Mission

Theater Listings: March 26 – April 1, 2014

Michael Redmond
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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

Every Five Minutes Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Previews Wed/26-Sat/29 and April 2, 8pm; Sun/30, 2:30pm; Tue/1, 7pm. Opens April 3, 8pm. Runs Tue, 7pm; Fri-Sat, 8pm (also April 9, 2:30pm); Sun, 2:30pm (also April 6, 7pm). Through April 20. Magic Theatre presents the world premiere of Linda McLean’s drama about a man’s homecoming after years behind bars.

The Habit of Art Z Below Theatre, 470 Florida, SF; www.therhino.org. $15-25. Previews Thu/27-Fri/28, 8pm. Opens Sat/29, 8pm. Runs Wed-Sat, 8pm; Sun, 3pm. Through April 13. Theatre Rhinoceros performs a “very British comedy” by History Boys author Alan Bennett.

I Never Lie: The Pinocchio Project Phoenix Theatre, 414 Mason, SF; www.99stockproductions.org. $15. Previews Fri/28, 8pm. Opens Sat/29, 8pm. Runs Fri-Sat and April 10, 8pm; Sun, 5pm. Through April 12. 99 Stock Productions performs Meredith Eden’s bold fairytale retelling.

“Standing On Ceremony: The Gay Marriage Plays” New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Wed/26-Fri/28, 8pm. Opens Sat/29, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through April 27. New Conservatory Theatre Center performs short plays about marriage equality by Mo Gaffney, Neil LaBute, Wendy MacLeod, Paul Rudnick, and others.

BAY AREA

East 14th Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Opens Fri/21, 8pm. Runs Fri, 8pm; Sat, 8:30pm. Through April 26. Don Reed’s hit autobiographical solo show returns to the Marsh Berkeley.

Johnny Guitar, the Musical Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. $22. Opens Fri/28, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm (no show Sun/30). Through April 26. Masquers Playhouse performs the off-Broadway hit based on the campy Joan Crawford Western.

Sleuth Center REPertory Company, 1601 Civic, Walnut Creek; www.centerrep.org. $33-54. Previews Fri/28-Sat/29, 8pm; Sun/30, 2:30pm. Opens Tue/1, 7:30pm. Runs Wed, 7:30pm; Thu-Sat, 8pm (also April 26, 2:30pm); Sun, 2:30pm. Through April 26. Center REPertory Company performs Anthony Shaffer’s classic, Tony-winning thriller.

Vampire Lesbians of Sodom and Sleeping Beauty or Coma Live Oaks Theater, 1301 Shattuck, Berk; www.viragotheatre.org. $28. Previews Fri/28, 8pm. Opens Sat/29, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through April 19. Virago Theatre Company performs Charles Busch’s outrageous double bill.

ONGOING

Bauer San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); April 13, 2pm. Through April 19. San Francisco Playhouse presents the world premiere of Lauren Gunderson’s drama about artist Rudolf Bauer.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm (Sun/30 show at 2pm). Extended through May 4. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Hundred Days Z Space, 450 Florida, SF; www.zspace.org. $10-100. Wed and Sun, 7pm; Thu-Sat, 8pm. Through April 6. Married musical duo the Bengsons (Abigail and Shaun) provide the real-life inspiration and guiding rock ‘n’ roll heart for this uneven but at times genuinely rousing indie musical drama, a self-referential meta-theater piece relating the story of a young couple in 1940s America who fall madly in love only to discover one of them is terminally ill. As an exploration of love, mortality, and the nature of time, the story of Sarah and Will (doubled by the Bengsons and, in movement sequences and more dramatically detailed scenes, by chorus members Amy Lizardo and Reggie D. White) draws force from the potent musical performances and songwriting of composer-creators Abigail and Shaun Bengson (augmented here by the appealing acting-singing chorus and backup band that also feature El Beh, Melissa Kaitlyn Carter, Geneva Harrison, Kate Kilbane, Jo Lampert, Delane Mason, Joshua Pollock). Playwright Kate E. Ryan’s book, however, proves too straightforward, implausible, and sentimental to feel like an adequate vessel for the music’s exuberant, urgent emotion and lilting, longing introspection. Other trappings of director Anne Kauffman’s elaborate production (including an inspired set design by Kris Stone that echoes the raw industrial shell of the theater; and less-than-inspired choreography by the otherwise endlessly inventive Joe Goode) can add texture at times but also prove either neutral figures or distracting minuses in conveying what truth and heft there is in the material. Ultimately, this still evolving world premiere has a strong musical beat at its core, which has a palpable force of its own, even if it’s yet to settle into the right combination of story and staging. (Avila)

Lottie’s Ghosts Brava Theater Center, 2781 24th St, SF; www.brava.org. $20. Thu-Sat, 8pm (no show Fri/28); Sun, 3pm. Through April 6. Dancer, storyteller, and Brava artist-in-residence Shakiri presents a new work based on her novel of the same name.

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 8:30pm. Extended through April 12. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

Mommy Queerest Exit Studio, 156 Eddy, SF; www.divafest.info. $15-25. Fri/28-Sat/29, 8pm. Sex scenes in solo shows might sound a little onanistic, but in the right circumstances a door jam or a love seat can serve as a fine co-star. Stand-up comic and actor Kat Evasco demonstrates as much in this raunchy and high-spirited story of her sexual awakening as a lesbian-identifying bisexual, coming out in a household dominated by her closeted mother, a Filipina American drama queen with a long-term female companion she insists is the “gay” one. Presented by Guerrilla Rep and the Exit Theatre’s DIVAfest, and directed by Guerrilla Rep’s John Caldon (who co-wrote the play with Evasco), the story follows a familiar and predictable arc in some ways — familial hypocrisy giving way to inspirational cross-generational understanding — and the characterizations and set-ups (including a family feud on Jerry Springer) come with not always inspired choices. Moreover not all the jokes land where they should in a performance that starts as stand-up but immediately shifts into the style of a solo-play confessional. (A more thoroughgoing subversion of the stand-up format might have produced more complex, less foreseeable results.) At the same time, there’s no denying Evasco’s charm and energy, or her buoyant comedic talent, which makes it easier to forgive the play’s structural shortcomings. (Avila)

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Through May 31. Thrillpeddlers present the fifth anniversary revival production of its enormously popular take on the 1971 Cockettes musical.

“Risk Is This … The Cutting Ball New Experimental Plays Festival” Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. Free ($20 donation for reserved seating). Fri/28-Sat/29, 8pm. Five new works in staged readings, including two from Cutting Ball resident playwright Andrew Saito.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Thu-Fri, 8pm; Sat, 5pm. Through April 18. In his latest solo show, Brian Copeland (Not a Genuine Black Man; The Waiting Period) explores an infamous crime in his hometown of San Leandro: the 2000 murder of three government meat inspectors by Stuart Alexander, owner of the Santos Linguisa Factory. The story is personal history for Copeland, at least indirectly, as the successful comedian and TV host recounts growing up nearby under the common stricture that “rules are rules,” despite evidence all around that equity, fairness, and justice are in fact deeply skewed by privilege. Developed with director David Ford, the multiple-character monologue (delivered with fitful humor on a bare-bones stage with supportive sound design by David Hines) contrasts Copeland’s own youthful experiences as a target of racial profiling with the way wealthy and white neighbor Stuart Alexander, a serial bully and thug, consistently evaded punishment and even police attention along his path to becoming the “Sausage King,” a mayoral candidate, and a multiple murderer (Alexander died in 2005 at San Quentin). The story takes some meandering turns in making its points, and not all of Copeland’s characterizations are equally compelling. The subject matter is timely enough, however, though ironically it is government that seems to set itself further than ever above the law as much as wealthy individuals or the bogus “legal persons” of the corporate world. The results of such concentrated power are indeed unhealthy, and literally so — Copeland’s grandmother (one of his more persuasive characterizations) harbors a deep distrust of processed food that is nothing if not prescient — but The Scion’s tale of two San Leandrans leaves one hungry for more complexity. (Avila)

She Rode Horses Like the Stock Exchange Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Wed-Sat, 8pm. Through April 12. Crowded Fire kicks off its 2014 season with the world premiere of Amelia Roper’s dry comedy about financial disaster.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $70 (gambling chips, $5-10 extra; after-hours admission, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Extended through May 24. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

Tipped & Tipsy Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-50. Sat, 5pm; Sun, 7pm. Through April 6. Last fall’s San Francisco Fringe Festival began on a high note with Jill Vice’s witty and deft solo, Tipped & Tipsy, and the Best of Fringe winner is now enjoying another round at solo theater outpost the Marsh. Without set or costume changes, Vice (who developed the piece with Dave Dennison and David Ford) brings the querulous regulars of a skid-row bar to life both vividly and with real quasi–Depression-Era charm. She’s a protean physical performer, seamlessly inhabiting the series of oddball outcasts lined up each day at Happy’s before bartender Candy — two names as loaded as the clientele. After some hilarious expert summarizing of the do’s and don’ts of bar culture, a story unfolds around a battered former boxer and his avuncular relationship with Candy, who tries to cut him off in light of his clearly deteriorating health. Her stance causes much consternation, and even fear, in his barfly associates, while provoking a dangerous showdown with the bar’s self-aggrandizing sleaze-ball owner, Rico. With a love of the underdog and strong writing and acting at its core, Tipsy breezes by, leaving a superlative buzz. (Avila)

Twisted Fairy Tales Shelton Theater, 533 Sutter, SF; www.leftcoasttheatreco.org. $15-25. Thu-Sat, 8pm. Through April 5. Left Coast Theatre Co. performs the world premiere of seven one-act LGBT-themed plays based on classic children’s stories.

The Two Chairs Bindlestiff Studios, 185 Sixth St, SF; www.performersunderstress.com. $10-30. Thu-Sat, 8pm; Sun, 2pm. Through April 13. Performers Under Stress performs Charles Pike’s new play, described as “No Exit as a love story set in Napa on the Silverado Trail.”

Venus in Fur Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Opens Wed/26, 8pm. Runs Wed-Sat and Tue, 8pm (also Sat, 2pm; Tue/1, show at 7pm); Sun, 7pm. Through April 13. American Conservatory Theater performs a new production of David Ives’ 2012 Tony-nominated play.

The World of Paradox Garage, 715 Bryant, SF; www.paradoxmagic.com. $12-15. Mon, 8pm. Through April 7. Footloose presents David Facer in his solo show, a mix of magic and theater.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Extended through May 25. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

Wrestling Jerusalem Intersection for the Arts, 925 Mission, SF; www.theintersection.org. $20-30. Thu-Sat, 7:30pm; Sun, 2pm. Through April 6. Intersection for the Arts presents Aaron Davidman in his multicharacter solo performance piece about Israel and Palestine.

BAY AREA

Accidental Death of an Anarchist Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Tue and Thu-Sat, 8pm (no show April 18; also Sat and April 17, 2pm); Sun, 2 and 7pm. Through April 20. Berkeley Rep presents comic actor Steven Epp in Dario Fo’s explosive political farce, directed by Christopher Bayes,

Arms and the Man Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $13-26. Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through April 13. Ross Valley Players perform George Bernard Shaw’s romantic comedy.

Bread and Circuses La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $20-25. Thu-Sat, 8pm; Sun, 7pm. Through April 6. Impact Theatre performs “a cavalcade of brutal and bloody new short plays” by various contemporary playwrights.

The Coast of Utopia Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35 (three-show marathon days, $100-125). Previews Wed/26-Fri/28. Opens Sat/29. Part Three: Salvage runs through April 27; Part One: Voyage runs March 26-April 17; Part Two: Shipwreck runs March 27-April 19. Three-play marathon, April 5 and 26. Through April 27. Check website for showtime info. Shotgun Players performs Tom Stoppard’s epic The Coast of Utopia trilogy, with all three plays performed in repertory.

Fool For Love Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm; Sun, 2pm. Through April 6. Pear Avenue Theatre performs Sam Shepard’s iconic play, about a pair of former lovers who reunite at a lonely desert motel.

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu, 8pm; Sat, 5pm. Through April 26. Geoff Hoyle moves his hit comedy about aging to the East Bay.

The Lion and the Fox Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu/27-Sat/29, 8pm; Sun/30, 5pm. Central Works performs a prequel to its 2009 hit, Machiavelli’s The Prince, which depicts a face-off between Niccolo Machiavelli and Cesare Borgia.

Once On This Island Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-73. Wed/26, 7:30pm; Thu/27-Sat/29, 8pm (also Sat/29, 2pm); Sun/30, 2 and 7pm. TheatreWorks performs the Tony-nominated musical about a star-crossed love affair in the tropics, inspired by Hans Christian Andersen’s The Little Mermaid.

PERFORMANCE/DANCE

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/29-Sun/30, April 6, 12, 19, and 30, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Dance Anywhere” Various locations; www.danceanywhere.org. Fri/28, noon. Free. Add yourself to this international public-art happening — or catch performances by local pros, busting loose at public venues like the Yerba Buena Gardens (Lizz Roman and Dancers) and the Embarcadero in Oakland (Pink Puppy Project). Check the website for a complete list.

Dandelion Dancetheater with Ysaye M. Barnwell ODC Theater, 351 Shotwell, SF; www.dandeliondancetheater.org. Wed/26, 7:30pm. $7-12. One-night-only collaboration between the dance company and the Sweet Honey and the Rock vocalist, performing Tongues/Gather.

“Drag Queens of Comedy” Castro Theatre, 429 Castro, SF; thedragqueensofcomedy.eventbrite.com. Sat/29, 7 and 10pm. $35-100. With Coco Peru, Sasha Soprano, Lady Bunny, Shangela, Pandora Boxx, Bianca Del Rio, and DWV, plus hosts Heklina and Peaches Christ.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/26, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

Daisy Eagan Society Cabaret, Hotel Rex, 562 Sutter, SF; www.societycabaret.com. Fri/28-Sat/29, 8pm. $25-45. The Tony winner performs her new solo show, One For My Baby.

“Honest to God” Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. Fri/28-Sat/29, 8pm; Sun/30, 7pm. $20. Dance company Number9 performs its latest evening-length work.

Jim Jeffries Warfield, 982 Market, SF; www.thewarfieldtheatre.com. Fri/28, 8pm. $37.50. The actor-comedian (Legit) performs his new live show, Day Streaming.

Sean Keane Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Fri/28-Sat/29, 7:30pm. $10. The SF comedian performs.

“A Killer Story” Mechanics’ Institution, 57 Post, SF; www.milibrary.org. Wed/26-Thu/27, 7pm. $15-25. Staged dramatic reading of Dan Harder’s noir play.

“Luster: An American Songbook” Davies Symphony Hall, 201 Van Ness, SF; www.sfgmc.org. Wed/26, 8pm. $25-75. San Francisco Gay Men’s Chorus performs works by Gershwin, Porter, Ellington, and Berlin, as well as the world premiere of a tribute to Tyler Clementi.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

Mona Khan Company Garage, 715 Bryant, SF; ticketfly.com/event/475517. Sun/30, 5:30 and 7:30pm. $20. The Indian contemporary dance company presents Soch, a night of vignettes.

“The Naked Stage” Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. Sat/29, 8pm. $20. BATS Improv performs a completely improvised play.

“ODC/Dance Downtown” Yerba Buena Center for the Arts Theater, 700 Howard, SF; www.ybca.org. Wed/26-Thu/27, 7:30pm; Fri/28-Sat/29, 8pm; Sun/30, 4pm. $20-75. The acclaimed contemporary dance company marks its 43rd season with world premiere boulders and bones, inspired by the work of artist Andy Goldsworthy, among other works.

“Pilot 64 — Sound Bodies: New Dance and Live Music” ODC Theater, 3153 17th St, SF; www.odcdance.org. Fri/28-Sat/29, 8pm. $15. Choreographers work in close collaboration with composers and musicians.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

Push Dance Company Museum of the African Diaspora, 685 Mission, SF; push.eventbrite.com. Sat/29-Sun/30, 1 and 3pm. $10-25. The company presents the premiere of a dance installation, Point Shipyard Project, inspired by the community living near the toxic Hunters Point Naval Shipyard.

Right Now Improv Trio Exit Theatre, 156 Eddy, SF; therightnowatexittheatre.eventbrite.com. Fri/28-Sat/29, 8pm. $20. The all-female comedy improv troupe performs, plus special guest Huge, an improv musical comedy duo.

“The Romane Event Comedy Show: Grand Hiatus Show” Make-Out Room, 3225 22nd St, SF; www.pacoromane.com. Wed/26, 8pm. $10. Comedian Paco Romane hosts his ninth-anniversary show, the last regular entry in his “Romane Event” series, with an all-star lineup that includes Marga Gomez, Joe Tobin, Kaseem Bentley, Sean Keane, David Gborie, and others.

“Women on the Move” Brava Theater, 2781 24th St, SF; www.dancemission.com. Fri/28, 8pm. $15-30. Singers Holly Near and Gina Breedlove, plus Dance Brigade and Grrrl Brigade, perform at this Grrrl Brigade benefit. Come early (7pm) for the silent auction and raffle.

“Work MORE! #6” SOMArts Gallery, 934 Brannan, SF; cargocollective.com/workmore. Fri/28, 7pm. Free. Mica Sigourney (a 2014 SOMArts Commons Curatorial Residency recipient) presents the opening-night party and interactive drag show to celebrate a new exhibit of drag performer and artist collaborations.

BAY AREA

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“Placas: The Most Dangerous Tattoo” Laney College Theater, 900 Fallon, Oakl; www.sfiaf.org. Wed/26-Sat/29, 8pm. $12-40. Ric Salinas of Culture Clash stars in Paul S. Flores’ acclaimed play about one man’s struggle to keep his family together amid street violence in the Mission. *

 

Life through the lens

Michael Redmond
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Life through the lens

cheryl@sfbg.com

FILM It’s been nearly 30 years since documentarian Ross McElwee made Sherman’s March — usually written without its lengthy, if accurately descriptive, subtitle: A Meditation on the Possibility of Romantic Love In the South During an Era of Nuclear Weapons Proliferation. It picked up the Grand Jury prize at Sundance in 1987, years before the festival became a career-maker for the likes of Steven Soderbergh (whose Sex, Lies, and Videotape premiered at the 1989 fest). If McElwee didn’t go on to become a household name, he did begin his Harvard teaching career during the Sherman’s March era. He currently holds the title “Professor of the Practice of Filmmaking” — a suitably important job for an artist whose practice has informed the work of countless filmmakers over the past three decades.

Two of McElwee’s key works, along with short films by his Harvard colleagues, make up “Afterimage: Ross McElwee and the Cambridge Turn,” a three-day Pacific Film Archive series that has McElwee in conversation with author Scott MacDonald (American Ethnographic Film and Personal Documentary: The Cambridge Turn). Sherman’s March is not included, but Backyard (1984) ably demonstrates his trademarks: first-person voice-over (delivered in his unmistakable Carolina drawl); turning the camera on friends and family, most of whom are willing subjects; and crafting a plot of sorts out of a personal journey. (At 40 minutes, Backyard was presumably easier to program than Sherman’s March, which runs 155.)

His most recent feature, 2011’s Photographic Memory, retains all of these characteristics; it also incorporates cinema verité footage first glimpsed in Backyard. The films are ideal companion pieces. Both address father-son relationships, with a focus on the son’s lurching entry into adulthood. In Backyard — shot in the summer of 1975, when McElwee was on summer break from his filmmaking grad program at MIT — the artist documents his brother Tom’s preparations for medical school, a career choice that delights his conservative, Southern-gentleman surgeon father. To his other son, the one with scraggly long hair and a camera attached to his face, Dr. McElwee admits, “I’ve resigned myself to your fate.”

Backyard can also be read for its themes of race in the mid-1970s South, where segregation is still a way of life, and its exploration of grieving, since at the time of filming McElwee’s mother had recently died. It’s as multilayered as the many lives it captures, in a time when filming people just going about their everyday business was pretty uncommon. Dr. McElwee, for one, wonders why his son is wasting expensive film shooting his father puttering around the yard. Back then, home movies were just that — certainly not made for public consumption, and the relaxed demeanor of McElwee’s subjects bears this out.

By contrast, Photographic Memory — one of 16mm devotee McElwee’s first ventures into digital filmmaking — is very much a product of the 21st century. The son from Backyard is now the father, fretting over his own directionless son, Adrian. We see Adrian (in footage no doubt repurposed from earlier McElwee films) as an adorable kid, calling his father “Da-da” and comfortably emoting in front of the lens. Present-day Adrian, an emo 21-year-old, is a glowering poster child for the Selfie Generation, forever tapping on his phone, slurping on iced coffee, and giving off an air of unearned superiority. He avoids eye contact. He’s no longer interested in being filmed, unless he — a budding filmmaker himself — is the one calling the shots. “What makes me think he’s hearing anything I say?” McElwee wonders after trying, and failing, to break through.

At wit’s end, McElwee digs up old journals and photographs from his early 20s, pre-Backyard, when he took a year off college to bum around France (his father was, naturally, aghast). There, he met a charismatic man who became his photography mentor, and a woman with whom he had a significant affair. “It’s admittedly painful to try and penetrate the purple haze of my prose,” he says over a scene where he flips through his youthful scrawlings as his son holds the camera. “I feel a little embarrassed at showing Adrian these pages.”

Admitting embarrassment is a dying art in these narcissistic times (Ugly photo? Just throw a filter over it! Made a mistake? Blame the haters!) — and it’s one reason why McElwee’s films resonate so powerfully. He’s keenly self-aware in a way that’s refreshingly old-fashioned. He knows when to let his images do the talking, and when to let forces beyond his control steer his narrative. There’s much to take in when he returns to sea-swept Brittany, a place he’s romanticized in his memory. “The whole experience was so … French,” he wryly notes, realizing how vague and clichéd that sounds.

As McElwee immerses himself in the scenery he’s dreamed of for decades, he reflects on what kind of person he was back then. Turns out the atmosphere awakens the essence of his younger self far better than his old photos, which are filled with places and faces he doesn’t recognize. (If only he’d had a movie camera back then!) If the stealth mission of his trip is to grasp onto something, anything, that will help him relate to his moody son, it goes mostly unfulfilled — witness a Skype conversation between the US and France, as cluttered with technological difficulties as it is attitude problems.

But there are no tidy endings in McElwee films, because that’s how life is. In the last scene, it’s revealed that Adrian has decided to attend film school, mirroring Tom McElwee’s decision to follow in his father’s footsteps. Is there another McElwee legacy in the making? Stay tuned for the inevitable next chapter. *

“AFTERIMAGE: ROSS MCELWEE AND THE CAMBRIDGE TURN”

March 30-April 2, $5.50-9.50

Pacific Film Archive

2575 Bancroft, Berk

bampfa.berkeley.edu

 

Poll says SF loves tech buses, doesn’t ask Spanish speakers

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Poll says SF loves tech buses, doesn’t ask Spanish speakers

San Franciscans love tech, they’re totally cool with the Google buses, and care more about job creation than the cost of living, according to a newly released poll of San Franciscans by the Bay Area Council.

But though the poll asked respondents these questions in English and Cantonese, the pollsters left out one pretty important group of people in this debate: Spanish speakers. Yes, a poll about tech buses and the tech industry, and tangentially gentrification — which is now hitting the Mission District hard — failed to ask Spanish speaking voters any questions in their native tongue.

“Considering the tech industry’s impact on the Mission district, that’s a little suspcious,” Cynthia Crews, of the League of Pissed Off Voters told us. That’s an understatement. The “Our Mission: No Eviction” protest last October turned out hundreds of Mission residents, many Latino, against the gentrification of the neighborhood (and the lax regulations of the Google buses). The first Google bus protest took place on 24th and Valencia, in the Mission district.

Assemblyman Tom Ammiano said it was especially important to include Spanish-speaking voters. “San Francisco is a very multicultural city,” he said. “Even if the [polling] results were the same,” by polling Spanish speakers, “it would be a truer picture.”

The San Francisco Municipal Transportation Agency announced a pilot program to study the use of commuter shuttles, including tech buses (known commonly as Google buses), but also shuttles from hospitals and universities. The pilot program came to a halt when a coalition of advocates filed an appeal of the pilot program under the California Environmental Quality Act, known as CEQA. Those concerns will be heard at City Hall next Tuesday. The shuttles impacted Latino populations in the Mission particularly hard, leading advocates to say question why their voices were not heard in the poll.

Rufus Jeffris, a spokesperson for the Bay Area Council, who commissioned the poll, told us they just wanted answers on how to move the conversation around tech forward. “Clearly we’re in a time of economic growth, but we want to make sure we’re focused ont he right solutions,” he said.

And the number of Spanish-speaking likely voters was not significant enough to warrant the expense of including them in that conversation, Jeffris told us.

The poll said San Francisco voters’ opinions differed from news coverage of the shuttles: “Despite what it may look like from recent media coverage, a majority of voters have a positive opinion of the shuttle buses and support allowing buses to use Muni stops.”

Of course you’ll find a lot of voters in favor of the Google buses if you fail to interview a major voting bloc of the city that actually lives near them. Latinos make up 15 percent of the city’s population, according to 2012 US Census data. But Jeffris said that may not matter.

“The universe of likely voters does not always mirror [the population],” he said. “Not everyone in the city’s population votes.” Ruth Bernstein, a principal of EMC Research, the pollsters, said the Cantonese speakers usually comprise 9 percent of likely voters.

The poll found that “Tech workers are viewed unfavorably by only a minority.” Just 17 percent of respondents were unfavorable of the tech industry to some degree, while 70 percent were favorable in some fashion. 

pollshuttle

An excerpt from the poll saying most San Franciscans view Google buses favorably.

 But the methodology of the poll may have been flawed regardless of who they talked to. Bernstein told the Guardian that the questions were crafted in sessions between the EMC Research and the Bay Area Council.

“We did a draft,” she said, “and then worked with the Bay Area Council until they were satisfied with what we did.”

The Bay Area Council is a noted pro-business organization, casting a particular narrative behind the questions it asks. Notably, it didn’t ask about the shuttles’ direct ties to displacement in neighborhoods. It did, however, ask many questions about the Google buses, or “shuttles.”

“All I can tell you is what we saw,” Berstein told us, of her company’s methodology. “There are certainly people not happy about [the shuttles]. The voters aren’t opposed to them, but they want regulations.” 

SEIU Local 1021 Political Director Chris Daly was more plain spoken about the business interests behind this poll. “Well it looks like Jim Wunderman seeking a paycheck!” Daly said, referring to the Bay Area Council’s CEO and President. “Get the nice folks at EMC to do a poll for you, probably costs you close to 20 grand. They’ll get a good day of press out of it tomorrow.”

But even if the poll turned out to be the same, or similar, if it included voices of Spanish speakers, Daly said it still wouldn’t get to the heart of the issue.

“Even if the public does like tech shuttles, it has no bearing on the CEQA hearing Tuesday to determine if the City followed categorical law on this ridiculous policy,” he said. “They claim [the shuttles have] no significant environmental impact. “When it comes to displacement, when it comes to air quality and cancer rates, clearly these things are having a huge impact on San Francisco’s environment.”

And though the corporate shuttles do take cars off the road, if those same shuttles displace low-income workers into the suburbs, those low-income workers will then have to drive into San Francisco for work.

The tech workers get to ditch their cars, and the low-income workers will be forced to drive. Sounds just about as equitable as this poll.

If you’d like to see the poll for yourself, we’ve embedded the slides showing the results below.

San Francisco Shuttle Survey by FitztheReporter

Alerts: March 26 – April 1, 2014

Michael Redmond
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THURSDAY 27

The Road To Single-Payer: Truly Universal Healthcare Unitarian Universalists Center, 1187 Franklin, SF. sanfranpda@aol.com. 7pm, free. As the basic flaws of the Affordable Care Act become increasingly obvious, more people are demanding a truly universal healthcare program based on single-payer financing. Bills have been introduced in Congress and several states are moving toward implementing their own single-payer system. Single-payer will not happen by itself. At our March 27 Forum, leading single-payer activists will describe how their organizations are working to bring about real healthcare reform in the US and how we can support their efforts.

 

FRIDAY 28

A Sliver of Light: Three Americans Imprisoned in Iran Los Altos High School, 201 Almond, Los Altos. www.commonwealthclub.org. 7pm, $20 or $8 for students. In summer 2009, Shane Bauer, Josh Fattal, and Sarah Shourd made international headlines when they were hiking and unknowingly crossed into Iran. The three Americans were captured by border patrol, accused of espionage, and ultimately imprisoned for two years in Tehran’s infamous Evin Prison. Together they share their harrowing story of hope and survival.

 

MONDAY 31

 

Cesar E. Chavez Holiday Breakfast Mission Language and Vocational School, 2929 19th, SF. www.cesarchavezday.org. 8-10am, $60. There will be a breakfast concocted by the Latino Culinary Academy to commemorate and celebrate the life and work of civil rights leader Cesar Chavez. The event will include the presentation of the Cesar E. Chavez Legacy Awards and special guest speaker Juanita Chavez, daughter of civil rights leader Dolores Huerta and niece of Cesar Chavez. All proceeds benefit the Cesar E. Chavez Holiday Parade and Festival.

 

TUESDAY 1

 

Other Voices: Build Democracy, End Corporate Rule Community Media Center, 900 San Antonio, Palo Alto. www.peaceandjustice.org. 7pm, free. Right now, there’s a true grassroots effort in the works to end corruption by putting an initiative on the November ballot called Build Democracy, End Corporate Rule. The goal of this effort is to reverse the U.S. Supreme Court’s ruling in Citizens United v. Federal Election Commission. Join us for this live TV broadcast and take part right in the studio with us. We devote a substantial portion of every forum to dialogue with our audience members. So come with your questions, comments and ideas and be a part of it!

San Francisco’s untouchables

Michael Redmond
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San Francisco’s untouchables

Rebecca@sfbg.com

In one sense, San Francisco’s homeless residents have never been more visible than they are in this moment in the city’s history, marked by rapid construction, accelerated gentrification, and rising income inequality. But being seen doesn’t mean they’re getting the help they need.

Not long ago, Lydia Bransten, who heads security at the St. Anthony’s Foundation on 150 Golden Gate, happened upon a group of teenagers clustered on the street near the entrance of her soup kitchen. They had video cameras, and were filming a homeless man lying on the sidewalk.

“They were putting themselves in the shot,” she said.

Giggling, the kids had decided to cast this unconscious man as a prop in a film, starring them. She told them it was time to leave. Bransten read it as yet another example of widespread dehumanization of the homeless.

“I feel like we’re creating a society of untouchables,” she said. “People are lying on the street, and nobody cares whether they’re dead or breathing.”

Condominium dwellers and other District 6 residents of SoMa and the Tenderloin are constantly bombarding Sup. Jane Kim about homelessness via email — not to express concern about the health or condition of street dwellers, but to vent their deep disgust.

“This encampment has been here almost every night for several weeks running. Each night the structure is more elaborate. Why is it allowed to remain up?” one resident wrote in an email addressed to Kim. “Another man can be found mid block, sprawled across the sidewalk … He should be removed ASAP.”

In a different email, a resident wrote: “The police non-emergency number is on my quick dial because we have to call so often to have homeless camps removed.”

It’s within this fractious context that the city is embarking on the most comprehensive policy discussions to take place on homelessness in a decade.

In 2004, city officials and community advocates released a 10-Year Plan to Abolish Chronic Homelessness. One only needs to walk down the street to understand that this lofty objective ultimately failed; people suffering from mental illness, addiction, and poverty continue to live on the streets.

Most everyone agrees that something should be done. But while some want to see homelessness tackled because they wish undesirable people would vanish from view, others perceive a tragic byproduct of economic inequality and a dismantled social safety net, and believe the main goal should be helping homeless people recover.

“The people living in poverty are a byproduct of the system,” said Karl Robillard, a spokesperson for St. Anthony’s. “We will always have to help the less fortunate. That’s not going to go away. But we’re now blaming those very same people for being in that situation.”

sabrina

Sabrina: “The streets can be mean.”

Guardian photo by Rebecca Bowe

 

HOMELESS MAGNET?

A common framing of San Francisco’s “homeless problem” might be called the magnet theory.

The city has allocated $165 million to homeless services. Over time, it has succeeded in offering 6,355 permanent supportive housing units to the formerly homeless. Nevertheless, the number of homeless people accounted for on the streets has remained stubbornly flat. The city estimates there are about 7,350 homeless people now living in San Francisco.

Since the city has invested so much with such disappointing results, the story goes, there can only be one explanation: Offering robust services has drawn homeless people from elsewhere, like a magnet. By demonstrating kindness, the city has unwittingly converted itself into a Mecca for the homeless, spoiling an otherwise lovely place for all the hardworking, law-abiding citizens who contribute and pay taxes.

That theory was thoroughly debunked in a Board of Supervisors committee hearing on Feb. 5.

“The idea of services as a magnet, … we haven’t seen any empirical data to support that,” noted Peter Connery of Applied Survey Research, a consultant that conducted the city’s most recent homeless count. “The numbers in San Francisco are very consistent with the other communities.”

He went on to address the question on everyone’s mind: Why haven’t the numbers decreased? “Even in this environment where there have obviously been a tremendous number of successes in various departments and programs,” Connery said, “this has been a very tough economic period. Just to stay flat represents a huge success in this environment.”

As former President Bill Clinton’s campaign team used to say: It’s the economy, stupid.

 

LIFE OUTSIDE

For Sabrina, it started with mental health problems and drug addiction. She grew up in Oakland, the daughter of a single mom who worked as a housecleaner.

“Drugs led me the wrong way, and eventually caught up with me,” she explained at the soup kitchen while cradling Lily, her Chihuahua-terrier mix.

“I had nothing, at first. You have to learn to pick things up. Eventually, I got some blankets,” she said. But she was vulnerable. “It can get kind of mean. The streets can be mean — especially to the ladies.”

She found her way to A Woman’s Place, a shelter. Then she completed a five-month drug rehab program and now she has housing at a single room occupancy hotel on Sixth Street.

“You don’t realize how important those places are,” she said, crediting entry into the shelter and the drug-rehab program with her recovery.

Since the 10-year plan went into effect, Coalition on Homelessness Director Jennifer Friedenbach told us, emergency services for homeless people have been dramatically scaled back. Since 2004, “We lost about a third of our shelter beds,” she explained. About half of the city’s drop-in center capacity was also slashed.

“Between 2007 to 2011, we had about $40 million in direct cuts to behavioral health,” she said at the Feb. 5 hearing, seizing on the lack of mental health care, one of the key challenges to reducing homelessness.

“The result of all three of these things, I can’t really put into words. It’s been very dramatically negative. The increase in acuity, impact on health,” she said, “those cannot be overstated.”

The need for shelters is pressing. The city has provided funding for a new shelter for LGBT homeless people and a second one in the Bayview, but it hasn’t kept up with demand. And for those who lack shelter, life is about navigating one dilemma after another, trying to prevent little problems from snowballing into something heinous.

Consider recent skirmishes that have arisen around the criminalization of homelessness. Department of Public Works street cleaning crews have sprayed homeless people trying to rest on Market Street. Sitting or lying on the sidewalk can result in a ticket. There are few public restrooms, but urinating on the street can result in a ticket. There are no showers, but anyone caught washing up in the library bathroom could be banned from the premises. Sleeping in a park overnight is illegal.

“The bad things that happen are when people don’t see homeless people as people,” said Bevan Dufty, the mayor’s point person on homelessness. “That’s the core of it — to be moved away, to be pushed away, citing people, arresting people.”

Friedenbach said the tickets and criminalization can ultimately amount to a barrier to ending homelessness: “You’re homeless, so you get a ticket, so they won’t give you housing, because you wouldn’t pay the ticket. And so, you’re stuck on the streets.”

 

ORDINARY EMERGENCIES

A man slumped over his lunch tray and fell to the floor. Within minutes, a medical crew had arrived on the scene, set up a powder-blue privacy screen, and cleared away a table and chairs to administer emergency care.

Throughout the dining hall, most continued lifting forkfuls of mashed potatoes, broccoli, and shredded meat to their mouths, unfazed. Volunteers clad in aprons continued to set down heaping lunch trays in front of diners who held up laminated food tickets. At St. Anthony’s, where between 2,500 and 3,000 hot meals are served daily to needy San Franciscans, this sort of thing happens all the time.

“A lot of our guests are subject to seizures, for one reason or another,” Robillard told me by way of explanation. Behind him, a pair of medics hovered over the man’s outstretched body, his face invisible behind the screen. “In almost all cases, they’re fine.”

Seizures are just one common ailment plaguing the St. Anthony’s clientele, a mix of homeless people, folks living on the economic margins, and tenants housed in nearby single room occupancy hotels.

Jack, an elderly gentleman with a gray beard and stubs on one hand where fingers used to be, told me he’d spent years in prison, battled a heroin addiction, and sustained his hand injury while serving in the military. He previously held jobs as a rigger and a train operator, and said he became homeless after his mother passed away.

St. Anthony’s staff members mentioned that Jack had recently awoken to being beaten in the head by a random attacker after he’d fallen asleep on the sidewalk near a transit station.

A petite woman with a warm demeanor, who introduced herself as Kookie, said she’d been homeless last August when she faced her own medical emergency. “I was in the street,” she said. “I didn’t know I was having a stroke.”

She’d been spending nights on the sidewalk on Turk Street, curled up in a sleeping bag. When she had the stroke, someone called an ambulance. Her emergency had brought her unwittingly into the system. At first, “They couldn’t find out who I was.”

She said she’d stayed in the hospital for six months. Once she’d regained some strength, care providers connected her with homeless services. Now Kookie stays at a shelter on a night-by-night basis, crossing her fingers she’ll get a 90-day bed. She’s on a wait-list to be placed in supportive housing.

Kookie unzipped a tiny pouch and withdrew her late husband’s driver’s license as she talked about him. Originally from Buffalo, NY, she lived in Richmond while in her early 20s and took the train to San Francisco, where she worked as a bartender. She’s now 60.

“When I was not homeless, I used to see people on the ground, and I never knew I would live like that,” she said. “Now I know how it is.”

kookie

Kookie: “I used to see people on the ground, and I never know I would live like that.”

Guardian photo by Rebecca Bowe

HOUSING, HOUSING, HOUSING

Way back in 2003, DPH issued an in-depth report, firing off a list of policy recommendations to end homelessness in San Francisco once and for all. The product of extensive research, the agency identified the most important policy fix: “Expand housing options.”

“Ultimately, people will continue to be threatened with instability until the supply of affordable housing is adequate, incomes of the poor are sufficient to pay for basic necessities, and disadvantaged people can receive the services they need,” DPH wrote. “Attempts to change the homeless assistance system must take place within the context of larger efforts to help the very poor.”

Fast forward more than a decade, and many who work within the city’s homeless services system echo this refrain. The pervasive lack of access to permanent, affordable housing is the city’s toughest nut to crack, but it doesn’t need to be this way.

At the committee hearing, Friedenbach, who has been working as a homeless advocate for 19 years, spelled out the myriad funding losses that have eviscerated affordable housing programs over time.

“We’ve had really huge losses over the last 10 years in housing,” she said. “We’ve lost construction for senior and disability housing. Section 8 [federal housing vouchers] has been seriously cut away at. We’ve lost federal funding for public housing. There were funding losses in redevelopment.”

A comprehensive analysis by Budget and Legislative Analyst Harvey Rose found the city — with some outside funding help — has spent $81.5 million on permanent supportive housing for the formerly homeless.

That money has placed thousands of people in housing. Nevertheless, a massive unmet need persists.

 

WAITING GAME

Following the hard-hitting economic downturn of 2008 and 2009, San Francisco saw a spike in families becoming homeless for the first time. Although a new Bayview development is expected to bring 70 homeless families indoors, Dufty said 175 homeless families remain on a wait-list for housing.

Yet the wait-list for Housing Authority units has long since been closed. And many public housing units continue to sit vacant, boarded up. Sup. London Breed said at a March 19 committee hearing that fixing those units and opening them to homeless residents should be a priority.

DPH’s Direct Access to Housing program, which provides subsidized housing in SROs and apartments, was also too overwhelmed to accept new enrollees until just recently. Since the applicant pool opened up again in January, 342 homeless people have already signed up in search of units, according to DPH. But only about a third of them will be placed, the results of our public records request showed.

Meanwhile, the city lacks a pathway for moving those initially placed in SROs into more permanent digs, which would free up space for new waves of homeless people brought in off the street.

City officials have conceptualized the need for a “housing ladder” — but if one applies that analogy to San Francisco’s current housing market, it’s a ladder with rungs missing from the very bottom all the way to the very top.

In the last fiscal year, HSA allocated $25 million toward subsidized housing for people enrolled in the SRO master-lease program. “It’s often talked about as supportive housing,” Friedenbach notes. “But supportive housing under a federal definition is affordable, permanent, and supportive.”

In SROs, which are notoriously rundown — sometimes with busted elevators in buildings where residents use canes and wheelchairs to get around — people can fork over 80 percent of their fixed incomes on rent.

“An individual entering our housing system should have an opportunity to move into other different types of housing,” Dufty told the supervisors. “It’s really important that people not feel that they’re stuck.”

Amanda Fried, who works in Dufty’s office, echoed this idea. “Our focus has to be on this ladder,” she told us. “If people move in, then they have options to move on. What happens now is, we build the housing, people move in, and they stay.”

 

START OF THE CYCLE

Homelessness does begin somewhere. For Joseph, a third-generation San Franciscan who grew up in the Mission and once lived in an apartment a block from the Pacific Ocean, the downward spiral began with an Ellis Act eviction.

After losing his place, he stayed with friends and family members, sometimes on the streets, and occasionally using the shelter system (he hated that, telling us, “I felt safer in Vietnam”). He now receives Social Security benefits and lives in an SRO.

Homelessness is often a direct consequence of eviction. Last year, the city allocated an additional $1 million for eviction defense services. Advocates hope to increase this support in the current round of budget talks. The boost in funding yielded measurable results, Friedenbach pointed out, doubling the number of tenants who managed to stave off eviction once they sought legal defense.

There’s also a trend of formerly homeless residents getting evicted from publicly subsidized housing. Since 2009, the Eviction Defense Collaborative has counted 1,128 evictions from housing provided through HSA programs. Since most came from being homeless, they are likely returning to homelessness.

Dufty said more could be done to help people stay housed. “Yes, we’re housing incredibly challenged individuals. And we have to recognize that allowing those individuals to be evicted, without the city using all of our resources to intervene to help that person, that’s not productive,” he said. “It’s debilitating to the person. It’s just not good.”

Fried said the city could do more to provide financial services to people who were newly housed. “You were homeless on the street — you know you didn’t pay some bill for a long time. Really that’s the time, once you’re housed and stable, to say, ‘let’s go back and pull your credit.’ Once we have people in housing, how are we increasing their income?”

Gary

Gary: “If I knew how to fix it, I would.”

Guardian photo by Mike Koozmin

SEARCH FOR SOLUTIONS

The reopening of [freespace], a community space at Sixth and Market temporarily funded by a city-administered grant, attracted a young, hip crowd, including many tech workers. A girl in a short white dress played DJ on her laptop, against a backdrop where people had scrawled their visions for positive improvements in the city. Some of the same organizers are helping to organize HACKtivation for the Homeless, an event that will be held at the tech headquarters of Yammer on March 28. The event will bring together software developers and homeless service providers to talk about how to more effectively address homelessness.

“The approach we’re talking about is working with organizations and helping them build capacity,” organizer Ilana Lipsett told us. The idea is to help providers boost their tech capacity to become more effective. And according to Kyle Stewart of ReAllocate, an organization that is partnering on the initiative, “The hope is that it’s an opportunity to bridge these communities.”

Other out-of-the box ideas have come from City Hall. Sup. Kim, who stayed at a homeless shelter in 2012 during a brief stint as acting mayor, said she was partially struck by how boring that experience was — once a person is locked into a shelter, there is nothing to do, for 12 hours.

She wondered: Why aren’t there services in the shelters? Why isn’t there access to job training, counseling, or medical care in those facilities? Why are the staffers all paid minimum wage, ill-equipped to deal with the stressful scenarios they are routinely placed in? Her office has allocated some discretionary funding to facilitate a yoga program at Next Door shelter, in hopes of providing a restorative activity for clients and staff.

More recently, Sup. Mark Farrell has focused on expanding the Homeless Outreach Team as an attempt to address homelessness. Farrell recently initiated a citywide dialogue on addressing homelessness with a series of intensive hearings on the issue. He proposed a budgetary supplemental of $1.3 million to double the staff of the HOT team, and to add more staff members with medical and psychiatric certification to the mix.

But the debate at the March 19 Budget and Finance Committee hearing grew heated, because Sup. John Avalos wanted to see a more comprehensive plan for addressing homelessness. “I’m interested in people exiting homelessness,” he said. “I’d like there to be a plan that’s more baked that has a sense of where we’re going.”

Farrell was adamant that the vote was not about addressing homelessness in the broader sense, but expanding outreach. “We have to vote on: do we believe, as supervisors, that we need more outreach on our streets to the homeless population or do we not?” he said.

Sup. Scott Wiener defined it as an issue affecting neighborhoods. “When we’re actually looking at what is happening on our streets, it is an emergency right now,” he said. “It’s not enough just to rely on police officers.”

When other members of the board said homeless advocates should be integrated into the solution, Wiener said, “The stakeholders here are not just the organizations that are doing work around homelessness, they are the 830,000 residents of San Francisco … It impacts their neighborhoods every day.”

Asked what she thought about it, Kim told us she believed sending more nurses and mental-health service providers into the city’s streets was a good plan — but she emphasized that it had to be part of a larger effort.

“If you’re just going to increase the HOT team, but not services,” she said, “then you’re just sending people out to harass homeless people.”

 

STILL OUT THERE

Mike is 53, and he’s lived on the streets of San Francisco for five years. He was born in Massachusetts, and his brothers and sisters live in Napa. We encountered him sitting on the sidewalk in the Tenderloin. “I don’t like shelters,” he explained. “I got beat up a couple times, there were arguments.” So he sleeps under a blanket outside. “It’s rough,” he said. “I do it how I can.”

A few blocks away we encountered Gary, who said he’s been homeless in San Francisco for 17 years. He was homeless when he arrived from Los Angeles. He said he’d overdosed “a bunch of times,” he’s gone through detox five times, and he’s been hospitalized time and again. “Call 911, and they’ll take care of you pretty good.”

Gary is an addict. “If I knew how to fix it, I would,” he said. “Do yourself a favor, and lose everything. It’s like acting like you’re blind.”

Gary and Mike, chronically homeless people who have been on the streets for years, are HOT’s target clientele. “My slice of the pie is the sickest, the high-mortality, they’re often the ones that are laid out in the street,” said Maria Martinez, a senior staff member at DPH who started the HOT program.

“I went through years of the 10-Year plan,” she added. “Do I feel like I could take this money [the HOT team supplemental] and do something effective with it? Yes. Do I think there’s a lot of other things that we could address? Yes.”

Pressed on what broader solutions would look like, she said, “There has to be an exit into permanent housing. I’ve seen that we’ve been creative around that. We can make lives better. I say that vehemently. And permanent housing is critical to exiting out of homelessness.”

Mike

Guardian photo by Mike Koozmin

SFPD to answer questions on fatal shooting of Alejandro Nieto

Sasha Cuttler And Mary Magee
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SFPD to answer questions on fatal shooting of Alejandro Nieto

San Francisco Police Chief Greg Suhr will be on hand this evening [Tue/25] for a town hall meeting to discuss last week’s officer-involved shooting in Bernal Heights Park. The shooting victim, 28-year-old Alejandro Nieto, was a City College of San Francisco student, a Latino, and Bernal Heights resident who had hoped to become a youth probation officer.

Just before sunset last night [Mon/24], a group of about 150 friends, family members, and community supporters gathered for a vigil at the spot where he was gunned down by multiple police officers.

The community members lit candles, sang, burned incense, and conducted Buddhist chants in honor of his spiritual practice. Those who knew Nieto, whom they called Alex, described him as caring, ambitious, and committed to nonviolence.

“He was such a bright person,” said Ben Bac Sierra, an author and instructor at City College who knew Nieto through shared ties in the neighborhood. Nieto had been helping Bacsierra organize community events and book readings, he said. They’d rolled down Mission Street together in a classic low-rider for a parade, shouting “si se puede!” while onlookers cheered them on.

Torrance Bynum, former dean at City College’s Evans and Southeast Center campus and a former instructor of Administration of Justice, described himself to the Bay Guardian as Nieto’s mentor. “I would give him rides home from class,” he said. Nieto would stop by to visit him, and “if I was in a meeting, he would wait for me.” Bynum said he’d phoned Nieto on his birthday just a few weeks ago, March 4.

On Monday night, major questions still lingered about the events leading up to Nieto’s death.

A statement issued by the SFPD on March 21, about three hours after the shooting, said officers had arrived at the park in response to “911 calls of a male subject with a gun.” Police “encountered a male subject with a weapon,” the statement went on. “The male subject pointed a weapon at the officers, and multiple officers discharged their firearms.” (In an interview with the San Francisco Chronicle, Deputy Police Chief Lyn Tomioka indicated that he “appeared to draw a weapon.”) He was pronounced dead, the statement noted, “and an additional weapon was found.”

In the days following the shooting, however, friends and family members told reporters that Nieto had a stun gun, not a firearm, because he worked as a security guard at a nightclub. They also said Nieto was peacefully eating a burrito just before the shooting occurred.

According to California Bureau of Security and Investigative Services records, Nieto obtained registration to work as a guard/patrolperson in June of 2007, and obtained a permit to carry a baton in September of 2013. Security guards must complete a 40-hour course of required training before registering with the state.

A report in the San Francisco Chronicle suggested that just before the shooting, Nieto was “acting erratically and threatening passersby,” quoting an unnamed witness who said a man had threatened his dog with a “pistol-type stun gun” and yelled profanities. It also referenced a past incident involving Nieto’s alleged use of a stun gun.

A person who declined to be named told the Bay Guardian that about half an hour before the shooting occurred, two men who were walking down the pedestrian pathway on the north slope of Bernal Heights Park alerted a jogger that there was a man ahead wearing a gun on his hip.

They told the jogger that they had called the police. The jogger, who was about 50 feet from the man and started moving away from him after receiving the warning, was too far away to see whether he had a weapon but noticed that he was “pacing back and forth” and “air boxing.”

When the Bay Guardian phoned the SFPD to ask what sort of weapon had been discovered, Sgt. Danielle Newman said she could not release that information.

“He was never arrested in his life,” Bac Sierra said of Nieto during the vigil. “He wanted to be a good person – and he was.”

Bac Sierra later told the Bay Guardian he’d first heard the news Saturday night, and spoke with members of Nieto’s family the following day. The family was not notified of what happened until 3pm the day after the shooting, he said. The report was that Nieto had been shot 14 times.

Sup. John Avalos, who represents the Excelsior District, said he had worked with Nieto in the past and knew him from Coleman Advocates for Children & Youth. “I was making sure that his life was going in a positive direction, and what we saw in Alejandro was that he had a really big heart,” Avalos said at last night’s vigil. “He gave it to a lot of people, and often probably didn’t give it enough to himself.”

He added, “Blood’s been shed, in this case, by people we’re supposed to trust. But … we have a lot of difficulty trusting our police, because from time to time these things happen.”

Avalos also mentioned that when it comes to dealing with subjects who are mentally ill, SFPD has an established protocol. Under a program that began in 2011, specially trained officers with the department’s Crisis Intervention Team are to be dispatched to the scene when calls involve a mentally ill individual.

At tonight’s meeting, Suhr is expected to answer questions from community members. Friends and supporters of Nieto are still in shock from the news.

“I don’t know what it’s going to take, but I think all of us here should call on the Office of Citizen Complaints, and make sure they do an investigation,” Avalos said. “We need to make sure that the officer who – I really hope, despite all the shots that were fired, are having trouble with their consciences right now. Because taking anybody’s life, or hurting anyone in such a way, is unconscionable. This young man, he deserves that from all of us, to make sure the senseless taking of his life was not done in vain, that it leads to something better.”

Avalos said he was also there on behalf of Mission District Sup. David Campos, who was unable to attend because he was in a hearing.

The SFPD town hall is scheduled for 6pm at Leonard Flynn Elementary School, located at 3125 Cesar Chavez Street.

Bac Sierra urged everyone gathered at the vigil to attend the town hall meeting. “Those cops have to feel this,” he said. “This neighborhood has to feel this.”

“These stories are ours, too” — South Asian women’s collective celebrates a decade of ‘Yoni Ki Baat’

Steven T. Jones
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Growing up in San Francisco, I was never sheltered from sexuality. Whether it was the naked runners at Bay to Breakers or the same-sex lovebirds kissing on street corners, there has always been an honest dialogue about love, sex, and gender in my hometown. But that makes it easy to take for granted.

For over a decade, the South Asian Sisters, a Bay Area arts collective, has been cultivating a community of diverse and progressive women of South Asian origin who want to talk openly about sex. While to many outsiders India is the land of Kama Sutra and tantric sex, to those who grew up in South Asian communities, the openness just isn’t there. Talk of sexuality comes in the form of rumors, whispers, and shameful glances, explains Vandana Makker, a member of the South Asian Sisters.

In a grassroots effort to build a candid conversation about these taboo issues, South Asian Sisters has grown into a national movement inviting an open discussion of gender and sexuality — empowering women of South Asian descent across the country. Their efforts come to a head with the yearly rendition of Yoni Ki Baat, a live performance of Vagina Monologues-inspired sketches. The show is comprised of a dozen or so performances by South Asian Sisters, all aimed at bringing light to the silent oppression that’s been going on in South Asian culture for centuries.

This weekend’s shows, on March 22 and 23, will mark Yoni Ki Baat’s 10th Anniversary with three special performances at the iconic and historic Women’s Building in the Mission. Whether painful, funny, disturbing, or powerful, each performance furthers the honesty so vital to these women. I reached out to the diverse women from the South Asian Sisters collective to better understand what this project means to them. 

SF Bay Guardian Why is Yoni Ki Baat important to you?
 

Creatrix Tiara: Born and raised in Malaysia, I found it difficult to find a community of people who were willing to talk about issues like gender, sexuality, and race openly and freely — especially as a Bangladeshi, a much-maligned racial minority in Malaysia. Joining YKB was really refreshing and helpful in finding people who could relate to feeling liminal in those areas — having to navigate cultural norms versus wider societal taboos and stereotypes, never quite fitting in one world or another. People don’t tend to associate South Asians with a lot of issues around gender and sexuality. How can South Asians be kinky? Queer? Into masturbation in strange places? Unthinkable. YKB shows that hey, these stories are ours too, no matter what anyone says.

Micropixie: Growing up in London at the time that I did, and then later moving to Paris, and then back to the UK, I did not have a community of progressive, feminist, radical South Asian women around me. In fact I did not know such a type of woman even existed until I moved to San Francisco 10 years ago. It was wonderful to see my first Yoni Ki Baat 7 years ago and then later join the team of organizers. I love the stories and relate to all of them even those that do not pertain to my personal experience. But I especially love the women in the show, both the performers and the writers…talking about sex, sexuality, and actually so much more. It’s a brave thing we are doing, and for some of the girls it’s the first time they are on stage; personally, my own family was horrified!

ykb

Indira Chakrabarti: The show is especially important to me since I wrote for the first show a decade ago! Then, I wrote and performed for the second one. It is so meaningful to me to be back. I fell out of touch for a variety of reasons but have always believed in the importance of providing this space for women, especially South Asian Women, to have their true voices heard.

Anjali Verma Ruvalcaba: When I first auditioned for YKB I was a 20-year-old college student at UC Berkeley with a newly shaved head. I was already facing stigma and criticisms from both family and friends for wanting to experiment and “discover myself,” so to say that I was nervous going in to it is definitely putting it mildly. Once I got there I was welcomed by such open, kind, genuine, friendly, and loving faces that I knew I had found a very sacred place to call my own, finally, and I haven’t looked back since as this will be my 9th year performing. YKB gave me my first and only set of older sisters to look up to, who understood me, accepted me, inspired me, and kept challenging me to strive for my goals, and whether near or far now, they have all helped mold me into the stronger more honest and more grounded version of my self that I am today, for which I’ll be eternally grateful.

Amruta: There are not many spaces where we, as women, are free to speak within and from our cultural context—where we are best understood, especially if this context involves one or more terribly different cultures. Within this rich diversity, each of us represents an intersection of colors, cultures, places and languages. To have this opportunity, to be yourself amidst this diversity, and at the same time to once a year slip into another’s skin and extend our empathy, is rare. YKB is an invaluable space where we have this opportunity to present, from a woman’s perspective, the multiplicity of the South Asian diaspora.

Barnali Ghosh: The pieces in YKB challenged my assumptions of who South Asian women are as well as assumptions I had about myself and what I was capable of when it came to speaking about these taboo issues. I have met and become friends with so many brave women through being part of the production. Performers are both amateurs and professionals and often women for whom it is the first time doing any kind of performance. There is no director and the cast provides the feedback, support and guidance that allow all of us to find our voice. This kind of non-hierarchical process is not something most of us are used to. But if we trust in it, it works out most of the time and in the case of YKB, in mind-blowing ways.

Neha Shah: I was thrilled to discover YKB about five years ago. I was in Washington, D.C. then, brought my mom to the show where I performed someone else’s piece. Her attending the show was a turning point in our evolving relationship and her realization that I am being an independent young woman. I think it broke the awkward barriers that are typical of Indian parent-child relationships where you just don’t discuss dating and sex.

ykb

SFBG What are you most excited about for the 10th anniversary performance of Yoni Ki Baat?

Creatrix Tiara: The piece I’m performing [The Word of Violence] is one of the earliest pieces in YKB’s history, but the writer has never been able to see it performed live. She’ll be attending this show and will see it performed for the first time. It’s nerve-racking but I hope I am able to give her piece the love and justice it deserves!

Anjali Verma Ruvalcaba: I am excited to simply be celebrating this with everyone who’s written, performed, and witnessed the show. There’s a lot of heart, blood, sweat, and tears that goes into this year after year. It’s all 110 percent volunteer-driven and based, which I can’t even begin to express how thankful I am because without that drive, or passion, we cannot build the emotional space needed to support one another through this process and then convince folks of our stories, be they ours or someone else’s, on stage for the world to see.

Bernali Ghosh: For me personally, I am excited about reprising a funny piece I did 2 years ago. Before I performed it for YKB I didn’t know that I could do humor as a performer. Humor can be really important to healing and way to balance some of our more serious topics, so I am looking forward to sharing laughs with the audience again!

Vandana Makker: Each piece holds a special memory for me, and it’s like looking through an old family photo album and reminiscing about all the things we’ve been through. I’m so proud of the show and what it’s grown to become and can’t wait to give it a proper birthday party.

Amruta: Yoni Ki Baat is the simple message emerging from this dizzying diversity. I am excited to be part of this established tradition that has repeatedly brought to the fore an array of experiences with which we can all empathize

Indira Chakrabarti: I’m anxious and nervous to perform my piece after a decade-long hiatus but am so cozy in a warm hug of support and encouragement from my sisters.

Neha Shah: This an amazing milestone for the movement. Social change via the arts is a necessary and effective way to bridge disparate ideologies—the diversity of voices that YKB has brought together is not a small feat. It reminds me of my favorite quote: “Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has.”

Yoni Ki Baat 10th anniversary shows

Sat/22, 6:30pm; Sun/23, 12:30pm (this show open to those who self-identify as female) and 5pm
$15 advance, $20 at the door
Women’s Building
3543 18th St, SF
Yoni Ki Baat online

 

Bicycling and equity: Heed the call, expand the movement

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Bicycling and equity: Heed the call, expand the movement

STREET FIGHT In the face of increased gasoline prices and congestion, more public awareness of the relationship between greenhouse gas emissions and driving, and interest in physical activity, bicycling has experienced a mini-boom throughout the US. Chicago, Minneapolis, New York, Pittsburgh, Portland, Seattle, Washington, DC, and many smaller university cities, such as Boulder and Madison, have seen impressive increases in utilitarian bicycling.

In San Francisco, 3.5 to 6 percent of all trips are made by bicycle, amounting to roughly 150,000 bicycle trips in the city each day, a jump from around 1 percent of trips in the 1990s. The majority of these trips are for utilitarian purposes such as shopping and commuting, not recreation. Stand on Market and 10th streets on any weekday and you’ll see that bicycling has surged in San Francisco. In parts of Hayes Valley, the Mission, and Upper Market, over 10 percent of commuting is by bicycle. The city’s official goal — 9 percent of all citywide trips by 2018 and 20 percent in the next decade — is important for making San Francisco more livable.

But it’s also fundamental for making San Francisco more equitable. That’s right, equitable.

In many respects, bicycling is among the most equitable forms of urban transportation because it is affordable and accessible to almost everyone. Bicycling is far cheaper, safer, healthier, and cleaner than driving, and when considering global equity, far saner for a national climate policy. And for many low income workers, bicycling is also an affordable conveyance that enables not just physical mobility but also financial stability.

Indeed, US Transportation Secretary Anthony Foxx points out that nationally, a third of all bike trips are made by adults making under $30,000 and that the bicycle can have a substantial role in reducing the overall cost of living for the working class. But unfortunately lower class, non-white cyclists are also more likely to be in fatal collisions.

Speaking at the annual National Bicycle Summit in Washington, DC, earlier this month, Foxx, an African American former mayor of Charlotte, N.C., said that the federal government needs to devote more attention to making bicycling part of everyday life for the working class. Emphasizing the need for safety and convenience, Foxx was especially enthused about cycletracks — bikeways that are fully separated from automobiles and offer space for women, children, and older Americans to safely navigate cities by bike.

Foxx’s address followed a day of equity-themed panels and plenaries attended by more than 700 people. The League of American Bicyclists, focused on lobbying Congress and the White House, announced a new equity agenda to reach out to women, people of color, and to focus on reinvigorating a more progressive and egalitarian tone for bicycle advocacy.

Social justice advocates and community organizers had a strong presence at the summit, which has historically reflected a whiter, upper-middle-class male constituency. One presenter discussed bicycling and women’s prison rehabilitation, sharing how women who suffered from abuse, drug addiction, and imprisonment found bicycle riding to be normalizing and helpful for personal growth and for managing depression and anxiety.

A panel session titled “Learning from Los Angeles” showed how advocacy for bicycling can also come from community-based organizations, not just bicycle groups. Social justice issues are fundamental to LA’s inner city bicycle movement; over a third of South Central Los Angeles households are car free, and community organizers there have made a clearer connection between economic inequity and environmental problems.

Advocates from New York City chimed in that it was time for a “minority bicycle coalition” to advocate for women, minorities, and immigrant bicycle delivery workers. They pointed out that New York’s new and much-vaunted bike infrastructure has mainly spread in more affluent, white parts of Manhattan and Brooklyn, while Queens is overlooked. A speaker from the NAACP put obesity and public health at the center of the civil rights agenda and remarked on how the bike lifestyle should be brought to African American neighborhoods.

A discussion of emerging bike share systems asked how to expand to minority populations, and provided examples of how Boston subsidizes bike share membership for low income members. Boston also relaxes the charges for exceeding 30-minute rides and is figuring out ways to enable those without credit cards to participate.

Once a cynic about bike share, I experienced firsthand the benefits of a truly extensive, practical bike share system in Washington, DC (note to San Francisco — it was NOT covered in Wells Fargo or Google corporate logos). If bike share is extended to the Excelsior, Bayview, Balboa Park, Daly City, and SF State, it will work for the working class and students.

One of the most inspiring personas at the Bike Summit was Terry O’Neill, director of the National Organization for Women, who asked that bicycle advocates get beyond simply advocating for bikes. O’Neill prodded cyclists to ask: What do we need to do to make bicycling useful to women? And then she laid it out eloquently. Build affordable housing — lots of it — in areas where it is most needed, such as affluent Montgomery County, a suburb of DC, or in places like Hayes Valley and Silicon Valley. By creating the spatial proximity that makes cycling practical, women (and men) can incorporate cycling while balancing jobs, household chores, and children. This would do more to increase bicycling (and equity) than simply striping new bike lanes.

Her point is that for cycling to be logical for women, especially in complex metropolitan areas like DC or the Bay Area, well-planned and centrally located affordable housing is key. Perhaps it is time for the San Francisco Bike Coalition and Silicon Valley Bike Coalition, with their wealth of talent and donors, to create staff positions focusing on the bicycle-housing nexus and build strong partnerships with those who are fighting to build and preserve affordable housing in job- and amenity-rich areas.

Dovetailing from that, the newly elected mayor of Pittsburgh, Bill Peduto, himself a convert to bicycling, urged bicycle advocates to be an active partner in local progressive political coalitions and to work with non-bike groups such as labor unions and housing advocates. Peduto was among a handful of prominent politicians, mostly mayors and members of Congress, espousing the wisdom of linking bicycling and equity as part of the urban agenda.

The overall message is clear. Cities need to move beyond the neoliberal creative class storyline about bicycling, which says that a successful city is one that has a youthful, fit, but affluent stratum for bicycles. We need to be careful about praising the bicycle as a profitable economic development strategy for Realtors who up the rent as part of a commodified package of livability.

Sure, it’s great to see a bike lane on mid-Market, and there should definitely be more. But a successful city is not one where developers and Realtors see bike lanes and gentrify the neighborhood. A successful city is one where working class women feel safe to bike, where teachers, construction workers, and nurses can use the bicycle for many local trips, where African Americans and Latinos feel included in the bicycling movement, and where service workers and immigrants can safely maneuver the city and region by bicycle without fear of being hit by a car or truck. And the true mark of success is when all of these people can afford to live in the city and travel by bicycle.

Theater Listings: March 19 – 25, 2014

Michael Redmond
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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

Lottie’s Ghosts Brava Theater Center, 2781 24th St, SF; www.brava.org. $20. Previews Thu/20, 8pm. Opens Fri/21, 8pm. Runs Thu-Sat, 8pm (no show March 28); Sun, 3pm. Through April 6. Dancer, storyteller, and Brava artist-in-residence Shakiri presents a new work based on her novel of the same name.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Opens Thu/20, 8pm. Runs Thu-Sat, 8pm. Through May 31. Thrillpeddlers present the fifth anniversary revival production of its enormously popular take on the 1971 Cockettes musical.

She Rode Horses Like the Stock Exchange Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Previews Thu/20-Sat/22, 8pm. Opens Mon/24, 8pm. Runs Wed-Sat, 8pm. Through April 12. Crowded Fire kicks off its 2014 season with the world premiere of Amelia Roper’s dry comedy about financial disaster.

The Two Chairs Bindlestiff Studios, 185 Sixth St, SF; www.performersunderstress.com. $10-30. Previews Thu/20-Fri/21, 8pm. Opens Sat/22, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through April 13. Performers Under Stress performs Charles Pike’s new play, described as “No Exit as a love story set in Napa on the Silverado Trail.”

Venus in Fur Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Previews Wed/19-Sat/22 and Tue/25, 8pm (also Sat/22, 2pm); Sun/23, 7pm. Opens March 26, 8pm. Runs Wed-Sat and Tue, 8pm (also Sat, 2pm; April 1, show at 7pm); Sun, 7pm. Through April 13. American Conservatory Theater performs a new production of David Ives’ 2012 Tony-nominated play.

BAY AREA

The Coast of Utopia Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35 (three-show marathon days, $100-125). Previews March 20-28. Opens March 29. Part Three: Salvage runs March 20-April 27; Part One: Voyage runs March 26-April 17; Part Two: Shipwreck runs March 27-April 19. Three-play marathon, April 5 and 26. Through April 27. Check website for showtime info. Shotgun Players performs Tom Stoppard’s epic The Coast of Utopia trilogy, with all three plays performed in repertory.

ONGOING

Bauer San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. Previews Wed/19-Fri/21, 8pm. Opens Sat/22, 8pm. Runs Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/23 and April 13, 2pm. Through April 19. San Francisco Playhouse presents the world premiere of Lauren Gunderson’s drama about artist Rudolf Bauer.

Children Are Forever (All Sales are Final!) Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. $15. Fri/21-Sat/22, 8pm. Writer-performer and comedian Julia Jackson’s well acted and consistently funny autobiographical solo show details her and her female partner’s attempt to adopt a newborn girl from a young African American mother in Florida. Along the way, Jackson’s smart script details the trials, red tape, and unexpected market incentives in the field of adoption for a same-sex, interracial couple. If the generally involving story nevertheless attenuates a little across its two-act structure, Coke Nakamoto’s precise direction (which builds on original direction by W. Kamau Bell) offers a lively framework for Jackson’s excellent characterizations as well as her frank and interesting commentary on the social, political messiness of certain natural urges. (Avila)

Crystal Springs Eureka Theatre, 215 Jackson, SF; www.crystalspringstheplay.com. $20-65. Fri/21-Sat/22, 8pm; Sun/23, 2pm. Eureka Theatre presents Kathy Rucker’s world-premiere drama about parenting in the digital age.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm (March 30 show at 2pm). Extended through May 4. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Hundred Days Z Space, 450 Florida, SF; www.zspace.org. $10-100. Wed and Sun, 7pm; Thu-Sat, 8pm. Through April 6. Married musical duo the Bengsons (Abigail and Shaun) provide the real-life inspiration and guiding rock ‘n’ roll heart for this uneven but at times genuinely rousing indie musical drama, a self-referential meta-theater piece relating the story of a young couple in 1940s America who fall madly in love only to discover one of them is terminally ill. As an exploration of love, mortality, and the nature of time, the story of Sarah and Will (doubled by the Bengsons and, in movement sequences and more dramatically detailed scenes, by chorus members Amy Lizardo and Reggie D. White) draws force from the potent musical performances and songwriting of composer-creators Abigail and Shaun Bengson (augmented here by the appealing acting-singing chorus and backup band that also feature El Beh, Melissa Kaitlyn Carter, Geneva Harrison, Kate Kilbane, Jo Lampert, Delane Mason, Joshua Pollock). Playwright Kate E. Ryan’s book, however, proves too straightforward, implausible, and sentimental to feel like an adequate vessel for the music’s exuberant, urgent emotion and lilting, longing introspection. Other trappings of director Anne Kauffman’s elaborate production (including an inspired set design by Kris Stone that echoes the raw industrial shell of the theater; and less-than-inspired choreography by the otherwise endlessly inventive Joe Goode) can add texture at times but also prove either neutral figures or distracting minuses in conveying what truth and heft there is in the material. Ultimately, this still evolving world premiere has a strong musical beat at its core, which has a palpable force of its own, even if it’s yet to settle into the right combination of story and staging. (Avila)

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 8:30pm. Extended through April 12. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

Mommy Queerest Exit Studio, 156 Eddy, SF; www.divafest.info. $15-25. Fri-Sat, 8pm. Through March 29. Sex scenes in solo shows might sound a little onanistic, but in the right circumstances a door jam or a love seat can serve as a fine co-star. Stand-up comic and actor Kat Evasco demonstrates as much in this raunchy and high-spirited story of her sexual awakening as a lesbian-identifying bisexual, coming out in a household dominated by her closeted mother, a Filipina American drama queen with a long-term female companion she insists is the “gay” one. Presented by Guerrilla Rep and the Exit Theatre’s DIVAfest, and directed by Guerrilla Rep’s John Caldon (who co-wrote the play with Evasco), the story follows a familiar and predictable arc in some ways — familial hypocrisy giving way to inspirational cross-generational understanding — and the characterizations and set-ups (including a family feud on Jerry Springer) come with not always inspired choices. Moreover not all the jokes land where they should in a performance that starts as stand-up but immediately shifts into the style of a solo-play confessional. (A more thoroughgoing subversion of the stand-up format might have produced more complex, less foreseeable results.) At the same time, there’s no denying Evasco’s charm and energy, or her buoyant comedic talent, which makes it easier to forgive the play’s structural shortcomings. (Avila)

“Risk Is This … The Cutting Ball New Experimental Plays Festival” Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. Free ($20 donation for reserved seating). Fri-Sat, 8pm. Through March 29. Five new works in staged readings, including two from Cutting Ball resident playwright Andrew Saito.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Thu-Fri, 8pm; Sat, 5pm. Through April 18. In his latest solo show, Brian Copeland (Not a Genuine Black Man; The Waiting Period) explores an infamous crime in his hometown of San Leandro: the 2000 murder of three government meat inspectors by Stuart Alexander, owner of the Santos Linguisa Factory. The story is personal history for Copeland, at least indirectly, as the successful comedian and TV host recounts growing up nearby under the common stricture that “rules are rules,” despite evidence all around that equity, fairness, and justice are in fact deeply skewed by privilege. Developed with director David Ford, the multiple-character monologue (delivered with fitful humor on a bare-bones stage with supportive sound design by David Hines) contrasts Copeland’s own youthful experiences as a target of racial profiling with the way wealthy and white neighbor Stuart Alexander, a serial bully and thug, consistently evaded punishment and even police attention along his path to becoming the “Sausage King,” a mayoral candidate, and a multiple murderer (Alexander died in 2005 at San Quentin). The story takes some meandering turns in making its points, and not all of Copeland’s characterizations are equally compelling. The subject matter is timely enough, however, though ironically it is government that seems to set itself further than ever above the law as much as wealthy individuals or the bogus “legal persons” of the corporate world. The results of such concentrated power are indeed unhealthy, and literally so — Copeland’s grandmother (one of his more persuasive characterizations) harbors a deep distrust of processed food that is nothing if not prescient —but The Scion’s tale of two San Leandrans leaves one hungry for more complexity. (Avila)

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $70 (gambling chips, $5-10 extra; after-hours admission, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Extended through May 24. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

Tipped & Tipsy Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-50. Sat, 5pm; Sun, 7pm. Through April 6. Last fall’s San Francisco Fringe Festival began on a high note with Jill Vice’s witty and deft solo, Tipped & Tipsy, and the Best of Fringe winner is now enjoying another round at solo theater outpost the Marsh. Without set or costume changes, Vice (who developed the piece with Dave Dennison and David Ford) brings the querulous regulars of a skid-row bar to life both vividly and with real quasi–Depression-Era charm. She’s a protean physical performer, seamlessly inhabiting the series of oddball outcasts lined up each day at Happy’s before bartender Candy — two names as loaded as the clientele. After some hilarious expert summarizing of the do’s and don’ts of bar culture, a story unfolds around a battered former boxer and his avuncular relationship with Candy, who tries to cut him off in light of his clearly deteriorating health. Her stance causes much consternation, and even fear, in his barfly associates, while provoking a dangerous showdown with the bar’s self-aggrandizing sleaze-ball owner, Rico. With a love of the underdog and strong writing and acting at its core, Tipsy breezes by, leaving a superlative buzz. (Avila)

Twisted Fairy Tales Shelton Theater, 533 Sutter, SF; www.leftcoasttheatreco.org. $15-25. Thu-Sat, 8pm. Through April 5. Left Coast Theatre Co. performs the world premiere of seven one-act LGBT-themed plays based on classic children’s stories.

The World of Paradox Garage, 715 Bryant, SF; www.paradoxmagic.com. $12-15. Mon, 8pm. Through April 7. Footloose presents David Facer in his solo show, a mix of magic and theater.

Wrestling Jerusalem Intersection for the Arts, 925 Mission, SF; www.theintersection.org. $20-30. Thu-Sat, 7:30pm; Sun, 2pm. Through April 6. Intersection for the Arts presents Aaron Davidman in his multicharacter solo performance piece about Israel and Palestine.

Yellow New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed/19-Sat/22, 8pm; Sun/23, 2pm. Playwright Del Shores (Sordid Lives, Southern Baptist Sissies) returns to his native South — while detouring from previous camp-comedy treatments — with this affirming family drama set in Vicksburg, Miss., about a progressive white couple whose marriage and family are rocked in the wake of their son’s illness. Kate (Dana Zook) and Bobby (Andrew Nance) are celebrating 19 years together. Their oldest son, Dayne (Damion Matthews), is a handsome high school senior and football star; their daughter, Gracie (Ali Haas), is his high-strung younger sister, a drama devotee in more ways than one with plans to be the next Meryl Streep. Gracie’s best friend, Kendall (Maurice André San-Chez), is an effeminate young man with a golden singing voice but a strict fundamentalist mother (Linsay Rousseau) from whom he must hide his plan to join Gracie in the school’s production of Oklahoma! Kendall’s fractured family encourages his tight orbit around Gracie’s — including Dayne, on whom Kendall has an impossible-to-disguise crush — all of whom accept the closeted, innocent youth unequivocally. But when Dayne comes down with a rare liver disease (the title has nothing to do with race, which is not explored here, but references, at a literal level, the sickly color that overcomes Dayne at one point), the seemingly ideal family itself fractures along lines of a deeply buried secret regarding his paternity. Amid their worry for Dayne’s future, and the painful dynamic opened between Kate and Bobby, Kendall’s mother moves in with proselyting zeal, alienating her son to the point of total rejection, but also adding to an already volatile tension between his adoptive parents. Helmed by New Conservatory Theatre Center’s founding artistic director, Ed Decker, the production achieves (after some initial warming up) decent performances across the cast, which, along with Shores’ careful plotting and consistent humor, helps keep this sentimental, somewhat too neat story involving until the end. (Avila)

BAY AREA

Accidental Death of an Anarchist Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Tue and Thu-Sat, 8pm (no show April 18; additional 2pm shows Thu/20 and April 17; also Sat, 2pm, but no matinee Sat/22); Sun, 2 and 7pm. Through April 20. Berkeley Rep presents comic actor Steven Epp in Dario Fo’s explosive political farce, directed by Christopher Bayes,

Arms and the Man Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $13-26. Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through April 13. Ross Valley Players perform George Bernard Shaw’s romantic comedy.

Bread and Circuses La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $20-25. Thu-Sat, 8pm; Sun, 7pm. Through April 6. Impact Theatre performs “a cavalcade of brutal and bloody new short plays” by various contemporary playwrights.

Fool For Love Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm; Sun, 2pm. Through April 6. Pear Avenue Theatre performs Sam Shepard’s iconic play, about a pair of former lovers who reunite at a lonely desert motel.

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu, 8pm; Sat, 5pm. Through April 26. Geoff Hoyle moves his hit comedy about aging to the East Bay.

The Lion and the Fox Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through March 30. Central Works performs a prequel to its 2009 hit, Machiavelli’s The Prince, which depicts a face-off between Niccolo Machiavelli and Cesare Borgia.

The Music Man Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $17-60. Thu/20-Fri/21, 7pm; Sat/22, 1 and 6pm; Sun/23, noon and 5pm. There’s trouble in River City! See it unfold amid all those trombones at Berkeley Playhouse.

Once On This Island Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through March 30. TheatreWorks performs the Tony-nominated musical about a star-crossed love affair in the tropics, inspired by Hans Christian Andersen’s The Little Mermaid.

PERFORMANCE/DANCE

“Attractive Camp” Lost Weekend Video, 1034 Valencia, SF; www.eventbrite.com. Sun/23, 8pm. $10. Stand-up comedy, sketch comedy, and short films with Greg Edwards, Sean Keane, Lydia Popovich, and others.

“Awaiting Dawn” Dennis Gallagher Arts Pavilion, 66 Page, SF; internationalsf.org/awaiting_dawn. Thu/20-Sat/22 and March 27-28, 7pm; March 29, 2pm. $10-30. The French-American International School presents this series of performances exploring the intersections of art, education, and democracy.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/22, March 30, April 6, 12, 19, and 30, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Comedy Returns to El Rio” El Rio, 3158 Mission, SF; www.brownpapertickets.com. Thu/20, 8pm. $7-20. Stand-up with Steve Lee, Bob McIntyre, Johan Miranda, Kat Evasco, and Lisa Geduldig.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: Jason Grae’s “49 1/2 Shades of Grae,” Thu/20, 8pm, $25-35; Vonda Shepard, Fri/21, 8pm, $40-55.

Flamenco Del Oro Emerald Tablet, 80 Fresno, SF; www.emtab.org. Fri/21, 8pm. $15 suggested donation. Flamenco dance and music.

“Izzies Dance Awards” Brava Theater Center, 2781 24th St, SF; www.brava.org. Mon/24, 6-8pm. Free. The 28th annual Isadora Duncan Dance Awards honors achievements by members of the Bay Area dance community, with awards for choreography, performance, visual design, and other categories.

Richard Lewis Cobb’s Comedy Club, 915 Columbus, SF; www.cobbscomedyclub.com. Fri/21, 8pm; Sat/22-Sun/23, 7pm (also Sat/22, 9:15pm). $25. The comedian performs.

“Luster: An American Songbook” Davies Symphony Hall, 201 Van Ness, SF; www.sfgmc.org. March 25-26, 8pm. $25-75. San Francisco Gay Men’s Chorus performs works by Gershwin, Porter, Ellington, and Berlin, as well as the world premiere of a tribute to Tyler Clementi.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

Mona Khan Company Garage, 715 Bryant, SF; ticketfly.com/event/475517. Sun/23 and March 30, 7:30pm (also March 30, 5:30pm). $20. The Indian contemporary dance company presents Soch, a night of vignettes.

“The Naked Stage” Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. Sat, 8pm. Through March 29. $20. BATS Improv performs a completely improvised play.

“ODC/Dance Downtown” Yerba Buena Center for the Arts Theater, 700 Howard, SF; www.ybca.org. Thu/20-Sat/22 and March 28-29, 8pm; Sun/23 and March 30, 4pm; March 26-27, 7:30pm. $20-75. The acclaimed contemporary dance company marks its 43rd season with world premiere boulders and bones, inspired by the work of artist Andy Goldsworthy, among other works.

“Paper Wing” NOHspace, 2840 Mariposa, SF; www.theatreofyugen.org. Fri/21-Sat/22, 8pm. $15-35. Sculptural costume artist Sha Sha Higby presents a new solo performance.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“Sausage Fest Comedy Show” Club OMG, 43 Sixth St, SF; www.clubomgsf.com. Tue/25, 8pm. $10. Charlie Ballard hosts this night of shirtless comedy, with Mark Smalls, Hayden Greif-Neill, Mark Burg, Noah Gain, and others.

Sidra Bell Dance New York Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. Fri/21-Sun/23, 8pm. $12-20. The NYC-based movement arts company performs garment and STELLA as part of its San Francisco season.

“Silenced” and “The CONTACT Project” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thu/20-Sat/22, 8pm; Sun/23, 2pm. Counterpulse’s Artist Residency Commissioning Program presents a double bill by its winter residents. Dancer-choreographer Charya Burt’s Silenced blends traditional and modern dance as well as live music in a pointed homage to Cambodian pop star Ros Sereysothea, an iconic face and voice of the swinging Cambodian Sixties who ended up among the two million Cambodians murdered during the genocide under Pol Pot and the Khmer Rouge (1975–1979). Backed by dancers Sandra Ruano and Ravy Mey and guitarist Nahuel Bronzini, Burt creates charming moments within a limited narrative arc, embodying in dance and song the artistry and resilience of her subject, who brought Cambodian sensibilities to Western popular musical forms. An enveloping montage of archival images by video designer Olivia Ting and a period score of Sereysothea’s hits supplemented by composer Alexis Alrich add further context and atmosphere. Choreographer Krista DeNio’s The CONTACT project reconfigures the theater space in an intimate exploration of the experiences and perspectives of male and female American military veterans. Created in collaboration with the performers (Daniel Bear Davis, Sonia Decker, Katarina Eriksson, Remi Frazier, Stephen Funk, Hope Hutman, Daniel Lippel, William McQueen, Utam Moses, Susan Pfeffer, Misty Rose Snyder, and Tina Taylor), some of whom are actual veterans, the piece is perhaps necessarily jagged in shape and execution, but DeNio offers connective tissue in the form of group movement and staging. Some of this brings audience members into the fold and even literally following in the steps of the vets, here the subjects and agents of an artificial and unraveling conformity. The emphasis on validating the personal experience of veterans is a political act in itself, and can make for some emotionally potent moments, although the rough balance strived for here can also inhibit a more rigorous political understanding and critique of ever-expanding American militarism. (Avila)

“Sister Spit 2014” Elbo Room, 647 Valencia, SF; www.radarproductions.org. Wed/19, 8pm. $10. Also Thu/20, 8pm, free, Mills College, Student Union, 5000 MacArthur, Oakl. Also Fri/21, 8pm, $10, Rock Paper Scissors Collective, 2278 Telegraph, Oakl. Michelle Tea hosts the 2014 “spring fling” performances by the groundbreaking queer and feminist literature series. Performers include Rhiannon Argo, Dia Felix, Chinaka Hodge, Beth Lisick, Jerry Lee Abram, and Virgie Tovar, plus special guests.

“Sorya! 2014: We Are Still At It” NOHspace, 2840 Mariposa, SF: www.brownpapertickets.com. Sat/22-Sun/23, 2pm; Mon/24, 7pm. Theatre of Yugen presents its 35th anniversary season with a performance by founder Yuriko Doi in the kyogen play Kawakami.

BAY AREA

“Fleetwood Mask: The Ultimate Tribute to Fleetwood Mac” Live Oak Theatre, 1301 Shattuck, Berk; www.theatrefirst.com. Sat/22, 8pm; Sun/23, 2pm. $30. Theatrical tribute to the iconic rock band.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

Pilobolus Marin Veterans’ Memorial Auditorium, 10 Avenue of the Flags, San Rafael; www.marincenter.org. Sat/22, 8pm. $20-75. The dance company performs an eclectic program of past work and three Bay Area premieres.

“Poetry Express” Himalayan Flavors, 1585 University, Berk; poetryexpressberkeley.blogspot.com. Mon, 7pm. Free. Ongoing. This week: Ambrose Mohler, plus open mic. *

 

On the Rise: Meklit Hadero

Steven T. Jones
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On the Rise: Meklit Hadero

How to describe a Meklit Hadero performance? Warm, bluesy upright bass; bright trumpet and saxophone. Elements of classic ’60s folk by way of acoustic guitar, a lean toward R&B and soul, lyrics that blend personal and political, the intimate and the universal. The unmistakable influence of the music of Ethiopia — the singer’s country of birth — shapes her music as it darts between genres. But what sucks you in, what keeps your eyes and ears locked on Meklit, what makes an unselfconscious Damn start to grow at the back of your mouth is her voice: Lilting, sensuous, capable of the leap from staccato jazz-cat to honeyed songbird, she conveys both fragility and great strength in a single line.

Meklit, who often goes by her first name, grew up in Washington DC, Iowa, Brooklyn, and Florida after her family moved to the US when she was just shy of two years old. Throughout the moves, she was always singing. “As a kid I saw two paths…[one] that led to a kind of cult of fame, which wasn’t really my thing. The second path was a more academic approach to music, which I also didn’t like,” she says. “I was interested in music that engaged with the world around it, and artists who were cultural voices that mattered.”

She didn’t begin making music professionally until moving to San Francisco, however, post-Yale, at age 24. Here, she found an artists’ community that was “still reeling from the first dot-com bust,” with “artists picking up the slack and making noise with all sorts of street-level organizing.” The Red Poppy Art House and the Mission Arts and Performance Project both served as launching pads for her live performances, which led to recording. Ten years later, she’s been a TED Global Fellow, served as an artist-in-residence at NYU, and completed musical commissions for the San Francisco Foundation and the Brava Theatre.

Meklit’s second full-length album, We Are Alive, has her backed by Darren Johnston on trumpet, Lorca Hart on drums, and Sam Bevan on bass. The record is currently garnering critical praise from NPR, USA Today, and other national media hot-shots, and the year is shaping up to be a busy one — in addition to touring North America and traveling to Rio for a TED conference, Meklit will be working on an arts installation with YBCA called “Home (Away From) Home” with Ethiopian and Eritrean artists based in the Bay Area. We in the Bay Area also get her record release show, at Great American Music Hall on April 2.

Influences: Caetano Veloso taught me that you could write a song about anything, Aster Aweke taught me that the human voice can express absolutely any emotion if you lead it the right way. Michael Jackson taught me that you can create an entire dance style all on your own. Nina Simone taught me that the raw moments are what stay with people once the song is done. Miles Davis taught me to never sit still and sit on a sound that is bring you success. Keep moving! John Coltrane taught me that you can hear when sound comes from intense inner searching. David Byrne taught me that a little humor and absurdity goes along way.

The first album I ever loved was Michael Jackson’s Thriller. I remember being four years old and dancing to it in the living room of our tiny Iowa apartment. I really wore the entire record out. I even wrote a fan letter to MJ when I was five. It took more than a year but his fan club wrote back.

Weirdest/coolest thing that’s happened at a show? In 2011, I went on a tour of Ethiopia with my band. We were performing at the foot of the ancient castles in Gondar, with electricity borrowed from the local Red Cross. It had been storming all day long and the power in the whole city suddenly went down. Folks started driving their cars with the headlights on to light the stage. The sense of possibility was palpable. My cousin, emcee Gabriel Teodros, climbed on top of another car and begin rapping to the crowd from there. Suddenly, the electricity was back, the crowd went wild, and the band continued to play. That was pretty epic.

www.meklitmusic.com

On the Rise

Steven T. Jones
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On the Rise

>> MEKLIT HADERO
>> CATHEDRALS
>> USELESS EATERS
>> ANNIE GIRL & THE FLIGHT
>> TONY MOLINA
>> NU DEKADES
>> ASTRONAUTS, ETC.
>> FRICTION QUARTET
>> MAJOR POWERS & THE LO-FI SYMPHONY
>> AVALON EMERSON
>> ROCKY RIVERA

Have you heard the news? Bohemia is dying. All the musicians are leaving San Francisco. Our favorite venues and dingy little clubs are all closing up shop, and being replaced by artisan cocktail bars filled with Google Glasses and reclaimed wood toilet seats.

OK, so some of that is true. The music scene is changing, to be sure; how could it not, with the influx of wealth over the past few years? Yes, we’re sad about Cafe du Nord. Yes, we’re worried about the Elbo Room.

What’s also true: We still have one of the richest musical histories anywhere in the world, and artists aren’t going to stop flocking here anytime soon. One glance at our listings section will tell you there’s live music to be found every single night of the week, and San Francisco’s small size relative to its population — a major factor in the current wave of gentrification and the state of the real estate market — also means that the vast array of genres here, and the communities that exist around different music scenes, all hum along pretty much on top of each other.

In one night, you could take in a jazz jam session in the Haight, a hardcore band in the outer Mission, an Irish folk quartet in North Beach, a synthwave producer in SoMa, a hip-hop show in the Western Addition, and, um, Macaulay Culkin’s pizza-themed Velvet Underground tribute band in the Richmond. (I’ve done all of these recently, and I only regret that last one.) That’s not even touching on the East Bay, which — despite being pronounced almost like an epithet in the city lately, as in “Everyone’s having to move to the East Bay” — is arguably fostering some of the most interesting, nascent micro-scenes in music right now.

With that in mind, we at the Guardian set out to pick 10 artists that we thought deserved our attention in the coming year. We couldn’t narrow it past 11. (Click that first photo up there for a slideshow.) This year’s On the Rise acts come from so many different worlds, have been inspired by so many different artists — Freddie Mercury, MC Lyte, and the 19th century composer Hector Berlioz all make appearances, to give you a taste — and, unsurprisingly, they all make incredibly different kinds of music. Some of these artists are Bay Area natives; some were born on other continents. What they have in common (aside from talent) is a love of this place, its people, its weirdness, and yes, its challenges.

We love them back. And we don’t plan on letting them go anywhere else anytime soon.

Last chance for Marcus Books, part of SF’s black history

Michael Redmond
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OPINION

It’s taken decades, but the Mahattanization of San Francisco is nearly complete: The immigrants, artists, and natives who built the City and gave it its unique flavor can no longer afford to live here.

With San Francisco’s African American population largely banished to across the bay, along with the working and artists classes, the freethinking lifestyle that attracted so many people to the Bay Area in the first place has largely been and gone.

“What is crucial, is whether or not the country, the people of the country, the citizenry, is able to recognize that there is no moral distance between the facts of life in San Francisco, and the facts of life in Birmingham,” James Baldwin said on a fact-finding trip to San Francisco in 1963, at the height of the Civil Rights Movement, a time at which he would have also visited Marcus Books.

If buildings could talk, the Marcus Books property on Fillmore Street, the onetime “Harlem of the West,” would tell a tale of two cities for over 50 years. Once the jazz club Bop City (where John Coltrane, Charles Mingus, and Billie Holiday performed), the purple Victorian is central to a neighborhood that survived the internment and return of its Japanese American residents, a botched “redevelopment” project that resulted in the permanent displacement of African Americans, and a blueprint for a “Jazz District” that failed to launch.

Now the neighborhood faces a final act as the oldest seller of books “by and about black people” attempts to uphold a part of the history and culture it had a hand in creating, while the City looks away and toward tech as its future.

Every black writer and intellectual in the US knows the store; celebrities, activists, athletes, and literary giants — including Malcolm X, Rosa Parks, Muhammad Ali, Walter Mosely, Alice Walker, Oprah Winfrey, and Toni Morrison — have all passed through the doors of the San Francisco or Oakland stores.

Founded by Julian and Raye Richardson in 1960, their store served as a sanctuary for thinkers, authors, and community members during watershed moments, from the Voting Rights Act through the Black Power Movement and historic SFSU student strike in 1968 (resulting in the establishment of multicultural study programs which flourish at universities today).

Many of San Francisco’s African American faith, civic, arts, and culture leaders were educated through the program at State, either by the Richardsons or the books they stocked at Marcus. The Richardson family continues that tradition today at the bookstore, engaging visitors in discussions on the journey from Jim Crow to the first black president .

Yet for the past year, Marcus Books has struggled to survive. Community activists, elected supervisors, and appointed commissioners helped attain landmark status for the historic building, while attorneys brokered a buyback after the property was sold at auction and a fundraising effort was launched in December (see “Marcus Books can stay if it can raise $1 million,” SFBG Politics blog, Dec. 5). To contribute, visit www.gofundme.com/6bvqlk.

Marcus is not the only community-serving bookseller forced into crowdfunding and community organizing, diverted from its core mission to enlighten and educate. If a city’s bookstores are any indication of its cultural diversity and intellectual health, San Francisco is on the critical list.

The City’s last gay bookstore, A Different Light, was laid to rest three years ago; while our most progressive political book outlet in the Mission District, Modern Times, is on the brink (see “A Modern tragedy,” Jan. 7). A similar fate for Marcus Books would mean the end to a longstanding black-owned business in the Fillmore.

It seems “The City That Knows How” has forgotten where it came from. Baldwin’s 1963 quote may’ve been specifically about racist ways and laws, but a blow to Marcus Books could mean his message remains the same: San Francisco’s reputation as a kindly city of love, tolerance, and diversity will be forever tarnished; in fact, it may have been false advertising all along.

Denise Sullivan is the author of Keep on Pushing: Black Power Music From Blues to Hip Hop.

Democracy for none

Michael Redmond
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Democracy for none

Democracy is dead at City College of San Francisco. At least, that’s what student protesters allege.

At a rally on March 13, over 200 student and faculty protesters marched at City College’s main campus to call for the resignation of state-appointed Special Trustee Robert Agrella. When City College was told it would soon close, the city-elected Board of Trustees was removed from power, and the state gave Agrella the power to make decisions unilaterally.

Agrella is not beholden to board rules, and now makes policy decisions behind closed doors: No public meetings are held and no public comments are solicited.

His decisions have proved controversial. Students are concerned that fast-tracked decision-making and new billing policies will create new barriers for students with few other educational options. But with no public forum to express their outrage, students took to the pavement.

The protesting students were met by police aggression, and in the aftermath of the clash two students were arrested — one was pepper sprayed, and the other suffered a concussion, allegedly at the hands of a San Francisco Police Department officer.

Both SFPD and CCSF police were on hand for the protest.

Controversy is now swirling around Agrella, school administrators, and the students involved. But lost among questions about police violence are larger policy concerns. When will democracy, that critical right to have a say in significant decision-making on campus, return to City College?

Critics say City College is compromising its core mission in its fight to remain open and accredited, slashing access for students and curtailing democracy in the name of reform.

“To be excluded and ignored and disenfranchised is simply unacceptable,” said faculty union president Alisa Messer.

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BEFORE YOU READ ON: Check out our beta multimedia version of this story.

(Or you can read the plain text version below)

PEPPER SPRAYED AND INJURED

The protest began as students marched across City College’s main campus in an open space designated by college officials as a “free speech zone.” They headed toward an administrative office building, Conlan Hall, where students freely conduct business every day. However, the administration locked the doors on the protesters.

In response, the students inside unlocked them. When the protesters tried to enter this public building, they were met with resistance from campus police and the SFPD.

Otto Pippenger, 20, who was at the front of the protest, was dragged to the ground by multiple officers and allegedly punched in the head by an SFPD officer, an incident caught on video and recalled in eyewitness accounts.

His mother, Heidi Alletzhauser, told the Bay Guardian that Pippenger had since received medical attention. She said he’d suffered a concussion, contusions from where his head hit the concrete, injuries to both wrists, and broken blood vessels in his right eye.

Dimitrios Philliou, 21, was tackled to the ground and pepper sprayed in the face. In a video interview shortly after the incident, he recalled what happened.

“I asked [officers] what law I broke and neither could give me an explanation. They proceeded to tackle me to the ground,” he said.

In the end, Philliou was charged with misdemeanor “returning to school,” described as trespassing by the Sheriff’s Department. Pippenger was charged with two misdemeanors: resisting arrest and battery on emergency personnel.

The students were released the following morning (March 14), before sunrise. Philliou was issued a citation and released, and Pippenger made bail and was released, according to the San Francisco Sheriff’s Department.

The City College faculty union raised over $1,000 towards Pippenger’s $23,000 bail. He will face arraignment March 19, two days after the Bay Guardian goes to press.

In an emailed statement, City College Chancellor Arthur Q. Tyler described the clash between protesters and police as the fault of the protesters who tried to enter the building.

“I am saddened to see students engaging in violent outbursts,” he wrote.

City College spokesperson Peter Anning said the school regretted the actions of the most violent officers. “There was one police officer with the SFPD, not [City College Police], whose behavior was more forceful than need be,” he said.

Philliou said he just wanted to be heard.

“We just want to have a conversation with Bob Agrella,” he said in a video interview with the college’s newspaper, The Guardsman. “It’d be nice if he would talk to us, like a real human.”

But so far, the students have been met with silence.

 

DEMOCRACY NOW

Agrella does not hold public meetings or take public comment on his decisions, but he posts public agendas in accordance with the California Brown Act. In the past, he’s called these posted agendas “meetings,” and dubbed email feedback as “public comment.”

Messer was critical of the practice. “Apparently these meetings are happening in the special trustee’s head,” she said, “and an email counts as public comment. No one agrees that [email] comment is public.”

In the past, public comment has meant speaking aloud at a meeting in a room where not only could everyone hear you, but every word was broadcast on television and on the web.

City College Board of Trustee public meetings used to be archived online for the world to see. Now only Agrella’s eyes see the concerns of the college community.

Pressed on whether these agendas and emails could count as public meetings, City College spokesperson Larry Kamer said, “I can’t answer that question because you’re getting into matters of legal interpretation. I’m not a lawyer.”

The Board of Trustee’s meetings were not always the most shining examples of democracy, he said.

“When Dr. Agrella was appointed as special trustee with extraordinary powers, it was precisely for the purpose of expediting decision making,” Kamer said. “The idea of expedited decision making and board meetings that go until one or two in the morning are usually incompatible.”

But City College Trustee Rafael Mandelman said some of the tension around the changes at City College could be diffused by letting the public vent, well, in public.

“I’d much rather have people jumping up and down in public comment than having an assault at Conlan Hall,” he said.

At a City Hall hearing held by Sup. David Campos the day after the protest, many students decried a loss of democracy at the school. Campos will soon introduce a resolution to the Board of Supervisors calling for the reinstatement of the City College Board of Trustees.

Students’ concerns about the college, voiced at rallies instead of public forums, have proven as diverse as the students themselves.

 

THE COLLEGE TRANSFORMS

The same day protesters clashed with police at the main campus, Chinese Progressive Association lead activist Emily Ja Ming Lee led a student protest at the college’s Chinatown Campus.

The population there is traditionally older, with fewer English speakers than the general student body.

“We’re worried about the impact on the immigrant communities, the free English as Second Language classes, and vocational training,” Lee told the Guardian. “We partner with City College to run a hospitality training program so immigrant workers can get good jobs. We’re concerned about how City College will serve its immigrant workers.”

That concern has been intensified by a new restrictive billing policy that’s impacting lower income students.

The school has started to require up-front payment for classes, rather than billing students later. The change may shore up the college’s bank account in the short term, but many financially strapped students dropped their classes due to an inability to pay.

Itzel Calvo, a student who is an undocumented citizen, said at the City Hall hearing, “I was not able to enroll in classes this semester unless I paid thousands of dollars in tuition up front, even before the classes started. I can’t afford that.”

The Chinese Progressive Association has also raised concerns about changes to the college’s educational plan.

Over the course of four months, City College will formulate an educational plan to determine which classes deserve funding, and which don’t. This process usually takes a year. But with the accelerated process and lack of outreach, Lee’s worried that English language learners and vocational students will be sidelined.

“Our students don’t fit into a traditional model of what community colleges look like,” she said. “They’re not looking to transfer to a four-year university, necessarily.”

Focusing on transfer students moving from community colleges to four-year universities is part of a state policy known as the Student Success Initiative. In a lawsuit against the Accrediting Commission for Community and Junior Colleges, City Attorney Dennis Herrera alleges that the ACCJC’s agenda of pushing this initiative was the driving force behind trying to close City College.

The college’s students rallied against those changes for years. Yet Agrella is enforcing the Student Success Initiative. “My job is to play within the rules and regulations of the ACCJC,” he told the Guardian in an interview a few months back.

On campus, concern is growing that changes made to appease the ACCJC may disenfranchise City College students in greater numbers. But worst of all, without public meetings or public comment, the college’s students may not get a chance to advocate against those changes before it’s too late.

Win tickets to the World Premiere of Maya Beiser’s All Vows

Maria Poblet
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Win tickets to the World Premiere of Maya Beiser’s All Vows

“Sensual…with rock-star magnetism.” — The Philadelphia Inquirer

“With virtuoso chops, rock-star charisma, and an appetite for pushing her instrument to the edge of avant garde adventurousness, Maya Beiser is the post-modern diva of the cello.” — The Boston Globe

Maya Beiser has captivated audiences worldwide with her virtuosity, eclectic repertoire, and relentless quest to redefine the boundaries of her instrument. Inspired by the Jewish tradition of atoning for one’s sins by asking God for forgiveness, her new program All Vows goes to that juncture where spiritual and traditional culture meet contemporary, urban, and popular culture.

A founding member of the new music ensemble the Bang on a Can All-Stars, Maya has collaborated with Brian Eno, Philip Glass, Mark O’Connor, Steve Reich, Trent Reznor of Nine Inch Nails, and Tan Dun (Crouching Tiger Concerto), among many others. As a soloist, her appearances on some of the worlds’ most prestigious stages, including the Sydney Opera House, New York’s Lincoln Center and Carnegie Hall, and London’s Barbican, have brought her worldwide acclaim. A featured speaker and performer at the 2011 TED conference, her popular TEDTalk has since garnered over half a million views on YouTube.

In her newest production, All Vows, Beiser explores the dichotomy between the physical, external world we inhabit and the inner landscape of our secret selves. Get more info at ybca.org.

Enter to win here. Contest ends tonight (March 18) at midnight. Good luck!

 

Friday, March 21 – Saturday, March 22 at 8pm @ YBCA Forum, 701 Mission, SF

Regular: $30 in Advance / $35 at the Door
Student, Senior, Teacher: $25 in Advance / $30 at the Door
YBCA Members: $25; YBCA:You FREE
Post-show Q&A on Friday, March 21 moderated by Steven Schick

Clean Up The Plaza run by political consultant with ties to developers

Sasha Cuttler
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Clean Up The Plaza run by political consultant with ties to developers

Neighborhood and progressive political activists have long been suspicious of the shadowy Clean Up The Plaza campaign and its possible connections to a massive housing development proposed for 16th and Mission streets — and the Guardian has now confirmed that developer-connected political consultant Jack Davis is playing a key role in that campaign.

Asked by the Guardian whether he is being paid by the developers — Maximus Real Estate Partners, which has submitted plans to build a 10-story, 351-unit housing complex overlooking the 16th Street BART plaza — Davis told the Guardian, “That’s between me and the IRS.”

Our exchange with Davis and Gil Chavez, a Davis roommate who runs the Clean Up The Plaza campaign, occurred yesterday outside the LGBT Center where they and three other campaign workers (who refused to speak to us) were promoting their cause and collecting signatures on petitions calling for crackdowns on the plaza before the debate inside between Assembly District 17 candidates David Chiu and David Campos.

Clean Up The Plaza has been refusing to return calls from the Guardian or other local journalists for months, and the group hasn’t filed any paperwork with the San Francisco Ethics Commission in association with its political fundraising or lobbying efforts.

Asked about the group’s relationship with the project developers, Chavez told us, “They’re in communication with us and we’re in communication with them, but they haven’t funded us.” Asked who paid for the group’s website, mailers, window signs, and other expenses, Chavez said it was him and other donors that he wouldn’t identify.

Davis has been the go-to political consultant on big campaigns backed by real estate interests in San Francisco, working on the successful mayoral campaigns of Frank Jordan, Willie Brown, and Gavin Newsom, as well as a number of high-profile development projects, including the 1996 ballot measure approving construction of AT&T Park.

He and Chavez say they live together in the neighborhood and their only motivation in running the group is improving public safety. “I’m happy to to talk about what Clean Up The Plaza is,” Davis told us. “I live at 17th and Mission and I’ve been mugged.”

But housing activist Sara Shortt of the Housing Rights Committee isn’t buying it, calling the group “a fake grassroots campaign that is misleading this community.”

“If you didn’t know Jack Davis’ history in politics in San Francisco, you might be able to take that at face value,” Shortt said of Davis’ claims to be simply a concerned citizen. “Given his ties to big developers, it’s not very believable.”

Willie Brown even heralded Davis’ return to political work two years ago in his San Francisco Chronicle column, entitled “Political consultant Jack Davis back on S.F. scene,” writing that he has returned to local political circles following a hiatus in Wales the previous few years.

“You political types, be warned. Jack Davis is back in town,” the column began, ending with, “I think that after watching from the sidelines for a while, he’s ready to return. Can’t wait to see whom he decides to work for. Stay tuned.”

Is Davis working on fake grassroots campaign designed to smooth the way for a massive gentrifying housing projects in one of the city’s last remaining neighborhoods that still welcomes poor people? Stay tuned.

San Francisco Ethics Commission Director John St. Croix told the Guardian that the group should be registered if it has raised more than $1,000 or if it is lobbying at City Hall — indeed, the group has boasted on its website of efforts to influence Campos and other city officials to increase police patrols and cleansing of the plaza — particularly if it is being paid by a third party to do so.

“If they’re lobbying, obviously we want to know,” St. Croix told us, saying that he planned to personally follow-up with the group on its activities.

Davis denies that the group is in violation of any disclosure laws, claiming it is simply a small neighborhood group, and he referred our inquiries to the group’s attorney, James Perrinello, a partner at the high-powered and politically connected law firm of Nielson Merksamer Parrinello Gross & Leoni, who hasn’t yet returned our calls.

For more on Clean Up The Plaza and other campaigns to “clean up” poor neighborhoods as a precursor to gentrification and market rate housing development — including the ongoing efforts to do so in the Tenderloin and Mid-Market areas — read next week’s Bay Guardian. 

[UPDATE 3/18: Former Guardian Editor/Publisher Tim Redmond’s 48 Hills site just posted a long report by reporter Julia Carrie Wong that includes an admission by Davis that he is indeed a paid consultant for Maximus, as well as interesting conflicting statements from Maximus and Chavez about a meeting they held. Check it out.] 

Music Listings: March 19-25, 2014

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WEDNESDAY 19
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. Yellow Ostrich, Pattern Is Movement, Paint the Trees White, 9pm, $12-$14.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Thumpers, Solwave, 9pm, $10.
The Chapel: 777 Valencia, San Francisco. Sam Roberts Band, Kris Orlowski, 9pm, $15-$18.
Hemlock Tavern: 1131 Polk, San Francisco. Hellbeard, Serial Hawk, Sludgebucket, 8:30pm, $7.
The Knockout: 3223 Mission, San Francisco. Terra Moans, The Krypters, My Name Is Joe, 9:30pm, $6.
Slim’s: 333 11th St., San Francisco. Me First & The Gimme Gimmes, La Plebe, The Joey Show, DJ Big Nate, 9pm, sold out.
Thee Parkside: 1600 17th St., San Francisco. Spirit Caravan, Pilgrim, Waxy, 8pm, $15.
DANCE
Beaux: 2344 Market, San Francisco. “BroMance: A Night Out for the Fellas,” 9pm, free.
The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8pm, free.
Club X: 715 Harrison, San Francisco. “Electro Pop Rocks: EPR’s Spring Break,” 18+ dance night with Frank Nitty, D Menis, DJ Audio1, more, 9pm
DNA Lounge: 375 11th St., San Francisco. Go Chic, Blok, Violent Vickie, 9pm, $10-$12.
F8: 1192 Folsom, San Francisco. “Housepitality,” w/ Kenneth Scott, Max Gardner, Sean Murray, Tony Watson, 9pm, $5-$10.
Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10pm
Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7pm, free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9pm, free.
Make-Out Room: 3225 22nd St., San Francisco. “Burn Down the Disco,” w/ DJs 2shy-shy & Melt w/U, Third Wednesday of every month, 9pm, free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10pm, free.
Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9pm, $3.
Showdown: 10 Sixth St., San Francisco. “Nokturnal,” w/ DJs Coyle & Gonya, Third Wednesday of every month, 9pm, free.
HIP-HOP
Neck of the Woods: 406 Clement, San Francisco. “Over the Hump,” w/ Children of the Funk, 10pm, free.
Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9pm, $5.
ACOUSTIC
Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7pm, free.
Hotel Utah: 500 Fourth St., San Francisco. Jeb Havens & Tawnee Kendall, Lee Aulson, 8pm, $10.
Plough & Stars: 116 Clement, San Francisco. Michael Mullen, 9pm
The Rite Spot Cafe: 2099 Folsom, San Francisco. Goh Nakamura, 9pm, free.
JAZZ
Balancoire: 2565 Mission, San Francisco. “Cat’s Corner,” 9pm, $10.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6pm, free.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Jack Mosbacher Duo, 8pm
Club Deluxe: 1511 Haight, San Francisco. Patrick Wolff Quartet, 9pm, free.
Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Fran Sholly, 8pm
Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30pm, $5.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Four80East, Matt Marshak & Marcus Anderson, 8pm, $21.
Zingari: 501 Post, San Francisco. Chris Duggan, 7:30pm, free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Baobab!,” timba dance party with DJ WaltDigz, 10pm, $5.
Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7pm, $5-$10.
The Independent: 628 Divisadero, San Francisco. Ana Tijoux, Kumbia Queers, Como Asesinar a Felipe, 9pm, $15.
Pachamama Restaurant: 1630 Powell, San Francisco. Cafe Latino Americano, 8pm, $12.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Tommy Odetto, 7:30 & 9:30pm, $15.
Pier 23 Cafe: Pier 23, San Francisco. Wendy DeWitt, 6pm, free.
The Saloon: 1232 Grant, San Francisco. Craig Horton, 9:30pm
SOUL
Monarch: 101 Sixth St., San Francisco. “Color Me Badd,” coloring books and R&B jams with Matt Haze, DJ Alarm, Broke-Ass Stuart, guests, Wednesdays, 5:30-9:30pm, free.
The Royal Cuckoo: 3202 Mission, San Francisco. Freddie Hughes & Chris Burns, 7:30pm, free.

THURSDAY 20
ROCK
Boom Boom Room: 1601 Fillmore, San Francisco. Lonesome Locomotive, Twin Engine, 9:30pm, $5-$7.
Bottom of the Hill: 1233 17th St., San Francisco. Skaters, Team Spirit, Panic Is Perfect, 9pm, $10-$12.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. CAAMFest Directions in Sound: Korean Showcase, w/ Love X Stereo, Rock n Roll Radio, Glen Check, No Brain, Kero One (host), DJ Relic, 9pm, $20.
DNA Lounge: 375 11th St., San Francisco. Truckfighters, Crobot, The Devil in California, Blackwülf, 8:30pm, $10-$12.
Hemlock Tavern: 1131 Polk, San Francisco. Nubs, Atlantic Thrills, Scraper, 8:30pm, $7.
Hotel Utah: 500 Fourth St., San Francisco. The English Language, The Lolos, 9pm, $8.
The Knockout: 3223 Mission, San Francisco. Iron Chic, The Shell Corporation, Civil War Rust, 10pm, $8.
Milk Bar: 1840 Haight, San Francisco. Haight-Ashbury Street Fair Fundraiser: Battle of the Bands #1, w/ Kingsborough, Battery Powered Grandpa, High & Tight, Them Creatures, 9pm, $5.
Rickshaw Stop: 155 Fell, San Francisco. “Popscene,” w/ The Lonely Forest, Semi Precious Weapons, Breakdown Valentine, DJ Aaron Axelsen, 9:30pm, $10-$12.
S.F. Eagle: 398 12th St., San Francisco. The Whoa Nellies, Muñecas, Thith, 9pm, $5-$7.
Slim’s: 333 11th St., San Francisco. The Sword, Big Business, O’Brother, 8pm, $21.
The Stud: 399 Ninth St., San Francisco. Starbeast II, Grendel’s Claw, Kurly Something, 9pm, $5.
Thee Parkside: 1600 17th St., San Francisco. Disappearing People, Wreck & Reference, Hollow Sunshine, So Stressed, 9pm, $8.
DANCE
1015 Folsom: 1015 Folsom, San Francisco. Autojak’d Tour, w/ Autoérotique, Uberjak’d, Frank Nitty, Krishna Lee, DJ Audio1, 10pm, $10 advance.
Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10pm, free.
Beaux: 2344 Market, San Francisco. “Men at Twerk,” 9pm, free.
The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9pm, $5.
Cat Club: 1190 Folsom, San Francisco. “Class of 1984,” ’80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9pm, $6 (free before 9:30pm).
The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10pm, $5.
Club X: 715 Harrison, San Francisco. “The Crib,” 9:30pm, $10, 18+.
DNA Lounge: 375 11th St., San Francisco. Go Gold, Childhood cancer research benefit party with Lazy Rich, Paul Anthony, DJ Denise, Forest Green, Carlos Alfonzo, Ross.FM, John Beaver, Infected Frequencies, The Doctor, Arize, Adept, and more., 8pm, $15-$20.
Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and guests, 9:30pm, $5-$8.
F8: 1192 Folsom, San Francisco. “Beat Church,” w/ resident DJs Neptune & Kitty-D, Third Thursday of every month, 10pm, $10.
Harlot: 46 Minna, San Francisco. Bloody Mary & Jozif, 9pm, free.
The Independent: 628 Divisadero, San Francisco. Break Science, ChrisB., 9pm, $15-$17.
Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10pm, $10.
Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9pm, $5 after 10pm
Mezzanine: 444 Jessie, San Francisco. “House of Mezzanine,” w/ Marc “MK” Kinchen, Matrixxman, Epicsauce DJs, 9pm, $10.
Monarch: 101 Sixth St., San Francisco. “Hey Young World,” w/ Soul Clap & Nick Monaco, 9:30pm, $15 advance.
Public Works: 161 Erie, San Francisco. “Deep Blue,” w/ Marco Carola, Rooz, Bo, 9pm, $15-$25.
Raven: 1151 Folsom, San Francisco. “1999,” w/ VJ Mark Andrus, 8pm, free.
Ruby Skye: 420 Mason, San Francisco. “Awakening,” w/ GTA, What So Not, 9pm, $25-$35 advance.
Underground SF: 424 Haight, San Francisco. “Bubble,” 10pm, free.
Vessel: 85 Campton, San Francisco. “Base,” w/ H.O.S.H., 10pm, $5-$10.
HIP-HOP
Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9pm, free.
Showdown: 10 Sixth St., San Francisco. “Tougher Than Ice,” w/ DJs Vin Sol, Ruby Red I, and Jeremy Castillo, Third Thursday of every month, 10pm
ACOUSTIC
Amoeba Music: 1855 Haight, San Francisco. Chuck Ragan, 6pm, free.
Atlas Cafe: 3049 20th St., San Francisco. Bermuda Grass, 8pm, free.
Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7pm
The Chapel: 777 Valencia, San Francisco. Bear’s Den, 9pm, $12-$15.
Plough & Stars: 116 Clement, San Francisco. John Caufield, 9pm
The Rite Spot Cafe: 2099 Folsom, San Francisco. Devine’s Jug Band, 8pm, free.
JAZZ
Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30pm, free.
Cafe Claude: 7 Claude, San Francisco. Nova Jazz, 7:30pm, free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, First and Third Thursday of every month, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30pm
The Lucky Horseshoe: 453 Cortland, San Francisco. Ralph Carney’s Serious Jass Project, 9pm
Pier 23 Cafe: Pier 23, San Francisco. Citizen’s Jazz, 7pm, free.
The Royal Cuckoo: 3202 Mission, San Francisco. Charlie Siebert & Chris Siebert, 7:30pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with David Byrd, 7pm, $5.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30pm, $10.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. NaJe, in Yoshi’s lounge, 6:30pm, free.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30pm
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10pm, $5.
Cafe Cocomo: 650 Indiana, San Francisco. VibraSÓN, El DJ X, 8pm, $12.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Carlitos Medrano Quartet, 8pm
Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8pm
Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9pm, $10-$15.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Dudu Tassa & The Kuwaitis with Yair Dalal, 8pm, $30-$32.
REGGAE
Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9pm, free.
BLUES
50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30pm, free.
Biscuits and Blues: 401 Mason, San Francisco. Bill Magee, 7:30 & 9:30pm, $20.
The Saloon: 1232 Grant, San Francisco. Chris Ford, Third Thursday of every month, 4pm; Cathy Lemons, 9:30pm
COUNTRY
The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7pm, free.
EXPERIMENTAL
The Luggage Store: 1007 Market, San Francisco. Gosling, Gestaltish, 8pm, $6-$10.
SOUL
Amnesia: 853 Valencia, San Francisco. Baby & The Luvies, The Ironsides with Gene Washington, 8pm, $7-$10.
Make-Out Room: 3225 22nd St., San Francisco. “Soul: It’s the Real Thing,” w/ The Selecter DJ Kirk & Jon Blunck, Third Thursday of every month, 10pm, free.

FRIDAY 21
ROCK
50 Mason Social House: 50 Mason, San Francisco. Spidermeow, Shot in the Dark, Gnarboots, Be Brave Bold Robot, The Bottle Kids, 8pm
Bottom of the Hill: 1233 17th St., San Francisco. Guy Fox, Big Tree, The Districts, Young Moon, 8:30pm, $10-$12.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. The Family Crest, Milagres, 9pm, $12-$14.
The Chapel: 777 Valencia, San Francisco. Bart Davenport, Danny James, Anna Hillburg, DJ Robert Spector, 9pm, $12-$15.
El Rio: 3158 Mission, San Francisco. Friday Live: The Ghost Ease, DJ Emotions, 10pm, free.
Elbo Room: 647 Valencia, San Francisco. The Asteroid No. 4, Joel Gion & The Primary Colors, Daydream Machine, DJ Jodie Artichoke, 9:30pm, $5-$8.
Hemlock Tavern: 1131 Polk, San Francisco. Rykarda Parasol, The Tunnel, So What?, 9pm, $8.
Hotel Utah: 500 Fourth St., San Francisco. JoyCut, Running in the Fog, Feral Fauna, 9pm, $10.
Milk Bar: 1840 Haight, San Francisco. The Belle Game, Ski Lodge, Lords of Sealand, 9pm, $8-$10.
Neck of the Woods: 406 Clement, San Francisco. Heavenly Beat, Seatraffic, Survival Guide, on the upstairs stage, 9pm, $10-$12.
Rickshaw Stop: 155 Fell, San Francisco. Perfect Pussy, Wild Moth, Happy Diving, 9pm, $10-$12.
The Riptide: 3639 Taraval, San Francisco. The Ray City Rollers, Powder, 8pm, free.
Slim’s: 333 11th St., San Francisco. Lacuna Coil, Kyng, Eve to Adam, Nothing More, 8pm, $21.
Sub-Mission Art Space (Balazo 18 Gallery): 2183 Mission, San Francisco. Safe & Sound, Singled Out, Eternal Sleep, Stay Scared, Dust Off, 7:30pm, $8.
Thee Parkside: 1600 17th St., San Francisco. Shake Before Us, The Arabs, Greg Hoy & The End, 9pm, $7.
DANCE
1015 Folsom: 1015 Folsom, San Francisco. “Witness 5.0,” w/ Juan Atkins, Kastle, Le Youth, Djemba Djemba, Sweater Beats, Touch Sensitive, Krampfhaft, Kit Clayton, J-Boogie, Mikos Da Gawd, MPHD, Chris Clouse, more, 10pm, $15-$25 advance.
Audio Discotech: 316 11th St., San Francisco. Uner, Shonky, Glade Luco, Marija Dunn, 9pm, $10 advance.
BeatBox: 314 11th St., San Francisco. “U-Haul: Bromance Edition,” w/ DJs China G & Ms. Jackson, 10pm, $5-$10.
Beaux: 2344 Market, San Francisco. “Manimal,” 9pm
Cat Club: 1190 Folsom, San Francisco. “Dancing Ghosts: 7-Year Anniversary,” w/ DJs Xander, Daniel Skellington, Melting Girl, and Owen, 9:30pm, $7 ($3 before 10pm).
DNA Lounge: 375 11th St., San Francisco. “Band Saga,” w/ Metroid Metal, Rekcahdam, Anova, Kozilek, 8pm, $8-$13.
The EndUp: 401 Sixth St., San Francisco. “Trade,” 10pm, free before midnight.
Infusion Lounge: 124 Ellis, San Francisco. “Flight Fridays,” 10pm, $20.
Lookout: 3600 16th St., San Francisco. “HYSL: Handle Your Shit Lady,” 9pm, $3.
Mercer: 255 Rhode Island, San Francisco. “SoulHouse,” w/ Jeremiah Seraphim, Didje Kelli, Jaime James, Dylan Mahoney, 9pm, $10-$15.
Mezzanine: 444 Jessie, San Francisco. “Lights Down Low,” w/ Tensnake, Huxley, Cooper Saver, Brian Tarney, Split, 9pm, $20-$22.
Mighty: 119 Utah, San Francisco. “Set,” w/ John Digweed, Atish, Matt Hubert, 10pm, $35-$40 advance.
Public Works: 161 Erie, San Francisco. Crossfire: Synaptic Equinox, Flaming Lotus Girls benefit with DJs Aaron Pope, Billy Seal, Brad Robinson, Cosmic Selector, Darren Grayson, Drew Drop, Dulce Vita, J-Rod, Kapt’n Kirk, Layne Loomis, Matt Kramer, and Shissla., 9:30pm, $15-$20 advance.
Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9pm, $3.
Ruby Skye: 420 Mason, San Francisco. Syn Cole, Human Life, DJ Vice, 9pm, $20 advance.
Supperclub San Francisco: 657 Harrison, San Francisco. “The Midas Touch,” w/ Gavin Hardkiss, Michael Anthony, The Golden Gate Dolls, more, 7pm
Temple: 540 Howard, San Francisco. “Resonance,” w/ Alex M.O.R.P.H., Mitka, Jake DeSilva, more, 10pm, $20.
Underground SF: 424 Haight, San Francisco. “Studio 3AM,” w/ Michael Perry, Darrell Tenaglia, Soft & Crispy, 10pm, free.
Vessel: 85 Campton, San Francisco. Kryder, 10pm
HIP-HOP
John Colins: 138 Minna, San Francisco. “Juicy,” w/ DJ Mark DiVita, 10pm
Showdown: 10 Sixth St., San Francisco. “Fresh to Def Fridays: A Tribute to Yo! MTV Raps,” w/ resident DJs Boom Bostic, Inkfat, and Hay Hay, Third Friday of every month, 10pm
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Emily Zisman & Marty Atkinson, 7pm
Dolores Park Cafe: 501 Dolores, San Francisco. Storm Florez, 7:30pm
Pa’ina: 1865 Post, San Francisco. Ben Ahn, 7pm, free.
Plough & Stars: 116 Clement, San Francisco. “Bluegrass Bonanza,” w/ The Bearcat Stringband, 9pm, $6-$10.
JAZZ
Atlas Cafe: 3049 20th St., San Francisco. Jazz at the Atlas, 7:30pm, free.
Cafe Royale: 800 Post, San Francisco. Cyril Guiraud Trio, 9pm
The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Bill Kwan, 7:30pm, $8.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Steve Snelling Quartet, 9pm
INTERNATIONAL
Asiento: 2730 21st St., San Francisco. “Kulcha Latino,” w/ resident selectors Stepwise, Ras Rican, and El Kool Kyle, Third Friday of every month, 9pm, free.
Cafe Claude: 7 Claude, San Francisco. Trio Garufa, 7:30pm, free.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Montuno Swing, 10pm
The Emerald Tablet: 80 Fresno, San Francisco. Flamenco del Oro, 8pm, $15 suggested donation.
Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15pm, $15-$18.
Pier 23 Cafe: Pier 23, San Francisco. Danilo y Universal, 8pm, free.
Slate Bar: 2925 16th St., San Francisco. “Chevere: 4-Year Anniversary,” w/ DJs WaltDigz, Epic, and Leydis, 9:30pm
REGGAE
Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30pm, free.
The Independent: 628 Divisadero, San Francisco. The Wailers, 9pm, sold out.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Chris Cain, 7:30 & 10pm, $22.
Lou’s Fish Shack: 300 Jefferson, San Francisco. Robert “Hollywood” Jenkins, 6pm
The Royal Cuckoo: 3202 Mission, San Francisco. Big Bones & Chris Siebert, 7:30pm, free.
The Saloon: 1232 Grant, San Francisco. West Coast Blues Revue, 4pm; Chris Cobb, 9:30pm
FUNK
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Sinbad with Memphis Red & The Stank Nasty Band, 8 & 10pm, $35.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. The Nibblers, The Mark Sexton Band, DJ K-Os, 9:30pm, $10-$15.

SATURDAY 22
ROCK
Amnesia: 853 Valencia, San Francisco. “Rajeev’s Big Night Out,” w/ We Will Be Lions, The Cuss, Rafa’s One Man Band, plus stand-up comedy, 9pm, $7-$10.
Bender’s: 806 S. Van Ness, San Francisco. Lecherous Gaze, Dirty Fences, Buffalo Tooth, 10pm, $5.
Bottom of the Hill: 1233 17th St., San Francisco. DonCat, Split Screens, Scary Little Friends, 9:30pm, $10.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Wakey!Wakey!, Jillette Johnson, 9pm, $12.
The Chapel: 777 Valencia, San Francisco. Lost in the Trees, Icy Demons, 9pm, $12-$15.
Connecticut Yankee: 100 Connecticut, San Francisco. The Wearies, The Sweet Bones, Modern Kicks, 10pm
El Rio: 3158 Mission, San Francisco. White Cloud, Talk of Shamans, DJ Awnode, 9pm, $2-$5.
Hemlock Tavern: 1131 Polk, San Francisco. Kids on a Crime Spree, Yea-Ming & The Rumours, Eternal Drag, 9pm, $6.
Hotel Utah: 500 Fourth St., San Francisco. Abatis, The Straight Ups, Alabasta Jack, 9pm, $8.
The Knockout: 3223 Mission, San Francisco. Fracas, VKTMS, RocketShip RocketShip, Kick Puppy, 4pm, $6.
Milk Bar: 1840 Haight, San Francisco. Keystone Revisited, Pam, Just Passing Through, 9pm, $10.
Rickshaw Stop: 155 Fell, San Francisco. Weekend, Cities Aviv, Surf Club, 9pm, $12-$14.
Slim’s: 333 11th St., San Francisco. INVSN, Wax Idols, 9pm, $13-$15.
Thee Parkside: 1600 17th St., San Francisco. Great Apes, Hard Girls, Canadian Rifle, Acid Fast, 9pm, $7.
DANCE
Audio Discotech: 316 11th St., San Francisco. Goldfish, 9pm, $20-$25.
BeatBox: 314 11th St., San Francisco. “Chaos,” w/ DJs Dan DeLeon & Erik Withakay, 9pm, $10-$20.
DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ Pepperspray, A+D, Haute Mess, Marky Ray, Keith Kraft, Lucio K, more, 9pm, $10-$15.
The EndUp: 401 Sixth St., San Francisco. Shangri-La, Asian queer dance party., Fourth Saturday of every month, 10pm, $15-$20 (free before 11pm).
Harlot: 46 Minna, San Francisco. “Set,” w/ Hernan Cattaneo, Pedro Arbulu, Franccesco Cardenas, Zita Molnar, 9pm, $15-$25.
Infusion Lounge: 124 Ellis, San Francisco. “Set,” Fourth Saturday of every month, 10pm, $20.
The Knockout: 3223 Mission, San Francisco. “Galaxy Radio,” w/ PlaZa, Roche, Smac, Lel Ephant, Holly Bun, 10pm, free.
Lookout: 3600 16th St., San Francisco. “Bounce!,” 9pm, $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Blunted Funk,” w/ resident DJs Sneak-E Pete & Chilipino, Fourth Saturday of every other month, 9pm, $5 (free before 10pm).
Mighty: 119 Utah, San Francisco. Nightmares on Wax, Bläp Dëli, Mophono, 9pm, $15 advance.
Monarch: 101 Sixth St., San Francisco. Jimmy Edgar, Danny Daze, Papa Lu, 9:30pm, $25-$30.
Public Works: 161 Erie, San Francisco. “Dance Mania,” w/ Paul Johnson, Jammin Gerald, Parris Mitchell, more (in the main room), 9pm, $15 advance; “Mister Saturday Night,” w/ Eamon Harkin, Justin Carter, more (in the OddJob Loft), 9pm, $15 advance.
Ruby Skye: 420 Mason, San Francisco. Fedde Le Grand, Cazzette, Moguai, DJ Zya, 9pm, $50+ advance.
S.F. Eagle: 398 12th St., San Francisco. “Sadistic Saturday,” w/ Mystic Ray, 9pm
Slate Bar: 2925 16th St., San Francisco. “Electric WKND,” w/ The Certain People Crew, Fourth Saturday of every month, 10pm, $5.
The Stud: 399 Ninth St., San Francisco. “Planet Squrrrl,” w/ DJs Trevor Sigler, Joe Pickett, and Ben Holder, 9pm, $5.
Temple: 540 Howard, San Francisco. “Life,” w/ Feldy, Animal Control, Christophe, Jeff Morena, Glade Luco, more, 10pm, $20.
Vessel: 85 Campton, San Francisco. Scooter & Lavelle, 10pm, $10-$30.
W San Francisco: 181 Third St., San Francisco. “Spring: Celebrating the Persian New Year,” w/ DJ Aykut, Dr. T, Nitro, 9pm, $10-$25.
HIP-HOP
111 Minna Gallery: 111 Minna, San Francisco. CAAMFest Directions in Sound: Here Comes Treble, w/ Suboi, Rocky Rivera, Cynthia Lin & The Blue Moon All-Stars, DJ Umami, DJ ThatGirl, DJ Roza, 9:30pm, $20.
John Colins: 138 Minna, San Francisco. “Nice,” w/ DJ Apollo, Fourth Saturday of every month, 10pm, $5.
Showdown: 10 Sixth St., San Francisco. BYOB Live Beat Battle, w/ Ghettosocks & Timbuktu, 9pm, $7-$10.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. “Sing Out of Darkness: The Return of the Bird,” American Foundation for Suicide Prevention benefit with Julie Mayhew and many musical guests, 10am-10pm
Make-Out Room: 3225 22nd St., San Francisco. Chris Mills & The Distant Stars, Chris von Sneidern, 7:30pm, $8.
Plough & Stars: 116 Clement, San Francisco. Savannah Blu, 9pm
The Riptide: 3639 Taraval, San Francisco. The Lady Crooners, 9:30pm, free.
Steven Wolf Fine Arts: 2747 19th St., San Francisco. A Record Is a Record: Bill Orcutt, 6pm, free.
JAZZ
Cafe Claude: 7 Claude, San Francisco. Terrence Brewer Trio, 7:30pm, free.
Peacock Lounge: 552 Haight, San Francisco. Leon Joyce Jr., 6pm, $15.
The Royal Cuckoo: 3202 Mission, San Francisco. Steve Lucky & Carmen Getit, 7:30pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. David Byrd Ensemble, 7:30pm, $8.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9pm
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Kurt Elling, 8 & 10pm, $24-$28.
Zingari: 501 Post, San Francisco. Anya Malkiel, 8pm, free.
INTERNATIONAL
1015 Folsom: 1015 Folsom, San Francisco. “Pura,” 9pm, $20.
Cafe Cocomo: 650 Indiana, San Francisco. Pacific Mambo Orchestra, 8pm, $15.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Latin Rhythm Boys, 10pm
El Rio: 3158 Mission, San Francisco. “Mango,” Fourth Saturday of every month, 3pm, $8-$10.
OMG: 43 Sixth St., San Francisco. “Bollywood Blast,” Fourth Saturday of every month, 9pm, $5 (free before 10pm).
Roccapulco Supper Club: 3140 Mission, San Francisco. Hector Acosta, 8pm, $55.
Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30pm
St. Gregory’s Church: 500 De Haro, San Francisco. Veretski Pass, 8pm, $30.
REGGAE
The Independent: 628 Divisadero, San Francisco. The Wailers, 9pm, sold out.
Neck of the Woods: 406 Clement, San Francisco. One Drop, Midnight Raid, Saane, on the upstairs stage, 9pm, $10-$12.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Delta Wires, 7:30 & 10pm, $22.
Lou’s Fish Shack: 300 Jefferson, San Francisco. Willie G, 6pm
The Saloon: 1232 Grant, San Francisco. Dave Workman, Fourth Saturday of every month, 4pm; Ron Hacker, 9:30pm
EXPERIMENTAL
Noisebridge: 2169 Mission, San Francisco. Godwaffle Noise Pancakes, noon.
FUNK
Mezzanine: 444 Jessie, San Francisco. Rebirth Brass Band, The Loyd Family Players, 9pm, $25.
Pa’ina: 1865 Post, San Francisco. Chocolate Rice, 7pm, free.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. Wicked Mercies, DJ K-Os, 9:30pm, $10 advance.

SUNDAY 23
ROCK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Future Twin, Daydream Machine, DJ Joel Gion, 8pm, $7-$10.
The Chapel: 777 Valencia, San Francisco. Death, Audacity, 8pm, $22-$25.
DNA Lounge: 375 11th St., San Francisco. Broken Hope, Oceano, Fallujah, Rivers of Nihil, Kublai Khan, 6pm, $13-$15.
El Rio: 3158 Mission, San Francisco. The Desert Line, The Night Falls, Phosphene, 8pm, $8.
Hemlock Tavern: 1131 Polk, San Francisco. Religious Phase, Cloud Becomes Your Hand, Jordan Glenn, 8:30pm, $6.
Hotel Utah: 500 Fourth St., San Francisco. Andy Suzuki & The Method, The Weather Machine, 8pm, $10.
The Independent: 628 Divisadero, San Francisco. Toadies, Supersuckers, Battleme, 8pm, $22.
Slim’s: 333 11th St., San Francisco. The Orwells, Twin Peaks, Criminal Hygiene, 8pm, $14-$16.
DANCE
Audio Discotech: 316 11th St., San Francisco. “London Calling: Chapter 3,” w/ D’Julz, Ben Annand, Bells & Whistles, Nikita, more, noon, $10 advance.
Beaux: 2344 Market, San Francisco. “Full of Grace: A Weekly House Music Playground,” 9pm, free.
The Chapel: 777 Valencia, San Francisco. “Sunday Mass,” 9pm
The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8pm
Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ Jahdan Blakkamoore, Relic Secure, Deejay Theory, DJ Sep, 9pm, $11-$14.
F8: 1192 Folsom, San Francisco. “Stamina,” w/ Lukeino, Jamal, guests, 10pm, free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10pm
Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9pm, $5 (free before 11pm).
The Parlor: 2801 Leavenworth, San Francisco. “Sunday Sessions,” w/ DJ Marc deVasconcelos, 9pm, free.
Q Bar: 456 Castro, San Francisco. “Gigante,” 8pm, free.
S.F. Eagle: 398 12th St., San Francisco. “1982,” w/ DJs Ben Holder & Chaka Quan, 7pm, $5.
The Stud: 399 Ninth St., San Francisco. “Cognitive Dissonance,” Fourth Sunday of every month, 6pm
Temple: 540 Howard, San Francisco. “Sunset Arcade,” 18+ dance party & game night, 9pm, $10.
Wish: 1539 Folsom, San Francisco. “Electric B.A.S.E.,” w/ Beau Kelly, Anya Timofeeva, Remy J, 7pm, free.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30pm, free.
Bottom of the Hill: 1233 17th St., San Francisco. K.Flay, Air Dubai, Itch, 9pm, $12-$14.
Mezzanine: 444 Jessie, San Francisco. Bun B & Kirko Bangz, 8pm, $22.
Thee Parkside: 1600 17th St., San Francisco. Astronautalis, Playdough, Transit, Low Country Kingdom, 8pm, $14.
ACOUSTIC
The Lucky Horseshoe: 453 Cortland, San Francisco. Bernal Mountain Bluegrass Jam, 4pm, free.
Plough & Stars: 116 Clement, San Francisco. Seisiún with Marla Fibish, Erin Shrader, and Richard Mandel, 9pm
JAZZ
Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4pm, free/donation.
The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30pm, free.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Kurt Elling, 7 & 9pm, $24.
Zingari: 501 Post, San Francisco. Hubert Emerson, 7:30pm, free.
INTERNATIONAL
Amnesia: 853 Valencia, San Francisco. Sol Tevél, 8pm
Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30pm, free.
Cana Cuban Parlor: 500 Florida St., San Francisco. “La Havana,” w/ resident DJs Mind Motion, WaltDigz, and I-Cue, Sundays, 4-9pm
El Rio: 3158 Mission, San Francisco. Salsa Sundays, Second and Fourth Sunday of every month, 3pm, $8-$10.
BLUES
Lou’s Fish Shack: 300 Jefferson, San Francisco. Sam Johnson, 4pm
The Saloon: 1232 Grant, San Francisco. Blues Power, 4pm; The Door Slammers, Fourth Sunday of every month, 9:30pm
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8pm

MONDAY 24
ROCK
The Independent: 628 Divisadero, San Francisco. Japan Nite 2014: Happy, Zarigani$, Vampilla, Jungles from Red Bacteria Vacuum, 8pm, $15.
The Knockout: 3223 Mission, San Francisco. Guantanamo Baywatch, Courtney & The Crushers, 10pm, $5.
DANCE
DNA Lounge: 375 11th St., San Francisco. “DGXXI: Death Guild 21st Anniversary,” w/ DJ Decay, Melting Girl, Joe Radio, Sage, Lexor, Intoner, Identity Theft, Veil, RPTN, Daniel Skellington, 9pm, $5-$21.
Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9pm, free.
Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10pm, free.
ACOUSTIC
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Jeremy Messersmith, The Parmesans, 9pm, $10-$12.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30pm, free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Open Mic with Brendan Getzell, 8pm, free.
Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7pm, free.
The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4pm
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8pm
Zingari: 501 Post, San Francisco. Nora Maki, 7:30pm, free.
REGGAE
Bissap Baobab: 3372 19th St., San Francisco. “Raggada,” 9pm, $5.
Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10pm, free.
BLUES
The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30pm
SOUL
Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8pm, free.

TUESDAY 25
ROCK
Amnesia: 853 Valencia, San Francisco. Cellar Doors, Cool Ghouls, 9:15pm continues through, $7-$10.
Bottom of the Hill: 1233 17th St., San Francisco. Sea Knight, Babes, Wag, 9pm, $8.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. High Cliffs, The Wave Commission, Yours, 8pm, $5-$8.
The Chapel: 777 Valencia, San Francisco. Daniel Rossen, 9pm, $20-$22.
El Rio: 3158 Mission, San Francisco. Hungry Skinny, Saturn Cats, The Impersonations, 7pm, $6.
The Knockout: 3223 Mission, San Francisco. Musk, Freak Vibe, Burning Curtains, DJ Tosh, 9:30pm, $6.
Rickshaw Stop: 155 Fell, San Francisco. Small Black, Snowmine, Yalls, 8pm, $12-$14.
DANCE
1015 Folsom: 1015 Folsom, San Francisco. Annie Mac, Skream, Jacques Greene, 10pm, $12-$15 advance.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10pm, $2.
Monarch: 101 Sixth St., San Francisco. “Soundpieces,” 10pm, free-$10.
Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9pm, $3.
Underground SF: 424 Haight, San Francisco. “Shelter,” 10pm, free.
Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8pm, free.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. Vokab Kompany, Tropo, 9:30pm, $7 advance.
Double Dutch: 3192 16th St., San Francisco. “Takin’ It Back Tuesdays,” w/ DJs Mr. Murdock & Roman Nunez, Fourth Tuesday of every month, 10pm, free.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Lonnie Lazar, 7pm continues through.
Plough & Stars: 116 Clement, San Francisco. Song session with Cormac Gannon, Last Tuesday of every month, 9pm
The Rite Spot Cafe: 2099 Folsom, San Francisco. Toshio Hirano, 8pm, free.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7pm
Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7pm, free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6pm, free.
Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7pm
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7pm
Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Michael Parsons, 8pm
Tupelo: 1337 Green, San Francisco. Mal Sharpe’s Big Money in Jazz Band, 6pm
Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9pm, $10-$12.
Wine Kitchen: 507 Divisadero St., San Francisco. Hot Club Pacific, 7:30pm
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Roberta Gambarini, 8pm, $24-$29.
Zingari: 501 Post, San Francisco. Brenda Reed, 7:30pm, free.
INTERNATIONAL
Cafe Cocomo: 650 Indiana, San Francisco. Salsa Tuesday, w/ DJs Good Sho & El de la Clave, 8:30pm, $10.
The Cosmo Bar & Lounge: 440 Broadway, San Francisco. Conga Tuesdays, 8pm, $7-$10.
F8: 1192 Folsom, San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9pm, $5 (free before 9:30pm).
REGGAE
Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10pm
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Two-Tone Steiny & The Cadillacs, 7:30 & 9:30pm, $15.
The Saloon: 1232 Grant, San Francisco. Powell Street Blues Band, 9:30pm
EXPERIMENTAL
Center for New Music: 55 Taylor, San Francisco. sfSoundSalonSeries, w/ Benjamin Kreith & Travis Andrews Duo, Matt Ingalls, 7:49pm, $10-$15.
SOUL
Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30pm, free. 2

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