Politics Archives — Page 6 of 82 — San Francisco Bay Guardian Archive 1966

Freedom of Choice

Steven T. Jones

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March 4, 2014

It’s 2:30 on a Thursday afternoon in East Oakland, and on stage in the amphitheater at Castlemont High School, Kev Choice is trying to keep a straight face. Seated behind a keyboard in jeans, a button-down shirt, purple sneakers, and a baseball cap, the musician — who’s been Lauryn Hill’s bandleader, and the go-to keyboard player and sideman for Lyrics Born, Goapele, Michael Franti, Too $hort, and the Coup, among others — is serving as accompaniment today for a slightly different type of artist than usual: There are about 20 of them, for one, performing solo or in small, nervous groups, and they’re all at various stages of puberty.

One young lady sings a respectable SWV cover. Two boys rip wordless electric guitar riffs. Then a young man scream-raps a song about hoes and twerking, to the delight of a dozen or so girls in the front row, and punctuates it by ripping his shirt off — much to the chagrin of his teachers and school administrators (one of whom runs on stage to try to cover him, unsuccessfully, just as the song is coming to a close). In other words, just your average high school talent show.

“I was actually surprised he did that bit,” Choice says of the teenager, laughing, a few hours later. The musician began mentoring at Castlemont just a couple months ago, but he already knows some students pretty well. “He can do other things. He came into class singing one of my songs at me last week. But I think he was maybe trying to impress a certain, you know…demographic.”

As someone who grew up rapping for his friends in the schoolyard, then going home to study Beethoven’s piano sonatas, the pitfalls of trying to appeal to a certain demographic — and the difficulty of not fitting neatly into a given category — is a somewhat familiar topic for Choice. He’s an Oakland native who’s always had one foot firmly in the hip-hop world, and one in the world of academia, classical music, and jazz; it’s a balancing act made all the more delicate by the fact that, regardless of his chops as an emcee or producer, no matter what instruments he plays (and he plays a lot of them), he’s always been known predominantly as a sideman. A talented, hard-working, and in-demand sideman, to be sure, but a sideman nonetheless.

It’s from the side, then, that he’s watched as Oakland has changed around him these past few years. He’s seen First Fridays come and blow up, has quietly observed as rent has nearly doubled around Lake Merritt — where he spent his teenage years, and where he currently lives again — and working-class people move elsewhere. He was there at the Oscar Grant protests, he was in the streets for Trayvon Martin, but he’s not generally one to get on a bullhorn.

All of which is to say that, when Choice’s solo record Oakland Riviera dropped in late January — a warm, lush, ambitious album that swerves fluidly between genres, weaving jazz instrumental interludes named for Oakland streets between tracks of Choice’s dynamic, live-band hip-hop — it sounded distinctly like the work of a man with something to prove. Boasting a guest roster that reads like a who’s who in East Bay music, with rappers from Zion I‘s Zumbi to Mistah F.A.B. to local R&B and jazz greats, the album is a determined step into the limelight, drawing a sprawling yet cohesive map and love letter to the town where Choice grew up — a town that’s changing very quickly or not quickly enough, depending on whom and where you’re asking.

“There’s a lot on this album that I’d been thinking about for a long time, but hadn’t really had the chance to say,” Choice explains during an interview back in his neighborhood, at a shiny new burger joint on Lakeshore Avenue, when I ask about the first track that stood out to me, the upbeat anthem “Shed Light.” It’s built around a John Coltrane tune, with Choice rapping lyrics about the development of Oakland’s Uptown District: “No matter how many fancy restaurants sprout up/the menus don’t cater to the issues around us…tale of two cities, the pretty and the gritty/the welcome and neglected, the prosperous and profitless/we got some issues to address, can’t build up part of the city and neglect the rest.”

“I wanted to showcase the beauty of Oakland, and talk about all the possibilities here, but also the struggles,” he says, noting that the record’s name was inspired by traveling to the south of France recently and, upon returning home, wanting to “take people on a trip here, remind people that Oakland is just as beautiful as some of the most beautiful places in the world.”

“The social activism on the album is just a reflection of what I see going on in my city, things I’ve been hearing about for a long time,” he says. “What does gentrification mean? How do we address the crime rate? How does a black man succeed here, or even just escape the violence, escape police harassment? And what can I say and do as an Oakland native to be a positive influence on that?”

At the moment, what he’s not doing very much of is sleeping. Today he has a two-hour break between mentoring at Castlemont (in one of Oakland’s poorest neighborhoods) and a birthday party downtown for the soul singer Jennifer Johns (whom he’s produced, and who guests on his album) that doubles as a fundraiser for the Creating Sustainability campaign, a new project to help build an economic stability plan for the city. When he gets home sometime after 2 am, he’ll do some work on a record a singer just emailed him about producing, practice some lightning-quick Herbie Hancock licks on the piano, and maybe prep for the Black History Month event he’s part of at Laney College the next day.

Last week he was in Atlanta for a Lauryn Hill show; next week he’ll be in the Pacific Northwest on a quick Coup tour. And 10 minutes ago, an elderly woman with glasses interrupted him while he was eating a turkey burger to chastise him for not returning a CD she loaned him a few weeks back.

“I’m so sorry, I’ve been out of town. I promise!” he says, as she smiles and waves him off. “Reverend E — it’s music she wants me to learn for church,” he explains sheepishly after she’s gone. “I need to do that.” Two other neighbors, a middle-aged man with a little boy, and a 20-something kid with a buzz cut, stop to say hi within the span of half an hour. This section of Lakeshore is basically his living room, he admits; he always winds up stopping to talk to folks: “My daughter doesn’t even like walking down the street with me here on a Saturday.”

Of course, should you ever find yourself needing directions in Oakland, he’d be a good person to run into. Kev Choice — real name: Kevin Choice — has spent roughly 30 of his 38 years in this town. One of two boys raised by a single mother, a secretary, in three different Oakland neighborhoods, he was a precocious kid, he says. At Brookfield Elementary in East Oakland, he skipped the first grade after blowing through the workbooks for the year in a month or so.

“I knew how to focus on education, because my mother stressed that was important,” he says. “I caught a little bit of a hard time for that — I was short, and I was smart. But I just knew what I was supposed to do, and I did things fast.”

In seventh grade at Westlake Middle School, an 11-year-old Choice picked piano class as his elective, and within a few months had learned a Muzio Clementi sonata, practicing rigorously and constantly at home, entirely of his own volition. “I think my family was kind of shocked,” he says. “My mom always had music around the house. She liked early Prince, Michael Jackson, Luther Vandross…but here I was playing Bach, Beethoven. Like, where did this come from?”

Still, all he listened to was hip-hop: Run DMC, A Tribe Called Quest, LL Cool J. He started rhyming around age 13, an art form he quickly found brought him a little more respect from his peers than classical piano. He kept them separate, but he kept at both: He was accepted into the competitive Young Musicians Program for teens at UC Berkeley, and joined the jazz band at Skyline High — all of which led to a full scholarship to study piano at Xavier University in New Orleans, where he moved on his own at 17, and where, at his professors’ urging, he dug into jazz history for the first time. “They kind of politely said ‘You suck,'” he recalls. “‘Now go listen to this Thelonious Monk. Really listen.’ And I did. I’d practice eight, 10 hours a day back then. That’s what gave me the foundation I still stand on today.”

After getting his master’s in piano at Southern Illinois University, he landed back in Oakland in 2000, with seven years of rigorous musical education behind him — and zero job prospects. So he started playing cafe and restaurant gigs with a jazz trio here and there. It was at the Java House in Oakland that the bassist from Spearhead first noticed him and suggested he come audition. Shortly afterward, Choice found himself leaving the US for the first time on tour with Michael Franti, playing for stadiums of 10,000 people. Aside from the basics of how to be a touring musician — “pacing yourself, sleeping on a bus” — Choice watched how Franti dedicated himself to causes, how seamlessly he infused his music with activism.

“He inspired people,” says Choice. “That was the first time I saw that you could be socially conscious, be involved in the community, and be a successful artist. You gotta stand behind what you say — you can’t just say shit and not be willing to live it on the day-to-day basis.”

The tour with Spearhead led to a tour with Goapele; the tour with Goapele led to putting together a band for Lyrics Born, after Lyrics Born decided he wanted to rap with a full band in 2006. And the day after he got fired by Lyrics Born (final straw: missing a flight to Hawaii when they were opening for the Black Eyed Peas), Choice got a call from a producer friend, who informed him he was one of three guys who would be auditioning for Lauryn Hill the following afternoon at a studio in Emeryville.

As it turned out, he was the only one of said guys who could keep up with Hill — who entered and exited the audition without saying a word to any of the musicians — when she started playing guitar in an odd time signature. From that point on, Choice was her bandleader for a year and a half, putting together a live band under her orders out of his musician friends around the Bay. She would text him music to learn in the middle of the night, he says. “Go download this, teach the band this by tomorrow.” Once, she flew him to LA, and sent him to a hotel room where there was a box full of studio equipment waiting. Her instructions: Put together a studio, then go to a record store and buy every Bob Marley CD he could find — she wanted to him to re-create the instrumentals for the bulk of Marley’s catalog.

“Which, on the one hand, why am I in this hotel room trying to remake 30 Bob Marley songs?” he says, laughing. “On the other hand, it felt like a mystical guidance kind of test — ‘Once you do this, I know you’re ready.'” This was 2007, and despite overseeing her band during a tour that would make headlines largely for Hill’s antics (some would say meltdowns), Choice maintains she was crucial to his growth, pushing him and exposing him to Ethiopian and other world music.

“She was hard, but she was also really encouraging,” he says. “She’d say, ‘You have what it takes, but you gotta be sharp at all times. And if you wanna be one of the best, you can’t conform to what other people you think you should do.'”

In the years between leaving Hill’s band and putting out this new record, Choice has been taking steps toward center stage: At the helm of the Kev Choice Ensemble, a jazz-funk-hip-hop band he created with the idea of a modern Duke Ellington in mind, on a handful of solo mixtapes, and on a 2009 record, The Power of Choice, a compilation of his recorded work from the previous five years. But Oakland Riviera represents a true premiere for the musician — an unmistakable coming-out by someone who’s been hustling for a solid decade and a half.

“He has an unstoppable work ethic,” says the Coup’s Boots Riley, of his experiences with Choice. “On tour, he’ll have a keyboard and a laptop in his lap, recording music while we drive in the van. And I don’t know when he sleeps, because then he’ll be up ’til five in the morning in the hotel room fiddling away on the keys, nodding off, waking back up a second before his head is going to fall into the desk, blinking his eyes while waking up, rewinding the recording he was working on, and playing for a few more minutes before nodding off again…and sure enough, each day he’ll have posted a new song on Facebook or wherever, often based on whatever’s been happening.”

“I’ve written maybe 100 songs in my career,” adds Riley. “I’m sure Kev Choice has made 100 songs since October.”

If early reviews are any indication, the 15 that made the cut for this album have the potential to take Choice, as an emcee and as a solo artist, to a new level in the public eye. “This album was, I feel like I could be one of the dopest artists out of the Bay Area, so why not just show people?” he says. His personal life was one driving force. Over the last couple years, both his mother and his best friend/former girlfriend passed away — the latter from cancer, at age 34 — and he realized something. “When you lose the closest people to you, you got nothing really left to lose. Why not get this out? Why not go for it all?”

Part of the story he’s apparently been waiting to tell: a loving portrait of a city whose profile is similarly, if problematically, on the rise.

“When people talk about Oakland as the new, hip place to be — it’s always been that,” he says. “Aside from LA, Oakland is the cultural center of the West Coast. There is so much art here. The music, the history, the politics…but when you start seeing Oakland on lists of top destination spots, why are they saying that? Because there’s a certain amount of five-star restaurants now, or cool little hipster bars?” he says, in the few minutes before he has to leave to head toward Uptown, into the heart of them. “That’s starting to get away from the essence of what Oakland really is, which is about the people.”

“At the same time, there are people within 20-mile radius of us right now who are literally scared to come here. ‘Oh, they’ll shoot you over there, they’ll rob you.’ Look, there is a possibility that will happen,” he says. “There’s also a very real possibility that you’ll meet a very intellectual person and have a great conversation, or go to a club and hear some great music, or walk up the street and see people doing capoeira, doing some crazy, creative shit.

“People block out what Oakland is because of their perception, and perception is everything. If you never spend time here, believe me — it’s something entirely different from what you’d expect.”

Alerts: February 26 – March 4, 2014

Michael Redmond

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February 25, 2014

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WEDNESDAY 26

Hoodies Up! A Day of Remembrance for Trayvon Martin Fruitvale BART Plaza, Oakl. www.stopmassincarceration.net. 4pm, free. On the two-year anniversary of Trayvon Martin’s death, join others in sending a message that we will not stand by in silence while youth of color are brutalized, locked up, and murdered. Now is the time for youth, professors and students, artists and writers, athletes, musicians and prominent voices of conscience to rise up in spirited resistance with the clear objective of stopping mass incarceration, criminalization, and the murder of our youth. Wear your hoodie and join the rally to commemorate Trayvon and the many others like him.

Protest the NSA Four Seasons Hotel, 757 Market, SF. codepink.nancy@gmail.com. 6:30-7:30pm, free. National Security Agency Deputy Director Chris Inglis stepped down from his post last month, but he continues to defend the work of the NSA and criticizes the important documents leaked by Edward Snowden. Documents leaked by Snowden show that the NSA created a formula for generating random numbers to create a “back door” in encryption products. RSA became a distributor of that formula by putting it into a software tool called Bsafe that is used on personal computers and other products. Inglis will be in San Francisco to attend the RSA Conference.

THURSDAY 27

Keep the Warriors off the Waterfront Unitarian Universalist Center, 1187 Franklin, SF. sanfranpda@aol.com. 7pm, free. Former San Francisco Mayor Art Agnos will be speaking against the proposed building by the Golden State Warriors which will include a 12-story basketball and entertainment complex, a 175 feet high residential tower, a hotel, a 500 space private parking garage, and a 90,000 feet shopping mall on the waterfront and on the Bay itself. Is this what we want for San Francisco’s future? Come hear Agnos challenge the corporate vision of our city.

FRIDAY 28

The Congo in Crisis 2969 Mission, SF. www.answercoalition.org/sf. 7pm, $5-10 suggested donation (no one turned away for lack of funds).More than 5 million people have been killed in the Democratic Republic of Congo (formerly Zaire) over the past 15 years. Why is this history rarely reported in the corporate media here? What is the role of the U.S. government and its allies in this ongoing crisis in the Congo and the region? Come listen to speakers Maurice Carney and Akbar Muhammad discuss this little known tragedy.

SATURDAY 1

March Against Corruption: San Francisco Justin Herman Plaza, Market and The Embarcadero, SF. tinyurl.com/marchcorruption. 12pm, free. The March Against Corruption is an international campaign to raise awareness about the corrupting influence of money in politics, to organize the public to speak out against and resist the power of special interests, and to work toward abolishing the corrupt relationship between private wealth and public policy. We welcome all individuals and groups to participate in this nonviolent struggle to create the mass movement we need to end the corruption of our corporate plutocratic state.

Muni fare shakedown

Michael Redmond

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February 25, 2014

43

Update: Just a day after the release of this article, advocacy group POWER announced that Google pledged to pay for Free Muni For Youth for two years. “This validates both the success and necessity of the Free Muni for Youth program,”said Bob Allen, leader in the FreeMuni for Youth coalition, in a press release. “We need tech companies in San Francisco and throughout the region to work with the community to support more community-driven solutions to the displacement crisis.”

The funding though is promised only for two years, and when that timeframe is up the question will still remain — will Muni’s operating budget pay for something Mayor Ed Lee could find funding for elsewhere? Additionally, Google hasn’t announced funding for free Muni for seniors or the disabled, another program up for consideration in the San Francisco Municipal Transportation Agency’s new budget. That may change if and when it is approved by the SFMTA for the next budget year.

“I think it’s a positive step in the right direction,” Superivsor David Campos, the sponsor of Free Muni For Youth, told us. “But there are still questions about what it means in terms of the long term future of the program. It’s only a two year gift.”

“We have asked for a meeting with Google and the mayor’s office and the coalition to talk about long term plans, to find out more information about what this means.”

There’s a tie that binds all Muni riders. From the well-heeled Marina dwellers who ride the 45 Union to Bayview denizens who board the T-Third Sunnydale line, we’ve all heard the same words broadcast during sleepy morning commutes.

“Please pay your fare share.”

The play on words (also seen on Muni enforcement signage) would be cute if it didn’t perfectly represent how Muni riders may now be stiffed. A slew of new budget ideas hit the San Francisco Municipal Transportation Agency Board of Directors last week (Feb. 18), and who will pay for it all is an open question.

The first blow to riders is a proposed single-ride fare hike from the current $2 to $2.25.

Other proposals include expanding the Free Muni for Youth program, rolling out a new program offering free Muni for seniors and the disabled, and a fare hike to $6 for the historic F streetcar.

The odorous price jumps (and costly but promising giveaways) are moving forward against a backdrop of a Muni surplus of $22 million, which the board has until April to decide how to use, and a controversial decision by Mayor Ed Lee to make a U-turn on charging for parking on Sundays.

The meter decision would deprive Muni of millions of dollars.

“We’re not proposing anything here, just presenting what we can do,” SFMTA Director Ed Reiskin told the SFMTA board at City Hall last week.

There’s still time to change the SFMTA board’s mind on the proposals between now and final approval of the budget in April. But who will end up paying for a better Muni?

FARE HIKES NOT FOUGHT

In 2010, the SFMTA instituted a policy to raise Muni fares along with inflation and a number of other economic factors, essentially putting them on autopilot. The SFMTA board still has to approve the fee hikes, which may rise across the board.

One-time fares may jump to $2.25. Muni’s monthly passes would see an increase by $2 next year and more the following year. The “M” monthly pass will be $70 and the “A” pass (which allows Muni riders to ride BART inside San Francisco) will be $81.

Muni needs the money, Reiskin said.

“To not have (fares) escalate as fuel and health care costs increase, you can’t just leave one chunk of your revenues flat,” he told the Guardian. Muni’s operating budget will expand from $864 million this year to $958 million in 2016. “Salary and benefit growth is the biggest driver of that,” Reiskin said.

Mario Tanev, spokesperson for the San Francisco Transit Riders Union, said the hike was expected.

“We’re not necessarily against the inflation increase,” he said. “But though the parking fines SFMTA levies are inflation adjusted, other rates (against drivers) are not. There are many things in our society that disincentivize transit and incentivize driving.”

Drivers enjoy heavy subsidies to their lifestyle on the federal, state, and local levels, from parking lot construction, the cost of gasoline, and now it seems, renewed free Sunday parking meters. The new fare increases are hitting transit riders just as the mayor is poised to yank funding from Muni to put in the pockets of drivers.

PLAYING POLITICS

When the paid Sunday meter pilot began in early 2013, it was a rare flip in a city that often treats Muni like a piggy bank: money was floated from drivers and dropped onto the laps of transit.

A report from SFMTA issued December 2013 hailed it as a success for drivers as well: Finding parking spaces in commercial areas on Sundays became 15 percent easier, the study found, and the time an average driver spent circling for a space decreased by minutes.

Even some in the business community call it a success, since a higher parking turnover translates to more customers shopping.

Jim Lazarus, senior vice president of public policy at the Chamber of Commerce, is a supporter of the paid Sunday meters. “You can drive into merchant areas now where you couldn’t before,” he told us.

Eliminating Sunday meter fees would punch a $9.6 million hole in Muni’s budget next year, by SFMTA’s account.

The timing couldn’t be worse. On the flip side the Free Muni for Youth program, which targets low-income youth in San Francisco, may expand next year at an estimated cost of about $3.6 million, and a program to offer free Muni for the elderly and disabled would cost between $4 and $6 million — close to the same the same amount that would be lost by the meter giveback.

BOOSTING SAN FRANCISCO FAMILIES

“As an 18-year-old in high school it was a struggle to get to school, it was a struggle to find 75 cents or two dollars to get home,” Tina Sataraka, 19, told the SFMTA board last week. As a Balboa High School student, Sataraka had a 30-minute commute from the Bayview. She’s not alone.

A study by the San Francisco Budget & Legislative Analyst’s office found that 31,000 youth who faced similar financial hurdles had signed up for the Free Muni for Youth pilot program, a resounding success in a city where the youth population is dwindling. Authored by Sup. David Campos, the program may redefine “youth” to include 18-year-olds, who are often still in high school.

But initial grant funding for the program has dried up, so now Muni will foot the bill.

Not one to say “I told you so,” Sup. Scott Wiener said there were reasons for objecting to the program a year ago.

“My biggest, fundamental objection to the program was less that they were giving free fares to kids, and more that they were taking it out of Muni’s operating budget,” Wiener told us. “They need to find a way to pay for it, perhaps from the General Fund, and not just taking the easy and lazy way out.”

The Budget & Legislative Analyst recommended several options for alternative funding: special taxes on private shuttle buses (Google buses), or an increased vehicle license fee specially earmarked for the youth bus program. So far, Mayor Ed Lee hasn’t shown an interest.

“There haven’t been discussions of having the Board of Supervisors fund free Muni for youth,” Reiskin told us. The same goes for the mayor. And though Reiskin was cautious and political about the possibility of Sunday meters becoming free again, he didn’t sound happy about it.

“As for what’s behind [the mayor’s] call for free Sunday parking, that didn’t come from us,” Reiskin told us. “That came from him.”

NOVEMBER RISKS

Mayor Lee’s office didn’t answer our emails, but politicos, including Wiener and Chronicle bromance Matier and Ross, indicated the mayor may be reversing on Sunday parking meters to appease the driving voter electorate.

There are two measures up on the November ballot, and one is aimed right at drivers’ wallets.

The two measures, a $1 billion vehicle license fee hike, and a $500 million transportation bond, are both aimed at shoring up the SFMTA’s capital budget. An October poll paid for by the mayor showed 44 percent of San Franciscans in favor of a vehicle fee hike, and 50 percent against, according to the San Francisco Chronicle.

Reiskin said the loss of those two ballot measures would be crippling to Muni’s future.

“The improvements we’re trying to make to make Muni more reliable, more attractive, those won’t happen. This is our funding source for that,” he said.

The mayor is busy smoothing the potholes towards the bonds’ success in the November election, but it seems he’s willing to pile costs onto Muni and its riders to do it.

Correction 2/26: An editing error led to the erroneous calculation of Free Muni For Youth at near $9 million. Free Muni For Youth is only estimated to cost the SFMTA $3.6 million. It is the combination of Free Muni For Youth and free Muni for the disabled and elderly that equal about $9 million.

Music Listings: Feb 12-19, 2014

Jesse Hawthorne Ficks

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February 12, 2014

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WEDNESDAY 12

ROCK

Boom Boom Room: 1601 Fillmore, San Francisco. The Coffis Brothers & The Mountain Men, Evan & The Eccentrics, 9:30 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. Desert Noises, Buckeye Knoll, City of Women, 9 p.m., $10.

Elbo Room: 647 Valencia, San Francisco. Bonnie & The Bang Bang, Owl Paws, Popgang DJs, 9 p.m., free.

Hemlock Tavern: 1131 Polk, San Francisco. Annie Girl & The Flight, Balms, Everyone Is Dirty, 8:30 p.m., $7.

The Knockout: 3223 Mission, San Francisco. “Disorder,” w/ Bestial Mouths, All Your Sisters, Cry, DJs Russell Butler & Nako Hszm, 10 p.m., $7.

Slim’s: 333 11th St., San Francisco. Touche Amore, MewithoutYou, Seahaven, Drug Church, 7:30 p.m., $16.

DANCE

111 Minna Gallery: 111 Minna, San Francisco. “Qoöl,” w/ DJs Zach DeVincent, The Ride, Marc Fong, Will Spencer, Dan Sherman, and Spesh, 5-10 p.m., $5.

Beaux: 2344 Market, San Francisco. “BroMance: A Night Out for the Fellas,” 9 p.m., free.

The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8 p.m., free.

Cat Club: 1190 Folsom, San Francisco. “Bondage A Go Go,” w/ DJs Damon, Tomas Diablo, & guests, 9:30 p.m., $5-$10.

Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance night, 9 p.m., $15-$20.

Edinburgh Castle: 950 Geary, San Francisco. “1964,” w/ DJ Matt B & guests, Second and Fourth Wednesday of every month, 10 p.m., $2.

F8: 1192 Folsom, San Francisco. “Housepitality,” w/ Corey Black, Mike Bee, Joel Conway, Sharon Buck, Fil Latorre, more, 9 p.m., $5-$10.

The Independent: 628 Divisadero, San Francisco. BoomBox, 9 p.m., $16-$18.

Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10 p.m.

Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9 p.m., free.

MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10 p.m., free.

Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9 p.m., $3.

HIP-HOP

Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9 p.m., $5.

Slate Bar: 2925 16th St., San Francisco. “Special Blend,” w/ resident DJs LazyBoy & Mr. Murdock, 9 p.m., free.

ACOUSTIC

50 Mason Social House: 50 Mason, San Francisco. Tyler Weiss, Brandon Eardley, Sweet Water, 8 p.m., free.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Gangstagrass, Shovelman, 9 p.m., $10-$13.

Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7 p.m., free.

Club Deluxe: 1511 Haight, San Francisco. Happy Hour Bluegrass, 6:30 p.m., free.

Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, Every other Wednesday, 9:30 p.m., free/donation.

Plough & Stars: 116 Clement, San Francisco. Actual Wolf, 9 p.m.

JAZZ

Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7 p.m., free.

Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.

Cigar Bar & Grill: 850 Montgomery, San Francisco. DU UY Quintet, 8 p.m.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7 p.m., free.

Meridian Gallery: 535 Powell, San Francisco. Meridian Composers in Performance: Joshua Allen, 7:30 p.m., $10.

Pier 23 Cafe: Pier 23, San Francisco. Mike Lipskin Group, 6 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. Michael Parsons Trio, Every other Wednesday, 8:30 p.m., free/donation.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30 p.m., $5.

Zingari: 501 Post, San Francisco. Sherri Roberts, 7:30 p.m., free.

INTERNATIONAL

Bissap Baobab: 3372 19th St., San Francisco. “Baobab!,” timba dance party with DJ WaltDigz, 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10.

Pachamama Restaurant: 1630 Powell, San Francisco. Cafe Latino Americano, 8 p.m., $12.

SFJAZZ Center: 205 Franklin, San Francisco. Bassekou Kouyaté & Ngoni Ba, 7:30 p.m., $25-$45.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. HowellDevine, 7:30 & 9:30 p.m., $15.

The Royal Cuckoo: 3202 Mission, San Francisco. Big Bones & Chris Siebert, 7:30 p.m., free.

The Saloon: 1232 Grant, San Francisco. Leah Tysse, 9:30 p.m.

COUNTRY

The Lucky Horseshoe: 453 Cortland, San Francisco. The Lucky Horseshoe House Band, 8:30 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Junior Brown, 8 p.m., $26-$30.

FUNK

Vertigo: 1160 Polk, San Francisco. “Full Tilt Boogie,” w/ KUSF-in-Exile DJs, Second Wednesday of every month, 8 p.m.-1:30 a.m., free.

THURSDAY 13

ROCK

Amnesia: 853 Valencia, San Francisco. “Spaceship Chaos,” w/ Rafa’s One Man Band, Not Robots, Borrowed Trouble, 8 p.m., $5-$10.

Bottom of the Hill: 1233 17th St., San Francisco. Sylvan Esso, Pixel Memory, Kitten Grenade, 9 p.m., $12.

The Chapel: 777 Valencia, San Francisco. Royal Teeth, Chappo, Blondfire, 8 p.m., $13-$15.

Hemlock Tavern: 1131 Polk, San Francisco. Sandy’s, Elle Bell, Rustangs, 8:30 p.m., $6.

The Knockout: 3223 Mission, San Francisco. Li Xi, The Pen Test, Brian Tester, DJ Mashi Mashi, 9:30 p.m., $6.

Make-Out Room: 3225 22nd St., San Francisco. Golden Void, Pontiak, Cy Dune, 7:30 p.m., $8-$10.

Milk Bar: 1840 Haight, San Francisco. Turtle Rising, Eyes on the Shore, KnightressM1, 8:30 p.m., $8.

S.F. Eagle: 398 12th St., San Francisco. Bronze, Sam Flax, Screature, Woman, 9 p.m., $8.

SFSU Campus, Cesar Chavez Student Center: 1650 Holloway, San Francisco. Hundred Acre Good, Stoics, Balms, Dark Satellite, 6 p.m., free.

Slim’s: 333 11th St., San Francisco. Breathe Carolina, Mod Sun, Ghost Town, Lionfight, 8 p.m., $15.

Thee Parkside: 1600 17th St., San Francisco. Hazzard’s Cure, Lord Dying, Hornss, 9 p.m., $10.

DANCE

Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10 p.m., free.

Audio Discotech: 316 11th St., San Francisco. Mark Knight, Pheeko Dubfunk, Festiva, 9:30 p.m., $20 advance.

Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9 p.m., $5-$7.

Beaux: 2344 Market, San Francisco. “Men at Twerk,” 9 p.m., free.

The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9 p.m., $5.

Cat Club: 1190 Folsom, San Francisco. “Throwback Thursdays,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9 p.m., $6 (free before 9:30 p.m.).

The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10 p.m., $5.

Club X: 715 Harrison, San Francisco. “The Crib,” 9:30 p.m., $10, 18+.

Danzhaus: 1275 Connecticut, San Francisco. “Alt.Dance,” Second Thursday of every month, 7 p.m., $7, 18+.

Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and guests, 9:30 p.m., $5-$8.

Harlot: 46 Minna, San Francisco. “You’re Welcome,” w/ Mr. C, Matrixxman, Benjamin K, 9 p.m., free.

Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10 p.m., $10.

Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9 p.m., $5 after 10 p.m.

Q Bar: 456 Castro, San Francisco. “Throwback Thursday,” w/ DJ Jay-R, 9 p.m., free.

Raven: 1151 Folsom, San Francisco. “1999,” w/ VJ Mark Andrus, 8 p.m., free.

Ruby Skye: 420 Mason, San Francisco. “Awakening,” w/ Congorock, 9 p.m., $15-$20 advance.

Temple: 540 Howard, San Francisco. “Decibel,” w/ Joe Nice, Sam Supa, Max Ohm, Octopod, Groucho, 10 p.m., $15.

The Tunnel Top: 601 Bush, San Francisco. “Tunneltop,” DJs Avalon and Derek ease you into the weekend with a cool and relaxed selection of tunes spun on vinyl, 10 p.m., free.

Underground SF: 424 Haight, San Francisco. “Bubble,” 10 p.m., free.

Vessel: 85 Campton, San Francisco. “Base,” w/ Chris Liebing, Alessandro, 10 p.m., $5-$10.

HIP-HOP

Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9 p.m., free.

John Colins: 138 Minna, San Francisco. DJ Sticky Ricardo, 10 p.m.

Mezzanine: 444 Jessie, San Francisco. DJ Qbert, Del the Funky Homosapien, Dan the Automator, Peace, Bambu, 9 p.m., $10-$20.

Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/ lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10 p.m., free.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7 p.m.

The Lucky Horseshoe: 453 Cortland, San Francisco. Windy Hill, The Oly Mountain Boys, 8:30 p.m.

Plough & Stars: 116 Clement, San Francisco. Tipsy House, 9 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Lee DeWyze, 8 p.m., $22-$26.

JAZZ

Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30 p.m., free.

Boom Boom Room: 1601 Fillmore, San Francisco. Victor Little’s Big Hit, 9:30 p.m., $8.

Brickhouse Cafe: 426 Brannan, San Francisco. Marlina Teich Trio, 7 p.m., free.

Cafe Claude: 7 Claude, San Francisco. Dick Fregulia’s Good Vibes Trio, 7:30 p.m., free.

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 8 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, Second Thursday of every month, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30 p.m.

Pier 23 Cafe: Pier 23, San Francisco. Primavera, 7 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Charlie Siebert & Chris Siebert, 7:30 p.m., free.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30 p.m., $10.

Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.

INTERNATIONAL

Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. N’Rumba, DJ Good Sho, 8 p.m., $12.

Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. Makrú, Sol Tevél, benefit concert for the Red Poppy Art House, 7 p.m., $10-$100 sliding scale.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8 p.m.

Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9 p.m., $10-$15.

REGGAE

1015 Folsom: 1015 Folsom, San Francisco. Tarrus Riley & Dean Fraser with the Black Soil Band, DJ Smoky, Polo Mo’Quuz, Green B, 8 p.m., $20-$40.

Make-Out Room: 3225 22nd St., San Francisco. “Festival ‘68,” w/ Revival Sound System, Second Thursday of every month, 10 p.m., free.

Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9 p.m., free.

BLUES

50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30 p.m., free.

Biscuits and Blues: 401 Mason, San Francisco. Brad Wilson Blues Band, 7:30 & 9:30 p.m., $15.

The Saloon: 1232 Grant, San Francisco. Jose Simioni, 4 p.m.; Chris Cobb, 9:30 p.m.

COUNTRY

Atlas Cafe: 3049 20th St., San Francisco. Jinx Jones & Jessica Rose, 8 p.m., free.

The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7 p.m., free.

EXPERIMENTAL

Exploratorium: Pier 15, San Francisco. Resonance: Unheard Sounds, Undiscovered Music, w/ The Freddy McGuire Show (Anne McGuire & Wobbly), 7 p.m., $15.

The Luggage Store: 1007 Market, San Francisco. Reconnaissance Fly, WhatUke, 8 p.m., $6-$10.

SOUL

Cigar Bar & Grill: 850 Montgomery, San Francisco. Big Blu Soul Revue, Second Thursday of every month, 7:30 p.m., free.

The Independent: 628 Divisadero, San Francisco. Alice Smith, Destani Wolf, 8 p.m., $22.

FRIDAY 14

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Quilt, The Spyrals, Wymond Miles, 9:30 p.m., $10.

DNA Lounge: 375 11th St., San Francisco. The Warlocks, The Shivas, Cellar Doors, Denney Yoints, 8:30 p.m., $10-$13.

El Rio: 3158 Mission, San Francisco. Friday Live: Thith, DJ Emotions, 10 p.m., free.

Hemlock Tavern: 1131 Polk, San Francisco. CCR Headcleaner, Quaaludes, Mane, 9 p.m., $5.

Make-Out Room: 3225 22nd St., San Francisco. Bermuda Triangle Service, A Carnival of Hours, 7:30 p.m., $8.

Milk Bar: 1840 Haight, San Francisco. I Haight Valentine’s Day, With music by The Fire Department, The Go Ahead, and SolGanix., 8:30 p.m., $7-$10.

Rickshaw Stop: 155 Fell, San Francisco. Valentine’s Day with The Lovemakers, Manics, Everyone Is Dirty, DJ Aaron Axelsen, 9 p.m., $12.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. T.E.N.: Thomas Pridgen, Eric McFadden, and Norwood Fisher (performing the Jimi Hendrix album Axis: Bold as Love), in Yoshi’s lounge, 10:30 p.m., $16-$19.

DANCE

1015 Folsom: 1015 Folsom, San Francisco. Lonely Hearts Club, With music by Kaytranada, Sango, Falcons, Starship Connection, Iman Omari, Shift K3y, Insightful, Running in the Fog, and more., 10 p.m., $17.50 advance.

Amnesia: 853 Valencia, San Francisco. “Indie Slash,” w/ DJs Danny White & Rance, 10 p.m., $5.

Audio Discotech: 316 11th St., San Francisco. “Summertime, All the Time,” w/ Viceroy, Penguin Prison (DJ set), Surf Ambassador Hendo, 9 p.m., $15-$20 advance.

BeatBox: 314 11th St., San Francisco. As You Like It: A Special Valentine’s Love Affair, With music by Slow Hands, Worst Friends, Bells & Whistles, and Dao & Pwny., 9 p.m., $10-$20.

Beaux: 2344 Market, San Francisco. “Manimal,” 9 p.m.

Cafe Flore: 2298 Market, San Francisco. “Kinky Beats,” w/ DJ Sergio, 10 p.m., free.

The Cafe: 2369 Market, San Francisco. “Boy Bar,” w/ DJ Matt Consola, 9 p.m., $5.

Cat Club: 1190 Folsom, San Francisco. Dark Shadows: Vampire Valentine, With DJs Daniel Skellington, Melting Girl, Unit 77, and Starr., 9:30 p.m., $7 ($3 before 10 p.m.).

The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10 p.m.

The EndUp: 401 Sixth St., San Francisco. “Trade,” 10 p.m., free before midnight.

The Grand Nightclub: 520 Fourth St., San Francisco. “We Rock Fridays,” 9:30 p.m.

Harlot: 46 Minna, San Francisco. “Love Bitten x Love Smitten: A DJ Fueled Dance Affair,” w/ DJ Don Lynch, M.O.M. DJs, 9 p.m.

Infusion Lounge: 124 Ellis, San Francisco. “Bitter Ball,” w/ Bebe Rexha, DJ Cobra, 99.7 NOW’s Fernando & Greg, 10 p.m.

Lone Star Saloon: 1354 Harrison, San Francisco. “Cubcake,” w/ DJ Medic, Second Friday of every month, 9 p.m.

Lookout: 3600 16th St., San Francisco. “HYSL: Handle Your Shit Lady,” 9 p.m., $3.

Manor West: 750 Harrison, San Francisco. “Fortune Fridays,” 10 p.m., free before 11 p.m. with RSVP.

MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9 p.m.

Mezzanine: 444 Jessie, San Francisco. “Dirtybird Players,” w/ Justin Martin, Christian Martin, J.Phlip, Worthy, 9 p.m., $10-$20.

Mighty: 119 Utah, San Francisco. “Vinyl Affair,” w/ Mark Farina, Pezzner, Lurob, 10 p.m., $15-$20 advance.

Monarch: 101 Sixth St., San Francisco. Green Gorilla Lounge: Valentine’s Day Discotech, With music by Tim Sweeney, Anthony Mansfield, and DJ M3., 9:30 p.m., $8-$15.

Project One: 251 Rhode Island, San Francisco. “Eightfold,” w/ DJs Augustine, Dave Mak, Dano, and Tuhin Roy, 9 p.m., $8 (free before 10 p.m.).

Public Works: 161 Erie, San Francisco. “Garage Mahal: Caravan of Love,” w/ Dusty, Laura McGourty, Deckard, Tamo, ViaJay, Mancub, Shooey, DingDong, Mace, more, 9:30 p.m., $10-$15.

Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9 p.m., $3.

Ruby Skye: 420 Mason, San Francisco. Bad Boy Bill, Tommie Sunshine, 9 p.m., $20 advance.

S.F. Eagle: 398 12th St., San Francisco. “Pound Puppy: Puppy Love,” w/ DJs Taco Tuesday, Chip Mint, and CarrieOnDisco, 9 p.m.

Slide: 430 Mason, San Francisco. “E2F,” Second Friday of every month, 9 p.m.

Supperclub San Francisco: 657 Harrison, San Francisco. Love Me: A Second Base Valentine’s Event, With music by Phutureprimitive, Jocelyn, Dulce Vita, Dutch, Neptune, Baron Von Spirit, and more., 9 p.m., $15-$30.

Temple: 540 Howard, San Francisco. “Red, White, and Sexy,” w/ Rainbow Party, Reflkta, Sebastian Concha, Mikey Tan, Hardy, 10 p.m., $15.

Underground SF: 424 Haight, San Francisco. “Bionic,” 10 p.m., $5.

Vessel: 85 Campton, San Francisco. “Sound Addiction,” w/ Techminds, Felnlove, DJ Nile, Sam F, 10 p.m., $10-$30.

W San Francisco: 181 Third St., San Francisco. Valentine’s Day Dance Party with DJ Aykut & Dr. T, 9 p.m., $10-$20.

Wish: 1539 Folsom, San Francisco. “Bridge the Gap,” w/ resident DJ Don Kainoa, Fridays, 6-10 p.m., free.

HIP-HOP

Elbo Room: 647 Valencia, San Francisco. Hellfyre Club Night, w/ Busdriver, Milo, Open Mike Eagle, Nocando, 9 p.m., $15.

EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9 p.m.

John Colins: 138 Minna, San Francisco. “Heartbeat,” w/ resident DJ Strategy, Second Friday of every month, 9 p.m., $5 (free before 11 p.m).

Slate Bar: 2925 16th St., San Francisco. “The Hustle,” w/ DJs Sake One & Sean G, Second Friday of every month, 9 p.m.

Slim’s: 333 11th St., San Francisco. Blackalicious, Jahi & The Life, Antique Naked Soul, 9 p.m., $25.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Valentine’s Day Special: Bad Relationships & Breakup Songs, Hosted by Tommy P., 7 p.m.

Plough & Stars: 116 Clement, San Francisco. “Hillbilly Robot: An Urban Americana Music Event,” w/ The James King Band, Windy Hill, 9 p.m., $10-$15.

The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10 a.m., $5.

JAZZ

Atlas Cafe: 3049 20th St., San Francisco. Jazz at the Atlas, 7:30 p.m., free.

Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Johnny Smith, 8 p.m., free.

Bird & Beckett: 653 Chenery, San Francisco. Jimmy Ryan Quintet, Second Friday of every month, 5:30 p.m., free.

Biscuits and Blues: 401 Mason, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7:30 & 10 p.m., $24.

Cafe Claude: 7 Claude, San Francisco. Lori Carsillo, 7:30 p.m., free.

Cafe Royale: 800 Post, San Francisco. Tristan Norton Quartet, 9 p.m.

Center for New Music: 55 Taylor, San Francisco. Best Coast Jazz Composers Series #4: Ben Goldberg, 7:30 p.m., $12-$15.

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 7 & 9:30 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.

The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Steve Lucky & Carmen Getit, 7:30 p.m., free.

Savanna Jazz Club: 2937 Mission, San Francisco. Valentine’s Day Party with Jeri Brown & Woody Woods, 7:30 p.m., $10.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9 p.m., $10.

Zingari: 501 Post, San Francisco. Joyce Grant, 8 p.m., free.

INTERNATIONAL

Amnesia: 853 Valencia, San Francisco. The Petrojvic Blasting Co., 7 p.m., $7-$10.

Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30 p.m., $15 (free entry to patio).

Cigar Bar & Grill: 850 Montgomery, San Francisco. Mazacote, 10 p.m.

Cliff House: 1090 Point Lobos, San Francisco. Orquesta Conquistador Quartet, 7 p.m.

Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15 p.m., $15-$18.

Red Poppy Art House: 2698 Folsom, San Francisco. Janam, 7:30 p.m., $15-$20.

REGGAE

Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30 p.m., free.

BLUES

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Little Wolf & The HellCats, 6 p.m.

The Saloon: 1232 Grant, San Francisco. Jinx Jones & The KingTones, Second Friday of every month, 4 p.m.; Delta Wires, 9:30 p.m.

Tupelo: 1337 Green, San Francisco. Marshall Law Band, 9 p.m.

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. RonKat Spearman’s Valentine Luv Fest with Katdelic, Pamela Parker, DJ Be Smiley, 9:30 p.m., $12-$15.

The Independent: 628 Divisadero, San Francisco. The Pimps of Joytime, Solwave, 9 p.m., $20-$22.

Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, and Tom Thump, 10 p.m., $5-$10.

SOUL

Brick & Mortar Music Hall: 1710 Mission, San Francisco. The Seshen, Zakiya Harris, Okapi Sun, 9 p.m., $12-$15.

Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10 p.m., free.

The Knockout: 3223 Mission, San Francisco. “Nightbeat,” w/ DJs Primo, Lucky, and Dr. Scott, Second Friday of every month, 10 p.m., $4.

Madrone Art Bar: 500 Divisadero, San Francisco. “Yo Momma: M.O.M. Weekend Edition,” w/ DJ Gordo Cabeza, Second Friday of every month, 9 p.m., $5 (free before 10 p.m.).

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Valentine’s Weekend with Irma Thomas, Feb. 14-15, 8 & 10 p.m., $24-$49.

SATURDAY 15

ROCK

Bender’s: 806 S. Van Ness, San Francisco. Mondo Generator, White Barons, Turbonegra, 10 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. The Summer Set, acoustic performance of Legendary, 8 p.m., $20.

The Chapel: 777 Valencia, San Francisco. Secret Chiefs 3, Mirthkon, 9 p.m., $20-$22.

Hemlock Tavern: 1131 Polk, San Francisco. Aa, Alan Watts, Wand, Violent Vickie, 9 p.m., $8.

Neck of the Woods: 406 Clement, San Francisco. Charmless, The Skinny Guns, The Tenderloins, on the downstairs stage, 9 p.m., $5.

Slim’s: 333 11th St., San Francisco. Zepparella, Skip the Needle, 9 p.m., $18.

Thee Parkside: 1600 17th St., San Francisco. First Annual Bay Area Record Label Fair (B.A.R.F.), featuring live music by Dog Party, Cocktails, Twin Steps, and Al Lover, plus record label merch from Fat Wreck Chords, Castle Face, Polyvinyl, Slumberland Records, Alternative Tentacles, 1-2-3-4 Go!, Tricycle, Loglady, Empty Cellar, Father/Daughter, Moon Glyph, Antenna Farm, and more, 12-5 p.m., free.

DANCE

Amnesia: 853 Valencia, San Francisco. “Pance Darty,” w/ Jjaaxxnn & Duke, Third Saturday of every month, 9 p.m., $7.

Audio Discotech: 316 11th St., San Francisco. Treasure Fingers, Dr. Fresch, Sunwoo, 9 p.m., $10 advance.

BeatBox: 314 11th St., San Francisco. “Sandstorm: The Official Afterparty of Oasis,” w/ DJ Tristan Jaxx (starts 4 a.m. Sunday morning), $15-$20; “Bearracuda Goes Pop,” w/ DJs Rotten Robbie & MC2, 9 p.m., $6-$10.

Cafe Flore: 2298 Market, San Francisco. “Bistrotheque,” w/ DJ Ken Vulsion, 8 p.m., free.

Cat Club: 1190 Folsom, San Francisco. “New Wave City: New Romantic Night,” w/ DJs Skip, Shindog, Low-Life, and Danny White, 9 p.m., $7-$12.

DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ A+D, DJ Dcnstrct, Becky Knox, DJ MC2, Guy Ruben, Myster C, Mr. Washington, drag performances by The Monster Show, more, 9 p.m., $10-$15.

The EndUp: 401 Sixth St., San Francisco. “The Show: Superfreq,” w/ David Scuba, Ben Seagren, Dean Samaras, Alex Windsor, Lick the DJ, 10 p.m., $10-$20.

F8: 1192 Folsom, San Francisco. Saint Pepsi, Glenn Jackson, Hawtline, Cool Greg, Pyramids, Bobby Peru, Neto, Witowmaker, 9 p.m., $10-$15 advance.

Infusion Lounge: 124 Ellis, San Francisco. “Social Addiction,” Third Saturday of every month, 10 p.m., $20.

Lexington Club: 3464 19th St., San Francisco. “S.O.S. Saturday,” w/ DJ Footy, 9 p.m., free.

Lookout: 3600 16th St., San Francisco. “Bounce!,” 9 p.m., $3.

Madrone Art Bar: 500 Divisadero, San Francisco. “Fringe,” w/ DJs Blondie K & subOctave, Third Saturday of every month, 9 p.m., $5 (free before 10 p.m.).

Mezzanine: 444 Jessie, San Francisco. “Oasis,” w/ Mickey Friedmann, Misha Skye, Maya Simantov, 9 p.m., $45.

Mighty: 119 Utah, San Francisco. Bass Cabaret: Bonnie & Clyde’s Valentine, With music by Lafa Taylor, VibeSquaD, Jocelyn, and more., 10 p.m., $22 advance.

Milk Bar: 1840 Haight, San Francisco. “The Queen Is Dead: Second Annual ‘I Know You’re Unloveable’ Ball,” w/ DJs Jacob Fury, Mario Muse, and Maren Christensen, 9 p.m., $5.

Monarch: 101 Sixth St., San Francisco. “No Way Back,” w/ Legowelt, Xosar, Conor, Solar, 10 p.m., $15.

Powerhouse: 1347 Folsom, San Francisco. “Beatpig,” Third Saturday of every month, 9 p.m.

Public Works: 161 Erie, San Francisco. “Electric Nostalgia,” w/ DJ Dials (LCD Soundsystem DJ set) and Motion Potion (Talking Heads DJ set), 9 p.m., $6-$10; “Icee Hot,” w/ John Talabot, Galcher Lustwerk, Ghosts on Tape, Shawn Reynaldo, DJ Will (in the main room), 10 p.m., $5-$15 advance.

Ruby Skye: 420 Mason, San Francisco. Dannic, Trevor Simpson, 9 p.m., $20-$30 advance.

S.F. Eagle: 398 12th St., San Francisco. “UnderBear: The Cubhouse,” 9 p.m., free.

Slate Bar: 2925 16th St., San Francisco. “Electric WKND,” w/ The Certain People Crew, 10 p.m., $5.

Slide: 430 Mason, San Francisco. “Luminous,” w/ DJ Zhaldee, Third Saturday of every month, 9 p.m.

Temple: 540 Howard, San Francisco. “The Fourth Annual Carnaval Circus,” w/ The Funk Phenomenon (Lucas Med & Bryan Boogie), Reggie Soares, Fausto Sousa, Roberto Martins, DJ Bizkit, 10 p.m., free.

Vessel: 85 Campton, San Francisco. Tall Sasha, 10 p.m., $10-$30.

HIP-HOP

111 Minna Gallery: 111 Minna, San Francisco. “Shine,” Third Saturday of every month, 10 p.m.

Beaux: 2344 Market, San Francisco. “Swagger Like Us,” 9 p.m., $3.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Craig G, Scarub, Eddie K, Gigio, Telli Prego, AgentStrik9, Spank Pops, DJ T.D. Camp, 9 p.m., $8-$12.

John Colins: 138 Minna, San Francisco. “The Bump,” w/ The Whooligan, Third Saturday of every month, 10 p.m., free.

The Knockout: 3223 Mission, San Francisco. “The Booty Bassment,” w/ DJs Dimitri Dickinson & Ryan Poulsen, Third Saturday of every month, 10 p.m., $5.

Showdown: 10 Sixth St., San Francisco. “Purple,” w/ resident DJs ChaunceyCC & Party Pablo, Third Saturday of every month, 10 p.m.

Skylark Bar: 3089 16th St., San Francisco. “Night Swim,” w/ resident DJ Mackswell, Third Saturday of every month, 10 p.m.

ACOUSTIC

Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco and/or Meredith Axelrod, Saturdays, 4-6 p.m., free.

Bazaar Cafe: 5927 California, San Francisco. Jordan Singh VanderBeek, 7 p.m.

The Lucky Horseshoe: 453 Cortland, San Francisco. High Country, The Lucky Horseshoe Bluegrass Band, 8:30 p.m.

Plough & Stars: 116 Clement, San Francisco. The Bombadils, 9 p.m.

Thee Parkside: 1600 17th St., San Francisco. “Hillbilly Robot: An Urban Americana Music Event,” w/ Big Jugs, Wolf Hamlin & The Front Porch Drifters, Kemo Sabe, Three Times Bad, 9 p.m., $13.

Tupelo: 1337 Green, San Francisco. Shantytown, 9:30 p.m.

JAZZ

Cafe Claude: 7 Claude, San Francisco. The Monroe Trio, 7:30 p.m., free.

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 7 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. Sophisticated Ladies, 7:30 p.m., $15-$20.

Savanna Jazz Club: 2937 Mission, San Francisco. Byrds of a Feather, 7:30 p.m., $8.

SFJAZZ Center: 205 Franklin, San Francisco. Kate McGarry & Keith Ganz, in the Joe Henderson Lab, 7 & 8:30 p.m., $30.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9 p.m.

Zingari: 501 Post, San Francisco. Chris Duggan, 8 p.m., free.

INTERNATIONAL

1015 Folsom: 1015 Folsom, San Francisco. “Pura,” 9 p.m., $20.

Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. Pepe y Su Orquesta, DJ EMV, 8 p.m., $15.

Cigar Bar & Grill: 850 Montgomery, San Francisco. Orquesta La Clave, 10 p.m.

Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5 before 11 p.m.

Pachamama Restaurant: 1630 Powell, San Francisco. Eddy Navia & Pachamama Band, 8 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. Go Van Gogh, Third Saturday of every month, 9 p.m., free/donation.

The Riptide: 3639 Taraval, San Francisco. The Mano Cherga Band, 9:30 p.m., free.

Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30 p.m.

REGGAE

Make-Out Room: 3225 22nd St., San Francisco. Titan Ups, Burnt, 7:30 p.m., $8.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Rick Estrin & The Nightcats, 7:30 & 10 p.m., $22.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Robert “Hollywood” Jenkins, 6 p.m.

The Saloon: 1232 Grant, San Francisco. Tony Perez & Second Hand Smoke, Third Saturday of every month, 4 p.m.; Curtis Lawson, 9:30 p.m.

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. Wicked Mercies, Eliquate, DJs Lydia & Mike, 9:30 p.m., $10-$15.

The Independent: 628 Divisadero, San Francisco. The Pimps of Joytime, Myron & E, 9 p.m., $20-$22.

SOUL

Elbo Room: 647 Valencia, San Francisco. “Saturday Night Soul Party,” w/ DJs Lucky, Phengren Oswald, and Paul Paul, Third Saturday of every month, 10 p.m., $10 ($5 in formal attire).

The Royal Cuckoo: 3202 Mission, San Francisco. Freddie Hughes & Chris Burns, 7:30 p.m., free.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Valentine’s Weekend with Irma Thomas, Feb. 14-15, 8 & 10 p.m., $24-$49.

SUNDAY 16

ROCK

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Jesus Sons, Down & Outlaws, Psychic Jiu-Jitsu, 9 p.m., $5-$7.

DNA Lounge: 375 11th St., San Francisco. Gorilla Music Battle of the Bands: Finals, w/ Mythra, The Only Ocean, Nightrail, They Went Ghost, As Small As Giants, Flip & The European Mutts, Pyrite Sidewalk, Wonderland Syndrome, The Guverment, Vulturegeist, Maxwell Powers, 5:30 p.m., $10-$12.

El Rio: 3158 Mission, San Francisco. Violent Change; Turner; The Reds, Pinks, and Purples, 9 p.m., $3.

The Independent: 628 Divisadero, San Francisco. New Politics, Magic Man, Sleeper Agent, 8 p.m., sold out.

Milk Bar: 1840 Haight, San Francisco. Surf Music Extravaganza with The Deadlies & The Reefriders, 3 p.m., free.

DANCE

Audio Discotech: 316 11th St., San Francisco. “Fools in the Night,” w/ Bag Raiders, The Schmidt, 9 p.m., $20-$25 advance.

BeatBox: 314 11th St., San Francisco. “Discothèque,” w/ DJs Razor & Guido and David Harness (starts 3 a.m. Monday morning), $15-$20; “Union,” w/ DJs Steve Sherwood & Craig Gaibler, 5-10 p.m., $5; “Honey Soundsystem: President’s Day,” 10 p.m., $10-$20.

Beaux: 2344 Market, San Francisco. “Full of Grace: A Weekly House Music Playground,” 9 p.m., free.

The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9 p.m., free.

The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8 p.m.

Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ Roommate, DJ Sep, DJ Beset, 9 p.m., $6-$9.

The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.

F8: 1192 Folsom, San Francisco. “Stamina,” w/ Yutaka, Joanna O, Kimba, Jamal, Lukeino, 10 p.m., free.

The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10 p.m., free.

Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8 p.m., $2.

MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10 p.m.

Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9 p.m., $5 (free before 11 p.m.).

The Parlor: 2801 Leavenworth, San Francisco. “Sunday Sessions,” w/ DJ Marc deVasconcelos, 9 p.m., free.

Q Bar: 456 Castro, San Francisco. “Gigante,” 8 p.m., free.

S.F. Eagle: 398 12th St., San Francisco. “Disco Daddy,” w/ DJ Bus Station John, 7 p.m.

The Stud: 399 Ninth St., San Francisco. “Massive: S.F. Bear Weekend 2014,” w/ DJs Mike Biggz & LoonETech, 6 p.m., $5.

Temple: 540 Howard, San Francisco. “Sunset Arcade,” 18+ dance party & game night, 9 p.m., $10.

HIP-HOP

Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30 p.m., free.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Frank Fairfield, Devine’s Jug Band, Meredith Axelrod, 8 p.m., $10.

Bazaar Cafe: 5927 California, San Francisco. Olivia Clayton, Jeremy Hatch, Travis Barnes, 6 p.m.

Bottom of the Hill: 1233 17th St., San Francisco. Peter Bradley Adams, Ghost & Gale, 7 p.m., $12.

The Lucky Horseshoe: 453 Cortland, San Francisco. Bernal Mountain Bluegrass Jam, 4 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Spike’s Mic Night,” Sundays, 4-8 p.m., free.

Pier 23 Cafe: Pier 23, San Francisco. The Barren Vines, 5 p.m., free.

Plough & Stars: 116 Clement, San Francisco. Seisiún with Jack Gilder, Kevin Bernhagen, and Richard Mandel, 9 p.m.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Snow Angel, 8 p.m., free.

St. Luke’s Episcopal Church: 1755 Clay, San Francisco. “Sunday Night Mic,” w/ Roem Baur, 5 p.m., free.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Piers Faccini, Dom La Nena, 7 p.m., $20-$24.

JAZZ

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 7 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4 p.m., free/donation.

The Riptide: 3639 Taraval, San Francisco. The Cottontails, Third Sunday of every month, 7:30 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30 p.m., free.

SFJAZZ Center: 205 Franklin, San Francisco. Kate McGarry & Keith Ganz, in the Joe Henderson Lab, 5:30 & 7 p.m., $25.

Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.

INTERNATIONAL

Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($18-$25 with dance lessons).

Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30 p.m., free.

Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30 p.m.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Jason King Band, 7:30 & 9:30 p.m., $15.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Sam Johnson, 4 p.m.

The Saloon: 1232 Grant, San Francisco. King Perkoff, 4 p.m.; Silvia C, Third Sunday of every month, 9:30 p.m.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8 p.m., free.

Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9 p.m.

SOUL

Delirium Cocktails: 3139 16th St., San Francisco. “Heart & Soul,” w/ DJ Lovely Lesage, 10 p.m., free.

MONDAY 17

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. The Lawrence Arms, Nothington, Great Apes, 8 p.m., $20.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Waters, Farallons, Mornings, 9 p.m., $6.

DANCE

DNA Lounge: 375 11th St., San Francisco. “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30 p.m., $3-$5.

Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9 p.m., free.

Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10 p.m., free.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Windy Hill, Third Monday of every month, 9 p.m., free.

The Chieftain: 198 Fifth St., San Francisco. The Wrenboys, 7 p.m., free.

Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30 p.m., free/donation.

Hotel Utah: 500 Fourth St., San Francisco. Open Mic with Brendan Getzell, 8 p.m., free.

Make-Out Room: 3225 22nd St., San Francisco. “Sad Bastard Club,” Third Monday of every month, 7:30 p.m., free.

Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7 p.m., free.

The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4 p.m.

JAZZ

Cafe Divine: 1600 Stockton, San Francisco. Rob Reich, First and Third Monday of every month, 7 p.m.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7 p.m., free.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8 p.m.

Zingari: 501 Post, San Francisco. Marilyn Cooney, 7:30 p.m., free.

INTERNATIONAL

Elbo Room: 647 Valencia, San Francisco. Zili Misik, 9 p.m., $8.

REGGAE

Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10 p.m., free.

BLUES

The Chapel: 777 Valencia, San Francisco. Jeremy Spencer & Band, 8 p.m., $22-$25.

The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30 p.m.

COUNTRY

Make-Out Room: 3225 22nd St., San Francisco. “Whiskey River,” w/ DJ Handlebars & Pretty Ricky, Third Monday of every month, 10 p.m., free.

SOUL

Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8 p.m., free.

TUESDAY 18

ROCK

Amnesia: 853 Valencia, San Francisco. Bill Baird, Brova, The Dirty Snacks Ensemble, Beast Nest, 9 p.m.

Boom Boom Room: 1601 Fillmore, San Francisco. Island of Black & White, Mosshead, Mondo Deco, 9:30 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. The Lawrence Arms, Nothington, Great Apes, 8 p.m., $20.

The Chapel: 777 Valencia, San Francisco. Converse Rubber Tracks Live: Bl’ast!, Lecherous Gaze, Hot Lunch, 8 p.m., free with RSVP.

DNA Lounge: 375 11th St., San Francisco. American Head Charge, Righteous Vendetta, Catharsis, 7 p.m., $12-$15.

El Rio: 3158 Mission, San Francisco. Foli, Animal Eyes, We Are the Men, 7 p.m., $5.

Hemlock Tavern: 1131 Polk, San Francisco. Couches, Fish Breath, Command Control, 8:30 p.m., $6.

The Knockout: 3223 Mission, San Francisco. A Million Billion Dying Suns, The Tropics, Buzzmutt, 9:30 p.m., $6.

DANCE

Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10 p.m., $2.

Monarch: 101 Sixth St., San Francisco. “Deep, Dark, and Dangerous,” w/ Youngsta, Truth, Vilify, 10 p.m., $15.

Otis: 25 Maiden, San Francisco. “Vibe,” w/ Binkadink, Third Tuesday of every month, 6 p.m., free.

Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9 p.m., $3.

Underground SF: 424 Haight, San Francisco. “Shelter,” 10 p.m., free.

Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8 p.m., free.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Paige Clem, continues through Feb. 25.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Noah Gunderson, Carly Ritter, 8 p.m., $10-$12.

Plough & Stars: 116 Clement, San Francisco. Seisiún with Autumn Rhodes & Pat O’Donnell, 9 p.m.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Drizzoletto, 8 p.m., free.

JAZZ

Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7 p.m.

Biscuits and Blues: 401 Mason, San Francisco. The Robert Stewart Experience, 7:30 & 9:30 p.m., $15.

Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7 p.m., free.

Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.

Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7 p.m.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m.

Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free; Panique, Third Tuesday of every month, 8:30 p.m., free/donation.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Sharman Duran, 8 p.m.

Tupelo: 1337 Green, San Francisco. Mal Sharpe’s Big Money in Jazz Band, 6 p.m.

Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9 p.m., $10-$12.

Wine Kitchen: 507 Divisadero St., San Francisco. Hot Club Pacific, 7:30 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8 p.m., $22.

Zingari: 501 Post, San Francisco. Emily Hayes, 7:30 p.m., free.

INTERNATIONAL

Cafe Cocomo: 650 Indiana, San Francisco. Salsa Tuesday, w/ DJs Good Sho & El de la Clave, 8:30 p.m., $10.

The Cosmo Bar & Lounge: 440 Broadway, San Francisco. Conga Tuesdays, 8 p.m., $7-$10.

Elbo Room: 647 Valencia, San Francisco. “Porreta!,” all night forro party with DJs Carioca & Lucio K, Third Tuesday of every month, 9 p.m., $7.

F8: 1192 Folsom, San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9 p.m., $5 (free before 9:30 p.m.).

REGGAE

Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10 p.m.

BLUES

The Saloon: 1232 Grant, San Francisco. Lisa Kindred, Third Tuesday of every month, 9:30 p.m.

EXPERIMENTAL

Center for New Music: 55 Taylor, San Francisco. sfSoundSalonSeries, w/ Natural Artefacts, Tim Perkis, Lucie Vitkova, 7:49 p.m., $10-$15.

SOUL

Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free. 2

Events: February 12 – 18, 2014

Michael Redmond

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February 11, 2014

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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 12

Black History Month programs San Francisco Maritime National Historical Park, aboard the Balclutha, Hyde St Pier, and in the Visitor Center, 499 Jefferson, SF; nps.gov/safr. Daily throughout Feb (9:30am-5pm in the Visitor Center, free): “African Americans in the Maritime Trades: A Photographic Exhibition.” Sat/15-Sun/16 (3pm in the Visitor Center, free): “The Saga of Captain William Shorey,” slide lecture. Sun/16 and Feb 23 (2:15pm aboard the Balclutha, $5): “The Great Migration in Alaska: African Americans, the Alaska Packers Association, and the Politics of Race at Sea, 1896-1929,” interactive program. Feb 22 (1-1:45pm aboard the Balclutha, $5): “Chanteys: The African American and Caribbean Connection,” musical program.

“Darwin Day Celebration” Revolution Books, 2425 Channing, Berk; www.revolutionbooks.org. 7pm, free. Presentations and videos on the topic “Evolution: What it Means for Science and the Struggle to Radically Change the World.”

Habitot Children’s Museum Valentine Play Date Habitot Children’s Museum, 2065 Kittredge, Berk; www.habitot.org. Children with special needs and their families are invited to this free afternoon of hands-on, safe, and accessible fun at the museum.

Cecile Pineda Latino Hispanic Community Room, San Francisco Main Library, 100 Larkin, SF; www.sfpl.org. 6:30pm, free. The Neustadt International Prize for Literature nominee, also a noted anti-war activist, reads from her award-winning first novel, Face.

San Francisco Middle School Science Fair Randall Museum, 199 Museum Wy, SF; www.randallmuseum.org. On display through Feb 21; museum hours Tue-Sat, 10am-5pm. Free. Check out all the exhibits in the 32nd annual fair, with participants hailing from 30 local public and private schools. The 200 projects on display are chosen from 4,000 total entries, with prizes going to the top three winners in each grade. Sat/15, 10am-2pm, visit the “Science Fair Fest,” celebrating the fair and engaging in interactive science experiments.

THURSDAY 13

Falu Bakrania Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author reads from Bhangra and Asian Underground: South Asian Music and the Politics of Belonging in Britain.

Eileen Cronin Book Passage, 1 Ferry Bldg, SF; www.bookpassage.com. 6pm, free. The author reads from Mermaid: A Memoir of Resilience.

“Curator’s Talk with Professor Al Camarillo” California Historical Society, 678 Mission, SF; www.californiahistoricalsociety.org. 6-8pm, $5. The curator and Stanford university prof discusses the exhibit “Juana Briones y Su California: Pionera, Fundadora, Curandera,” as well as the life and legacy of its subject.

“Ricky Vincent: Party Music: The Inside Story of the Black Panthers’ Band” Humanist Hall, 390 27th St, Oakl; www.humanisthall.org. 7:30pm, $15. With hip-hop historian Davey D, Marcus Books proprietor Blanche Richardson, original Black Panthers, and others.

“Valentine’s Day from Cleis Press” Books Inc., 2275 Market, SF; www.booksinc.net. 7:30pm, free. The veteran LGBT publisher visits the indie bookseller for a night of reading and romance, with authors Felice Picano, Lewis DeSimone, and Rob Rosen, plus the releases of the Best Gay Romance 2014 and Best Gay Erotica 2014 anthologies.

FRIDAY 14

Mass wedding Downtown Berkeley BART Plaza, Berk; www.downtownberkeley.com. 5pm, free. Any and all couples (queer and straight, as long as you have your IDs and a valid marriage license) can get hitched at this mass wedding to celebrate Valentine’s Day and the end of Prop 8 and DOMA; three couples will win a mini honeymoon package for dinner, hotel, theater tickets, and more Berkeley-centric gifts. Yes, there will be cake.

SATURDAY 15

Chinese New Year Spring Festival Chinese Culture Center, 750 Kearny, Third Flr, SF; www.c-c-c.org. 11am-3pm, free. This year’s theme, “Old School/New School,” is embodied by performances by Starr King Elementary School students and Pacific Wushu, as well as China Dance Theater, traditional lion dancing, calligraphy art activities, and more. Make sure to visit the exhibit Between Modern and Contemporary: Fong Chung-ray, highlighting the work of the abstract art pioneer.

“Oakland Art Murmur’s Third Saturday Guided Gallery District Tour: Developing a Critical Eye” Meet at Manna Gallery, 473 25th St, Oakl; oaklandartmurmur.org/walking-tours. 2-4pm, free. Free guided walking tour of several galleries in Uptown Oakland.

“Valentine’s Day Weekend at Playland-Not-at-the-Beach” Playland-Not-at-the-Beach, 10979 San Pablo, El Cerrito; www.playland-not-at-the-beach.org. Sat/15-Mon/17, 10am-5pm. $10-15. Special Valentine’s-themed games and prizes in addition to all of the arcade’s usual attractions: pinball, amusement devices, penny arcades, and more.

SUNDAY 16

“Ex Postal Facto Lectures” Koret Auditorium, San Francisco Main Library, 100 Larkin, SF; www.sfpl.org. 1-4:30pm, free. Correspondence art is the topic of this lecture series, with panels entitled “The History of West Coast Mail Art” and “Artistamps and Their Makers: Seeing the World in Miniature,” plus a reception and “passport stamping.” Participants include artists Lowell Darling, Leslie Caldera, Carl Chew, and Anna Banana, as well as James Cline, James Felter, Harley, and Ginny Lloyd.

TUESDAY 18

“Capp Street Project’s 30th Birthday Party” CCA Wattis Institute for Contemporary Arts, 350 Kansas, SF; www.wattis.org. 8pm, free. Celebrate the groundbreaking visual-arts residency program Capp Street Project with 1980s jams, a display of custom-crafted piñatas by Capp Street alum, and more.

Peter Mountford Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author reads from The Dismal Science and discusses his work with Peter Orner. *

Sue Hestor’s 70th birthday party: “We Shall Overcome.”

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February 5, 2014

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By Bruce B. Brugmann

Plus: Tim Redmond reports on Sue Hestor and her environmental legacy on his new local website 48 Hills.org.

How do you say happy birthday to a San Francisco icon like Sue Hestor?

Some 200 of her friends, allies, pro bono legal clients, political heavies, and fellow warriors against big developers and their pals in City Hall gathered Saturday at Delancey Street for a surprise party to celebrate Sue’s 70th birthday.

When she arrived, she was obviously surprised to find a band playing “We shall overcome” and her friends standing, clapping, cheering, and singing in admiration for a woman who has spent more than four decades as a citizen activist and attorney fighting for one good cause after another, usually at bad odds against the big guys, often for clients without pay. It was truly a historic moment in the history of San Francisco politics.

I first knew Sue when she popped up as a feisty volunteer in the Alvin Duskin anti-high rise campaign of the the early 1970s. The Bay Guardian was doing an investigative book, “The Ultimate HIghrise,” on the impact of highrises on the city. She pitched in on the project and was in the book’s staff photo, jauntily wearing her trademark straw hat, standing next to the hole in the ground for the Yerba Buena Center development.

We billed a central feature of the book as “the world’s first comprehensive study of the true cost of skyscrapers.” Our research group demonstrated that highrises cost much more in services than they bring back in revenue, a finding that infuriated the Chamber of Commerce because they could never effectively refute it. We also laid out in detail for the first time the power structure behind pellmell Manhattanizaton, how destructive those policies are, how they shift the tax burden from dowotown to neighborhoods and small business, who profits from them, why there are more muckmakers than muckrakers. Our talented art director Louis Dunn provided brilliant graphics that drove home the damaging points about highrises.

Our conclusion was most prophetic: “The most disturbing finding can’t be quantified–but it should be shouted to the heavens. It is this: unless the city of San Francisco reverses past practice and immediately enacts an ironclad land-use policy such as Duskin’s proposed height limit, the long scoffed at ‘Manhattanization’ of the entire city is a surefire, 100%-guaranteed inevitability.”

I like to think this project and its results were a fitting start to Sue’s career in land use litigation and terrorizing big developers, City Hall enablers, and their ever more virulent forms of Manhattanization.

In the early l990s, I called on Sue again, this time to be the founding chair of the spanking new Sunshine Task Force. It was a new task force formed to enforce the Sunshine Ordinance, which gave citizens the right to make complaints about government secrecy and its tradition of keeping City Hall safe for PG&E, big landlords, and developers etal. The task force would, I knew, drive the bureaucrats nuts and it thus needed a strong attorney as chair who would be smart enough and tough enough to go up against the city attorney and the crocodiles in the back bays of City Hall.

The neat thing was that nobody could kick Sue off the task force. She was one of two members who were “grandfathered” in by the ordinance–an attorney (Sue) and a media rep (B3) –who were selected by the Northern Chapter of the Society of Professional Journalists, not the supervisors. She performed admirably and got the task force on a firm footing as the first and still the best local open government task force in the country, if not the world.

Through the years of development battles, it was often Sue and Calvin, Calvin and Sue. Calvin being Calvin Welch, a crafty environmental and neighborhood strategist who worked with Sue and others in developing counters and initiatives and all kinds of hellish moves to beat or slow down and mitigate development. He said Sue’s career could be summed up in two words: “cumulative impacts.” The good thing was that we all knew, when the developers brought up their heavy artillery or their sneaky back alley maneuvers, Sue and Calvin would be there to blow the whistle and take on the fight. Call Sue, call Calvin was the watchword but they usually called us first at the Bay Guardian.

Let me call now on Tim Redmond, a Guardian reporter who covered Sue and Calvin and the highrise battles from 1982 on, to explain what Calvin meant. Tim laid out the political points in his piece, “Sue Hestor’s birthday and a lesson in SF environmental history,” on his new local website “48 Hills.org.” Read Tim’s first paragraphs for the fun stuff on Sue and the last paragraphs for the really important contributions she has made to the city and urban planning, as explained by Calvin.

As Tim concludes, “In 1964, Hestor, representing San Franciscans for Reasonable Growth, sued and won a stunning decision in the California Court of Appeal mandating that the city start studying the cumulative impacts of development. As Welch noted, ‘there was an obligation for developers to prioritize mitigations.’ That’s where the affordable housing program, the transit-impact fees–and the entire concept of analyzing development on the macro, not the micro level emerged. That was the idea behind the 1986 measure Prop. M, which included no height limits at all–but did include programs and policies designed to protect neighborhoods from the effects of unlimited growth.”

Well, the Hestor faithful may not have “overcome” the big developers and their latest monstrous Manhattanization plans. But they have come pretty damn close. On Sunday, the day after Sue’s party, the Warriors caved on its waterfront project and Matier and Ross did a Chronicle column with the head, “Warriors call for timeout on Waterfront arena plan.” And on Monday, the waterfront warriors marched triumphantly into City Hall and, as the Chronicle’s John Cote reported, “turned in more than double the number of signatures needed to qualify a measure for the June 3 ballot that would require voter approval for any development on the San Francisco waterfront to exceed existing height limits.”

That could kill the massively inappropriate project. “If passed,” the Chronicle continued, “the measure would put a check on high-rise hotels and condo towers along the bay and require voter approval for height increases for three major waterfront development plans, the Golden State Warriors’ proposal for an 18,000-seat arena complex, the San Francisco Giants’ plan for an urban neighborhood on what is their main parking lot and the development of the industrial Pier 70 area.”

Whew! That’s what I call a nifty bit of Hestoring and Calvinizing. b3

If you don’t like the news, go out and make some of your own. (Wes “Scoop” Nisker on KSAN radio during the dark days of the Vietnam War.)

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the Bay Guardian. He is the former editor and co-founder and co-publisher of the Bay Guardian with his wife Jean Dibble, from 1966 to 2012.)

Theater Listings: February 5 – 11, 2014

Michael Redmond

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February 4, 2014

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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

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Opens Sat/8, 8pm. Runs Sat, 8pm; Sun, 7pm (March 2, performance at 2pm; March 9, performance will be a reading of Charlie Varon’s Fish Sisters). Through March 16. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Indian Summer Exit Theatre, 156 Eddy, SF; www.wehavemet.org. $20-40. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm; Sun/6, 2pm. Through March 1. Multi Ethnic Theater performs Charles Johnson’s new comedy drama set in the racially-divided South, circa the 1980s.

“The Love Edition: Love Bytes” Bindlestiff Studio, 185 Sixth St, SF; facebook.com/TheLoveEdition. $10-20. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm. Through Feb 22. Bindlestiff performs six different tales about online dating, loneliness in the cyber age, Google stalking, and other modern-day matters of the heart.

BAY AREA

Escanabe in da Moonlight Live Oak Theatre, 1301 Shattuck, Berk; www.theatrefirst.com. $10-30. Previews Thu/6, 8pm. Opens Fri/7, 8pm. Runs Thu-Sat, 8pm; Sun, 5pm. Through March 8. TheatreFIRST performs Jeff Daniels’ raucous comedy.

An Ideal Husband Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-29. Previews Thu/6, 8pm. Opens Fri/7, 8pm. Runs Fri-Sat and Feb 27, 8pm (also Feb 22, 2pm); Sun, 2pm. Through March 2. Douglas Morrison Theatre performs Scott Munson’s adaptation of the Oscar Wilde classic, reset in 1959 Washington, DC.

ONGOING

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.

Hemorrhage: An Ablution of Hope and Despair Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. $20-25. Thu/6-Fri/7, 8pm; Sat/8, 4 and 7pm. Dance Brigade presents this “dance installation at the intersection of the new San Francisco and world politics.”

Hir Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Wed-Sat, 8pm (no show Wed/5; additional show Feb 19, 2:30pm); Sun, 2:30pm (also Sun/9, 7pm); Tue/11, 7pm. Through Feb 23. Magic Theatre presents the world premiere of Taylor Mac’s comedic drama about a woman determined to help her two wayward children succeed, while stretching the boundaries of her own gender identity

Jerusalem San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/9 and Feb 16, 2pm. Through March 8. SF Playhouse presents the West Coast premiere of English playwright Jez Butterworth’s West End and Broadway hit, a three-act revel led by a larger-than-life rebel, a stout boozed-up drug-dealer, habitual fabulist, and latter-day Digger of sorts named Johnny “Rooster” Byron (Brian Dykstra). The dominion of this Falstaffian giant is the English countryside outside his squalid trailer door, not far from Stonehenge, where he seems to incarnate a rather dissipated version of an ancient English independence, like one of the great mythical beings of rural lore. Aptly enough, it’s Saint George’s Day, the feast day of England’s national saint, but it’s not all a party this time around. Authorities have issued a final 24-hour eviction notice on Rooster’s tin door; there are luxury apartments in the works; and there’s concern in town about the underage teens who flock to Rooster like so many fledglings — one, in particular, has gone missing: Phaedra (Julia Belanoff), who we see at the very outset of the play donning a fairy costume and singing the title song, based on the Blake poem and England’s unofficial national anthem. The next 24 hours will be either the breaking point or the apotheosis for all Rooster has made himself out to be. In Butterworth’s big-eyed comedy, we are meant to feel a stake in this outcome whether we actually like Rooster or not — his independence, the scope of his life and vision, suggests the outer limit of possibility in an ever more disciplined and circumscribed world. Director Bill English (who also designed the impressive bucolic-trailer-park set) and his large cast (which includes a strong Ian Scott McGregor as longtime Rooster sidekick, Ginger) dive into the comedy with gusto. But somehow the drama, the larger stakes in the storyline, falls short. A certain requisite intensity and momentum are only fitfully achieved. Dykstra, as the expansive antihero, has the biggest burden here. And while he has an appealing swagger throughout, his wayward brogue and unconvincing bellicosity undercut the culmination of the play’s (admittedly somewhat overwrought) mythopoeic proportions. (Avila)

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

Noises Off Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Thu/6-Sat/8, 8pm. Shelton Theater presents Michael Frayn’s outrageous backstage comedy.

The Oy of Sex Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Sat, 5pm. Extended through Feb 22. Comedian Alicia Dattner performs her solo show, based on her stories from her own life and love addiction.

Pardon My Invasion Phoenix Theatre, 414 Mason, SF; pardonmyinvasion.brownpapertickets.com. $15-30. Thu/6-Sat/8, 8pm. A pulp fiction writer’s characters come to life in this dark comedy by Joy Cutler.

The Paris Letter New Conservatory Theater Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Feb 23. New Conservatory Theatre Center performs Jon Robin Baitz’s tale of a Wall Street powerhouse desperately trying to keep his sexual identity a secret.

The Pornographer’s Daughter Z Below, 470 Florida, SF; www.zspace.org. $32. Thu-Sat, 8pm (also Sat, 10:30pm); Sun, 5pm. Through Feb 16. Liberty Bradford Mitchell was a good kid growing up, and a pretty innocent one — probably more than you would expect given her proximity to the family business, the veritable empire of porn founded and run by her father and uncle, San Francisco legends Artie and Jim Mitchell. Now in her 40s and a mother of her own, Mitchell proves a likeably earthy presence if a less-then-compelling actor-playwright in her new one-woman show, directed by Michael T. Weiss, a firsthand account of growing up in San Francisco’s first family of raunch. Inseparable brothers Artie and Jim were the 1970s porn pioneers who founded the O’Farrell Theatre and road high in the industry, weathering court battles and substance abuse and divorce, but succumbing ultimately to their own lethal fallout — Jim Mitchell shot and killed Liberty’s father Artie in 1991. The material here is rich to say the least, and together with generous and explicit excerpts from archival footage and classic porn (including the Mitchells’ own era-defining Behind the Green Door, from 1972), it makes a fascinating bed for Liberty Mitchell’s reminiscences. Musical accompaniment by three-person SF band the Fluffers, meanwhile, punctuates the chronology with blasts of period rock, though often just a few bars worth, and backs up Liberty on the a single, rather awkward musical number. Moreover, despite the keen interest the basic historical facts and family anecdotes can generate, Mitchell’s filial narrative lens is only intermittently effective, being finally too pat, poorly drawn, and predictably sentimentalized to fully reverberate with the larger, almost archetypical or classical themes hovering nearby. (Avila)

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Thu-Fri, 8pm; Sat, 5pm. Through March 1. Brian Copeland’s fourth solo show takes on “privilege, murder, and sausage.”

“SF Sketchfest: The San Francisco Sketch Comedy Festival” Various venues, SF; www.sfsketchfest.com. Prices vary. Through Sun/9. This year’s 13th Sketchfest features over 200 shows in more than 20 venues.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Extended through March 1. D’Arcy Drollinger is Champagne White, bodacious blonde 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. $60-90 (add-ons: casino chips, $5; dance lessons, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Through March 15. Boxcar Theatre presents Nick A. Olivero’s re-creation of a Prohibition-era saloon, resulting in an “immersive theatrical experience involving more than 35 actors, singers, and musicians.”

Ubu Roi Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Feb 23. Cutting Ball Theater performs Alfred Jarry’s avant-garde parody of Shakespeare’s Macbeth, presented in a new translation by Cutting Ball artistic director Rob Melrose.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through March 9. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu, 8pm; Sat, 5pm. Through March 1. Geoff Hoyle moves his hit comedy about aging to the East Bay.

Gideon’s Knot Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Previews Wed/5, 8pm. Opens Thu/6, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through March 2. Aurora Theatre Company performs Johnna Adams’ drama set within the tense atmosphere of a parent-teacher conference.

The Grapes of Wrath Hillbarn Theatre, 1285 E. Hillsdale, Foster City; www.hillbartheatre.org. $23-38. Fri/7-Sat/8, 8pm; Sun/9, 2pm. Hillbarn Theatre continues its 73rd season with Frank Galati’s adaptation of John Steinbeck’s classic American novel.

The House That Will Not Stand Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $29-59. Opens Wed/5, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, Feb 13, and March 13, 2pm; no Sat matinee Feb 15); Wed, 7pm; Sun, 2 and 7pm. Through March 16. Berkeley Rep performs the world premiere of Marcus Gardley’s tale of free women of color in 1936 New Orleans.

The Laramie Project Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. $22. Fri-Sat, 8pm; Sun, 2pm. Through Feb 22. Masquers Playhouse performs the theatrical collage about the real-life hate-crime murder of Matthew Shepard.

Man in a Case Berkeley Repertory Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $45-125. Tue and Thu-Sat, 8pm; Wed, 7pm; Sun, 2pm. Through Feb 16. It’s a desultory country evening among friends — Belikov (Mikhail Baryshnikov), Barbara (Tymberly Canale), Ivan (Chris Giarmo), Burkin (Paul Lazar), and Kovalenko (Aaron Mattocks) — who chatter and quibble among themselves, just dying for a good story. Two tales eventually unfold, becoming the basis for an effervescent and emotive theatrical outing in this canny, elegant adaptation of Anton Chekhov’s “Man in a Case” and “About Love” by co-directors Paul Lazar and Annie-B Parson of Big Dance Theater. In a style that revels in what it reveals, the action centers around a long table to the left of the stage, at the far end of which sound designer Tei Blow manages sound effects and Jeff Larson triggers video projections from his laptop. (Peter Ksander’s attractive, non-naturalist scenic design comes animated throughout by a discerning array of choice foley work and atmospheric video projections.) With each humorous and wistful story, the stage expands in unexpected ways, thanks to Parson’s vibrant choreography, the shape-shifting mise-en-scene, golden-throated musical director Giarmo’s exquisite score (much of it delivered live), and the superbly unaffected acting and supple movement of the cast. Acting the leads in both stories, Baryshnikov etches his respective characters with a masterful hand and a light step, making for a vivid presence at every turn. Opposite him each time, Canale’s luminous vitality proves a perfect match. But this is truly an ensemble effort, and the fine result produces a poignant, moody combination of the earthy and sublime. (Avila)

Quality of Life Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm; Sun, 2pm. Through Feb 23. Pear Avenue Theatre performs Jane Anderson’s play about two couples coming to grips with losses in their lives.

Silent Sky TheatreWorks, Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Wed/5, 7:30pm; Thu/6-Sat/8, 8pm (also Sat/8, 2pm); Sun/9, 2 and 7pm. Lauren Gunderson’s drama explores the life of groundbreaking early 20th century astronomer Henrietta Leavitt.

PERFORMANCE/DANCE

“All Aunt Hagar’s Children” JCC of San Francisco, 3200 California, SF; www.zspace.org. Mon/10, 7pm. $15. Word for Word presents this “Off the Page” staged reading of a story by Pulitzer winner Edward P. Jones.

“ASKEW Film and Performance Festival” Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Thu/6-Sat/8, 7pm. $8-10. Femina Potens Art Gallery presents this festival of performance and activism via film and performance.

Aszure Barton and Artists Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.sfperformances.org. Fri/7-Sat/8, 7:30pm. $35-50. The Bay Area debut of this Canadian choreographer includes the celebrated work Awáa.

“The Big Buttery Sketch Show” Exit Theater, 156 Eddy, SF; www.pianofight.com. Fri/7-Sat/8 and Feb 14-15, 8pm. $20-30. PianoFight Productions’ female-driven sketch comedy group Chardonnay (formerly ForePlays) performs.

“Bill and Lenny” and “Swimming to Romulous” ACT’s Costume Shop, 1117 Market, SF; www.strangerx.com. Fri/7-Sat/8, 8pm. $10. Tim Green and Chris Plflueger star in Strange Prescription’s West Coast premiere of Bill and Lenny; companion play is a Star Trek-themed Spalding Grey homage by Richard Ciccarone.

Black Choreographers Festival: Here & Now This week: Yerba Buena Center for the Arts, 701 Mission, SF; www.bcfhereandnow.com. Sun/9, 11am-5pm. 50 cents. The festival kicks off its 10th anniversary with “50 Cent Tabernacle,” featuring Marc Bamuthi Joseph, Robert Moses, and Nora Chipaumire. Performances continue through March 8.

“The Buddy Club Chilren’s Shows” Randall Museum Theater, 199 Museum Wy, SF; www.thebuddyclub.com. Sun/9, 11am-noon. $8. Cowgirl tricks with Karen Quest. Also Sun/9, 11am-noon, $8, JCC of the East Bay, 1414 Walnut, Berk. The Brian Waite Band performs “Tour to the Center of the Earth!” Also Sun/9, 11:30am-12:30pm, $8, Kanbar Center for the Performing Arts, 200 N San Pedro, San Rafael. Family comedy improv with Kenn Adams’ Adventure Theater.

“Carbon Song Cycle” Joe Goode Performance Annex, 401 Alabama, SF; carbonsongcycle.brownpapertickets.com. Fri/7-Sat/8, 8pm. $12-25. Composer Pamela Z and artist Christina McPhee present the SF premiere of their work for chamber ensemble and expanded cinema.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/8, Feb 14, 16, 22, March 1, 8, 16, 22, and 30, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Chinese Whispers: Heritage of Hope” Aboard the Balclutha, Hyde St Pier, SF; nps.gov/safr. Sat/8, 2-4pm. Free with $5 boarding pass (free for accompanied children under 16). Storytelling, presentations, and interactive activites about Chinese immigrant heritage highlight this Lunar New Year celebration aboard the historic ship.

“Comedy Bottle” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Fri/7-Sat/8, 7pm. $10. With headliner Lyall Behrens.

“Curves N Cupcakes Comedy Tour” Punch Line San Francisco, 444 Battery, SF; www.punchlinecomedyclub.com. Tue/11, 8pm. $15. All-female lineup of comedians with host Queenie TT.

“Factory Parts II” NOH Space, 2840 Mariposa, SF; www.foolsfury.org. Fri/7-Sat/8, 8pm (also Sat/8, 5pm). $15. FoolsFURY presents the latest in its series of work-in-progress performances by cutting-edge companies, including Los Altos’ ACME Performance Project, SF’s Affinity Project, and Palo Alto’s Arc: hive.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: Lady Rizo in “Violet,” Thu/6-Fri/7, 8pm, $25-35; John Bucchino in “The Music of John Bucchino,” Sat/8, 7pm, $25-35.

“How I Lost My Virginity at 29 and Other Embarrassing Tales” Stage Werx, 446 Valencia, SF; www.stagewerx.org. Sun/9-Mon/10, 7pm. $15. Brian Schiller performs his coming-of-age comedy.

“Love Bites: Down the Hatch!” Martuni’s, 4 Valencia, SF; lgcsf.org/whats-new. Sun/9, 4pm; Mon/10, 7:30pm. $10. The Lesbian Gay Chorus of San Francisco performs solo, duet, and small-group numbers.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $30. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“ODC/Dance Unplugged” ODC Dance Commons Studio B, 351 Shotwell, SF; www.odctheater.org. Fri/7, 7pm. $25. Work-in-progress performance of the Andy Goldsworthy-inspired boulders and bones, set to premiere this spring.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Fri/7, March 7, and 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)

“Pop! A Night of Pop Cabaret” Martuni’s, 4 Valencia, SF; (415) 241-0205. Sun/9, 7pm. $7. Cabaret with Essie Hyun, Jesse Cortez, Alexander Concas, Gilbert Beltran, and pianist Katy Stephan.

“Shotz: Winter Games” Tides Theatre, 533 Sutter, SF; www.amiosnyc.com. Tue/11, 8pm. $10. Seven plays, five minutes each, created in less than a month, and united under the theme “Winter Games.” Also required: a plot twist in which “someone must fail at something” and the line “This is the absolute best!” must be used.

“Writers with Drinks” Make-Out Room, 3225 22nd St, SF; www.makeoutroom.com. Sat/8, 7:30pm. $5-10. With Jeff VanderMeer, Lucy Corin, Marian Szczepanski, and Lisa Evans.

BAY AREA

“Boomeraging: From LSD to OMG!” Angelica’s Bell 2 Dining Room, 863 Main, Redwood City; www.angelicasllc.com. Wed/5, 8pm. $10-15. Will Durst performs his Boomer-centric comedy show.

Company C Contemporary Ballet Yerba Buena Center for the Arts, Lam Research Theater, 701 Mission, SF; www.companycballet.org. Feb 13-14, 8pm; Feb 15, 6pm (benefit gala); Feb 16, 3pm. $25-48. The company’s winter program includes premieres by Susan Jaffe and Charles Anderson.

“Cosmic Variety Show” Open Secret, 923 C St, San Rafael; bit.ly/CosmicVarietyShow. Sat/8, 8pm. $12-15. Magic, belly dance, storytelling, and more.

“Die Fledermaus” Bankhead Theater, 2400 First St, Livermore; www.bankheadtheater.org. Sat/8, 8pm; Sun/9, 2pm. $22.50-47. Lamplighters Music Theatre (noted for its Gilbert and Sullivan productions) performs Johann Strauss’ “bubbly tale of revenge and temptation.” Continues at Bay Area theaters through Feb 23; visit www.lamplighters.org for future dates.

“Ebb + Flow 2014” Lisser Theater, Mills College, 5000 MacArthur, Oakl; www.mills.edu. Fri/7, 8pm. $10. The Mills College Dance Alumni Group presents its third annual showcase of choreographers who hail from the Mills community, including Jalila Bell, Rebekah Brown, Garth Grimball, and others.

“In Search of My Father … Walkin’ Talkin’ Bill Hawkins” Performing Arts Bldg Studio Theatre, College of Marin, Sir Francis Drake at Laurel, Kentfield; www.marin.edu. Thu/6-Sat/8, 8pm; Sun/9, 2pm. $10-25. W. Allen Taylor performs his acclaimed solo show.

“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.

“Q.U.E.E.N. From Throne to Altar” Laney College Theater, 900 Fallon, Oakl; www.mixdingrdnts.com. Fri/7-Sat/8, 8pm (also Sat/8, 2pm). $25. Mix’d Ingrdnts Dance Company performs its second full-length show, which takes a look at “how society views women and how we are creating or saying what a queen is to us.” *

Strings of life

Michael Redmond

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February 4, 2014

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marke@sfbg.com

SUPER EGO Every year or so the plucky Kronos Quartet — our audacious yet user-friendly 40-year-old vanguard of the musical avant-garde — pops back on the scene to wow us. Last time I saw them, they opened for electronic pioneer Amon Tobin’s spectacular 3-D projection ISAM tour at the Greek Theatre, and if you don’t think a string quartet can garner deafening cheers at a giant rave, you need to hear Kronos. Before that, the foursome was at YBCA, bowing electrified fences and simulating multiple water wheels. This week the string quartet will be launching the fifth installment of its composers-under-30 showcase with an intense work by Bay Area native Mary Kouyoumdjian called Bombs of Beirut (Feb 6-9, 8pm, $20–$25. Z Space, 450 Florida, SF. www.zspace.org).

“I want to create a feeling of chaos and nostalgia,” Armenian American wiz Kouyoumdjian says of her piece, which attempts to reflect the day-to-day situation of life during the 1980s Lebanese Civil War, and which includes haunting ambient recordings taken from a balcony during the conflict. (Kouyoumdjian’s family lived through it.) She also wants to put a complex human face on ongoing Middle East conflicts — and hey, possibly remind us of that whole endless war thing still perpetuating. Maybe we want to try to stop that soon?

ONEOHTRIX POINT NEVER

Stop everything; look up this ambitious, electro-drone-based Brooklynite’s video for “Boring Angel.” Then watch cerebral local opener Holly Herndon’s astounding vid for her new “Chorus” track. Yeah, that kind of incredible “life on a parallel Internet planet” stuff.

Thu/6, 10pm-3am, $17.50–$20. 1015 Folsom, SF. www.1015.com

SCUBA + DJ HELL

Brilliant producer Scuba swings from drowned-flute downtempo to punishing dub techno (although his often-confusing sexual politics turn some people off). The real news for me, though, at this Lights Down Low party is DJ Hell, who’s been slaying dance floors for three decades with his edgy, driving beats — and always has interesting hair.

Thu/6, 9pm, $18. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

HOUSE SHOES

Detroit’s phenomenal Michael Buchanan, a.k.a. House Shoes, heads up a big tribute to J. Dilla — the quintessential hypnotic-soulful beats producer whose influence can be heard in pretty much every dope hip-hop track to drop in the past decade. (Dilla died in 2006 at 32.) Also on tap: Shortkut, Mr. E and Haylow, Fran Boogie.

Fri/7, 9pm, free before midnight with RSVP at www.mighty119.com. Mighty, 119 Utah, SF.

REBOLLEDO

I love the off-kilter sense of humor this Pachanga Boy from Mexico gives off — he’ll take us on a trip to the outer reaches with a wink and smile. With catchy NYC duo Blondes and cute “screw house” dude Axel Borman at the As You Like It party.

Fri/7, 9pm-4am, $15 advance. Public Works, 161 Erie, SF. www.publicsf.com

NONSTOP BHANGRA

The incredible chnagra club celebrates 100 colorful salutes to banging underground Indian dance music with a special appearance by London’s revered Punjabi MC — oh, and the dholrhythms dance troupe, live drumming and painting, the Curry Up Now truck, and DJ Jimmy Love on decks.

Sat/8, 9pm, $15 advance. Public Works, 161 Erie, SF. www.publicsf.com

SKIN

An amazing-sounding new monthly from Oakland heroes Candi and DJ Cecil featuring music and rhythms of the Latin and African diasporas, kicking off with live drumming from the awesome Sistahs of the Drum, Cuban salsa lessons, and one of my absolute favorite deep house DJs Carlos Mena.

Sat/8, 8pm, $5–$10. Venue Oakland, 420 14th St, Oakl. skintones.eventbrite.com

ANGELS OF BASS

Hometown lowdown hero Ana Sia returns to shake the walls, in her initimable minimal-meets-hardcore style, with the Angels of Bass crew Jess, Tamo, Viajay, and LMCG.

Sat/8, 9pm, $15–$20. Monarch, 101 Sixth St., SF. www.monarchsf.com

KELE OKEREKE

The indie god Bloc Party frontman has been heavily invested in electronic sounds for ages. Now you can hear his selections on deck at the Isis party, one of the true success stories of the past year in terms of wicked good times and a too-cute crowd.

Sat/8, 9:30pm-3:30am, $12–$15 advance. Public Works, 161 Erie, SF. www.publicsf.com

POOLSIDE

So happy for this SF-LA duo’s continued success bringing gorgeous, sun-drenched house tunes to the masses. Jeffrey Paradise and Filip Nikolic hit town again in big style, all night at Mezzanine. Bring your inflatables.

Sat/8, 9pm, $18.50. Mezzanine, 444 Jessie, SF. www.mezaninesf.com

Sundance, part four: indie heroes and genre flicks

Sue Vaughan

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February 4, 2014

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Sundance, part four: indie heroes and genre flicks

Missed yesterday’s Sundance installment? Right this way!

In Ira Sachs’ Love Is Strange (US), Ben (John Lithgow) and George (Alfred Molina) — together for 39 years — are finally married, and suddenly find themselves having to deal with the fallout from an ill-considered world. Both actors are pitch-perfect at portraying longtime lovers, and Marisa Tomei has an intelligent supporting role as a relative of the couple.

Sundance favorite Sachs (2012’s Keep the Lights On), who debuted with the shockingly memorable The Delta in 1996, treats the material with finesse, and the end result is genuinely earned heartache (and, likely, will yield serious crossover potential). It’s a cliche, but true: at the screening I attended, there was not a dry eye in the house.

Changing gears … the 1980s-style genre film is back, and both Jim Mickle’s Cold in July (US) and Adam Wingard’s The Guest (US) perfectly capture the necessary nuances (or lack thereof).

Cold in July‘s Mickle follows his 2013 reimagining of Jorge Michel Grau’s cannibal tale We Are What We Are (2010) by dropping Dexter‘s Michael C. Hall into a web of Texan revenge alongside ruff n’ tuff alpha males Sam Shepard and Don Johnson. Jeff Grace’s synth score punctuates one of the most enjoyable films of Sundance.

Fresh off his horror hit You’re Next (2013); Adam Wingard has concocted 99 minutes of pure John Carpenter-esque euphoria. Incorporating modern politics, crisp cinematography, and shocking violence, Wingard has made his best film to date and proves he is a force to be reckoned with. It pays homage to the bodacious beauty and cool heaven of the 1980s stalker-slasher genre — Joseph Zito’s The Prowler (1981), William Fruet‘s Killer Party (1986), etc. — and boasts yet another glorious synth score, this time by Steve Moore of the band Zombi. Also worth noting: a memorable performance by erstwhile Downton Abbey heir Dan Stevens.

From cult favorites the Zellner Brothers, Kumiko: The Treasure Hunter (US/Japan) takes the unbelievably true story of young woman who becomes obsessed with the Coen Brothers’ Fargo (1996). So obsessed, and believing that it’s based on a true story, she travels to Fargo from Japan to find the forgotten treasure from the movie. Rinko Kikuchi — Oscar-nominated for Alejandro González Iñárritu’s Babel (2006), and last seen rocking robots in Guillermo del Toro’s Pacific Rim (2013) — stars in this inspired tale of hopeless dreams. It mesmerized me from start to finish. And speaking of memorable music, Kumiko was awarded a Special Jury Prize for its score, as performed by the Octopus Project.

Coming tomorrow: the latest from JOE SWANBERG!

Monologos de la Vagina finds new actress to replace controversial conservative

Erica Hanna

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January 31, 2014

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Monologos de la Vagina finds new actress to replace controversial conservative

Following national controversy over the resignation of a politically conservative actress from the local Spanish-language production of The Vagina Monologues, producer Eliana Lopez announced yesterday that the production has found a replacement.

Actress Alba Roversi, a veteran of the Spanish language Monologos de la Vagina, will take the place of Maria Conchita Alonso, whose departure from the play had Fox News crying foul over her being “forced out” for her conservative political views.

Any chance to needle San Francisco, right?

Roversi starred in over 20 Spanish language soap operas, though she may not have the same name recognition in the US as Alonso, whose filmography includes Predator 2 and The Running Man (with our former Governator). Roversi is in, and Alonso is out.

Alonso stirred the pot when she backed Tea Party gubernatorial candidate Tim Donnely in an ad on YouTube that garnered just over 100,000 hits. Donnely is running a long-shot campaign to unseat the ever popular Jerry Brown this November on a core right-wing platform.

“We’re Californians, I want a gun in every Californian’s gun safe, I want the government out of our businesses and our bedrooms,” he says in the controversial ad, standing in a cowboy hat next to Alonso.

“He has ‘big ones,’ and he is angry,” Alonso says in Spanish, by way of translation.

The ad had San Franciscans fired up, diverting attention away from a performance celebrating women to a political shouting match, Lopez told the Guardian. Threats of boycotts put Monologos de la Vagina in the crosshairs. Alonso told media outlets she stepped down from the play to protect her fellow performers.

The video in question, a campaign ad for Donnely starring Alonso and her dog Tequila.

“The other actors don’t have to go through this,” she said to Fox News & Friends host Clayton Morris. “They don’t deserve this. It’s on me only, they can do whatever they want with me.”

Why so pissed, San Francisco? Well, the historically Latino Mission district has good reason to not be a fan of Donnely. The Tea Party wunderkind rose to fame as a former member of the gun toting border-patrollers, the Minutemen. From the LA Weekly circa 2010:

“Tim Donnelly took two handguns on his first tour with the Minutemen, back in ’05. His Colt .45 was photogenic, like that of an Old West gunslinger. But before heading to the Mexico border, Donnelly took it to the range and couldn’t hit the target. So he bought a Model 1911c — a semiautomatic that would shoot straight, if it came to that.

The key to Donnelly’s primary election victory was his pledge to introduce Arizona’s immigration law here. If elected, he will be Sacramento’s leading foe of illegal immigration.”

Donnely was geared up to fire off his Colt by the US-Mexico border and essentially promised to bring a culture of fear to California immigrants. Is it a wonder that Eliana Lopez felt that Alonso’s endorsement of him didn’t quite jibe with the politics of San Francisco?

@SnappyKyle True, and also I’m not what you think I’m. All this is not Brava’s fault and is hurting a work from and for us. Time will tell.

— Eliana Lopez (@Elilopezu) January 22, 2014

“Of course she (Alonso) has a right to say whatever she wants. But we’re in the middle of the Mission. Doing what she is doing is against what we believe,” Lopez, who is also starring in the play, said in her most oft-mentioned quote in national media outlets.

In particular, it didn’t jibe with reasons for bringing the Spanish-language Monologos de la Vagina to the Mission’s Brava Theater, a message that may be lost in the controversy surrounding Alonso’s controversial departure.

It’s a time of increasing gentrification, when the city’s Latinos/as fear displacement and a loss of their history and esteem. She sees it through the eyes of her young son, Theo, as fewer and fewer Spanish speakers surround his daily life in San Francisco. Lopez wanted to send a clear message: our culture matters.

Latinas are worthy of celebration.

“I’ve been working on this show for almost a year trying to raise the money, find the venue, the sponsors,” she said. “My feeling was, as Latinas we have such beautiful things to offer. We have great actors and actresses who can bring things to the Mission and feel proud of. Inside me I felt, I want to bring that here, I want to do it. We can bring attention to our culture in a beautiful way, a high quality way.”

With a new actress in place, she’s ready to move beyond the controversy, she said.

“How do you say in English? The show must go on.”

Expose yourself to art

Michael Redmond

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January 28, 2014

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arts@sfbg.com

THEATER It takes a playwright of particular boldness to forgo text entirely in deference to movement and music. But in addition to the formal choices made in her Untitled Feminist Show, eminent New York downtown theater maker Young Jean Lee also pursues a theme (flagged by her “un-title”) that stubbornly remains as controversial as ever: the politics and pleasures of female empowerment. This theme plays out starkly, without clothes and without shame, over the course of an hour-long romp that will make its Bay Area premiere this weekend at Yerba Buena Center for the Arts.

Conceived and directed by Lee, with choreography by Faye Driscoll (another prominent New York artist whose You’re Me ran at CounterPULSE last March), Untitled Feminist Show is just one of the latest of Lee’s willfully provocative, consistently witty pieces. She and her Young Jean Lee’s Theater Company have made a national reputation by reaching for the most uncomfortable subjects, producing a set of humorous, audacious, experimental plays about race, sex, family, religion — great taboo regions normally shrouded in prickly mythology, limited by official debate, or otherwise smothered by good intentions.

Her works include Straight White Men, an exploration of success in contemporary American society; The Shipment, her “black-identity politics show”; Church, investigating American-brand Christianity through the structure of a church service; and the fierce, zany, and dis-Orienting Songs of the Dragons Flying to Heaven (produced locally by Crowded Fire in 2011) in which, drawing on her own Korean American roots, the fractured perspectives and sacrosanct traditions of an American minority serve a master narrative about a young white couple’s banal relationship.

YBCA’s presentation of Untitled Feminist Show comes, not coincidentally, as the organization transitions under its new leadership. Deborah Cullinan, who succeeded Ken Foster as YBCA’s executive director in September, was the longtime executive director of Intersection for the Arts. She has a well-deserved reputation for turning that esteemed arts organization around from hard times after she took over in 1996. YBCA’s director of performing arts, Marc Bamuthi Joseph, was a successful Oakland-based artist and activist when he took over from Angela Mattox (now running PICA in Portland) in 2012.

As longtime associates in the local arts scene, both of whom have been exceptionally community-oriented advocates for the arts, Cullinan and Joseph together promise a bold redrawing of the lines at YBCA. They recently sat down to speak with me about the vision they share for a 21st century arts organization — including the development of something they call the creative ecosystem — and where the work of an artist like Young Jean Lee fits into it.

SF Bay Guardian How are you settling in, after a couple of months and a couple of years now, respectively? And what are these creative ecosystems?

Deborah Cullinan Where I’m at: I’m still listening, learning—frankly a little astonished. I was, what, three blocks away? And my predecessor Ken Foster was one of my closest work friends; Bamuthi another one. I had no idea how much goes on here. It’s just abundant. The creative ecosystem is something Marc dreamed up, and certainly wooed me with. It’s something the two of us, and everybody here, considers to be a way we can think about a contemporary arts center in this century.

Marc Bamuthi Joseph The day that this feature runs will be my second anniversary. My last work [red, black & GREEN: a blues] was commissioned here, and premiered here. I interviewed for this position three days after the premiere. That last work was built around an integrated, documentary process of asking public intellectuals, doers, activists of all stripes—and by activists I don’t mean by vocation but in the purest sense of the word—to contemplate a question and create a physical response. The result, in terms of making art but also in terms of my personal relationships (the way that community might interact with an artistic process), was something that I essentially adapted and created here.

Our community engagement program is a curatorial department. It doesn’t function as a traditional department in that it’s not supplementary. They are agitators; they are intentional. They make space, as opposed to supplementing work. Their gig is not to cue up the Q&A after a play. [It’s] ultimately about the cultivation of relationships.

So that’s what the creative ecosystem is. It’s an adjunct to my own artistic process; it’s a scheme and structure that works within the infrastructure that we have at Yerba Buena Center. What we do is we curate small groups, somewhere between 30 and 50, around key questions that artists are driving. We bring these folks together in salon spaces to watch work together. So, for Young Jean Lee, the questions are: “What is on the other side of your body’s joy?” and “What is on the other side of your body’s shame?” The group has been together for about a year. And when we present the work, they’ll create in our theater lobby physical responses — performative, immersive, antagonistic, and also very vulnerable responses to those questions of joy and shame in the body.

Having piloted a group already (which was contemplating futurity and soul), and now working with body politics, we’re going to add a layer of the onion every year, so that in the coming years we’ll have hundreds if not thousands of folks operating on our campus not just as audience members but as agents within artistic inquiry, so that while we’re here it’s a place of thinking and doing and not just watching.

SFBG Who makes up this group?

MBJ They come from all over the educational spectrum, and all over the vocational spectrum. That too is by design. We wanted at least 10 different practices in each of these groups. These groups aren’t made up of artists exclusively, and ideally artists are in the minority. What we’re creating is a platform by which an arts space might be a hub for diverse intellectual activity. It’s art-framed, but it’s not necessarily art-centered.

DC I’m excited to see us pursue not an either/or definition of what an arts center is — or what art is — but a both/and. What we’re trying to suggest here is that the more we consider what the art is doing, who’s gathering around it or who’s making it, the more valuable that art itself is. The community engagement structure Marc talked about suggests that if you don’t have an active curatorial arm asking, “Who’s not here still?” and “What don’t we know yet?” then the curatorial structure is static. I think putting things together in this way means it’s much more of a circle, and it’s much more inclusive.

SFBG Where does Young Jean Lee’s Untitled Feminist Show come in?

MBJ There’s an arc around relationship to the body—in a way that’s not so much about identity; I think it’s more about empathy and vulnerability. These broad themes of joy and shame are more visceral than intellectual. The alchemy of transformation, the movement of molecules in a room, that’s currency to me. An artistic experience is more valuable if I feel my chemistry changing. So I look for art and artists that demonstrate a similar value system. Myra Melford’s work; Dohee Lee’s work; all of the artists in our New Frequencies music festival — these are artists who demonstrate that same sensibility: the attack of inquiry with brilliant intellectual design, but also a fierceness and unflinching-ness around personal transformation.

The work I subscribe to is work where I feel an artist being transformed, with a magic or sorcery around the ability to have personal transformation be a conduit for collective transformation. I think that’s at work [in Untitled Feminist Show]. And in terms of an intentional community design, this is what we foreground. *

“UNTITLED FEMINIST SHOW”

Thu/30-Sat/1, 8pm, $30-$35

Yerba Buena Center for the Arts

Lam Research Theater

700 Howard, SF

www.ybca.org

Theater Listings: January 29 – February 4, 2014

Michael Redmond

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January 28, 2014

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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

Hir Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Previews Wed/29-Sat/1, 8pm; Sun/2, 2:30pm; Mon/3, 7pm. Opens Tue/4, 8pm. Runs Wed-Sat, 8pm (no show Feb 5; additional show Feb 19, 2:30pm); Sun, 2:30pm (also Feb 9, 7pm); Feb 11, 7pm. Through Feb 23. Magic Theatre presents the world premiere of Taylor Mac’s comedic drama about a woman determined to help her two wayward children succeed, while stretching the boundaries of her own gender identity

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Previews Thu/30-Fri/31, 8pm. Opens Sat/1, 5pm. Runs Thu-Fri, 8pm; Sat, 5pm. Through March 1. Brian Copeland’s fourth solo show takes on “privilege, murder, and sausage.”

BAY AREA

Gideon’s Knot Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Previews Fri/31-Sat/1 and Feb 5, 8pm; Sun/2, 2pm; Tue/4, 7pm. Opens Feb 6, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through March 2. Aurora Theatre Company performs Johnna Adams’ drama set within the tense atmosphere of a parent-teacher conference.

The House That Will Not Stand Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $29-59. Previews Fri/31-Sat/1 and Tue/4, 8pm; Sun/2, 7pm. Opens Feb 5, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, Feb 13, and March 13, 2pm; no Sat matinee Feb 15); Wed, 7pm; Sun, 2 and 7pm. Through March 16. Berkeley Rep performs the world premiere of Marcus Gardley’s tale of free women of color in 1936 New Orleans.

ONGOING

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.

Hemorrhage: An Ablution of Hope and Despair Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. $20-25. Thu-Sat, 8pm (Feb 8, shows at 4 and 7pm); Sun, 6pm. Through Feb 8. Dance Brigade presents this “dance installation at the intersection of the new San Francisco and world politics.”

Jerusalem San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/2, Feb 9, and 16, 2pm. Through March 8. SF Playhouse performs the West Coast premiere of Jez Butterworth’s Tony- and Olivier-wining epic.

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

Major Barbara ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-140. Wed/29-Sat/1, 8pm (also Wed/29, 2pm); Sun/2, 2pm. American Conservatory Theater performs a new production of George Bernard Shaw’s political comedy.

Noises Off Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Thu-Sat, 8pm. Through Feb 8. Shelton Theater presents Michael Frayn’s outrageous backstage comedy.

The Oy of Sex Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Sat, 5pm. Extended through Feb 22. Comedian Alicia Dattner performs her solo show, based on her stories from her own life and love addiction.

Pardon My Invasion Phoenix Theatre, 414 Mason, SF; pardonmyinvasion.brownpapertickets.com. $15-30. Thu-Sat, 8pm; Sun/2, 2pm. Through Feb 8. A pulp fiction writer’s characters come to life in this dark comedy by Joy Cutler.

The Paris Letter New Conservatory Theater Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Feb 23. New Conservatory Theatre Center performs Jon Robin Baitz’s tale of a Wall Street powerhouse desperately trying to keep his sexual identity a secret.

The Pornographer’s Daughter Z Below, 470 Florida, SF; www.zspace.org. $32. Thu-Sat, 8pm (also Sat, 10:30pm); Sun, 5pm. Through Feb 16. Liberty Bradford Mitchell was a good kid growing up, and a pretty innocent one — probably more than you would expect given her proximity to the family business, the veritable empire of porn founded and run by her father and uncle, San Francisco legends Artie and Jim Mitchell. Now in her 40s and a mother of her own, Mitchell proves a likeably earthy presence if a less-then-compelling actor-playwright in her new one-woman show, directed by Michael T. Weiss, a firsthand account of growing up in San Francisco’s first family of raunch. Inseparable brothers Artie and Jim were the 1970s porn pioneers who founded the O’Farrell Theatre and road high in the industry, weathering court battles and substance abuse and divorce, but succumbing ultimately to their own lethal fallout — Jim Mitchell shot and killed Liberty’s father Artie in 1991. The material here is rich to say the least, and together with generous and explicit excerpts from archival footage and classic porn (including the Mitchells’ own era-defining Behind the Green Door, from 1972), it makes a fascinating bed for Liberty Mitchell’s reminiscences. Musical accompaniment by three-person SF band the Fluffers, meanwhile, punctuates the chronology with blasts of period rock, though often just a few bars worth, and backs up Liberty on the a single, rather awkward musical number. Moreover, despite the keen interest the basic historical facts and family anecdotes can generate, Mitchell’s filial narrative lens is only intermittently effective, being finally too pat, poorly drawn, and predictably sentimentalized to fully reverberate with the larger, almost archetypical or classical themes hovering nearby. (Avila)

“SF Sketchfest: The San Francisco Sketch Comedy Festival” Various venues, SF; www.sfsketchfest.com. Prices vary. Through Feb 9. This year’s 13th Sketchfest features over 200 shows in more than 20 venues, featuring both big-name talents (Alan Arkin, Tenacious D, Laura Dern and the cast of Enlightened, Maya Rudolph, etc.) and up-and-comers, plus tributes to films, theatrical and musical events, improv showcases, and more. Much, much, much more.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Through Feb 8. D’Arcy Drollinger is Champagne White, bodacious blonde 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 sendup 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. $60-90 (add-ons: casino chips, $5; dance lessons, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Through March 15. Boxcar Theatre presents Nick A. Olivero’s re-creation of a Prohibition-era saloon, resulting in an “immersive theatrical experience involving more than 35 actors, singers, and musicians.”

Too Much Light Makes the Baby Go Blind Boxcar Playhouse, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri/31, 9pm. Thirty plays in 60 minutes, with a show that varies each night, as performed by the Neo-Futurists.

Ubu Roi Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Opens Thu/30, 7:30pm (gala opening Fri/31, 8pm). Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Feb 23. Cutting Ball Theater performs Alfred Jarry’s avant-garde parody of Shakespeare’s Macbeth, presented in a new translation by Cutting Ball artistic director Rob Melrose.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through March 9. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. Sat/1, 8:30pm; Sun/2, 7pm. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Note: review from an earlier run of the show. (Avila)

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu, 8pm; Sat, 5pm. Through March 1. Geoff Hoyle moves his hit comedy about aging to the East Bay.

The Grapes of Wrath Hillbarn Theatre, 1285 E. Hillsdale, Foster City; www.hillbartheatre.org. $23-38. Fri-Sat, 8pm; Sun, 2pm. Through Feb 9. Hillbarn Theatre continues its 73rd season with Frank Galati’s adaptation of John Steinbeck’s classic American novel.

Man in a Case Berkeley Repertory Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $45-125. Tue and Thu-Sat, 8pm; Wed, 7pm; Sun, 2pm. Through Feb 16. Mikhail Baryshnikov returns to Berkeley Rep to star in a play based on a pair of Anton Chekhov’s short stories, “Man in a Case” and “About Love.” Obie-winning Big Dance Theater stages the high-tech adaptation.

Silent Sky TheatreWorks, Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun 2 and 7pm. Through Feb 9. Lauren Gunderson’s drama explores the life of groundbreaking early 20th century astronomer Henrietta Leavitt.

PERFORMANCE/DANCE

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/1, Feb 8, 14, 16, 22, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Dance and Diaspora” ODC Theater, 3153 17th St, SF; www.odcdance.org. Sat/1-Sun/2, 8pm. $25-35. Works by Persian artists Farima Berenji and Shahrzad Khorsandi.

“Does This Joke Make Me Look Fat?” Mutiny Radio, 2781 21st St, SF; www.mutinyradio.org. Fri/31, 8pm. $10. Also Sat/1, 5pm, $10, Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Pam Benjamin performs her solo comedy show at two different venues. Aaron Barrett and Christopher Conatser open.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: Anita Gillette in “After All,” Thu/30, 8pm, $30-40; Leslie Jordan in “Fruit Fly,” Fri/31, 8pm, $25-35; Terry White, Sat/1, 7pm, $25-30.

“Gang Bang Comedy Show” Playland, 1351 Polk, SF; www.playlandbar.com. Wed/29, 8pm. $10. Hella gay Comedy presents queer and queer-friendly stand-up with Charlie Ballard, Carrie Avritt, Jesus Fuentes, Yuri Kagen, and Sampson McCormick.

Jess Curtis/Gravity Joe Goode Annex, 401 Alabama, SF; www.joegoode.org. Thu/30-Sat/1, 8pm. $15-20. The company performs Performance Research Experiment #2.2.

“Live Yiddish Radio Show” Contemporary Jewish Museum, 736 Mission, SF; www.thecjm.org. Sun/2, 1-3pm. $20 (includes museum admission). Musicians, comedians, and actors combine their talents to re-create a Yiddish radio show as it might have sounded in the 1930s.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $30. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Feb 7, March 7, and 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)

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.pacoromane.com. Wed/29, 8pm. $10. With Paco Romane, Jules Posner, Matt Gubser, Rajeev Dhar, Cameron Vaninni, Joey Devine, and host Nicole Calasich.

“This Boy is Just So Strange” Eric Quezada Center, 518 Valencia, SF; www.518valencia.org. Sat/1, 8pm; Sun/2, 3pm. Free. Original songs and monologues with Tommi Avicolli Mecca, Joel Mark, and Diana Hartman.

“Untitled Feminist Show” Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.ybca.org. Thu/30-Sat/1, 8pm. $30-35. Playwright and director Young Jean Lee’s latest work “shakes up gender norms through movement and music.”

BAY AREA

Company C Contemporary Ballet Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.companycballet.org. Thu/30-Sat/1, 8pm (also Sat/1, 3pm). Also Feb 13-14, 8pm; Feb 15, 6pm (benefit gala); Feb 16, 3pm. $25-48. Yerba Buena Center for the Arts, Lam Research Theater, 701 Mission, SF; www.companycballet.org. The company’s winter program includes premieres by Susan Jaffe and Charles Anderson.

Diablo Ballet Shadelands Arts Center, 111 N. Wiget Lane, Walnut Creek; www.diabloballet.org. Fri/31-Sat/1, 8pm (also Sat/1, 2pm). $29-34. The company’s 20th anniversary season continues with its Emotions Into Movement program.

“Die Fledermaus” Napa Valley Performing Arts Center, Yountville; www.lincolntheater.com. Sat/1, 8pm; Sun/2, 2pm. $15-59. Lamplighters Music Theatre (noted for its Gilbert and Sullivan productions) performs Johann Strauss’ “bubbly tale of revenge and temptation.” Continues at Bay Area theaters through Feb 23; visit www.lamplighters.org for future dates.

“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.

Martha Graham Dance Company Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk; www.calperformances.org. Fri/31-Sat/1, 8pm. $30-92. Performing Appalachian Spring (1944), Cave of the Heart (1946), and Maple Leaf Rag (1990). *

Events: January 29 – February 4, 2014

Michael Redmond

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January 28, 2014

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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 29

Sean Strub Books Inc., 2275 Market, SF; www.booksinc.net. 7:30pm, free. The author discusses Body Counts: A Memoir of Politics, Sex, AIDS, and Survival.

THURSDAY 30

“Playland After Dark” Playland-Not-at-the-Beach, 10979 San Pablo, El Cerrito; www.playland-not-at-the-beach.org. 6-10pm, $10. Adults (18 and up) get full run of Playland’s pinball and carnival games, plus board games galore and unique exhibits.

SATURDAY 1

Lunar Chinese New Year Festival on Fourth Street Near 1780 Fourth St, Berk; www.teance.com, www.fourthstreet.com. Noon-4pm, free. Welcome the Year of the Horse with Chinese Opera vignettes by Kei Lun Martial Arts, traditional lion dancing, drummers, and more.

“Sam & Max: A Look Back with Steve Purcell” Cartoon Art Museum, 655 Mission, SF; www.cartoonart.org. 4-5pm, free (reception, 7-9pm, $5). Booksigning celebrating The Collected Sam & Max: Surfin’ the Highway. The later reception also includes Purcell in person and a chance to check out the Cartoon Art Museum’s Sam & Max exhibit, as well as the concurrent exhibits “Grains of Sand: 25 Years of the Sandman” and “Searle in America.”

“Peralta Hacienda Saturday Kids Club” Peralta Hacienda Historical Park, 2465 34th Ave, Oakl; www.peraltahacienda.org. 2:30-5pm, free. Ongoing through May 31. Outdoorsy games, sports, and team-building fun for kids, who can learn about Ohlone Native American life, make crafts using dyes drawn from local plants, and go birdwatching, to name just a few of the offered activities.

Art Peterson Emerald Tablet, 80 Fresno, SF; www.emtab.org. 2-5pm, free. The author reads from Why Is That Bridge Orange? San Francisco for the Curious.

“Sick Plant Clinic” UC Botanical Garden, 200 Centennial, Berk; events.berkeley.edu. 9am-noon, free. Feeling like a green-thumb failure? Bring your ailing plants (covered or in a container) for diagnosis by volunteer plant pathologists and entomologists at this long-standing monthly event.

Gene Luen Yang SF Public Library, Latino/Hispanic Community Meeting Room, 100 Larkin, SF; www.sfpl.org. 2-3:30pm, free. The two-time National Book Award finalist discusses and signs his latest work, graphic novel Boxers & Saints: A Historical Duology of the Boxer Rebellion.

SUNDAY 2

Exploratorium free day Exploratorium, Pier 15, SF; www.exploratorium.edu. 10am-5pm, free. Regular adult admission is $25, so here’s your chance to check out (for free!) the science museum’s six exhibit galleries, including a Bay Observatory, and other attractions.

“Poetry Unbound #9” Art House Gallery, 2905 Shattuck, Berk; berkeleyarthouse.wordpress.com. 5:15pm, $5 donation (no one turned away for lack of funds). With Paradise, Jan Steckel, and Martin Heimstra, followed by a brief open mic. Hosts are Clive Matson and Richard Loranger.

MONDAY 3

Colin Meloy and Carson Ellis Booksmith, 1644 Haight, SF; www.booksmith.com. 7pm, $5 (advance tickets at www.brownpapertickets.com). Portland, Ore.-based author Meloy (also known at the lead singer and songwriter of the Decemberists) and illustrator Ellis — real-life partners and parents to two sons — share their latest literary collaboration, fantasy epic Wildwood Imperium: The Wildwood Chronicles, Part III. *

“Tale of two Davids” elevates Campos

Michael Redmond

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January 28, 2014

4

David Campos presented “a tale of two Davids” Jan. 23 in his first debate with David Chiu in their race to replace Assemblymember Tom Ammiano in AD17, contrasting his solid progressive record against Chiu’s more pragmatic approach. Chiu reinforced the narrative by repeatedly touting his “effectiveness” and record at City Hall.

So the question that may decide the race is whether the corporate-friendly “jobs agenda” that Chiu has pursued with Mayor Ed Lee — an approach that is now triggering a political backlash as evictions and gentrification rage — is popular with voters. It wasn’t with the San Francisco Young Democrats, which sponsored the debate in the Main Library tonight and then voted to endorse Campos.

Campos brought the fire from the beginning, chiding Chiu for his chummy relationship with the San Francisco Chamber of Commerce and offering English and Spanish translations of the saying, “Tell me who you walk with and I’ll tell you who you are.”

Chiu tried to focus on his record and political skills — “We need an Assembly person who is effective at getting things done,” Chiu said — but he seemed weary and thrown off balance by Campos’ well-delivered ideological jabs.

“I’m surprised as a tenant you would support the demolition of 1500 rent-controlled units at Parkmerced,” Campos said after Chiu identified with struggling renters. And when Chiu touted the condo conversion moratorium deal he cut, Campos said, “There doesn’t have to be a lobbying effort by tenant groups to get me to do the right thing.”

As Chiu listed his legislative accomplishments, Campos said, ” I have a different definition of effectiveness,” criticizing Chiu for supporting Twitter’s $22 million tax break and other pro-business policies.

Chiu finally got testy and defensive, accusing Campos of also taking money from developers and corporations and with practicing divisive politics. “I do think the people in San Francisco are stick of these attacks,” Chiu said, and then indignantly offering, “I’m in nobody’s pocket.”

But Campos maintained both his narrative and his composure, calling Chiu out for crafting a watered-down alternative to Campos’ legislation requiring restaurants to comply with the Health Care Security Ordinance in paying for their employees’ health coverage and ensuring all surcharges tacked onto customers’ bill go to employees.

“You co-sponsored [the Campos legislation] then changed your mind when the Chamber told you,” Campos said.

When moderator Marisa Lagos from the Chronicle asked the two candidates whether they supported the deal that Mayor Lee cut with tech companies to charge $1 per bus stop for the “Google buses,” which the SFMTA board rubber-stamped this week, Chiu said, “I don’t think $1 per stop is enough.”

Campos pounced, citing Chiu’s support for the deal and quotes in a press release that the Mayor’s Office put out and his absence from the SFMTA meeting where Campos publicly called for a better deal for the city. “It’s one thing to say it here and it’s another thing to say it at City Hall,” Campos said, continuing the offensive by returning to Chiu’s sponsorship of the Twitter tax break, which disappeared from Chiu’s campaign page as the issue has turned toxic recently. “I think you know that was a mistake,” Campos said.

Chiu didn’t respond, choosing instead to emphasize the contrast between his insider role at City Hall and Campos’ identification with the activists. “I’m trying to work behind the scenes and get things done, he’s grandstanding before the cameras,” Chiu said.

Campos extended his “tale of two Davids” narrative, charging that there are two David Chius: the candidate first elected with progressive support in 2008, and the calculating politician who works with the moderates and the business community to advance his interests.

“Which David Chiu is going to go to Sacramento?” Campos asked.

Chiu tried to bridge the gulf between his progressive and pragmatic selves: “In 2008 I said I believed it’s progressive for us to be creating jobs and building housing.” Campos used his closing to say, “This campaign is about taking our city back, it’s about protecting the heart of San Francisco.”

“Tale of Two Davids” casts Campos as the progressive hero

Sasha Cuttler

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January 23, 2014

123

“Tale of Two Davids” casts Campos as the progressive hero

David Campos presented “a tale of two Davids” tonight [Thu/23] in his first debate with David Chiu in their race to replace Assemblymember Tom Ammiano in AD17, contrasting his solid progressive record against Chiu’s more pragmatic approach. Chiu reinforced the narrative by repeatedly touting his “effectiveness” and record at City Hall.

So the question that may decide the race is whether the corporate-friendly “jobs agenda” that Chiu has pursued with Mayor Ed Lee – an approach that is now triggering a political backlash as evictions and gentrification rage – is popular with voters. It wasn’t with the San Francisco Young Democrats, which sponsored the debate in the Main Library tonight and then voted to endorse Campos.

Campos brought the fire from the beginning, chiding Chiu for his chummy relationship with the San Francisco Chamber of Commerce and offering English and Spanish translations of the saying, “Tell me who you walk with and I’ll tell you who you are.”

Chiu tried to focus on his record and political skills – “We need an Assembly person who is effective at getting things done,” Chiu said – but he seemed weary and thrown off balance by Campos’ well-delivered ideological jabs.

“I’m surprised as a tenant you would support the demolition of 1500 rent-controlled units at Parkmerced,” Campos said after Chiu identified with struggling renters. And when Chiu touted the condo conversion moratorium deal he cut, Campos said, “There doesn’t have to be a lobbying effort by tenant groups to get me to do the right thing.”

As Chiu listed his legislative accomplishments, Campos said it was important to “draw a line in the sand” against the powerful corporate interests that hold sway in City Hall these days. “ I have a different definition of effectiveness,” Campos said, criticizing Chiu for supporting Twitter’s $22 million tax break.

Chiu finally got testy and defensive, accusing Campos of also taking money from developers and corporations and with practicing divisive politics. “I do think the people in San Francisco are stick of these attacks,” Chiu said, and then indignantly offering, “I’m in nobody’s pocket.”

But Campos maintained both his narrative and his composure, calling Chiu out for crafting a watered-down alternative to Campos’ legislation requiring restaurants to comply with the Health Care Security Ordinance in paying for their employees’ health coverage and ensuring all surcharges tacked onto customers’ bill go to employees.

“You co-sponsored [the Campos legislation] then changed your mind when the Chamber told you,” Campos said.

When moderator Marisa Lagos from the Chronicle asked the two candidates whether they supported the deal that Mayor Lee cut with tech companies to charge $1 per bus stop for the “Google buses,” which the SFMTA board rubber-stamped this week, Chiu said, “I don’t think $1 per stop is enough.”

Campos pounced, citing Chiu’s support for the deal and quotes in a press release that the Mayor’s Office put out and his absence from the SFMTA meeting where Campos publicly called for a better deal for the city. “It’s one thing to say it here and it’s another thing to say it at City Hall,” Campos said, continuing the offensive by returning to Chiu’s sponsorship of the Twitter tax break, which disappeared from Chiu’s campaign page as the issue has turned toxic recently. “I think you know that was a mistake,” Campos said.

Chiu didn’t respond, choosing instead to actually emphasize the contrast between his insider role at City Hall and Campos’ identification with the activists. “I’m trying to work behind the scenes and get things done, he’s grandstanding before the cameras,” Chiu said.

Campos extended his “tale of two Davids” narrative, charging that there are two David Chius: the candidate first elected with progressive support in 2008, and the calculating politician who works with the moderates and the business community to advance his interests.

“Which David Chiu is going to go to Sacramento?” Campos asked.

Chiu tried to bridge the gulf between his progressive and pragmatic selves: “In 2008 I said I believed it’s progressive for us to be creating jobs and building housing.” In his closing, Chiu reminded the capacity crowd that there was a recession when he and Campos were elected the Board of Supervisors in 2008. “What we didn’t need at that time is discussion about ideology,” Chiu said.

Campos used his closing to return to the personal story he told in his introduction about immigrating from Guatemala with his family when he was 14, and seeing such hope and opportunity in the United States. “There is something happening to our city and country that we are losing what made us great,” Campos said. “This campaign is about taking our city back, it’s about protecting the heart of San Francisco.”

H. Brown: Goodbye to all that, we hope

-

January 23, 2014

451

In an SF Weekly piece published yesterday, it was announced that progressive political blogger and gadabout H. Brown – an “irascible” man who has attained a specific sort of fame in equal measure for his political connections, his egregious sexism, and his unfortunate alcoholism — was leaving San Francisco. Where’s he going? The article didn’t see fit to mention. It’s whatever. One can assume Brown’s destination is that netherworld set aside for those whose behavior was enabled by the old school boy’s club blinders of the San Francisco progressive movement, still worn at the dawn of the 21st century.

“Last Call For Know-It-Alls: Classic Specimen of Old-San Francisco Bon Vivantery,” the article was called. It was written by a man; if a woman had written it, the title might have been closer to: “I Just Bought an Evil Eye Necklace, Don’t Look at Me You Cursed Troll.”

Do I sound angry? In 2008 at a DCCC, Brown inquired at top volume and in front of an ex-President of the Board of Supervisors if I was the politician’s escort. When said political leader bailed on the situation, Brown interrogated me on camera about my knowledge of local politics. I wrote about it, most names omitted, for the Guardian. In the article’s wake, I received thankful and supportive emails from men and women across the San Francisco political scene. On his part, Brown sent out multiple emails about me to his prodigious correspondence rolls, one in which he shared an communique from his niece calling me an “ignorant cunt,” another in which he addressed an un-cc’ed me about the election night in question: “You tried to make up for your ignorance by wearing revealing clothing. I was mocking you. And rightly so.”

Nearly every woman in San Francisco politics has one of these stories. When a male politician was accused of any wrong against a woman, Brown could be depended on to dig through the Internet to find evidence that the victim had been asking for it. Those unwilling to suffer him had to opt out of the hobnobbing happy hours and salons in the homes of city leaders, at which Brown was a constant presence.

Ah, old San Francisco bon vivantery. But I’ve said it before and I’ll say it again, you don’t have to care about Brown. You do have to care that this man was your Supervisor’s drinking buddy, that he took Speedo-clad swims in the Bay with progressive leaders. You do have to wonder about what that did to the strength of our political movement. And you might want to wonder about the dynamics behind ubiquitous bigots who are tolerated by people who should know better.

“If comedy is indeed tragedy plus time, however, Brown will leave ’em laughing for posterity,” wrote Weekly reporter Joe Eskenazi. “Friend after friend recalled anecdotes of offensive, bourbon-fueled behavior invariably culminating with Brown being instructed to “Get the fuck out, H.!” But, always, these were happy memories, if not happy occasions.”

None of these friends — “former supervisors, consultants, academics, political Svengalis, and other city luminaries” – in Eskenazi’s article were women. (The writer, whose work on city issues I do appreciate, told me he did interview women, but apparently none of them said anything printworthy.)

Let’s remedy that now with a few female voices. Not coincidentally, most of these bourbon-fueled memories took place in ex-Supervisor Chris Daly’s since-closed Market Street progressive gathering spot, the Buck Tavern. None are happy.

“This was the first time I was introduced to H. At a benefit at the Buck Tavern I walked in and there were all these progressive journalists sitting around a table with him. He said ‘you’re the one with the great ass!’ He started asking me if I had family members he could date. I was standing there horrified, I just didn’t know what to say. I’m a mouthy lady, and even I couldn’t think of anything to come back with – not just to him, but to every other progressive journalist who was sitting there listening to him who laughed! I said hi to a few people, and then I left the event.”
– Laura Hahn, president of the San Francisco Women’s Political Committee

“Really, I don’t give much of a shit about one sad dude calling me a slut and a spy (for Newsom or Pinkerton Guards, depending on the year), but seeing some (not all) progressive men continue to put up with him was pretty demoralizing.”
– Anonymous volunteer on several progressive political campaigns

“The confrontation started because I came in to wish [ex-Supervisor and then-owner of the Buck Tavern] Chris Daly a happy birthday and have a drink, and H. asked Chris ‘Who the hell is she?’ To which Chris said, ‘She’s the President of the Harvey Milk Club.’ To which H began, ‘You’re not even gay, are you?’ I replied, ‘I’m queer.’ ‘Queer?!’ he said, ‘What the fuck is that? Some Shona Gochenauer shit? You’re not gay. I can tell you’re not gay by looking at you. She doesn’t know anything about politics. Look at her — she’s clearly just a vanity president.’ He said something about enjoying things because, “that ass isn’t gonna last forever, sweetheart. They [the other patrons in the bar] are only standing up for you because they want to fuck you.’”
– Stephany Joy Ashley, ex-president of the Harvey Milk LGBT Democratic Club

“As a purveyor of alcohol, I found that the man was a lawbreaking mooch and a pain to deal with. As a woman, I found him pathetic, insulting, gross, or all three, depending on his mood. The first time I met him he cussed me out for an imagined slight in a way that was actually shocking — and it takes a lot for cuss words to flummox me. For a time, I simply refused to serve him.”
– Siobhann Bellinger, Buck Tavern bartender

“H. is a bully and a sexist. If you want to look at why the progressive movement is failing it’s because it alienates youth, women, and people of color. Deifying somebody like him is shutting women out, the message is they aren’t welcome. It’s not separated from the fact that progressives are really faltering right now with no leadership and very little inspiration.”
– Debra Walker, artist and longtime activist

“His behavior symbolized the running joke amongst some progressive men that women were there for their own entertainment to be mocked and harassed with no one blinking an eye. FUCK. THAT.”
– Anonymous ex-City Hall aide

These women – and the progressive men who were their allies – were not laughing at the hijinx of a mouthy old man. But people were, and they will be at the party that will be held in honor of Brown’s departure and attended by member’s of our city’s progressive elite.

Supporters say the guy’s behavior was a premeditated mockery of San Francisco’s political correctness, that he was an actor in the grand tradition of political theater. But if he is remembered by generations to come, it will be as the embodiment of an age-old archetype: the dude that other dudes keep around because he says the shit they can’t say to people who aren’t them. After all, who can control their own id?

Eskenazi compares Brown to F. Scott Fitzgerald and notwithstanding that both are writers, I’d like to posit an alternative historical precedent for Brown’s passionate trolling. Remember Bobby Riggs, the proud chauvinist who taunted tennis legend Billie Jean King until she wiped the floor with him in the widely broadcast Battle of the Sexes match? Man, that guy should have been in politics.

Brown was allowed to establish through constant bullying both online and off that only men have the right to feel comfortable in our city’s high-powered progressive circles. As San Francisco continues to cozy up with its new moderate identity, I hope he is remembered less for being a bon vivant and more as a sign that our once-vaunted avatars of progressivism were spending too much time pounding double shots at the Buck Tavern — while the world changed around them.

Theater Listings: January 22 – 28, 2014

Michael Redmond

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January 21, 2014

0

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

THEATER

OPENING

Hemorrhage: An Ablution of Hope and Despair Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. $20-25. Opens Fri/24, 8pm. Runs Thu-Sat, 8pm (Feb 8, shows at 4 and 7pm); Sun, 6pm. Through Feb 8. Dance Brigade presents this “dance installation at the intersection of the new San Francisco and world politics.”

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Previews Thu/23-Fri/24, 8pm. Opens Sat/25, 8:30pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through March 15. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

“SF Sketchfest: The San Francisco Sketch Comedy Festival” Various venues, SF; www.sfsketchfest.com. Prices vary. Jan 23-Feb 9. This year’s 13th Sketchfest features over 200 shows in more than 20 venues, featuring both big-name talents (Alan Arkin, Tenacious D, Laura Dern and the cast of Enlightened, Maya Rudolph, etc.) and up-and-comers, plus tributes to films, theatrical and musical events, improv showcases, and more. Much, much, much more.

Ubu Roi Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Previews Fri/24-Sat/25, 8pm; Sun/26, 5pm. Opens Jan 30, 7:30pm (gala opening Jan 31, 8pm). Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Feb 23. Cutting Ball Theater performs Alfred Jarry’s avant-garde parody of Shakespeare’s Macbeth, presented in a new translation by Cutting Ball artistic director Rob Melrose.

BAY AREA

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Opens Thu/23, 8pm. Runs Thu, 8pm; Sat, 5pm. Through March 1. Geoff Hoyle moves his hit comedy about aging to the East Bay.

The Grapes of Wrath Hillbarn Theatre, 1285 E. Hillsdale, Foster City; www.hillbartheatre.org. $23-38. Opens Fri/24, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through Feb 9. Hillbarn Theatre continues its 73rd season with Frank Galati’s adaptation of John Steinbeck’s classic American novel.

Man in a Case Berkeley Repertory Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $45-125. Previews Sat/25, 8pm. Opens Sun/26, 7pm. Runs Tue and Thu-Sat, 8pm; Wed, 7pm; Sun, 2pm. Through Feb 16. Mikhail Baryshnikov returns to Berkeley Rep to star in a play based on a pair of Anton Chekhov’s short stories, “Man in a Case” and “About Love.” Obie-winning Big Dance Theater stages the high-tech adaptation.

ONGOING

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.

Jerusalem San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-100. Previews Wed/22/-Thu/23, 7pm; Fri/24, 8pm. Opens Sat/25, 8pm. Runs Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Feb 2, 9, 16, 2pm. Through March 8. SF Playhouse performs the West Coast premiere of Jez Butterworth’s Tony- and Olivier-wining epic.

Major Barbara ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-140. Tue-Sat, 8pm (also Wed/22 and Jan 29, 2pm); Sun, 2pm. Through Feb 2. American Conservatory Theater performs a new production of George Bernard Shaw’s political comedy.

Noises Off Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Thu-Sat, 8pm. Through Feb 8. Shelton Theater presents Michael Frayn’s outrageous backstage comedy.

Pardon My Invasion Phoenix Theatre, 414 Mason, SF; pardonmyinvasion.brownpapertickets.com. $15-30. Thu-Sat, 8pm; Sun/26 and Feb 2, 2pm. Through Feb 8. A pulp fiction writer’s characters come to life in this dark comedy by Joy Cutler.

The Paris Letter New Conservatory Theater Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Feb 23. New Conservatory Theatre Center performs Jon Robin Baitz’s tale of a Wall Street powerhouse desperately trying to keep his sexual identity a secret.

The Pornographer’s Daughter Z Below, 470 Florida, SF; www.zspace.org. $32. Opens Wed/22, 8pm. Runs Thu-Sat, 8pm (also Sat, 10:30pm); Sun, 5pm. Through Feb 16. Liberty Bradford Mitchell, daughter of Artie Mitchell (half of porn’s infamous Mitchell Brothers, he was shot and killed by brother Jim in 1991), performs her solo show about “growing up on the fringes of an X-rated world.”

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Through Feb 8. D’Arcy Drollinger (Sex and the City Live) performs “a whitesploitation comedy with dance.”

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $60-90 (add-ons: casino chips, $5; dance lessons, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Through March 15. Boxcar Theatre presents Nick A. Olivero’s re-creation of a Prohibition-era saloon, resulting in an “immersive theatrical experience involving more than 35 actors, singers, and musicians.”

Too Much Light Makes the Baby Go Blind Boxcar Playhouse, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri-Sat, 9pm. Through Jan 31. Thirty plays in 60 minutes, with a show that varies each night, as performed by the Neo-Futurists.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through March 9. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. Sat, 8:30pm; Sun, 7pm. Through Feb 2. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Note: review from an earlier run of the show. (Avila)

Sherlock Holmes: The Broken Mirror Berkeley City Club, 2315 Durant, Berk; www.brownpapertickets.com. $20-28. Thu-Sat, 8pm; Sun, 3pm. Through Jan 26. Jeff Garrett portrays all the characters (Sherlock, Watson, Mrs. Hudson, Moriarty…) in this adaptation of William Gillette’s Holmes play.

Silent Sky TheatreWorks, Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun 2 and 7pm. Through Feb 9. Lauren Gunderson’s drama explores the life of groundbreaking early 20th century astronomer Henrietta Leavitt.

Tristan & Yseult Berkeley Rep’s Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $17.50-81. Wed/15, 7pm; Thu/16-Sat/18, 8pm (also Thu/16, 2pm). Kneehigh presents an innovative take on the ancient love-triangle tale.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. $20. “Theatresports,” Fri, 8pm; “Improvised Downton Abbey,” Sat, 8pm.

“The Buddy Club Children’s Shows” Randall Museum Theater, 199 Museum Way, SF; www.thebuddyclub.com. Sun/26, 11am-noon. $8. With comedy magician Robert Strong.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/25, Feb 1, 8, 14, 16, 22, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“The Day of the Locust Revisited” Mechanics’ Institute, 57 Post, SF; www.milibrary.org. Wed/22, 6pm. $20. Dramatic reading (with accompanying photography) by filmmaker Lucy Gray, putting a new spin on Nathanael West’s Depression-era Hollywood tale.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/22, 9:30-11:30pm. Free. Drag spectacular with Colette LeGrande, Ruby Slippers, Sophilya Leggz, and more.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: “An Evening With Joan Ryan,” Thu, 8pm, $30-40; “Sam Harris: Ham: Slices of a Life,” Fri/24, 8pm; Sat/25, 7pm, $25-35.

“KaMau: Traveling in Black Colors” Red Poppy Art House, 2698 Folsom, SF; www.redpoppyarthouse.org. Thu/23, 7:30pm. $10-15. The multidisciplinary artist (also known as Pitch Black Gold) performs.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $30. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Feb 7, March 7, and 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)

“Rise” Yerba Buena Center for the Arts, Lam Research Theater, 701 Howard, SF; ybca.org/robert-moses-kin. Thu/23-Sun/26, 8pm. $24-45. Robert Moses’ Kin Dance Company presents an evening of choreography by Robert Moses, including two world premieres.

“Word Performances” Lost Church, 65 Capp, SF; www.wordperformances.com. Wed/22, 8pm. $15. Poetry, prose, fiction, memoir, comedy, and more all pop up in this reading series; featured performers include Nato Green, Sylvie Simmons, Zahra Noorbakhsh, Tim Toaster Henderson, and others.

BAY AREA

“Egghead Comedy Showcase” Pacific Pinball Museum, 1510 Webster, Alameda; www.pacificpinball.org. Sat/25, 8pm-midnight. $15 (adults only). Comedy to support the Pacific Pinball Museum with Natasha Muse, Jonathan Ott, Duat Mai, and Ethan Orloff.

“Die Fledermaus” Lesher Center for the Arts, Hoffmann Theatre, 1601 Civic, Walnut Creek; www.lesherartscenter.org. Fri/24-Sat/25, 8pm (also Sat/25, 2pm); Sun/26, 2pm. $15-59. Lamplighters Music Theatre (noted for its Gilbert and Sullivan productions) performs Johann Strauss’ “bubbly tale of revenge and temptation.” Continues at Bay Area theaters through Feb 23; visit www.lamplighters.org for future dates.

“Hand to Mouth/Words Spoken Out #63” Rebound Bookstore, 1611 Fourth St, San Rafael; reboundbookstore@aol.com. Sat/25, 4-6pm. Free (donations requested). With Roy Marsh (launching his new book, Buyer’s Remorse), Connie Post, and Susan Zerner.

“Julius Caesar” Berkeley Public Library, 2090 Kittredge, Berk; www.berkeleylibraryfriends.org. Sun/26, 2pm. Free. San Francisco Shakespeare Company presents its touring company’s presentation of the Bard’s ancient-Rome drama.

“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.

“reveries and elegies” Milkbar, Sunshine Biscuit Factory, 851 81st St, Oakl; www.maryarmentroutdancetheater.com. Sat/25-Sun/26, 4:45pm. $20. Mary Armentrout’s new site-specific project is timed to coincide with sundown on each performance day.

“Winter Concert 2014: Shall We Dance?” Lesher Center for the Arts, Margaret Lesher Theatre, 1601 Civic, Walnut Creek; www.lesherartscenter.org. Sat/25, 7:30pm. $12. Winds Across the Bay presents “music written with feet in mind,” including works by Benny Goodman and from Fiddler on the Roof. *

By the people

Michael Redmond

-

January 21, 2014

3

rebecca@sfbg.com

A growing number of people seem to be convinced that “civic innovation” is sexy.

Tech-oriented events at San Francisco City Hall, like hackathons for improving government services, have become increasingly common. App developers are gaga over the idea of revolutionizing government through software, and the concept is gaining momentum.

To borrow an analogy referenced in an essay by tech publisher Tim O’Reilly, some software purveyors are moving away from the idea of government as a vending machine: “When we don’t get what we expect, our ‘participation’ is limited to protest—essentially, shaking the vending machine.”

Instead, they’re latching onto the idea of government as an open platform that citizens can tinker with.

That’s exciting. Can it lead to a government that is more responsive to the people, as enthusiasts predict? Can we really hack away the ineffective and irresponsive parts of the public sector?

Or is some of this just hype and libertarian idealism from a cash-drenched tech sector seeking business opportunities and greater political influence?

HACK THE LAW

Sup. Mark Farrell recently proposed doing away with an outmoded and widely disregarded law disallowing bicycle storage in garages. The legislative tweak matters because it was spurred by feedback submitted through a new website, SanFranciscoCode.org.

Operated by a private nonprofit organization called the OpenGov Foundation, the website presents an interactive, online version of the city’s municipal code with an open platform where anyone can easily comb through the thicket of city laws and leave comments on specific sections, using the software as a magnifying glass.

Farrell touted the website — launched in partnership with Mayor Ed Lee’s Office of Civic Innovation last September — as a tool that could spur “a more transparent and accountable city government.”

“I see this leading to better engagement,” said Jess Montejano, Farrell’s legislative aide. Seamus Kraft, executive director of the OpenGov Foundation, has been compiling all the comments submitted via SanFranciscoCode.org, and recently sent a memo with all user feedback to each member of the Board of Supervisors.

“Our mission is to put as much public information into the public’s hands as possible,” Kraft said, “so that people can access their laws the way they deserve in 2013.”

The idea that a law would be changed instantly based on public comments is a new take on an old concept, with shades of being enamored by that shiny new thing. After all, many supervisors have a habit of turning their backs, or very obviously zoning out, during public comment sessions at weekly board meetings.

Yet anyone with an Internet connection can run with this new portal for citizen engagement. How about a reinvigorated response to San Francisco’s Sit/Lie Ordinance? A torrent of online commentary about the public nudity ban? Not everyone has the same idea about what it means to fix a broken law.

In some respects, City Hall appears to be lending itself out as a laboratory in which to test the wide-ranging theories of civic innovators. Mayor Lee has greeted the technology sector with arms wide open, and empowered the Office of Civic Innovation to foster tech-fueled government fine-tuning.

With the rise of amply funded organizations such as Code for America, droves of programmers stand at the ready, eager to chip in and do their part to help transport the public sector out of the analog ages.

A recent brigade of Code for America fellows partnered with the city’s Department Health and Human Services to create an app that automatically notifies food stamp recipients via text when they are about to be automatically dis-enrolled. The idea is to give recipients advance notice so they can take steps to renew their enrollment.

Other initiatives, such as the Department of Public Health’s release of an open data set to reveal housing inspection records, can arm citizens with useful knowledge — like empowering apartment hunters to spot a slumlord from a mile away.

The use of tech for transparency holds potential: What if each and every public record — down to every last email, calendar appointment, or police report — were instantly uploaded to a publicly accessible database, easy to locate, and fully searchable? Would that be a check against corruption?

Ron Bouganim, a San Francisco-based venture capitalist and mentor to the very Code for America teams industriously improving city government through technology, recently filed paperwork with the Securities and Exchange Commission to create GovTech. It’s a new kind of venture capital fund, specifically devoted to fostering companies looking to find their way in the “civic innovation” sector.

Bouganim laid out the dynamics driving the civic innovation trend: First, “2008-2009 was like a nuclear bomb,” he explained. “The financial crisis was a cataclysmic event. The money is not coming back, ever.”

THE NEW NORMAL?

This new normal, characterized by dramatically depleted public-sector finances, has helped make government more open to working with startups instead of trusted brands like IBM, Bouganim said, since startups can help government “do more with less.”

Bouganim also said adoption of cloud computing has changed the game. Whereas governments were initially hesitant to move their data to the cloud, the recent migration has made it possible for companies seeking government contracts to price below the “procurement threshold,” a price point that triggers a long public approval process before a purchase can go through. Now that technology has helped software developers slice through red tape, startups are flooding in, eager to land public sector contracts.

The city’s Entrepreneurship in Residence webpage (entrepreneur.sfgov.org), which markets a program rolled out by the Office of Civic Innovation, says it all. Sporting a gleaming picture of San Francisco City Hall, it bears the caption: “Develop products & services for the $142 billion public sector market.”

Bouganim wasn’t willing to say much in the way of GovTech’s plans, but he mentioned that his accelerator provides mentorship for startups that are paired with government agencies, and hinted that his initial investments would lead to “a dramatic impact on government savings.”

An underlying goal of the whole civic innovation movement, Bouganim added, “is to fundamentally change this concept that government is over there, and I am over here. We the people are the government, we’ve just lost touch with it.”

Bouganim responded to the Guardian’s call within 15 minutes, mentioning he was in London. “I wanted to get back to you so you didn’t think I was ignoring you,” he said, “because that would be awful.”

But the well-compensated public servants at the Mayor’s Office of Civic Innovation evidently had no such compunction. The Bay Guardian placed multiple calls to that office for this story, only to be met with radio silence.

And that’s a quandary. One cannot trumpet lofty goals of citizen engagement while habitually walling off government critics, and still expect to be taken seriously. And therein lies the rub with civic innovation: Even if technology is neutral, politics will never be so.

Nickels and dimes… or transit for our times?

Michael Redmond

-

January 21, 2014

14

STREET FIGHT Much has been written about the so-called “Google buses” and San Francisco’s latest round of gentrification. It’s a horrible mess and the city’s trifling $1 charge per bus stop will do little to address the broader structural problem that these buses lay bare.

Ordinary people cannot ride them, nor do the people who clean and cook for the tech world. Like tour buses, they are clunky and inappropriate for many neighborhood streets. While they do substitute for some car trips, an ad hoc private transit system does not reflect the kind of thoughtful regional planning needed to truly reduce car use in the Bay Area.

But the controversy over the private commuter buses does show that there is great potential for a public regional express bus system. Consider that in 1980, 9 percent of commuters in San Francisco left the city every day to go to work. In 2010, outbound commuters approached 25 percent. Owing to regional political fragmentation, Muni cannot provide intercounty service and thus is not the travel mode of choice for many of these commuters. And although Caltrain and BART offer some regional service, the sprawling locations of suburban firms often make regional rail impractical or at the very least time-consuming owing to unavoidable multiple transfers to local buses.

So in noteworthy ways, the rise of private transit is an immediate reaction to poor regional transit connections. Yet rather than sidestepping failed regional planning by encouraging an inequitable, two-tiered, private system, we need to expand and regionalize the existing public bus systems. San Francisco’s mayor and Board of Supervisors have seats at the table of regional planning and ought to use the controversy over private buses as an opportunity to kickstart the implementation of a regional public bus system accessible to all.

For example, something like AC Transit’s Transbay routes should be extended through San Mateo and Santa Clara counties, perhaps operated by BART or Caltrain as part of the next iteration of Plan Bay Area. This network would use reallocated express lanes on 101 and I-280 and use transit priority lanes on arterials like 19th Avenue in San Francisco and El Camino Real in San Mateo. Regional property assessments on the corporations and developers, in part already possible within the existing BART district (one should be created for Caltrain), could be used to fund such a system. Congestion charging on 101 and I-280 should also be deployed and those funds used for electrifying Caltrain and developing the parallel and complementary regional bus system.

Of course there will be opposition to a regional public bus system as there already is to progressive regional planning. Transit-connected, walkable communities in the South Bay, for example, have been made all but illegal by decades of conservative middle and upper class, anti-density, anti-tax homeowners in suburban localities. As recently as last year, this Tea Party-style conservative politics dampened Plan Bay Area, resulting in a weak regional housing plan with an underfunded and lackluster transit vision. This conservative approach stifles our collective sense of what is possible and the fear-mongering has rendered regional planners virtually impotent. Yet it can and must be overcome.

Some progressives may find it convenient (and in some cases justifiable) to target tech workers right now, but they could also direct energy into shaping the next round of Plan Bay Area. Remember that Plan Bay Area is a living document, a work in progress. The current version of the plan, weak on transit funding, has been subdued by a loud, irrational mob of Tea Party cranks bent on sabotaging anything that hints of progressive ideas. Plan Bay Area is also stifled by a regional business class that wants to keep the status quo and that is comfortable with the neoliberal model of private transit.

So while a smattering of dedicated and hard-working progressive transit activists showed up and attempted to shape Plan Bay Area last year, in the coming years the plan needs a broader progressive movement — including transit, housing, social justice, and environmental activists — to demand a more visionary regional transportation plan that connects all of the Bay Area. I am hopeful that this would not only steer regional planning in a progressive direction, but many of the tech workers who are now on the private buses would gladly join in the cause.

THE POLITICS OF SUNDAY PARKING

Speaking of hopeful, last month the SFMTA reported that Sunday metering, implemented last January, is a resounding success. Switching-on the meters doubled parking availability on Sundays, which is invariably what small businesses, most of which are open on Sunday, want to see.

Sunday meters increased the number of cars using city-owned garages and decreased the time cars circled in search of parking from an average of four minutes to two — de-cluttering streets in commercial districts. While this might seem like a boon to drivers, it also means less pollution, safer conditions for pedestrians and cyclists, less delay for Muni, and a much needed enhancement of revenue for operating public transit.

So it is mystifying that such success would be ignored by Mayor Ed Lee, who instead has proposed to discontinue Sunday metering. This is doubly confusing because, based on existing travel behavior to many commercial districts, 25 percent of people arrived by driving, while 31 percent took transit and 25 percent walked. So what the mayor is effectively saying to the pedestrian and transit-using majority is you matter little. What does matter is the few whining motorists who called him to complain about being “nickel and dimed.”

The mayor talks a good game when saying he is truly concerned about pedestrian and cyclist safety, and insisting that he wants to fix Muni. But gutting a reliable source of operating funds and pandering to car drivers who will dangerously circle for parking is inconsistent.

Lee says money isn’t an issue because his proposed General Obligation bond (which must be approved by voters) will patch the lost revenue from Sunday metering. But the GO bond will incur further debt and only fund existing capital needs, while parking meters provide a debt-free steady revenue stream for Muni. It’s also slightly misleading because the bond would not cover Muni operations, while revenue from Sunday metering does pay for operations.

The mayor’s pandering also put the SFMTA Board of Directors, which has been working out parking management and Muni finance, on the spot. Ultimately, it has to vote to preserve or scrap Sunday metering in the coming months. Now the directors have to decide if they support transit-first or the mayor’s pandering.

Unfortunately, when it comes to parking policy, the way that the Board of Supervisors has behaved lately suggests it will either jump on the mayor’s bandwagon and pander to motorists or cower in silence as good public policy is trashed. Not a good situation at City Hall, where transit riders seem to be routinely thrown under the bus by the political establishment.

Street Fight is a monthly column by Jason Henderson, an urban geography professor at San Francisco State University.

State of the City: spin over substance

Michael Redmond

-

January 21, 2014

5

It was maddening to watch Mayor Ed Lee deliver his annual State of the City address on Jan. 17. This was pure politics, from the staged backdrop of housing construction at Hunters Point Shipyard to the use of “regular people” props to the slate of vague and contradictory promises he made.

“This place, the shipyard, links our proud past to an even more promising future,” was how Lee began his hour-plus, invite-only address.

Later, he touted the housing construction being done there by Lennar Urban as emblematic of both his promise to bring 30,000 new housing units online by 2020 — the cornerstone to what he called his “affordability agenda” — and the opposition to unfettered development that he is pledging to overcome.

“A great example is the place we’re standing right now. This took us too long,” Lee said after decrying the “easy slogans and scapegoating” by progressive activists who place demands on developers.

But that implication was bullshit. As we’ve reported, progressive and community activists have long encouraged Lennar Urban (which has a close relationship to Lee) to speed up development on this public land that it was given almost a decade ago, particularly the long-promised affordable housing, rather than waiting for the real estate market to heat up.

That was just one of many examples of misleading and unsupported claims in a speech that might have sounded good to the uninformed listener, but which greatly misrepresented the current realities and challenges in San Francisco.

For example, Lee called for greater investments in the public transit system while acknowledging that his proposal to ask voters this November to increase the vehicle license fee isn’t polling well. And yet even before that vote takes place, Lee wants to extend free Muni for youth and repeal the policy of charging for parking meters on Sundays without explaining how he’ll pay for that $10 million per year proposal.

Lee also glossed over the fact that he hasn’t provided funding for the SFMTA’s severely underfunded bicycle or pedestrian safety programs, yet he still said, “I support the goals of Vision Zero to eliminate traffic deaths in our city.”

Again, nice sentiment, but one disconnected from how he’s choosing to spend taxpayer money and use city resources. And if Lee can somehow achieve his huge new housing development push, Muni and other critical infrastructure will only be pushed to the breaking point faster.

Even with his call to increase the city’s minimum wage — something that “will lift thousands of people out of poverty” — he shied away from his previous suggestion that $15 per hour would be appropriate and said that he needed to consult with the business community first: “We’ll seek consensus around a significant minimum wage increase.”

But Mayor Lee wants you to focus on his words more than his actions, including his identification with renters who “worry that speculators looking to make a buck in a hot market will force them out.”

Yet there’s little in his agenda to protect those vulnerable renters, except for his vague promise to try to do so, and to go lobby in Sacramento for reforms to the Ellis Act.

Lee also noted the “bone dry winter” we’re having and how, “It reminds us that the threat of climate change is real.” Yet none of the programs he mentions for addressing that challenge would be as effective at reducing greenhouse gas emissions as the CleanPowerSF program that Lee and his appointees are blocking, while offering no other plan for building renewable energy capacity.

Far from trying to beef up local public sector resources that vulnerable populations increasingly need, Lee said, “Affordability is also about having a city government taxpayers can afford.”

Manhattanization revisited

Michael Redmond

-

January 21, 2014

116

joe@sfbg.com

The housing crisis is spurring pro-development arguments that threaten to hasten the “Manhattanization of San Francisco,” a buzzphrase from another era that led to local controls on high-rise development.

The city is getting richer and less diverse, and the unaddressed displacement of longtime residents has fueled populist outrage. Now, politicians are finally getting the message, but some are offering solutions that may reopen old civic wounds.

They say that the answer to the housing affordability crisis is to build massive amounts of new housing, and to build it higher and more densely than city codes and processes currently allow.

Sup. Scott Wiener wrote a scathing indictment of the city’s alleged aversion to housing production in the San Francisco Chronicle on Jan. 13, slamming a planning process that he says slows necessary construction.

“This disconnect — saying that we need more housing while arbitrarily finding reasons to kill or water down projects that provide that housing — is having profound effects on our city and its beautiful diversity, economic and otherwise,” Wiener wrote.

Though he mentioned affordable housing, the need to build all kinds of housing was the crux of his argument. It’s the same kind of developer-friendly rhetoric that whips people into a frenzy with faux common sense: build more, and the market will take care of everyone.

But there are flaws to that simplistic argument. Housing advocates (and Guardian editorials) have long argued that market rate units — the median price of which just surpassed $1 million — don’t trickle down to maintain the city’s economic diversity. More supply may help, but with insatiable demand for housing here, it won’t help much with affordability for the working class.

The next day, Wiener introduced legislation to loosen density requirements when developers build below-market-rate housing units on site, creating an incentive to build more of the units that affordable housing advocates say are most valuable.

“Long term, I’m concerned about young persons that can come here,” he told the Guardian. “It’s not just about building more housing.”

Pushing a pro-development agenda while playing lip service to an affordable housing push is all the rage in San Francisco nowadays, with Mayor Ed Lee calling for building 30,000 new housing units by 2020, supporting the rapid growth calls by SPUR, Housing Action Coalition, and other pro-growth groups.

But Peter Cohen, co-director of the Council of Community Housing Organizations, says supply and demand logic doesn’t apply to the San Francisco housing market for a number of reasons.

He pointed to a paper by CCHO cohort Calvin Welch, who teaches a class on the politics of housing development at USF and SFSU. Welch cites data from the City Controller’s Office showing that when San Francisco increases supply, the market responds by raising the average housing price. Contrary to all the supply and demand claims, when we produce more, things get more expensive.

Why?

“In classic economic theory prices are set by supply and demand only when the market is ‘competitive’ when neither consumers nor suppliers have the ‘market power’ to set the price by themselves,” Welch wrote. “Clearly, that is not the case in San Francisco…of the City’s 47 square miles, only 13 square miles is available for housing uses.”

“There is no ‘free land’ in San Francisco,” he wrote. “The owners have total ‘market power’ over its price.”

But that’s the kind of complex argument that has a tough time penetrating the public consciousness. The idea isn’t as catchy as “supply and demand.”

“I think frankly this whole thing about build, build, build — it’s an easy answer to something that’s complex,” Cohen told us. “It resonates. It sounds like the easy path to sound like you know what you’re talking about.”

That simplistic thinking is dangerous, though, because San Francisco is quickly becoming Manhattanized. Since 2002, New York City Mayor Michael Bloomberg rezoned over 37 percent of New York City, according to The New York Times, causing the construction frenzy many are seeking for San Francisco.

Bloomberg added 40,000 buildings in his time as mayor, but that boom had mixed results. It arguably hastened the Big Apple’s gentrification, especially in Manhattan, one of the few US locales denser than San Francisco.

From 2000 to 2010, Manhattan’s ranks of white people swelled by 58,000. During the same period, the wealthy home of Wall Street lost 29,000 African Americans and 14,000 Latinos. More alarming is the income disparity there.

From 1990 to 2010, the city that never sleeps, and its neighborhoods, increasingly became a land of have and have-nots. Census maps showed that while 1990 Manhattan had economic diversity, now the median income hovers over $75,000 for most blocks of that famous borough.

Articles from the Times and NYC-based housing advocacy organizations frequently describe Manhattan as a haven of wealthy white yuppies. Sound familiar?

San Francisco is quickly following suit. The same census maps that show the swell of wealth in Manhattan show a swell of wealthy folk in San Francisco.

BMR housing set-asides help, and Mayor Lee has promised to ramp up BMR production, calling for about 10,000 units by the year 2020. But any serious increase in housing production carries its own cost in a city where public transit and other vital infrastructure are already underfunded and would need serious new investments.

In his Jan. 17 State of the City speech, Mayor Lee warned against demonizing the tech industry or with pitting one group against another. “San Francisco changes us more than any group of newcomers will change San Francisco,” he said to the invite-only crowd.

The difference now is the wealth that threatens to gentrify San Francisco’s weird soul, the one we’ve hung onto since a man named Joshua Norton declared himself Emperor of the United States and was hailed as a San Franciscan icon.

“Manhattanization” is not just a buzz term or a scare tactic: It’s representative of a specific set of zoning and construction policies that many San Franciscans are now advocating for, which will change the demographics and politics of this city, whether we like it or not.

San Francisco’s chief economist addresses supply and demand in terms of housing — it’d take over 100,000 new housing units to make a dent in housing prices in San Francisco.

State of the City speech filled with unsupported promises

Sasha Cuttler

-

January 17, 2014

178

State of the City speech filled with unsupported promises

It was maddening to watch Mayor Ed Lee deliver his annual State of the City address this morning. This was pure politics, from the staged backdrop of housing construction at Hunters Point Shipyard to the use of “regular people” props to the slate of vague and contradictory promises he made.

“This place, the shipyard, links our proud past to an even more promising future,” was how Lee began his hour-plus, invite-only address.

Later, he touted the housing construction being done there by Lennar Urban as emblematic of both his promise to bring 30,000 new housing units online by 2020 — the cornerstone to what he called his “affordability agenda” — and the opposition to unfettered development that he is pledging to overcome.

“A great example is the place we’re standing right now. This took us too long,” Lee said after decrying the “easy slogans and scapegoating” by progressive activists who place demands on developers.

But that implication was complete bullshit. As we and others have reported, progressive and community activists have long encouraged Lennar Urban (which has a close relationship to Lee) to speed up development on this public land that it was given almost a decade ago, particularly the long-promised affordable housing, rather than waiting for the real estate market to heat up.

That was just one of many examples of misleading and unsupported claims in a speech that might have sounded good to the uninformed listener, but which greatly misrepresented the current realities and challenges in San Francisco.

For example, Lee called for greater investments in the public transit system while acknowledging that his proposal to ask voters this November to increase the vehicle license fee isn’t polling well. And yet even before that vote takes place, Lee wants to extend free Muni for youth and repeal the policy of charging for parking meters on Sundays without explaining how he’ll pay for that $10 million per year proposal.

“Nobody likes it, not parents, not our neighborhood businesses, not me,” Lee said of Sunday meters, ignoring a study last month by the San Francisco Muncipal Transportation Agency showing the program was working well and accomplishing its goals of increasing parking turnover near businesses and bringing in needed revenue.

Lee also glossed over the fact that he hasn’t provided funding for the SFMTA’s severely underfunded bicycle or pedestrian safety programs, yet he still said, “I support the goals of Vision Zero to eliminate traffic deaths in our city.”

Again, nice sentiment, but one that is totally disconnected from how he’s choosing to spend taxpayer money and use city resources. And if Lee can somehow achieve his huge new housing development push, Muni and other critical infrastructure will only be pushed to the breaking point faster.

Lee acknowledges that many people are being left out of this city’s economic recovery and are being displaced. “Jobs and confidence are back, but our economic recovery has still left thousands behind,” he said, pledging that, “We must confront these challenges directly in the San Francisco way.”

And that “way” appears to be by making wishful statements without substantial support and then letting developers and venture capitalists — such as Ron Conway, the tech and mayoral funder seated in the second row — continue calling the shots.

Even with his call to increase the city’s minimum wage — something that “will lift thousands of people out of poverty” — he shied away from his previous suggestion that $15 per hour would be appropriate and said that he needed to consult with the business community first.

“We’ll seek consensus around a significant minimum wage increase,” he said, comparing it to the 2012 ballot measures that reformed the business tax and created an Affordable Housing Fund (the tradeoff for which was to actually reduce the on-site affordable housing requirements for developers).

But Mayor Lee wants you to focus on his words more than his actions, including his identication with renters who “worry that speculators looking to make a buck in a hot market will force them out.”

Yet there’s little in his agenda to protect those vulnerable renters, except for his vague promise to try to do so, and to go lobby in Sacramento for reforms to the Ellis Act. While in Sacramento, he says he’ll also somehow get help for City College of San Francisco, whose takeover by the state and usurpation of local control he supported.

“City College is on the mend and already on the path to full recovery,” Lee said, an astoundingly out-of-touch statement that belies the school’s plummeting enrollment and the efforts by City Attorney Dennis Herrera and others to push back on the revocation of its accreditation.

Lee also had the audacity to note the “bone dry winter” we’re having and how, “It reminds us that the threat of climate change is real.” Yet none of the programs he mentions for addressing that challenge — green building standards, more electric vehicle infrastructure, the GoSolar program — would be as effective at reducing greenhouse gas emmisions as the CleanPowerSF program that Lee and his appointees are blocking, while offering no other plan for building renewable energy capacity.

Far from trying to beef up local public sector resources that vulnerable city residents increasingly need, or with doing environmental protection, Lee instead seemed to pledge more of the tax cutting that he’s used to subsidize the overheating local economy.

“Affordability is also about having a city government taxpayers can afford,” Lee said. “We must be sure we’re only investing in staffing and services we can afford over the long term.”

How that squares with his pledges to put more resources into public transit, affordable housing development, addressing climate change, and other urgent needs that Lee gives lip service to addressing is anybody’s guess.

A first glance at ‘Looking’

Jesse Hawthorne Ficks

-

January 15, 2014

20

Imagine a place where all the gay men are masculine, well-built, physically unselfconscious, and fashionably tousled; where young male artists and young male people of color mingle with young white male techies (yet are still happily banished to Oakland or work the door at Esta Noche); where having a “lazy eye” or being “slightly portly” renders you disqualified for relationships; where HIV, addiction, and politics barely exist; and where everyone is drenched in soft-spoken sophistication, vague existential ennui, and puppy-eyed cuteness.

This isn’t quite San Francisco (yet), but it is the San Francisco of gorgeously produced, play-it-safe-so-far gay-themed HBO series Looking (it begins airing Jan. 19) — at least the first two episodes, which previewed tonight at the Castro Theater. It’s too early of course to pass any kind of judgment on the entire series, which in many ways may be an accurate reflection of current gay culture, and I maintain very high hopes, especially with such good actors, writers, and attention to detail involved.

But let me tell you: I have never wished more for a stereotypically sassy drag queen to stomp onscreen and break some shit in my life.

The dramatic comedy series so far is so polite, well-crafted, and unassuming that even though you gotta applaud the desire to produce a mainstream gay program whose mission is to avoid gay stereotypes — no flaming creatures here — the end result seems to be a warm apple pie with no teen dick stuck in it, let alone a Cockette. And while Looking is more representative when it comes to ethnicity than initially feared (two Latinos!), it doesn’t seem too keen on taking any risks when it comes to social issues or body types. There is nothing remotely “queer” about Looking so far. Sad trombone!

Hopefully, Looking isn’t shooting itself in the expensive workboots with its own good intentions: to present gay men as basically “normal.” Trouble is, normal gay men at this point on our yellow brick road toward complete assimilation are basically just straight people with an extra hot dog between them. It’s simply not enough anymore to have gay men do normal things — like experience typical relationship problems or worry about getting older — and consider it interesting just because they’re gay. There have to actually be interesting things. And so far the most interesting thing here, besides the yummy SF-centric particulars, might be the characters’ varying degrees of facial hair. (Is contemporary gay exceptionalism hiding behind its own beard?)

http://www.youtube.com/watch?v=wnGwmP8qg2c

Here are the dilemmas the three hunks we’re following on Looking face so far: the young, cute videogame designer keeps flubbing dates by saying the not-quite-right thing; the beautiful artist and his beautiful boyfriend just moved in together and one’s worried they’re not going out enough; and the smokin’ hot late-30ish career waiter is having mild symptoms of a midlife crisis and ambient ex-in-the-picture anxieties. Except for the primly presented three-way, a fumbling public hand job, and a brief Grindr hookup, we might as well be inside a Cathy cartoon. Seriously: one of the characters even ends up guiltily diving into a late-night bowl of naughty starch to eat his problems away. ACK.

To be sure: this show is also in many ways a scruffy dream date, all scrubbed up for dinner at farmerbrown. Hot Chip and Hercules and Love Affair replace Britney and Rihanna at Castro bars. Characters who surely have never seen a real backroom before wave around coffee mugs from The Cock in NYC and other super-insidery gay culture totems. There has been no gym scene. And some of the lines are pretty funny, especially from the requisite saucy gal pal. San Francisco looks absolutely perfect, and well-wrought local details abound. The Brit director is Andrew Haigh, whose dreamy, oh-so-indie “gay boys on fixies” romance Weekend (2011) was like a cool, refreshing splash of the Smiths — or more like the Sundays, or, for the young’uns, James Blake — onto an overheated gay film scene that seemed skewed more towards Katy Perry.

But transplanted to TV mode, the yearning hipster mumblecore aesthetic isn’t casting quite the same spell yet.

Maybe I’m jaded/spoiled, but I remember the feeling of the top of my head being ripped off during the first episodes of the British Queer as Folk (still the high water mark of guilty-pleasure gay television) and parts of The L Word and Six Feet Under — that wondrous sense of audacity that fully dimensional queer people with epic faults, uncanny similarities, and infuriating differences were being flaunted in plain sight. Even the severely problematic American Queer As Folk and Will and Grace, with their flaming stereotypes and frustrating pop culture naivety, at least gave us some fascinating characters. I hated the fact that Middle America probably thought all gay men were like Jack, but I really couldn’t wait to hear what outrageous zinger would come flying out of his mouth next.

There isn’t much of that so far on Looking, although it’s still holding my curiosity. (An after-screening Q&A with writer Michael Lannan indicated that there would be lesbian and trans characters as the series progressed, as well as some actual male nudity finally — come on, HBO). I realize that the show owes as much verisimilitude to the actual San Francisco gay scene as Queer as Folk USA owed to Pittsburgh. But for goddess’s sake, someone protest a condo eviction, somebody get blocked on Grindr for being too fem, someone eat a whole burrito drunk on a unicycle, somebody be nude or pagan or Asian, hopefully all three!

Again, this is just the start of a show whose initial demographic may quite possibly be a swath of gay men hoping for nothing more than to look hip and fit in. But if fitting in means blanding out, we might want to start Looking for something different.

Lies, damned lies, and statistics

Michael Redmond

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January 14, 2014

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When is a public opinion poll a valid representation of how people feel? That turns out to be a tricky and ever-evolving question, particularly in San Francisco — thanks to its prevalence of tenants and technology — and even more particularly when it concerns the approval rating of Mayor Ed Lee.

Traditionally, the central requirements for public opinion polls to be considered valid is that respondents need to be representative of the larger population and they need to be selected at random. Polls are often skewed when people need to opt-in, as is the case in most online polls.

So the Guardian took issue with claims that 73 percent of voters approve of the job that Mayor Lee is doing, a figure derived from an opt-in online poll focused on “Affordability and Tech” that was conducted by University of San Francisco Professors Corey Cook and David Latterman and released to the San Francisco Chronicle on Dec. 9. That figure quickly wallpapered the comment section of the Guardian’s website as the answer to any criticism of Mayor Lee, his policies, or the city’s eviction and gentrification crises.

“Any survey that relies on the ability and/or availability of respondents to access the Web and choose whether to participate is not representative and therefore not reliable,” is how The New York Times Style Guide explains that newspaper’s refusal to run such polls, a quote we used in our Jan. 10 Politics blog post on the subject, and we quoted an academic making a similar point.

We also interviewed and quoted Latterman discussing the challenges of doing accurate and economical polling in a city with so many renters (64 percent of city residents) and so few telephone landlines. “San Francisco is a more difficult model,” Latterman told us. “So Internet polling has to get better, because phone polling has gotten really expensive.”

So we ran our story dubbing the poll “bogus” — and the next day got angry messages from Cook and Latterman defending the poll and educating us on efforts within academia to craft opt-in online polls that are as credible as traditional telephone polls.

“The author is so quick to dismiss the findings of the study, which is based upon accepted methodology, and which had nothing to do with mayoral approval scores, that he actually misses the entire thrust of the study — that voters in San Francisco are deeply ambivalent about the current environment, concerned about the affordability crisis, and not trusting of local government to come up with a solution,” Cook wrote in a rebuttal we published Jan. 13 on the Politics blog.

Cook told us the survey’s methods are endorsed by the National Science Foundation and peer-reviewed academic papers, including a Harvard University study called “Does Survey Mode Still Matter?” that concludes “a carefully executed opt-in Internet panel produces estimates that are as accurate as a telephone survey.”

That study went to great lengths to create a sample group that was representative of the larger population, while Cook and Latterman both admit that their survey’s respondents had a disproportionate number of homeowners. But they say the results were then weighted to compensate for that and they stand by the accuracy of their work.

Yet Cook also notes that the mayoral approval rating number wasn’t even part of the package they developed from this survey, it was just a finding that they decided to give the Chronicle. “I don’t think the 73 percent means anything,” Cook told us, noting that snapshot in time doesn’t reflect Lee’s actual popularity going forward, despite how Lee supporters focused on it. “The number they use politically is not a meaningful number.”

What Cook found more significant is the “tepid support” for Lee indicated by the poll, including the 86 percent that expressed concern about affordability in the city, a concern that cuts across all demographic groups. Most respondents had little faith in City Hall to address the problem and many felt the tech industry should be doing more to help, particularly companies that have received tax breaks.