekly Picks: August 25-31, 2010

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WEDNESDAY 25

THEATER

The Penny Dreadful Project

If you know what a penny dreadful is, and you know who Andrea Yates is, and you’re still reading this, The Penny Dreadful Project will probably be up your alley (you sick freak!) Directed by Mario El Caponi Mendoza, this experimental play concerns an anonymous woman and a triad of men who are three different versions of her son. Mommy goes mad, and potentially murderous, as she finds herself in the hell she’s created. The production is also inspired by Susan Eubanks who, like Yates, murdered her sons. It’s one thing to read about this stuff, and another to see it unfold in front of you. Prepare to be shaken. Oh, and don’t bring the kids. (Ryan Lattanzio)

8:30 p.m., free

Studio Theatre

Creative Arts Bldg., Room 102

SF State University

1600 Holloway, SF

(415) 338-2467

www.creativearts.sfsu.edu

 

THURSDAY 26

MUSIC

“Mexico: Los Soneros de la Bahía”

Under the artistic direction of Nydia Algazzali Gonzalez, the music ensemble Los Soneros de la Bahía brings traditional Mexican son to the Yerba Buena Gardens lunchtime concert series. Known for its danceable, dynamic rhythmic patterns and elements of improvisation, son fuses colonial and indigenous music traditions and embodies Mexican mestizo culture. Dedicated to preserving and reviving this unique art form, the musicians, dancers, and poets (also known as soneros) of Los Soneros de la Bahía deliver Mexican music and dance that evoke both old traditions and contemporary aesthetics. Let’s just hope their lively son brings out some sol. (Katie Gaydos)

12:30 p.m., free

Yerba Buena Gardens Esplanade

740 Mission, SF

(415) 543-1718

www.ybgf.org

 

MUSIC

Boris

It’s easy to reflexively dislike Boris, if only because it’s the one heavy band that a guy wearing a purple keffiyeh to a cocktail party will profess his undying affection for. But despite all the too-cool-for-school trappings, the Japanese trio is a potent rock ‘n’ roll force, combining drone, doom, and scuzz into a noisy, inimitably raw package. It’s a particular favorite of the band’s fellow musicians, having collaborated with SunnO))), Torche, and the Cult’s Ian Astbury, with whom they’ll release a four-track EP in September. Great American Music Hall — one of the city’s best-sounding venues — should be a perfect location for its sonic excursions and incursions. (Ben Richardson)

With Red Sparowes and Helms Alee

9 p.m., $18

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

FILM

“Dark in August: Rare Vampire Films”

For folks of the ever-more-prevalent view that vampire cinema these days totally bites, the Yerba Buena Center for the Arts is here to staunch the wound. Over four days, it is screening bloodsucking fare from decades past, kicking off with Kathryn Bigelow’s cult Western-tinged fang flick Near Dark (1987). The following days bring Vampire Hookers (1978), ostensibly a trashy vamp romp shot in the Philippines and starring David Carradine; and two showings of Vampyr (1932), Carl Theodor Dreyer’s first sound film. Hookers is reportedly standing in for an unsatisfactory print of Daughters of Darkness (1971), but it seems the range of camp to class will still be maintained. (Sam Stander)

Near Dark tonight, 7:30 p.m.; Vampire Hookers Fri/27, 7:30 p.m.;

Vampyr Sat/28, 7:30 p.m. and Sun/29, 4:30 p.m., $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

 

FRIDAY 27

MUSIC

Nekromantix

Expect some spooky and sinfully delightful musical mayhem when Danish imports Nekromantix hits the stage tonight after the sun goes down. You may just want to bring some wooden stakes and holy water with you, unless you’ve already been bitten — er, smitten — by its infectious songs. Founding member Kim Nekroman’s wild antics on his signature coffin bass have given unholy life to the band’s funeral-march-on-speed psychobilly blasts since 1989, when he played the part of the classic movie mad scientist and melded the sounds of punk and rockabilly and fused them together. Listen to them, children of the night. What music they make. (Sean McCourt)

With Howlers and Mutilators

9 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

DANCE

“Café Flamenco”

So you can’t go to Andalucia for your flamenco fix this summer. Not to worry. This time of the year its cities are really hot and the parking is lousy. Much better to indulge that all-encompassing passion at home, offered in a fresh guise to boot: Caminos Flamencos, SF’s foremost flamenco company, is inviting pianist-composer Alex Conde from Valencia and bassist Haggai Cohen of Israel for a jazz-flavored evening. They join Caminos’ own formidable dancers and musicians, including the always-welcome singer Jesus Montoya from Seville. (Rita Felciano)

8 p.m., $22

Verdi Club

2424 Mariposa, SF

1-800-838-3006

www.caminosflamencos.com

 

SATURDAY 28

VISUAL ART

16777216

A Web browser-based digital art piece, Richard S. Mitchell’s new work comprises millions of single-colored frames, across the spectrum that makes up the RGB color model. It runs for seven days, 18 hours, 24 minutes, and 48.64 seconds, and is simultaneously viewable from any computer that accesses the Jancar Jones Gallery website. That may seem like a mouthful of data, and there’s more to be had on the site, but little in the way of stated intent or contextual mumbo-jumbo. This is a minimalist exercise focusing on color rather than shape and allowing anyone, anywhere to synchronously experience a nonstatic piece of art. But if you want to rub elbows with other appreciators, it will be showing in the gallery for three hours. (Stander)

Through Sept. 5

Reception tonight, 6–9 p.m., free

Jancar Jones Gallery

965 Mission, Suite 120, SF

(415) 281-3770

www.jancarjones.com

 

MUSIC

Valerie Orth

Valerie Orth is a sexy, soulful singer-songwriter whom I’ve been lucky enough to catch for truly memorable sets ranging from a powerful performance at Cafe du Nord to an intimate acoustic session rolling across the playa in an art car with a konked out generator at Burning Man last year. Now the SF artist has just come out with a new album, Faraway City, that beautifully captures a voice and style that is reminiscent of Ani DiFranco or Björk, two of her key influences. The album, filled with catchy original songs developed over the last two years, was produced by Jon Evans, another local who plays bass for Tori Amos and helped record music for the likes of Tom Waits, Third Eye Blind, and Boz Scaggs. Stop by this CD release party and see what I mean. (Steven T. Jones)

With Emily Wells and Kindness and Lies

8 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

SUNDAY 29

MUSIC

Slash

For more than 20 years, Saul Hudson — better known to his millions of fans around the world simply as Slash — has exuded the very essence of what it means to be a rock star. His iconic stage image: trademark top hat, sunglasses, and low-slung Les Paul is instantly recognizable, as are his innumerable guitar licks and solos that are now part of the rock ‘n’ roll canon. Although on this tour he’s supporting his new self-titled solo album, which hit stores in April, fans should probably expect a decent dose of some classic Guns N’ Roses tunes in the mix as well. (McCourt)

With Myles Kennedy and Taking Dawn

8 p.m., $32–$40

Warfield

982 Market, SF

www.thewarfieldtheatre.com

 

MONDAY 30

MUSIC

Mazel Tov, Mis Amigos

Es la hora de salsa — or make that, la hora de hora. Either dance would be an appropriate response to the music at this live album recreation. The year was 1961 when Mazel Tov, Mis Amigos was released, Yiddish folk tunes remixed by top Latin jazz musicians into dance floor fusions fit to blow off your yarmulke. The Idelsohn Society is sponsoring its on-stage rebirth featuring Larry “El Judio Maravilloso” Harlow, Wil-Dog of Ozomatli, and Jeremiah Lockwood of the Sway Machinery; the whole shebang is led by Arturo O’Farrill of the Afro Cuban Sextet. They’re playing in conjunction with an exhibit at the Contemporary Jewish Museum that highlights congruent notions of Zion, “Black Sabbath: The Secret Musical History of Black-Jewish Relations.” (Caitlin Donohue) 8 p.m., $18

Yoshi’s San Francisco

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

TUESDAY 31

MUSIC

Lower Dens

If you combine Jana Hunter’s saturnine vocals, or found (like Nico’s) between masculine and feminine, with Will Adams’ shoegazing guitar, you get what sounds like something caught in the wind. Or sometimes you get music that sounds like was recorded in the most depressing bedroom ever. For the most part, the Baltimore, Md., quartet Lower Dens keeps things in a minor key, and its 2010 debut Twin-Hand Movement glistens with brooding songcraft, riding a dark and stormy (new) wave. This band was already on the rise before it was stabbed with a certain Pitchfork, as Hunter had been kicking it solo since early in the aughts. (Lattanzio)

9 p.m., $10

Hotel Utah

500 Fourth St., SF

(415) 546-6300

www.thehotelutahsaloon.com EVENT

 

MUSIC/LIT

Mustaine: A Heavy Metal Memoir

Dave Mustaine has seen more than his fair share of difficult obstacles to overcome throughout his musical career due to his past drug and alcohol addictions, which famously got him kicked out of an early Metallica lineup. Even during his ensuing triumphs with long-time metal favorites Megadeth, he struggled often with his demons. Now clean and sober, the singer and guitarist is riding high on his current successes, which include a new autobiography, Mustaine: A Heavy Metal Memoir (Harper Collins), that hit the New York Times Best Sellers List earlier this month. Fans won’t want to miss this rare opportunity to meet a true metal icon when he signs copies this afternoon before taking the stage at the Cow Palace tonight with Slayer and Testament. (McCourt)

10:30 a.m. (updated event time!), free

Borders Stonestown

233 Winston, SF

(415) 731-0665

www.borders.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. We cannot guarantee the return of photos, but enclosing an SASE helps. 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.

 

We sue the FBI

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The Bay Guardian has joined the ACLU of Northern California and the Asian Law Caucus in suing the FBI to demand access to records of federal agents spying on Muslim communities and organizations.


We filed a Freedom of Information Act request five months ago, seeking access to key records, including documents that would show how the FBI is:


•       investigating Islamic centers and mosques (as well as Christian churches and Jewish synagogues);
•       “assessing” religious leaders;
•       infiltrating communities through the use of undercover agents and  informants;
•       training agents in Islam and Muslim culture;
•       using race, religion and national origin in deciding whom to investigate; and
•        identifying particular schools for its Junior Agent Program.


The FBI has not released the documents, leaving us no choice but to file suit. The law firm of Morrison and Foerster is representing the plaintiffs pro bono. (Thanks, MoFo.)


“Clear information about the FBI’s activities is necessary in order to understand the scope of their surveillance tactics to assess whether they have had a chilling effect on the right to worship freely or to exercise other forms of expression,” said Julia Harumi Mass, staff attorney for the ACLU of Northern California.
 
“This lawsuit is about transparency.  The public is entitled to this information under the Freedom of Information Act.  The FBI admitted in March that our clients’ FOIA requests are entitled to expedited processing because of the widespread media attention on these issues, but the government has yet to provide them a single document,” said attorney Raj Chatterjee of Morrison & Foerster.   


There’s plenty of evidence that the feds are engaged in dubious, perhaps unlawful surveillance of Muslim communities. Check out this, and this and this. We’re hoping to shed some light on what the FBI is really doing here.


You can see a copy of the complaint here (pdf)

VIRGINS & REJECTS FILM FESTIVAL

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The Digital Filmmaking & Video Production department at The Art Institute of California- San Francisco proudly presents the 2nd annual Virgins and Rejects Film Festival. The Virgins and Rejects Film Festival is open to all filmmakers and gives them the opportunity to showcase their work for the first time. The festival debuted last year in San Francisco, California with a successful program of short media by filmmakers who had either never entered into a festival or had been rejected by previous festivals.
 
We are now seeking submissions for the 2nd annual Virgins & Rejects Film Festival. Submissions can be of any genre, and should range in length from 1-15 minutes. A full list of submission guidelines can be found at the Virgins & Rejects website.
 
Once chosen, the films will be screened at the Virgins & Rejects Film Festival held at the Roxie Theatre on Thursday, October 7th, 2010.

Farewell, Mayor Michael Cohen

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No one who has been closely tracking the shipyard development will be surprised that Michael Cohen. Mayor Gavin Newsom’s top economic advisor, is leaving City Hall.  Folks have long speculated that city officials would start jumping ship–and even become real estate developers themselves–the minute the ink dried on Newsom’s signature on the deal.

But they might be surprised to know that during Cohen’s visits to China, the media has been describing him  as “Deputy Mayor of San Francisco.”

http://www.chinadaily.com.cn/metro/2009-10/13/content_8786067.htm

But as DCCC chair Aaron Peskin recently quipped, “The Chinese media got it all wrong. That’s because Cohen is the real mayor of San Francisco.”

Cohen told the Examiner today that he does not plan to work for the big companies that he has been doing business with in recent years….so, stay tuned.

Eating humble pie with Glendon “Anna Conda” Hyde

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It was with a sinking feeling that I read the comments that Glendon “Anna Conda” Hyde’s supporters left on the Guardian’s website last week, after I wrote about the DCCC questionnaires last week—and managed to screw up by omitting Conda/Hyde from my hasty round up.

“How is it that you’ve omitted Anna/Glendon from your election roundup?” was one of many similar comments made by Conda/Hyde’s outraged supporters. “This looks awfully like PREJUDICE, darlings. You should be ashamed of yourselves. Anna/Glendon’s candidacy is not a joke. S/he is one of the most promising progressive voices in SF. Wake up.”

So, I picked up the phone, and called Conda/Hyde to offer my humble apologies.

And today we sat down and talked about the role of the media and political endorsement clubs in propping up the marginalization of marginalized candidates and communities—and the role of radical queers in pushing back against the status quo and the political machines.

Conda/Hyde kicked off by recalling how the DCCC offered congratulations on the campaign’s artwork.

“But then they said you are not a viable candidate, and have you thought about taking the spotlight off yourself,” Conda/Hyde claimed.

(After our interview, I put in a call to DCCC chair Aaron Peskin. He had no recollection of the conversation going down quite like that. But Peskin also noted that the DCCC had done a ton of interviews recently.

“I like Glendon and I remember him appearing,” Peskin said. “But I don’t remember anyone telling him he was not viable.”

But with 26 candidates in the D. 6 race, and 27 candidates in the D. 10 race, it’s likely that some similar-minded candidates in those contests may decide, or be advised, to rally together between now and the election to increase the chances that  “the bad guys” don’t win, right?

“You’d think,” Peskin said. “That’s why I dropped out of the Board of President’s race when Willie Brown’s guy looked like he was going to win, and as a result, Matt Gonzalez won the race.”)

Anyways, back to my interview with Conda/Hyde, who also claimed that D. 6 candidate h.brown recently got barred from a small business debate in SoMa.

I wasn’t at that particular forum, or the D. 10 debate that the SF Young Dems recently hosted in the Bayview.

But I have watched videos of the outrage that was triggered at the Young Dems forum, when D. 10 candidates Dianne Wesley Smith, Nyese Joshua, Ed Donaldson, Marie Harrison and Espanola Jackson were excluded from the debate, even though the Bayview is where they are based.

And it’s similar to the outrage that Conda/Hyde supporters understandably felt when their candidate’s positions on issues like Mayor Gavin Newsom’s sit-lie legislation weren’t included in my original summary of the DCCC questionnaire. Especially since Conda/Hyde led the pushback against Newsom’s sit-lie measure.

“Marginalized districts, marginalized candidate voices,” Conda/Hyde observed.

The point Conda/Hyde is making here is that all candidates bring unique voices and perspectives to a race, and they provide marginalized communities with a rare opportunity to push back against powerful interests and ill-advised measures before this or that political machine can shoe horn its preferred slate into office.

“I was the first candidate to come out against sit-lie aggressively,” Conda/Hyde noted, by way of example.

At this point in our conversation, Labor leader and DCCC member Gabriel Haaland, who sat in on today’s meeting and voiced sharp criticism of my Conda/Hyde omission last week, chimed in.

“So many candidates were ducking sit-lie, so when I introduced a resolution opposing sit-lie at the DCCC, so many people were pissed off,” Haaland said. “And it was refreshing to see Anna Conda vocally opposing sit-lie in drag on Polk Street.”

Haaland added that he’d be working for Conda/Hyde’s campaign, “if not for a 15 year friendship with Debra Walker.”

And then he pointed to the central role that radical queers have played in pushing for political change.

“The first queer to run for elected office was a drag queen,” Haaland observed. “Radical queers have always been leading the movement, busting a move and changing the world. And Anna Conda is more the Harvey Milk of the race, in my opinion.”

“You reflect my radical queer positions more,” Haaland continued, addressing Conda/Hyde direct.  “And you have a real base in the district in a way that Theresa Sparks does not. But people are moving into the district and having bases created for them.”

Conda/Hyde then observed that plans are afoot for an inclusionary District 6 forum.

“Jane Kim and I are getting together to do a forum that includes all the D. 6 candidates,” Conda/Hyde said, “We’ll be including James Keys, Dean Clark and Fortunate ‘Nate’ Payne, who are all out there working hard on their campaigns, as well.”

The ability to raise funds is often an indicator of whether a candidate is viable. Campaign finance records show that Conda/Hyde has applied for public funds, the application is under review, and that Jane Kim, Jim Meko, Theresa Sparks, Debra Walker and Elaine Zamora have qualified for public financing in the D. 6 race.

That level of public fund raising is only bested by D. 10 where Malia Cohen, Kristine Enea, Chris Jackson, Tony Kelly, DeWitt Lacy, Steven Moss, Eric Smith and Lynette Sweet have already qualified for public financing, and Diane Wesley Smith, has her application under review.

(In D. 2, Kat Anderson and Abraham Simmons have already qualified for public funding. In D. 8, Rafael Mandelman, Rebecca Prozan and Scott Wiener have already qualified, and Bill Hemenger’s application is under review.)

At the end of our meeting, Conda/Hyde talked about name recognition problems.
“I have a lot of name recognition as Anna Conda, and not as much as Glendon Hyde,” Conda/Hyde noted, choosing to pose as Glendon Hyde next to his D. 6 campaign sign.
“I think I’ve already proven that I’m a drag queen,” Hyde explained.

“And not just a pretty face,” Haaland concluded.

 

 

 

Our Weekly Picks: August 18-24, 2010

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WEDNESDAY 18

THEATER

Macbeth

Cal Shakes follows its recent production of MacHomer with the original Macbeth — and proof that pop culture is but a palimpsest. This company always manages to inject new life into any well-known or overdone Shakespeare play and here, the troupe remains loyal to the dark side of everyone’s favorite regicidal maniac. The website boasts that this version doesn’t “shy away from the brutal, violent nature of the work,” so it would be imprudent of you to bring your children. Macbeth, with all its insoluble blood stains, C-sections, and beheadings will remind you of how fucked up the theater really could be back in the 1600s. (Ryan Lattanzio)

Through Sept. 12

Tues-Sun, performance times vary, $20–$65

California Shakespeare Theater

100 California Shakespeare Theater Way, Orinda

(510) 548-9666

www.calshakes.org

 

EVENT

“Tick-Tock: Linear and Visceral Expressions of Time”

In conjunction with its Now and When exhibition (on view through Sept. 4), the San Francisco Arts Commission is hosting a discussion on time between Jeannene Przyblysk, executive director of the San Francisco Bureau of Urban Secrets, and Alexander Rose, executive director of the Long Now Foundation. Time, they will argue, doesn’t just operate on a linear schedule: the past and future can be bent, juxtaposed, and collaged into other events and moments that allow the malleability of memory and untethering of tomorrow. The effects of this loosening carry a visceral register. Baby, this is moving too fast, can we slow it down a bit to figure things out? (Spencer Young)

6:30-8 p.m., free (reservations required)

SFAC Main Gallery

401 Van Ness, SF

(415) 554-6080

www.sfartscommission.org

 

MUSIC

WAVVES

Twentysomething Nathan Williams has had a pretty unbelievable couple of years, teeter-tottering between indie blog success and proud poster child for a recent glut of lazy-sounding DIY bands. Williams does little to sway critics from seeing him only as the latter — most of his lyrics glorify either weed or “being bored” — but there has always been a charming immediacy to his lackadaisical approach. Having stumbled on a winning blueprint like that, it comes as a surprise to listen to Williams’ latest album, King of the Beach, and find that the musician appears to have grown weary of making that same record over and over again. In dropping a lot of the scuzz and picking up the late Jay Reatard’s solid backing band, Beach primes Williams as the poster child for something completely different: the party record of the summer. (Peter Galvin)

With Young Prisms

7:30 p.m., $14

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

THURSDAY 19

THEATER

“Solo Performance Workshop Festival”

From under the radar comes this showcase of new and recently acclaimed solo performance, as the Solo Performance Workshop celebrates five years developing original work in StageWerx’s sub–Sutter Street lair. The venue may be underground, but shows spawned under direction of founders Bruce Pachtman (Don’t Make Me Look Too Psychotic) and performer-director W. Kamau Bell (The W. Kamau Bell Curve) have gone on to far-flung success. Some of these — including Jennifer Jajeh’s I Heart Hamas and Enzo Lombard’s Love, Humiliation, and Karaoke — return for the two-week fest, which also launches Bell’s latest venture: AAAAAAAAAARGH!: A Solo Comedy About How Frustrating Frustration Can Be. All of which stands to be pretty satisfying, actually. (Robert Avila)

Through Aug. 29

Thurs.–Sat., 8 p.m.; Sun., 7 p.m., $20–$30

StageWerx Theatre

533 Sutter, SF

www.stagewerx.org

 

VISUAL ART

“Photographer: unknown

Photography has served a casual or practical purpose in countless lives ever since cameras were widely available to the public. Still, most amateur photographers in years past probably never expected their work to be up on a gallery wall. Taking the opposite approach, Robert Tat Gallery seeks out vernacular photographs (photos not intended as art) worthy of appreciation in a new context. Their “accidental art” photos are “generally acquired at flea markets, antique stores, estate sales, or literally just ‘found.'” The gallery’s press release traces the appreciation of such found photos back to the Dada movement. But since we still haven’t fully realized the wealth of art around us, it’s exciting to see a gallery celebrating the supposedly mundane. (Sam Stander)

Through Nov. 27

Tues.–Sat., 11 a.m.–5:30 p.m. and by appointment, free

Robert Tat Gallery

49 Geary, Suite 211, SF

(415) 781-1122

www.roberttat.com

 

FRIDAY 20

DANCE

Stepology’s 2010 Bay Area Rhythm Exchange

It’s time to tap into the spirit of Gregory Hines and Fred Astaire. Stepology (the nonprofit tap organization founded by renowned tap dancer John Kloss) makes it easy to channel the tap masters with the annual Bay Area Tap Festival. Inspiring dancers and nondancers alike, Stepology’s week-long tap extravaganza brings some of the nation’s most talented tappers together to lead classes, workshops, and demonstrations. The festival culminates with the Bay Area Rhythm Exchange, an annual concert performance. Acclaimed musicians and tap artists Channing Cook Holmes, John Kloss, Mark Mendonca, Jason Rogers, Dormeshia Sumbry-Edwards, Sam Weber, and Lukas Weiss (to name a few) grace the stage at this year’s Rhythm Exchange. (Katie Gaydos)

Through Aug. 21

8 p.m., $25

Herbst Theatre

401 Van Ness, SF

(415) 392-4400

www.stepology.com

 

SATURDAY 21

FILM

Bassem Yousri

Catch two experimental documentaries by Bassem Yousri, a recipient of a 2009-10 Kala Fellowship, as part of the ongoing series “Residency Projects,” featuring works by all the fellowship artists. Yousri’s films, Keep Recording (2009) and Still Recording, are set in Cairo and Philadelphia, respectively. His premise is the same for each: use a low-budget video camera and record footage of the city and its people. In Godfrey Reggio fashion, Yousri navigates unfamiliar urban contexts, and the films’ meanings arise through this kind of episodic assembling where artist is at the mercy of environment. (Lattanzio)

2 p.m., free

Kala Gallery

2990 San Pablo, Berk

(510) 841-7000

www.kala.org

 

MUSIC

“Joe Strummer Tribute”

A tribute show can be a dicey prospect, especially if the artist being honored isn’t alive to comment. Sometimes it’s better to leave a dead legend’s legacy well enough alone instead of trying to embroider it posthumously. Still, when it comes to someone like Joe Strummer, different rules apply. Annual tributes to the punk pioneer have been held in SF for the past seven years, and something tells me that their focus on local bands would have gibed well with Strummer’s music-to-the-people ethos. This year’s show features the Armagideons, the Hooks, Monkey, Sistas in the Pit, Stigma 13, and Interecords, and its proceeds benefit Strummerville, a charity that provides funds and support to struggling musical talents the world over. (Zach Ritter)

9 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

DANCE

“House Special 2010”

ODC Theater’s “House Special” gives selected choreographers two weeks to create new dance works before premiering them in the intimate ODC Dance Commons. Now the two weeks are up and the show is ready. Although vastly different in terms of choreographic styles and interests, the three artists in residence all share a common passion for social activism. Brazilian native Tania Santiago and her dance company Aguas Da Bahia explore the deep roots of Afro-Brazilian traditions; Jesselito Bie’s Steamroller Dance Company’s newest work Big Homo Love Explosion explores sexuality, gender, and race; while Pearl Ubungen’s SF Bardo Project investigates the cultural landscape of the city while contemplating death and dying from a Tibetan Buddhist perspective. (Gaydos)

8 p.m., $15

ODC Dance Commons

351 Shotwell, SF

(415) 863-9834

www.odctheater.org

 

EVENT

Art and Soul Festival

No “adjectives on the typewriter” can quite sum up why Cake was a perfect soundtrack for the 1990s, and an even better one for the shift into the aughts and beyond. This year, for the 10th anniversary of Oakland’s Art and Soul Festival, John McCrea and his fellow fellas bring rockable irony to the Main Stage. Don’t remember “Shadow Stabbing” or “Never There”? Fear not. Cake hasn’t released a studio album since 2004, so this show will definitely jog your memory with the hits — and very few of the songs in their canon aren’t hits. Hailing from Sacramento, this band seems to understand West Coast sensibilities of spliffs, catchy riffs, and kicking it with friends to some music under a Saturday sunset. (Lattanzio)

Sat/21, 12:30 p.m. (Cake plays at 4:30 p.m.);

Sun/22, 12:45 p.m., $8–$15

12th and Broadway, Oakl

www.artandsouloakland.com

 

SUNDAY 22

FILM

Endless Love

Critically mauled at the time, this 1981 adaptation of Scott Spencer’s acclaimed novel is being offered up for “rediscovery and reevaluation” by the ever-idiosyncratic local Film on Film Foundation. Martin Hewitt plays David, a high school senior who finds the warm family vibe he lacks at home at the Butterfields, where 15-year-old daughter Jade (Brooke Shields, still wet from 1980’s The Blue Lagoon) is his girlfriend. But his passion for her runs a little too hot, even for this very free-thinking clan, and when he’s banned from future contact, he concocts a scheme to restore his status that turns disastrous. An amour fou melodrama further inflamed by director Franco Zeffirelli’s customary gauzy romanticism — and providing him with opportunity for more exposed boy butt than 1968’s Romeo and JulietEndless Love likewise swoons over roiling teenage libidos with a near-gaga intensity. There is a certain amount of adult actor hysteria and overripe sweetness, as well as only semi-convincing eroticism. But Shields is perfectly adequate in her last adolescent part, and Hewitt, whose career didn’t last, is excellent as the obsessed BF whose love is maybe a little too endless. Other attractions include a very young James Spader as Jade’s snarky older brother and Tom Cruise (his first role) as one of their friends. Yes, the book was better (if also a little overripe). But belying its camp reputation, this movie is actually pretty good. (Dennis Harvey)

4 p.m., $8

Pacific Film Archive

2757 Bancroft, Berk.

www.filmonfilm.org

 

TUESDAY 24

MUSIC

Bad Brains

Ever since their seminal 7-inch debut, 1980’s Pay to Cum, the Bad Brains have hewed a truly bizarre path through the musical landscape, perfecting punk rock and reggae on the strength of jazz fusion-honed technical ability and a commitment to speed. Their career (and that of unpredictable singer H.R.) has been peripatetic for many years now, but despite the profusion of Jah-loving jam-outs at recent shows, there’s only one Bad Brains, and they’re not getting any younger. Go to see — without hyperbole — one of the most unique bands to ever play rock ‘n’ roll. (Ben Richardson)

With Broun Fellinis

9 p.m., $26

Slim’s

333 11th St, SF

(415) 255-0333

www.slims-sf.com 

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. 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.

 

Not according to plan

3

rebeccab@sfbg.com

The long-term viability of eight women’s health clinics operating under regional affiliate Planned Parenthood Golden Gate (PPGG) was thrown into question Aug. 6 when Planned Parenthood Federation of America (PPFA) announced that the affiliate would lose its accreditation.

The clinics — which serve roughly 55,000 clients, predominantly women living at or below the federal poverty level — will still be allowed to operate but must stop using Planned Parenthood’s nationally trusted name beginning Sept. 3.

Some news articles immediately following PPFA’s announcement referenced confidential internal conflicts to explain the break, but financial documents and the accounts of several former employees gathered by the Guardian suggest that the organization had reached a precarious financial position that made it difficult to meet accreditation standards.

“To not have a Planned Parenthood in San Francisco is like heresy,” a former PPGG employee told the Guardian. Yet this person and other former coworkers attributed this outcome to dysfunction at the senior management level of PPGG and said the national organization had little choice but to take action.

The Bay Citizen reported that 30 members of PPGG’s medical services staff sent a letter to Harrison and PPFA executives in October 2008 to raise concerns about “the misappropriation and mismanagement of PPGG’s funds.” The letter charges that “executive staff’s personal expenditures are excessive and are not aligned with the mandatory fiscal restrictions. Flagrant use of PPGG funds to pay for personal belongings, personal services, and exorbitant technology products is seemingly unchallenged and not subject to the same financial scrutiny that clinic supplies and staff salaries are, for example.”

A former PPGG staffer noted that employees had tried in the past to sound the alarm, including going to the media. Another noted that they had been made to sign a confidentiality agreement on leaving the organization, a practice that was common within PPGG.

While the current CEO, Therese Wilson, did not return numerous phone calls seeking comment, she was quoted in a fairly sympathetic San Francisco Chronicle article referencing the economic downturn and inability for many of the clients to pay as reasons behind the agency’s financial woes. While the recession, cuts to state funding to nonprofits, and other external factors have clearly had an impact, documents suggest that things were going awry before the recession hit full force.

An internal PPGG document provided to the Guardian displays the agency’s on-hand cash reserves compared with other affiliates, suggesting that the reserve ratios were at or below the minimum required by Planned Parenthood national for all but one year from 1998 to 2007 — and well below that of other affiliates of similar size. That is a key requirement for meeting accreditation standards.

When we asked Elizabeth Toledo, a Planned Parenthood Federation of America (PPFA) spokesperson, about this apparent pattern, she said she could not comment because she had not seen the documents. She also said the accreditation reviews were confidential. “Understanding the true financial picture for health care providers takes a very in-depth evaluation,” Toledo said. “PPFA and PPGG were working together over the last few years to resolve fiscal challenges.”

The Packard Foundation, a major donor to Planned Parenthood, awarded PPGG a $30,000 “organizational effectiveness” grant last year to “select a talented, external provider to help them think through some of these challenges.” The grant expires in September, according to spokesperson Dan Cohen.

In an era marked by high unemployment, economic instability, and deep cuts in public funding for health services, Planned Parenthood clinics provide an increasingly important safety net for uninsured and low-income clients in need of birth control, screenings for sexually transmitted disease or cervical cancer, abortion services, or information on sexual health that isn’t manipulated by a pro-life agenda. As things stand, women in rural communities seeking abortions often must travel very long distances to clinics, and any gap in services resulting from a PPGG accreditation loss could further broaden those geographical boundaries.

Since financial problems are at the root of the San Francisco-based affiliate’s problems, the PPGG clinics — which are located in San Francisco, Alameda, San Mateo, Sonoma, Marin, and Mendocino counties — are in an especially precarious position without national support, despite operating as a separate entity from PPFA. Planned Parenthood affiliates Mar Monte and Shasta Diablo plan to take over some of the existing clinics or cover gaps in service area by opening satellite centers, Toledo told us. “It’s unusual to have a disaffiliation,” she said. “But it’s not unusual for national committees to have a reallocation of service area. That part is well practiced.” She added that “every effort possible will be made” to ensure continuity of care.

The Mar Monte affiliate operates clinics in the Central Valley, Sacramento, the Sierra region, the San Joaquin Valley, and Silicon Valley. The Shasta Diablo affiliate covers areas in Butte, Contra Costa, Lake, Napa, Shasta, and Solano counties, with locations in El Cerrito and Walnut Creek. Depending on clients’ starting points, travel times could lengthen considerably and waiting rooms could become more crowded if the current PPGG clinics can’t stay afloat.

It’s too early to say just how PPGG staff members and patients will be affected by the loss of accreditation. However, it became obvious from Guardian interviews and more than two dozen Web comments on the Guardian’s online coverage of PPGG management woes that there was a high level of employee discontent at PPGG. Former staffers even keep in touch through a sort of club titled “PPGG PTSD” — a humorous reference to being shaken by the experience of working there. Yet while many were angered by the affiliate’s administrative problems, they nonetheless remain dedicated to the mission of Planned Parenthood.

“I’m a senior citizen who hasn’t needed birth control in quite some time, yet I remember when I was a young woman without resources who depended on PPGG for basic health care,” noted “Ellen,” a commenter. “They provide more than just reproductive services. They found an early cervical cancer, and I’m alive today as a result of the early diagnosis that they provided.

“It’s a tragedy that the current and recent trustees and management ruined such a fine organization,” she continued. “A friend of mine is a talented and dedicated nurse with a background of serving low-income women. She resigned from PPGG a year ago because she couldn’t handle the mismanagement any longer. I hope one of the nearby chapters is able to take over the PPGG clinics. In any case, current PPGG management and trustees need to go.”

Small business wins big

1

tredmond@sfbg.com

Six years after the Guardian filed a lawsuit accusing SF Weekly and its chain owner of illegal predatory pricing, the California Court of Appeals has issued a precedent-setting ruling that not only affirms the Guardian’s claims but strikes a dramatic blow for small independent businesses in California.

A three-judge panel concluded Aug. 11 that the state’s Unfair Practices Act protects businesses from cutthroat predators that sell a product below cost with the intent of injuring competition. The judges, Robert L. Dondero, who wrote the decision, and James J. Marchiano and Sandra L. Margulies, who concurred, directly rejected an argument that would have undermined the historic law and concluded that the state of California has every right to provide small merchants with greater antitrust protections than the federal government.

It marked the first time that a state appeals court had weighed in on whether California’s UPA should be enforced under the weaker federal standard. The ruling offers broad protections to small companies trying to survive against the market power of giant chains.

The Guardian sued SF Weekly and the New Times chain, now owned by Village Voice Media, in 2004, claiming that the Weekly was systematically selling ads below cost in an effort to put the local competitor out of business.

Evidence presented in a six-week trial in 2008 showed that the Weekly had lost money every single year since New Times bought the paper in 1995. The Phoenix-based chain poured tens of millions of dollars into propping up the Weekly, while the Weekly’s sales staff sold ads at a fraction of the cost needed to support the operation — all with the goal of taking business away from the Guardian.

“We have before us the case of an ongoing, comprehensive, below-cost pricing scheme instigated and executed conjointly by two parties,” the court concluded.

It was a classic case study in what the UPA, which dates back to 1913, was designed to prevent: a big, wealthy corporation using its deep pockets to cripple a local competitor. The court decision notes that shortly after New Times bought SF Weekly in 1995, New Times Executive Editor Mike Lacey announced that he would use the chain’s deep pockets to assault the Guardian. “The essence of Lacey’s message was that he wanted to ‘put the Guardian out of business,'<0x2009>” the ruling states. “The sales representatives were made aware that advertising could be ‘sold below cost’ if needed ‘in order to make a sale’ and the resources of New Times would cover the loses, even over a term of many years.”

The end result, trial records showed: SF Weekly and the East Bay Express, which New Times bought in 2001, lost a total of $24 million between 1996 and 2007. (The Express was sold in 2007 to local owners.)

A San Francisco jury ruled March 5, 2008 that the Weekly and New Times had violated the law and awarded the Guardian more than $6 million. The statute allows for treble damages, and Judge Marla Miller increased the award to $15.6 million. With interest and attorney’s fees, the verdict now exceeds $22 million.

New Times appealed, raising two central issues. The verdict, the chain argued, was invalid because the Guardian never demonstrated which individual accounts it lost because of which specific below-cost sales. And the law itself was dubious because it doesn’t require a plaintiff to prove that a predatory competitor had the ability to recoup its losses after driving the smaller outfit out of business.

Throughout the trial and afterward, Andy Van De Voorde, VVM’s executive associate editor, repeatedly belittled the suit on the grounds that the Guardian didn’t present individual instances of lost ads. But the court rejected that argument, saying that nothing in the UPA mandated a showing of individual below-cost sales; the fact that the Weekly lost money for 10 years, and that its overall ads prices were far below its total cost of operations, was plenty of evidence of illegal sales. The Guardian, the ruling states, was not “required to prove the precise amounts of damages attributable to the loss of individual customers or sales.” In fact, that standard would make predatory pricing cases of this nature — with thousands of sales over many years, almost impossible to pursue — particularly, the court noted, when “it is the wrongful acts of the defendant that have created the difficulty in proving the amount of lost profits.”

The recoupment argument was critical: New Times wanted the court to force the state to adopt a federal standard that since the 1980s has pretty much gutted federal antitrust law.

The appeals court justices resoundingly rejected that claim, ruling that the state Legislature has every right to pass laws protecting small businesses against acts that the federal courts may be willing to allow. And it’s clear that the UPA contains no mention of recoupment.

“We do not lightly imply terms or requirements that have not been expressly included in the statute,” the ruling states.

New Times argued, both in court and in its published reports, that laws against anticompetitive conduct must protect consumers, not businesses; if one company cuts prices, that helps consumers — and unless there’s evidence that a lack of competition in the future would cause prices to go up, then the law shouldn’t prohibit below-cost sales.

But the Appeals Court took a different approach, concluding that this particular state law was not only designed to protect consumers in the short term, but small businesses (and thus overall competition) in the long term.

That’s consistent with the history of the Unfair Practices Act, which was written during California’s progressive era, when reformers were concerned about large businesses (particularly supermarket chains) driving local markets out of business. It was, James R. McCall, a professor at UC Hastings College of Law, wrote in the Pacific Law Journal, “the first comprehensive modern state predatory pricing statute.”

In a 1997 article, McCall noted that federal courts had undermined much of the power of antitrust laws such as the Sherman Antitrust Act, such that “by 1980, the era of expansive application of antitrust acts in federal courts had ended.” However, the California law, later copied in six other states, “is precisely drawn to eliminate defined commercial practices such as predatory pricing.”

Joseph Hearst, an East Bay attorney and appellate specialist who helped write the Guardian’s appeal brief, noted that the court had taken the questions in the appeal very seriously. “It is obvious the court did an enormous amount of independent research — quoting cases neither side had mentioned in their briefs and demonstrating a mastery of the topic,” he said. “The court was clearly aware of the issues at stake, not only in this case but in future cases involving the Unfair Practices Act. They carefully explored how the UPA is different from federal predatory pricing law and pointed out that the UPA, in some respects, sets a much tougher standard than federal law, which is why they could confidently say that it does not require the federal ‘recoupment’ standard.”

Ralph Alldredge, the Guardian’s lead trial and appellate attorney, noted that “this is the most direct attack upon the viability of the UPA since its constitutionality was challenged unsuccessfully in the 1940s. By rejecting it, the Court of Appeal has confirmed that the UPA cannot be subverted by importing federal standards which have made below cost pricing claims impossible to win in federal court.”

He added: “Think of what that means for big-box retailers, which have used below-cost selling on some products to attract customers away from small, independently owned grocery, hardware, drug, and department stores.”

The Weekly has an entire section of its website devoted to the lawsuit, which it calls “stupid” and “absurd.” The trial, the Weekly argues, was “marred by judicial error and emotional anti-chain arguments.” At one point, the paper even argued that the Guardian was delaying its response to the New Times appeal briefs because we feared losing the appeal.

But as of press time, the Weekly had not published a word on the Appeals Court ruling. It’s the first time anything has happened in the case that the Weekly hasn’t covered. I e-mailed Van De Voorde to ask for comment, but he hasn’t gotten back to me.

PS The Guardian‘s legal team, which did a stunning job at every level, consisted of Richard Hill, E. Craig Moody, and Ralph Alldredge at the trial level, assisted by Joseph Hearst in the appeal and by Jay Adkisson and Travis Farnsworth on the collection efforts.

Court upholds Bay Guardian verdict

11

In a dramatic victory for small independent businesses in California, the state Court of Appeal ruled Aug. 11th that the state’s Unfair Practices Act protects the victims of predatory pricing as long at they can prove that a bigger company sold its product below cost and did so with the intent of damaging the smaller competitor. You can read the decision here.

The ruling in the Bay Guardian’s case against SF Weekly and its chain owner could have lasting implications on anti-competitive conduct in the state.

The Bay Guardian sued the Weekly and New Times, now owned by Village Voice Media, alleging that the chain had systematically sold ads below cost in an effort to harm the locally owned independent paper. In 2008, after a six-week trial, a San Francisco jury agreed with the Guardian, and awarded more than $6 million in damages. Trial court judge Marla Miller then trebled part of the award. Today, with interest and attorney’s fees, the judgment is worth more that $22 million.

The Weekly and New Times appealed, arguing, among other things, that the California law that bars predatory pricing should require proof that the predator would be able to recoup its losses down the road – a nearly impossible standard that has eviscerated federal unfair practices cases.
In an unanimous decision, the three-judge panel rejected that claim and concluded that the state law was designed to protect small businesses from precisely the type of anticompetitive behavior demonstrated by the Weekly.

In the state law, the Court ruled, “the very gravamen of the offense is the purpose underlying the anticompetitive act, rather than the actual or threatened harm to competition.  The intent or purpose of the below-cost sale is at the heart of the statute, and distinguishes the violation from a below-cost pricing strategy undertaken for legitimate, nonpredatory business reasons.”

In fact, the Court concluded:

“The history of the amalgamation of statutes that comprise the UPA “teaches that a primary concern in the enactment of the UPA was the protection of smaller, independent retailers, especially grocers, against unfair competitive practices of the large chain stores.  As a contemporary commentator explained, the prohibitions added in 1933 on secret rebates and unearned discounts (now section 17045) and below-cost sales (now section 17043) ‘are designed to protect the retailer whose more powerful neighbor is attempting to drive him out of business.’ “

We’ll be covering the case in depth in next week’s paper. 

Si se puede, making a difference: El Tecolote turns 40

0

It was with relish that I awaited my interviews with El Tecolote’s managing editor, Roberto Daza, and its founding editor Juan Gonzales on a homey couch in the paper’s modest office on 24th Street. Being a community journalist, it isn’t every day that you are able to check out the digs of another community newspaper – particularly one with as storied a history as the Mission’s bilingual go-to for news on social issues that affect the historically Latino and working class neighborhood. El Tecolote is celebrating forty years of activist journalism this month, kicking off with an opening reception tonight (Wed/11) at the Mission Cultural Center for Latino Arts of an exhibit featuring their extensive photo archives. 

I’m stoked to be there, so I chill and savor the feeling that good work is being done around me. Reporter-advertising manager Francisco Barradas’ computer keys are nearly the only sounds in the office, though passing staff assure me that this is a deadline day in the office. He answers the phone and speaks alternately in Spanish and English, most often a genial mixture of the two. Calendar editor Alfonso Texidor stalks past me multiple times, his distinctive hat and cane combo instantly marking him as one of the driving forces of last week’s popular literary review issue as identified by Eva Martinez, executive director of Accion Latina, the organization which houses Tecolote. 

The office itself reads – as many of the headquarters of these rags will do – like desks and computers framed by a collection of events past. Owls (the newspaper’s namesake) stare at me wide-eyed from the corners. An owl cuckoo clock here, a mascot originally meant to frighten birds away from property perched on a potted tree next to the couch there, a kite on the back wall, the reception desk lined with a cache of ceramic hooters. The walls have a bright collection of silk-screened posters announcing EL Tecolote fundraisers going back through the history of the paper, some which announce that proceeds will also go “for Chile democratico.”  

Later, after it is determined that rush hour traffic and recent hip replacement surgery have held up Daza and Gonzales, respectively, we settle on phone interviews all around. Still sitting on the couch in the office, I ask Gonzalez which stories he is most proud of looking back on the past forty years. His three examples are all moments in which his paper made a difference in the lives of Missionites. In the ’70s, a woman came to them who had recently lost a child. She had gone to SF General Hospital complaining of stomach pains and bleeding, but with no Spanish translators on hand, staff sent her home, told her to lay down. When she returned with her English-speaking son later that day they admitted her, but it was too late: she miscarried soon thereafter.

“We jumped on it,” Gonzales tells me. The newspaper discovered woefully inadequate translator staffing levels at General, and impelled their readers to act. “We mobilized the community,” says Juan. The hospital was forced to sign an agreement with activists from the neighborhood to guarantee translators on duty – the first such accord between a hospital and a community group. El Tecolote pursued similar campaigns with telephone emergency services in the ’80s, and more recently has supported tenants in a fight against Mission Housing Development when they attempted to raise rents in one of their apartment buildings.

“It’s one thing to make people see a newspaper around all the time. It’s another one to speak to the heart of the community,” Gonzales reflects.

From the get, the creation of El Tecolote was meant to give voice to those whom it was elusive. Gonzales started the paper as an off-shoot to his work in SF State’s fledgling Ethnic Studies program, itself born of the Alcatraz occupation and its own student strikes. A recent journalism graduate from the university himself, Gonzales was tapped by the administration to put together a course syllabus that analyzed media coverage of Latinos and taught ways to talk about issues that affected the population. He called it La Raza Journalism, but also craved a place where his students could get on the job experience.

So he held a series of fund-raising events, including an amateur talent show which drummed up the necessary $300 to publish the first El Tecolote on August 24th 1970. And then some. “At that time $50 was enough to publish 500 copies,” Gonzalez muses. His team chose to locate its office in the Mission, in a space donated by non-profit organization Centro Latino on 25th Street and Potrero to avoid reliance on university funding, which they felt could be pulled at any time. Already known to the community from his efforts in covering the area for the SF State paper, Gonzales and his paper were off and running.

“The bottom line is, the paper had to reflect the neighborhood,” he tells me. In those early days, the issues weren’t that much different than now: housing, tensions with the police, immigration, bilingual services and education, schools. They took care to represent all the facts of the controversies. “Don’t be afraid to ask the other side their reaction,” Gonzales says. “They could say things that help the cause.” El Tecolote, running as it does today 90-95% on the efforts of dedicated volunteers, also published pieces on young artists, many of which were at the center of an exciting new push for Latino-centric art forms. “We had to reflect how the cultural movement was really expanding,” its founder tells me. 

Nowadays, the paper experiences its share of the challenges to adapt that are facing most print publications. “We’ve had to make concessions: the quality of the paper we print on, the number of pages,” says Daza, who at a chipper 25 years old comes to the paper as another recent SF State grad. He first entered the Tecolote offices two years ago on a field trip as part of a technical writing class, and tells me the paper’s website upgrade earlier this year was much needed. “The running joke prior to that was that we didn’t want to tell people we even had a website.” 

Which is not to say that they are moving past the paper page. “For us,” Daza says “the print edition represents something completely different. It’s for people that don’t have an iPhone, don’t spend a good percentage of their lives online. That’s the kind of people we want to provide for.” Many community members still use El Tecolote to learn a language – initially, scanning the English articles for new vocabulary words, but more recently, with changes in the neighborhood’s demographics, checking out the Spanish pieces to develop new skills in español.

Daza makes it in after the majority of our interview, in time before his staff meeting to escort me through the paper’s recently organized binders of historic photos (from which we selected this piece’s graphic of Cesar Chavez’s visit to the paper’s office for a press conference on a UFW boycott). We flip to it past shots of a struggle immortalized. Demonstrations in the playgrounds of schools, under murals who this week I will recognize as I fly past them on my bicycle. Fists raised, hands extended, changes wrought – and it’s all there in El Tecolote, typed down in two different languages so that we can remember that this neighborhood has a past (and present, and future) worth remembering. 

“El Tecolote is all about making a difference in the struggle for social change,” says Gonzales, who will reassume the managing editor position when Daza heads across the Bay to pursue a graduate degree at UC Berkeley this fall, tells me. Safe to say the paper has, and will continue to do so, si se puede.

 

Imagining the Mission: El Tecolote’s 40th anniversary

Wed/11 6:30-9:30 p.m., $5

Mission Cultural Center for Latino Arts

2868 Mission, SF

(415) 643-2785

www.missionculturalcenter.org 

 

Our Weekly Picks: August 11-17, 2010

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WEDNESDAY 11

MUSIC

Carla Bozulich’s Evangelista

Anyone who’s witnessed Carla Bozulich live knows the former Geraldine Fibbers frontperson is a true force of nature, bravely following her muse into the flatlands of Texas, onto arena-sized stages, or to the ear-scorching reaches of experimental music. For the past month, the Bay Area has been home to the artistically restless Bozulich, who says she never stays anywhere for very long. Still, this is her refuge as she writes her fourth album with Evangelista for the respected Constellation imprint — recording once again with players in Godspeed You! Black Emperor — before she heads out again. This fall, she’ll be directing and performing at a massive multiday installation-performance in Krems, Austria. Godspeed you, Ms. Bozulich, who hopes to “shake things up a bit” at her favorite old haunt, Cafe Du Nord, with guests Ava Mendoza on guitar and John Eichenseer on viola. (Kimberly Chun)

With Common Eider, King Eider

9:30 p.m., $14

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

EVENT

Henry Lee

Once a prolific Chronicler of one of the biggest media snafus in recent Bay Area memory, Henry Lee adapted and expanded his coverage of the Hans Reiser murder case for his true crime book Presumed Dead. What elevates it beyond a sensationalist paperback is Lee’s cogent reportage and willingness to think more about the unthinkable (spousicide, for one) than most would ever dare. He starts with the life of murder victim Nina Sharanova and weaves his way into the nitty-gritty of the case. Even before this summer’s publication, Lee proved himself a stalwart for local journalism — and for all the other strong stomachs out there delivering cold, hard truths. (Ryan Lattanzio)

7 p.m., free

Books, Inc.

1760 Fourth St., Berk.

(510) 525-7777

www.booksinc.net

 

THURSDAY 12

EVENT

 

Infinite City: Right Wing of the Dove”

The release of Rebecca Solnit’s Infinite City: A San Francisco Atlas — a book that digs through the dense and dirty histories, cultures, and sites of the Bay Area with help from cartographers, artists, and writers — is preceded by a series of cartographic “live art” events at the San Francisco Museum of Modern Art and in the Bay Area at large. Part two of this series is a screening of In Smog and Thunder: The Great War of the Californias (2003), written and art-directed by Sandow Birk. Drawing from his own experience amid the antagonisms of these two cities, Birk satirically envisions a civil war between Los Angeles and SF, and his 100-plus artworks comically probe the ongoing geo-ideo-cultural tension. Afterward, Solnit leads a post-screening discussion on the contradictory relationship between our liberal values and local economy. That SF and LA are cultural foils is well-known. But Solnit points out, friction is being made closer to home. (Spencer Young)

7 p.m., free with museum admission ($9–$18)

SFMOMA

Phyllis Wattis Theater

151 Third St, SF

(415) 357-4000

www.sfmoma.org

 

THEATER/DANCE

Rapid Descent Physical Performance Company

Love ain’t easy. Relationships are intense, emotionally draining, and take up too much time. What then (besides cuddling) keeps us coupling up? New Zealand playwright Gary Henderson might have the answer. And thanks to choreographer Megan Finlay and her physical performance company Rapid Descent, you won’t have to go all the way to New Zealand to find out. Finlay brings Henderson’s Skin Tight to San Francisco and reworks the original script to incorporate dance as well as live music by trumpeter Aaron Priskorn. Centering around the enduring love of one couple (played by Beth Deitchman and Nathaniel Justiniano), Skin Tight exposes the visceral complexity of hostility and attachment. (Katie Gaydos)

Through Aug. 28

Thurs.–Sat., 8 p.m., $20–$35

CounterPULSE

1310 Mission, SF

www.counterpulse.org

 

ROCK

Dawes

The California Academy of Sciences, a place that puts nature on its proper pedestal, is a great venue for Dawes. The band has appreciation not just for its own musical genealogy, but also for the mysteries of the American landscape. This folk rock quartet, helmed by the Goldsmith brothers, saw Americana anew on the debut album North Hills, undoubtedly a nod to that small-town Louisiana region. The songcraft recalls the harmonic pastures of Crosby, Stills, and Nash. Like a pair of Levis, Dawes’ faded wear-and-tear is contrived — yet it feels genuine, and that’s what counts. A song like “Take Me Out Of The City” gives a microcosmic view of the band’s guitar-plucking, straw-gnawing aesthetic. (Lattanzio)

6 p.m., $12

California Academy of Sciences

55 Music Concourse Dr., SF

(415) 379-8000

www.calacademy.org

 

MUSIC

Reverend Horton Heat

It may be hard to believe, but the rockabilly juggernaut that is the Reverend Horton Heat will be hitting the 25 year mark soon — and as fans of the Texas trio know, the band’s strong suit is its live show. So in fitting fashion, it has decided to celebrate its upcoming milestone by filming a live set in our fair city’s legendary music venue, the Fillmore, for a special release next year. Although the band will be sure to touch on material from its latest album, Laughin’ and Cryin’ With The Reverend Horton Heat, expect Jim Heath, Jimbo Wallace, and Paul Simmons to dig into their back catalog for some oldies and goodies as well. (Sean McCourt)

With Split Lip Rayfield, Hillstomp

9 p.m., $25

Fillmore

1805 Geary, SF

www.thefillmore.com

 

FRIDAY 13

EVENT

Terry Zwigoff

On Aug. 10, there were two things of utmost importance you should’ve celebrated: National S’mores Day and the arrival of Terry Zwigoff’s 1995 documentary Crumb on Criterion Collection DVD. Zwigoff, personal hero of many (including myself), will be at Amoeba to sign copies of that new release plus his 1985 film Louie Blue, also slated for Criterion treatment. Blues musicians Frank Fairfield and Blind Boy Paxton will accompany, which fits the bill since Zwigoff has made the blues and its many subgenres a focus of his films. He probably saw some of himself in Seymour, the LP-loving and lovable schlub in Ghost World (2001), just as he understood artist R. Crumb’s grotesque genius. (Lattanzio)

6 p.m., free

Amoeba Music

1855 Haight, SF

(415) 831-1200

www.amoeba.com

 

COMEDY

Bobcat Goldthwait

Although he is perhaps most initially recognizable for his high-pitched, scratchy voice and wacky mannerisms from his appearances in 1980s movies and comedy specials, Bobcat Goldthwait is a man of many talents. From his breakout acting roles in flicks, including the Police Academy series, to his live album Meat Bob, to directing his first film Shakes The Clown in 1991, the versatile performer has had an ever-expanding resume. He even opened for Nirvana on its 1993 U.S. tour. Last year saw the release of his critically acclaimed film World’s Greatest Dad, and his newest project is directing a U.K. musical production based on the Kinks’ Schoolboys in Disgrace album. Be sure to catch the hilarious — and busy — man live on stage while you can. (McCourt)

Through Sat/14

8 p.m. and 10:15 p.m., $20.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

 

SATURDAY 14

MUSIC

Stone River Boys

Although their recent debut album Love On The Dial was born in the midst of enduring personal tragedies, the Stone River Boys created a collection of inspiring tunes that meld country with a host of other roots rock influences. Featuring guitarist Dave Gonzalez (the Paladins and the Hacienda Brothers) and singer Mike Barfield (the Hollisters), the group came together a couple of years ago while the two were trying to help raise money for friend and fellow musician Chris Gaffney’s cancer treatments. “Gaff” passed away before the benefit tour could begin, but the resulting music is a fitting tribute, carrying the torch and keeping the infectious spirit of their friendship alive. (McCourt)

With Carolyn Wonderland, Mother Truckers

9 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

SUNDAY 15

MUSIC

Dan Sartain

How did a lip-stachioed rocker from Birmingham, Ala., become the poster child for the garage roots revival? Well, he didn’t really; Jack White already had that crown. But years of paying tribute to the gods of garage and blues eventually landed Sartain on a tour with the White Stripes in 2007 — the subsequent 7-inch release for White’s Third Man label now seems like your textbook well, of course! facepalm moment. The pair’s aesthetics of “garage-a-billy” with a Morricone spaghetti western tinge are invariably complementary. And although it may seem a disservice to all the time Sartain put into his sound before this epic meeting of minds, you have to admit there are worse career maneuvers than being linked to Jack White. (Peter Galvin)

With Leopold and His Fiction, Twinks

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

MUSIC

Rasputina

Fourteen years on from the advent of Rasputina’s cello-goth-lite musical stylings on Thanks for the Ether, the trio is touring behind its latest record Sister Kinderhook. Vocalist-songwriter-cellist Melora Creager is the only remaining original member (in fact, the band’s lineup has even changed since recording the album, with percussionist Catie D’Amica stepping down). Rasputina seems to be maintaining its historical fascination here — the album’s embroidered cover anachronistically purports that it was “wrought by Rasputina circa 1809.” They’re well-matched with supporting act Larkin Grimm, a skilled practitioner of weird folk and one-time member of Dirty Projectors whose riveting life story incorporates being born into a cult, studying at Yale, and spending time in Thailand and Guatemala. (Sam Stander)

With Larkin Grimm

8 p.m., $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

MONDAY 16

EVENT

Alison Gopnik

UC Berkeley psychology and philosophy professor Alison Gopnik is responsible for groundbreaking work exploring the ways young children think and learn. She’ll be reading from her latest book, The Philosophical Baby, just a few blocks from Berkeley campus. A Chronicle bestseller, the book continues to delve into developmental psychology for new insight into some momentous topics (it is, after all, subtitled What Children’s Minds Tell Us About Truth, Love, and the Meaning of Life). Heavy subject matter, to be sure. But since it’s also about babies, you can temper those overwhelmingly deep thoughts with cuteness and chortling. Oh, and an inborn template for the scientific method, apparently. (Stander)

7:30 p.m., free

Pegasus Books Downtown

2349 Shattuck, Berk.

(510) 649-1320

www.pegasusbookstore.com

 

TUESDAY 17

EVENT

“Idiolexicon”

It’s changed over the years, for better and for worse, but the Bay Area is still a hospitable place for poets. Just look at the newly opened café-performance space Rancho Parnassus. According to its website, RP’s goal is “to get the abundant untapped talent around Sixth Street working together.” Toward this end, the venue is hosting an installment of the “Idiolexicon” series, with readings from local poets Carrie Hunter, Della Watson, and Jessica Wickens. All three are billed as experimental, but their work also bears more than a hint of high-modernist influence. Watson’s unconventional syntax is reminiscent of Gertrude Stein, while Hunter’s “Kine(sta)sis” evokes Poundian Imagism. On the page, it’s all pretty effective stuff. Come to the reading, and you can decide how it plays live. (Zach Ritter)

7 p.m., free

Rancho Parnassus

132 Sixth St, SF

(415) 503-0700

www.idiolexicon.com 


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