Queer

Queer Issue 2011: Scenes from the road

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Eager to include the voices of queer youth in our 2011 Queer Issue, we asked the artists at Roaddawgz, a Tenderloin homeless youth creative drop-in center, to submit art that addressed the realities of being young and queer today. Here’s some selections from the amazing works they sent in:

 

Corner Skills

By Levi

Not all queers are queens… not that anything is wrong with it

I am the dude on the corna,

doin what I wanna.

Learnin to hone my skills.

 

A faggot such as me must learn to be an anomaly

moving through the crowds with no heads turnin

don’t need some angry motha-fuckah burnin

want’n to teach me what a man should do when a bitch brother is in your presence

 

Gotta learn to blend and defend;

haftah strengthen my core and my soul

because nobody cares if ah gay boy goes. 

 

“Battle To Love” by King Virgo

 

Meat Market

By Levi

  I am a piece of meat and every man wants some.

 

  I walk to the grocery store in the heart of the Gayborhood and men look at me like I am a steak, posturing as if they can take a grab at me, put me in their shopping cart, whisk me away to their abode and after they have their dinner throw away the leftovers.

 

  I am the dark meat, the black meat, men shun in daylight but troll after at night. Wanting the swwweeeeettttt cream in the center. I am the boy they still wish to be, the youth they envy, the looks they wish they could hate… but don’t. I am the homeless person that is hidden, who passes off as the moneyed and do my best not to look helpless because nothing is hotter for some men than sexploitation.

 

  I am a series of images, a composite. It’s much easier to see me as an object, a sex toy, a piece of ass or dick. If they were faced with who I was, the juxtaposition would make them re-evaluate their whole view of me and make them wonder “Maybe he is a human?” 

“Bleeding Heart” by Lisa Myaf

“The View From Here” by Insomnia

Go with the flow

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arts@sfbg.com

QUEER “I don’t like titles. I’m an open-minded person. I’m not going to shoot anybody down based on gender or color,” Kreayshawn told me over the phone. “I’ve dated girls. I’ve dated guys. And I’ve felt the same way for both.”

It’s only been about a month since the 21-year-old East Oakland native’s “Gucci Gucci” video blew-up, gaining both props and criticism for her label-bashing, be-yourself approach — designer-addicted “basic bitches” are her favorite target, and everyone from college-campus Adderall addicts to crass Barbie wannabes gets a dig. She’s generated a lot of hype and the immediate backlash has been harsh, but Kreayshawn’s rambunctious persona has kept things fresh. She’s an adorable little stoner with mad style, a naughty mouth, and a cartoonish sexual vibe. Her “White Girl Mob” is a swagged-out version of the Spice Girls and her collection of work (including a hilariously over-the-top, girl-on-girl makeout session in the video for “Online Fantasy”) immediately gave the press a reason to cry “lez.”

That’s usually the story when a woman steps up in the rap game, though — in a genre marked by macho preening and degrading insults, most women in hip-hop usually play the boys’ game and highlight their masculine side or market a hypersexed sluttiness, both of which can easily play into stereotypes of lesbianism. (Recently, rap — and pop — women have found one escape hatch: straight-up out-of-body weirdness, à la early Nicki Minaj.)

For actual gay or bi ladies who want a piece of big-time rap’s pie, the odds so far have been stacked against them — out lesbian rappers like super-talented Yo Majesty only seem to get so far, although there is, at least, a still-flickering homo-hop circuit that promotes queer talent. Major label artists are pressured to stay in the closet, despite all the rumors and paparazzi shots of “companions.” This last approach can be psychologically disastrous, as I found out one night in Minneapolis when a devastated and drunk Lady Sovereign, who had repeatedly rejected the lesbian label at her management’s request, crashed on my futon after her ex-girlfriend refused to let her stay over. Sov finally came out last summer. You could tell that her bottled-up feelings had taken their toll, however.

But hey, it’s 2011 and it’s nice to think the rap game has matured along with the rest of pop culture. Ellen is wifed up. Lohan dated Ronson. Lambert should’ve won American Idol. Everybody seems “Born This Way.” As celebrity homos become more visible, the “openly gay” tag seems old-fashioned. But that doesn’t mean we still aren’t curious — and if you don’t tell, people will keep asking.

Yet while Kreayshawn hasn’t denied being a lady-lover, questions regarding her sexuality have garnered a wash of fuzzy responses, only fueling curiosity and more sound-bites. My personal favorite was her quote in Complex Magazine, in which she stated she isn’t a “raging lesbian” but an “occasional lesbian.” Should I be insulted? This needed some clarification.

“I say occasional because I go with the flow,” Kreayshawn told me over the phone, while relaxing on what she considers a “chill day:” hours of interviews and business related to her recent $1 million deal with Columbia Records.

She could easily claim the “B” in LGBT, but says she’s not comfortable with that label either. If anything, she’d go for an “A.”

“Sometimes I tell my friends I’m asexual because I don’t feel like I seek out guys or girls.” Kreayshawn lets interested parties approach her and would just rather let things happen organically. “A girl and I could start talking and I could think, ‘Hey, she’s cool, we should be friends’ or I could think ‘This girl is hot, we should hang out on another kind of hype.’ And it’s the same with guys.”

She’s like the indie-rap version of Lady Gaga — another young woman in the public eye who isn’t afraid to declare her undeclared sexual status. This isn’t a phase and she’s not on the fence. Nor is she checking just one box. She could be the poster child for that nebulous term, “post-gay,” if we’re at a point in our culture where we can move beyond the importance of mainstream representation. (Many would say we’re not.)

“I wish everybody was open-minded so we wouldn’t have to have any labels — no bi, straight, gay. We wouldn’t have to have these titles that separate people.”

Her spirited musician mother helped shape Kreayshawn’s flexible ideas on sexuality. Mom even worked in the warehouse of Good Vibrations, San Francisco’s sex-positive one-stop shop.

“I’d go visit my mom and bring my homework. That place is really diverse, you know what I’m sayin’? I saw some crazy dildos and shit, but I was taught that it’s normal. That’s why I’m open and accepting of everything.”

She admits her lyrics are consistently more lez-oriented, but not necessarily raging. “It’s not like I say I’m gonna eat this girl’s koochie — it’s on a different hype.” This way, she says, guys can sing along too.

It’s appropriate that Kreayshawn keep one eye toward her male audience and supporters — she rolls with a lot of buzz-worthy industry dudes, most notably the guys of Odd Future. As nice as their beats may be, members like Tyler, the Creator have been known to deliver some nasty, homophobic lines. Does she just bite her tongue?

“I know those guys personally, but I’m also not someone who goes off and listens to their music every day. I don’t like homophobe stuff, not in music and not in my friends,” she says, maybe hinting that the Odd Future guys just like to ruffle rainbow feathers for effect. Kreayshawn herself is no stranger to playing dirty, although she often takes on a mocking male persona when doing so — calling other girls hos and Twittering lines like “I need a bitch on my lap.”

“Growing up in the hood and shit, I would hear all kinds of that shit walking down the street,” she explains. Now she wants to turn sexist speech on its head and play with it. “When guys say that stuff in music, like, uh girl, your pussy is so wet — what? Ew — nasty!” She wants girls to be able to sing along and participate instead of feeling attacked or uncomfortable.

“But I wouldn’t say you should read into every single lyric,” she says. With all the attention she’s receiving, she may yet turn her girl-love outward with some solid lyrics. She’s already hard at work on a mixtape and her first full-length, which she hopes will be released by the end of the year. Predicting where Kreayshawn will be by next summer isn’t so easy.

“I’ll probably be touring like something crazy. Maybe directing a music video. Or maybe I’ll be knitting socks. You never know with me. It could get completely out of control.”

And as for advice at this year’s Pride: “Everyone be safe. Have fun. And just make sure you have fun and be safe while doing it.”

I told her she sounded like a mom. “I know,” she giggles in her squeakiest voice. “I just care about my people.”

She’s got the look

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culture@sfbg.com

QUEER Apparently being a lesbian is the hottest new trend — so much so that middle-aged white dudes are posing as gay ladies, writing famous blogs and filling entire websites with lesbian content. (Yes, I’m talking to you, “Amina” and “Paula.”) Really?

Fortunately, there are plenty of actual queer women who can blog for themselves, thank you very much. Catherine “Cat” Perez, is one of those real-life queer women — verified by an in-person chat at the Wild Side West bar — posting real-life depictions of other actual lesbians on her blog Lesbians in San Francisco, a tribute to girls who like girls in America’s gay capital.

The layout is simple: each featured lez gets one photo and three fun facts of her choosing (“She won a s’mores eating contest as a Girl Scout.” “She doesn’t know how to whistle.” “She is related to Chuck Norris.”) Perez started LISF last summer with the intention of giving queer women of the Bay some flattering but honest representation.

“I just think in terms of the queer community, women can get bypassed and overlooked,” she told me, flicking her cigarette. “I want to educate people about what queer women look like, what they’re interested in, what they do. It may not always be what people assume.”

Perez began by photographing her friends, then opened it to anyone in the Bay Area, aiming for an accurate depiction of the city’s diversity. She swears there is no screening process. Although the aim is inclusion, the final product looks pretty tailored. Beauty may reside in the eye of the beholder — but it’s undeniable that these super-fashionable, adorably hipster girls are hot.

“Yes, there is definitely a ‘scene’ element to it. But that’s not the point,” Perez shakes her head and throws up her hands. “I’m only one person and I work a nine-to-five. People need to actively pursue a shoot with me.”

And it’s that simple — send Perez an e-mail, brainstorm your idea for the shoot, and show up. It’s an offer she often won’t refuse. So why are only a specific type of lezzies contacting LISF? Vanity? A need for self-promotion? Has LISF become a showcase of our local celesbians? Maybe it’s time for the rest of the community to get our faces up there, too.

“I wouldn’t consider myself a celesbian — I don’t know how I feel about that term,” Perez said with a laugh. “If I had to choose a label, I would identify as a queer woman,” embracing the broader, more inclusive mode of thinking. The title of the blog has discouraged some women from participating, but Perez says she has no plans to change it anytime soon.

“Growing up, I always wondered what queer communities looked like outside of my home in New Jersey,” she says. With its general-interest name, her blog comes up pretty high on Google searches. “I just want to shed some light on the people who live here. That’s it.”

Through the end of the month at the Lexington Club (www.lexingtonclub.com), Perez is exhibiting a collection of blog-inspired photos called “Stereo,” which simultaneously celebrates and debunks lesbian stereotypes. Perez selected 15 queer women and photographed them each twice: once in a stereotypical role (softball player, gym teacher, high femme) and once as themselves. As one might imagine, there’s a lot of overlap.

“Some girls were dressing up as other’s stereotypes,” she says. “Stereotypes don’t have to be negative. These photos embrace that, because, yeah, sometimes we are the stereotype.”

Bright on

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culture@sfbg.com

QUEER Heady, hilarious, heartbreaking: Big Sex Little Death explores legendary sex writer, educator, and instigator Susie Bright’s coming of age from the 1960s to the present. Bright’s memoir focuses on her involvement with The Red Tide, a radical high school newspaper in Los Angeles in the 1970s, and her subsequent membership in a socialist sect that sends her halfway across the country. Her union organizing stint lasts until the Party leadership expels her for “joining or leading a cult of personality.” Personality is certainly one of Bright’s strong points, so perhaps we should be grateful for this particular falling out. It eventually leads to Bright’s role in founding the first lesbian porn magazine, On Our Backs, in San Francisco in 1981, as well as her pioneering work as a fiery spokesperson for free speech and sexual liberation. I spoke with her over the phone about sex and memory and writing.

SFBG You do such a great job of talking about your sexual coming of age as a teenager: describing your sluttiness without shame, your curiosity about bodies and pleasure and the intricacies of sexual positioning.

Susie Bright I think it’s because I wrote my memoir like a storyteller, like a poet — not a polemicist. I wasn’t ashamed; it never occurred to me. Margaret Mead would have found my little teenage tribe to be quite poignant.

SFBG There’s a tendency for many sex-positive spokespeople to glamorize even the most annoying, mundane, or gross sexual experiences as somehow — well — positive. Sometimes this sex-positive rhetoric ends up making those of us who don’t always succeed at having a wonderful sex life feel like failures …

SB I think bad sex — obnoxious, absurd, BIG FAIL sex — is funny, nostalgic, and more endearing as you grow older. It also goes hand in hand with adventurous, rapturous, mind-blowing sex. You actually know the difference. You’ve spanned the spectrum, you’ve lived. The big bummer with American sex right now is the unrelenting banality and flat-out scarcity.

SFBG The most striking part of Big Sex Little Death for me is the way you describe betrayal in the social and political realms you choose to inhabit — places that initially give you so much hope. Like when you helped to start On Our Backs, the first lesbian porn magazine, in the early ’80s. Feminist bookstores refused to carry it, claiming that you were aiding the patriarchy.

SB It was more than that. The whole mainstream feminist movement was calling for our heads. Or, as Barbara Grier of Naiad Press put it, “Everyone I know thinks y’all should be assassinated.”

It’s been a part of every civil rights and social justice movement that I’ve been a part of. We know it — we talk about how the powers that be would prefer to let the weak fight among themselves. We see how divide-and-conquer tactics are so effective, but it’s very hard to resist.

What kills me is the blindness, even years after the fact. Sometimes it’s comical. I got a letter from an ambitious writer the other day who told me that in the ’80s she fought the sex-positive On Our Backs types tooth and nail, no tactic too dirty. “We” were pimping the patriarchy and she was on point to take us down. She asked me if I found it amusing that she’s now in a submissive relationship with a man — no! Then she asked me if I would blurb her new book.

Someone asked me on this tour if I ever got an apology, and I was startled. No, not for the bombings or the death threats or the bannings or the locked doors or the bizarre libels and slanders. No way.

SFBG When the feminist movement refused to support you, you found several surprising allies. Among them were John Preston, at the time the editor of the gay leather magazine Drummer; cult filmmaker Russ Meyer of Faster Pussycat fame; and even the Mitchell brothers of that legendary exploitative straight strip club on O’Farrell Street.

SB Well, those were strange bedfellows, eh? They were all mavericks, iconoclasts, outlaws, film buffs, and we shared that in common. Aside from public librarians and ACLU lead attorneys, these guys were probably the most eloquent defenders of the First Amendment you ever met.

SFBG On Our Backs was started by two strippers who worked at various clubs in the Tenderloin and North Beach. One of the most heartbreaking chapters in Big Sex Little Death is where you show us how so many strippers worked to support their lovers financially, male and female, and then ended up strung out on drugs, homeless, or dead after their lovers used and abused them.

SB “Legalize it,” as Peter Tosh said. That is why these tragedies happen — because sex work is criminalized.

SFBG In your preface, you say, “I’m more preoccupied with people dying than with people coming.” And so of course you want to prevent these unnecessary deaths. Toward the end of the book, you also mention the deaths of friends, lovers, and confidantes to AIDS — but only briefly. It’s as if it’s still too painful to talk about.

SB The main deaths I talk about are my parents’, where I could fit more of the puzzle together; then John Preston, as a small example of what went on in early ’80s plague life; and the dykes I first knew at On Our Backs, some of who died too young. I am angry and too ragged to write about it all yet — I don’t have the distance from it. The last memorial I attended this past fall was [for] one of my greatest inspirations, a total ball-of-fire who ate a Fentanyl patch, choked to death on her vomit, and left a suicide note.

It was the exact one-year anniversary of the death of her father, a Southern fundamentalist preacher who beat and raped her as a child. She left him at 15 to come to California and made her way as one of the first generation of out dyke strippers and punk rockers. My redheaded friend was a leader of a local NA chapter by the time she was 20. What happened to her, all these years later, breaks the heart of everyone who knew her. She was a wonderful, wonderful, caring, radical feminist creative dyke who wanted to be a superhero who would vanquish all the abusers. It’s not fair.

SFBG Fairness is one of the central issues of the book — who lives and who dies, which cultures disappear and which remain. At the end of the book, you talk about deciding to give birth to a child, Aretha, and raising her. I’ll admit I got a bit worried that you would suddenly talk about this trajectory in a way that erased your sexual and political history, the histories of people like the friend you just mentioned.

SB My daughter has a trajectory of her own, now!

SFBG But somehow you’re able to talk about your love for Aretha while making it clear that child rearing certainly isn’t for everyone, and still articulating an anti-assimilationist queer world view focused on sexual liberation and radical politics.

SB I’m just drawn that way.

SFBG Why do you think gay assimilationists emphasize marriage, military inclusion, and child-rearing as the only choices for respectable queers, narrowing the options for everyone and rejecting sexual liberation as something dangerous from the past?

SB They’re squares — what can I say? They’ve always been around. Square used to be a synonym for straight. We’re constantly caught in the middle on this, the boho bunch. Of course we want civil rights for all, duh. I defend anyone’s right to let the state be their pimp, to fight the wars, be the cannon fodder, acquire family assets like a stamp-collecting hobby. Bully for you. But as Peggy Lee said, “Is that all there is?” Christ, I hope not.

Mattilda Bernstein Sycamore (mattildabernsteinsycamore.com) is most recently the author of So Many Ways to Sleep Badly.

 

Lust for Life: The true meaning of Gay Christmas

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Yeah, Pride’s got its problems – but that doesn’t mean it can’t be epic

Every year without fail, my friends and I talk about how June is Gay Christmas in San Francisco. We pronounce it like it has to be capitalized and ends with an exclamation point. Sometimes I even sing the words a little — “Gaaay Christmas! La-la!” — like the holiday comes complete with its own carols. 

Sometimes I say “Gay Christmas” with a hint of irony and sarcasm. I bitch every year about how the Pride parade in San Francisco has become a big corporate conglomeration (not unlike Actual Christmas, right?). I bitch about how Pride has become an expensive and boozy festival celebrating the worst, most consumerist, most assimilationist parts of queer culture. I bitch about how Pride is a festival that has amazing roots and history and import, but at least in San Francisco, it has lost its way. That Pride has morphed from being a glittering and debauched radical celebration of queer love and life into a hokey tourist trap designed to sell rainbow key chains and pink triangle tea towels. 

The disgusting thing is that it is dangerous to hold a Pride festival in most parts of the world, even in other parts of the U.S. (have you seen what’s been happening in Texas lately, let alone in Uganda or Russia?). I’d like to think that when our brethren in other places are seriously RISKING MURDER to march down a city block and declare their queerness and gender variance, those of us in the privileged position of living in the queer Oz would be doing more to help them out. I’ve dedicated my life to queer activism, but I’m implicating myself here, too: not knowing how to help in situations that are so desperate and scary can feel hopeless and overwhelming, and the whole mess just ends up making me cynical about Pride in the Bay Area. 

I will probably always be cynical about the big corporate festival on Sunday, but the rest of June in San Francisco is a privilege to experience, a wonder to behold if you chill out and count your blessings and get some perspective. So in that spirit, I wanna tell you about my best Pride – what Pride can be like when you’re inspired and enthused, when everything feels alive and shimmering. 

Pride 2008 was my best Pride. I was 25 and newly, deeply, madly, stupidly in love. The kind of love that pumped my heart up so big I thought it was going to expand like a balloon and fill my entire ribcage. The kind of love where I threw all responsibility and caution to the wind. 

I took the week off work to stay home and fuck my new long-distance girlfriend. I didn’t say that to my job, of course, I said “my girlfriend is visiting from Oregon for Pride,” but I’m fairly sure my supervisor knew what I’d be doing when I asked for the vacation time (it was a queer non-profit). Me and this girlfriend have since broken up (in classic dyke fashion, we’re friends and artistic collaborators now). But the memory of the Pride week we spent together still makes me grin.

We had eight days together, and we made the most of it. We rolled around in my bed, in alleyways, in parks. One night she threw me up against a fence by the UC Extension school at the bottom of Hayes Valley, slipped her hand up my skirt in full view of all those cars and pedestrians. 

But eventually the San Francisco summer evening fog won out, and we made our way back to my apartment to warm up. Aside from public sex, we ventured out of my bed for the following: Take-out Thai food on my couch, pancakes at It’s Tops (the preciously tiny 1930s art-deco diner), a movie at Frameline, the last Queer Open Mic hosted by Cindy Emch, the Trans March, the Dyke March, and a porn shoot. 

I’m amazed that she and I managed to get so much done, fucking as much as we did. For queer people in love during the gayest week of the year, we were extremely productive. Our productivity was probably bolstered by the fact that we didn’t sleep much. We’d crash out at five a.m. after having sex for hours, and then we were up again at 10, but we wouldn’t manage to actually remove ourselves from each other or my room till two in the afternoon. We’d roll out of my bed hungry and bleary-eyed, covered in the salt of each other’s come and sweat, utterly and deliriously fuck drunk. 

So we’d shower together, lather up our hair and skin with her rose castile soap. Sometimes the smell of rosewater still makes me think of her. Then it would be time to put on sexy outfits and go off on another adventure.

It was a magic and manic way to spend Pride, getting lost in my best girl, my sweetest butch, the smartest kindest hottest person I’d ever met. (Falling in love makes me prone to hyperbole.) It makes me feel radiant, brilliant, witty, and drop-dead gorgeous, it makes me feel like I can change the world in one fell swoop. 

And me and my girl, we were gonna start a revolution together. We shot a scene for her porn movie that week, the movie that would become Doing It Ourselves: The Trans Women Porn Project – which is actually a revolutionary project, the first and only film of it’s kind: a porn movie made by, for, and about trans women and their partners. I was fucking a total genius, and I was thrilled and proud to have her on my arm. “Yeah, that’s right!” I felt like shouting to every single passer-by, “My girlfriend is BAD ASS, and so am I!”

My girl bought me bondage rope the exact color of the magenta streaks in my hair. She’d picked it out for me before she came to San Francisco, carefully looking for just the right the color for me. That week was like waking up every morning and opening up a present. It was like Christmas, goddammit! Every day was an adventure! There was a hot girl in my bed! There were awesome friends to hang out with who told us what a cute couple we were! There was pad thai and French toast with nutella & bananas to eat! Fences to get thrown up against! Movies to see! Marches to march in! Porn to shoot! Spin the Bottle to be played in Dolores Park! Could life get more amazing?! I felt Crazy With Love!, like all my emotions had to be capitalized and end with an exclamation point. Suddenly Gay Christmas made a lot of sense.

That Saturday we marched in the first ever Femme Sharks and Sea Creature Allies contingent in the San Francisco Dyke March. Forty femmes paraded down 18th Street wearing hot pink fake-satin fins on their heads and backs, fins that were cobbled together with cotton balls and staples, precariously taped to us with Scotch tape or tied to us with yarn. People carried signs: “THE IMF CAN KISS MY DORSAL FIN!” “FEMME SHARKS CAN FUCK YOUR ASS AND CHANGE YOUR OIL!” We chanted: “FEMME SHARKS WANT JUSTICE – AND WE WANNA GET BANGED!” And when she and I got home, she tied me up with the magenta rope she’d bought just for me. Afterwards, we spooned and moped about the fact that she was leaving the next day.

Falling in love over Gay Christmas made the original intent of Pride feel real to me – the glitter, the fun, the exhausted exhilaration, and that feeling of being absolutely enthralled with how brilliant and awesome we are, how much we can accomplish as a community when we put our big, pumped-up, loved-up hearts to it. 

So, reader, for this Gay Christmas, I wish that for you. I hope that you fall in love, and I don’t just mean with a sweetheart. I mean I hope that you feel love with your whole body and heart. Love a political movement, an art piece, yourself. Put on your best duds. Treat your lover or yourself to some rope, a cockring, a strap-on that matches your hair or your signature eyeshadow. Eat some chocolate-chip pancakes at an art deco diner and make sure to ask for extra whipped cream. Stay up till 5 in the morning having sex or masturbating. Above all, remember how fabulous and brave and bad-ass you are, and celebrate it.

Gina de Vries is a queer writer, performer, activist, writing instructor, cultural worker, and native San Franciscan. She has a long history doing political organizing and arts work within queer, trans and gender-variant, and sex worker communities, and has performed, taught, and lectured everywhere from chapels to leatherbar backrooms to the Ivy League. She’s currently pursuing her master in fiction writing at SF State, where she’s working on a book. Find out more at www.ginadevries.com and queershoulder.tumblr.com.

Our Weekly Picks: June 22-28, 2011

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WEDNESDAY 22

DANCE

Hard Core: Getting Raw

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

Wed/22–Thurs/23, 8 p.m., $15

Garage

975 Howard, SF

(415) 518-1517

www.brownpapertickets.com


THURSDAY 23

EVENT

Manic D Press showcase

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

7 p.m., free

Modern Times Bookstore

2919 24th St., SF

(415) 282-9246

www.mtbs.com


EVENT

Mara Hvistendahl

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

6 p.m., $5–$15

World Affairs Council Auditorium

312 Sutter, Suite 200, SF

(415) 293-4600

www.itsyourworld.org


FRIDAY 24

PERFORMANCE

I Love Being Me, Don’t You?

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

Fri/24–Sat/25, 7 p.m., $45–$75

Marines’ Memorial Theatre

609 Sutter, Second Floor., SF

(415) 771-6900

www.marinesmemorialtheatre.com


MUSIC

Brainfeeder Records Showcase

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

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

9 p.m., $22.50

103 Harriet, SF.

(415) 431-1200

www.1015.com


EVENT

“World’s Ugliest Dog Contest”

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

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

Sonoma-Marin Fairgrounds

175 Fairgrounds, Petaluma

www.sonoma-marinfair.org


FILM

San Francisco United Film Festival

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

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

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.theunitedfest.com/sanfrancisco


SATURDAY 25

MUSIC

San Francisco Free Folk Festival

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

Sat/25–Sun/26, noon–10 p.m., free

Presidio Middle School

450 30th Ave., SF

www.sffolkfest.org


MUSIC

“Rites of Massive”

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

9 p.m.–4 a.m., $30–$50

Hangar 3, 600 California

Treasure Island, SF

www.opulenttemple.org


MUSIC

Cibo Matto

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

9 p.m., $25

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com


SUNDAY 26

FILM

“Sand Up Your Vortex”

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

7 p.m., $5

Vortex Room

1082 Howard, SF

www.myspace.com/thevortexroom 


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

 

Stage Listings

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

 

OPENING

The Book of Liz Custom Made Theatre, 1620 Gough, SF; www.custommade.org. $10-29. Previews Fri/24-Sat/25, 8pm; Sun/26, 7pm. Opens Tues/28, 8pm. Runs Thurs-Sat, 8pm; Sun, 7pm. Through July 31. Custom Made Theatre performs David and Amy Sedaris’ comedy about an unconventional nun.

BAY AREA

A Raisin in the Sun Pear Avenue Theatre, 1220 Pear, Mtn. View; (650) 254-1148, www.thepear.org. $15-30. Previews Thurs/23, 8pm. Opens Fri/24, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through July 10. Lorraine Hansberry’s classic play comes to life on the Pear Avenue Theatre stage.

Working for the Mouse La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Opens Thurs/23, 8pm. Runs Thurs-Sun, 8pm. Through July 8. Trevor Allen revives his hit solo comedy about working at Disneyland in this Impact Theatre and Black Box Theatre co-production.

 

ONGOING

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

Assassins Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $20-36. Thurs/23-Sat/25, 8pm (also Sat/25, 2pm). Whether the world truly needed a Sondheim musical about the joys of political assassination or not is debatable, but as long as there is one it might as well go for the gusto. Brought to you by Ray of Light Theatre, the folks behind last year’s production of Jerry Springer the Opera, Assassins imbues society’s greatest misfits with quirky relatability. From Joel Roster’s hangdog portrayal of Leon Czolgosz (McKinley’s assassin) to Lisa-Marie Newton’s frazzled Sara Jane Moore (attempted to off Ford), Danny Cozart’s foul-mouthed, Santa Claus-suited, Samuel Byck (out for Nixon) to Gregory Sottolano’s loopy Charles Guiteau (bagged Garfield), the solid cast examines the assassination impulse in a breezy, borderline goofy manner. The production takes a more somber tone when Lee Harvey Oswald (Michael Scott Wells) takes the stage, encouraged by John Wilkes Booth (Derrick Silva) to turn a presumptive suicide attempt into one of assassination, while the other assassins beg him to legitimize their dark impulse through his action. The pacing works best when at its most frenetic, though Silva’s Booth, a pokerfaced elder statesman, lends an air of balancing gravitas. But the true stars of the show might well be the ultra-tight, eight-person house band playing a wide variety of American musical styles from the last 150 years, confidently directed by David Möschler.(Nicole Gluckstern)

Assisted Living: The Musical Imperial Palace, 818 Washington, SF; 1-888-88-LAUGH, www.assistedlivingthemusical.com. $79.59-99.50 (includes dim sum). Sat-Sun, noon (also Sun, 5pm). Through July 31. Rick Compton and Betsy Bennett’s comedy takes on “the pleasures and perils of later life.”

Fighting Mac! Thick House Theatre, 1695 18th St, SF; 1-800-838-3006, www.therhino.org. $15-30. Opens Fri/10, 8pm. Runs Wed-Sat, 8pm; Sun, 3pm. Through July 3. Theatre Rhinoceros performs John Fisher’s play about real-life queer British general Hector MacDonald. “Fury Factory 2011” Various venues and prices; www.brownpapertickets.com. Through July 12. Over 30 Bay Area and national companies participate in this bi-annual theater festival.

Indulgences in the Louisville Harem Phoenix Theatre, 414 Mason, SF; 1-800-838-3006, www.offbroadwaywest.org. $20-40. Thurs-Sat, 8pm. Through July 30. Two spinster sisters find unlikely beaux in Off Broadway West Theatre’s production of John Orlock’s play.

Much Ado About Lebowski Cellspace, 2050 Bryant, SF; www.sfindie.com. $25. Fri/24-Sun/26, 8pm. SF IndieFest and the Primitive Screwheads perform a Shakespeare-inflected take on the Coen Brothers’ classic film.

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

Risk is This…The Cutting Ball New Experimental Plays Festival EXIT on Taylor, 227 Taylor; (800) 838-3006, www.cuttingball.com. Free. Fri/24-Sat/25, 8pm. Cutting Ball Theater closes its 11th season with a festival of experimental plays, including works by Eugenie Chan, Rob Melrose, and Annie Elias.

The Stops New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed/22-Sat/25, 8pm; Sun/26, 2pm. New Conservatory Theater Center presents a musical comedy set in San Francisco.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed/22-Sat/25, 8pm. Actors Theatre of San Francisco presents the Tennessee Williams tale.

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

What Mamma Said About Down There SF Downtown Comedy Theater, 287 Ellis, SF; www.sfdowntowncomedytheater.com. $15. Thurs-Sat, 8pm. Through August 20. Sia Amma returns with her solo comedy.

Wish We Were Here New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $20-32. Thurs/23-Sat/25, 8pm. Slacker meets genie in this Michael Phillis comedy.

BAY AREA

Care of Trees Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $17-26. Thurs/23-Sat/25, 8pm; Sun/26, 5pm. E. Hunter Spreen’s Care of Trees, which is receiving an inventively bold world premiere production in Shotgun’s capable hands is at once ambitious yet unsatisfying. The basic plot — “girl meets boy then turns into a tree &ldots; sort of” — is a quirky premise full of untapped potential. With so many possible interpretations of Georgia’s (Liz Sklar) unique predicament, the one that seems most predominant is an unwitting critique of the banality of the self-realization movement. “If I don’t do &ldots; what I see as right, then I’ll be lost to myself,” she tells her understandably frustrated husband Travis (Patrick Russell), as she abruptly shuts off her empathy-meter and bids him to do the same. During isolated pockets of dramatic tension, Georgia is stabbed in an altercation with a tree-hugger, suffers a series of violent seizures, is shuttled off to a battery of clueless doctors, and granted an audience with a Peruvian shaman, yet the underlying significance of actually turning into a tree, is barely explored, certainly never understood. Sklar and Russell turn in standout performances as the forest-crossed lovers, and the canopy of Nina Ball’s inventive set soars, but overall this Tree could stand to develop some stronger roots. (Gluckstern)

Down a Little Dirt Road Berkeley City Club, 2315 Durant, Berk; www.justtheater.org. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through July 3. A naturalistic family portrait twists itself into a supernatural love knot in Erin Marie Bregman’s first full-length play Down a Little Dirt Road, directed by Molly Aaronson-Gelb. Dad (Anthony Nemirovsky), an earthquake researcher, has moved his family to Parkfield, Calif. for work, but Mom (Lisa Morse) is not with them. Did she die in a plane crash on September 11? Did she vanish into another dimension? Daughter Alice (Alona Bach) has plenty of theories to share, each more earnestly improbable than the last. She is also plagued with recurring nightmares, an unsettling trait she shares with her father. Together they dream of wandering, lost, in a shadow realm, gradually revealed to hold the shade of the missing mother, trying desperately to get back to her daughter while a menacing authority figure (Ryan Tasker) tries to literally pry her memories away. Alona Bach delivers a guileless, pitch-perfect performance as Alice, and her relationship with her stage parents is comfortable and genuine. Berman is clearly playing with the convention of the family-oriented horror story, much like the referenced Roald Dahl classic The Witches, but the ghostly elements prove somewhat problematic in terms of staging and clarity, and while there are a few moments with some serious spine-tingling potential, the overall effect is somewhat flat. (Gluckstern)

East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Through Aug. 7. Don Reed’s hit solo comedy receives one last extension before Reed debuts his new show (a sequel to East 14th) in the fall.

*Edward Albee’s Tiny Alice Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $32-53. Thurs/23-Sat/25, 8pm (also Sat/25, 2pm); Wed/22 and Sun/26, 7:30pm (also Sun/26, 2pm). Marin Theatre Company performs Albee’s most divisive play, an erotic thriller-cum-comic allegory.

Let Me Down Easy Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $17-73. Thurs/23-Sat/25, 8pm (also Sat/25, 2pm); Wed/22, 7pm; Sun/26, 2pm. Anna Deavere Smith performs her latest solo show.

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

[title of show] TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-42. Wed/22, 7:30pm; Thurs/23-Sat/25, 8pm (also Sat/25, 2pm); Sun/26, 2 and 7pm. TheatreWorks performs a new musical about musicals by Hunter Bell and Jeff Bowen. 

 

Alerts

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ALERTS

 By Jackie Andrews

 

THURSDAY, JUNE 23


Radical Women meeting

Attend this round-up of radical women and LGBTQ organizers who work hard to improve their communities to fight against racism, sexism, homophobia, and labor exploitation. Tonight there will be a light summer supper followed by a discussion and brainstorming session inspired by the “It Gets Better” campaign — a national group that provides hope for queer youth around the country. Collaborate with like-minded people who want to make change happen at home and help hammer out a plan to translate the mission of the “It Gets Better” campaign to our local queer community’s needs.

6:15 p.m., $7.50

New Valencia Hall

625 Larkin, SF

(415) 864-1278

www.radicalwomen.org

 

Medicare for all

Many progressives around the country are less than enthusiastic with the current administration’s reform on health care, which they see as a sellout to corporate interests. The San Francisco chapter of the Progressive Democrats of America presents this public forum on the topic, where Don Bechler, a tireless organizer for single-payer healthcare since 1994, and clinical psychologist Stephen Berman will discuss just how close we are to having a truly universal healthcare.

7 p.m., free

Unitarian Universalist Center

Martin Luther King Room

1187 Franklin, SF

(415) 776-4580

www.pdaamerica.org

 

SATURDAY, JUNE 25


People’s Movement assembly

Attend this community forum and planning session for next year’s East Bay Social Forum — inspired by the U.S. Social Forum in Detroit last June where more than 20,000 diverse people came together to build strong progressive movements for housing, health, justice, education, immigration, ecology, and peace.

9:30 a.m.–4:30 p.m., free

Lutheran Church of the Cross

1744 University, Berk.

(510) 848-1424

www.eastbaysocialforum.org

 

TUESDAY, JUNE 28


Clean Air Act

Find out how the Clean Air Act, signed into law by President Nixon in 1970, is the U.S.’s most important and successful law for controlling air pollution and why it is our best hope in curbing climate change. If used effectively, it could significantly reduce greenhouse gases to a level deemed safe by climatologists. Learn how the Clean Air Act works, what kinds of threats it faces from Congress, and how it can be used to protect the planet and our future.

7–10 p.m., free

Unitarian Universalists’ Hall

1744 University, Berk.

(510) 841-4824

www.bfuu.org 

 

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

The naughty list: Sex on screen at the SF International LGBT Film Fest

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Relationships, emotions and identities? Yada yada yada. The San Francisco International LGBT Film Festival may explore all the complicated bits of queerness but lest we forget that this festival is dedicated to a community centered around sexual preference. Who wants to see some hot, artsy gay sex on the big screen? If your hand is waving high in anticipation (among other body parts) you won’t be disappointed when you see what this year’s festival has hot on the reel.

Romantic and handholding gay characters will be a dime a dozen throughout the 10 days of films, which is awesome and wonderful in itself, but eventually all those homo chick-flicks might start to make your mouth water for something a bit more juicy. Gay porn is always a couple blocks or clicks away, but the independent, inspiring, adventurous, and beautiful varieties are much harder to get your lubed hands on. The unique visions of filmmakers from around the globe will be represented during the festival’s 35th year anniversary and if you time it right, you could probably find yourself pleased in public for a consecutive week and a half. Some are provocative, some sexually explicit, and others just have a lot of enjoyable visuals. Here are some steamy recommendations to provoke that scandalous theater hard-on and maybe even a Pride-ful romp with a fellow film-fester. 

Longhorns

longhorns

It’s Texas in 1982 when frat-boy Kevin and openly gay student Cesar become schoolmates. Kevin needs a little “help” and Cesar comes through with a helping hand. These study-buddies always end their homework and a well-deserved round of handjobs– lots of them. 

 

Community Action Center

cac

No dialogue. Just sex. Metallic bodies, gender-queer, paint splashing, fruit bashing, blood-red wooden dildos, witches, and dungeons will flash before your eyes in a series of shocking shorts. The performers were encouraged to go “hog wild” in this cinematic orgy and the results look dirty. 

 

I Want Your Love

want_love

Recreational sex always sounds like a good idea when booze does the convincing. Besties Jesse and Brenden decide to give it an arousing go, but predictably end up with sticky emotions. 

 

LA Zombie

la zombie

One word: wound fucking with prosthetic alien cocks. This sexy horror flick will get your adrenaline pumping all night.

 

May I Please Have Another

may_i_please

This series of six kinky shorts runs the gamete with a guitar-slaying transexual dominatrix, a queer leather family who sends off their bratty brother with a proper beating, the scenes behind International Mr. Leather, arousing poems, and surprising sexual encounters. 

 

Weekend

weekend

This extended one-night stand gets complicated as Russell and Glen get high, have loads of awesome sex, and chat for hours. Passionate and honest, it may be a love story but it’s also got enough skin to keep you perky. 

 

Three

three

From the director of Run Lola Run, Germany’s Tom Tykwer explores bisexuality and human motivation through three test subjects: Simon, Hanna, and Adam. The erotic chaos is a complete mind-fuck that will send you to bed with dripping dreams. 

 

SF INTERNATIONAL LGBT FILM FEST

Thurs/15 – Sun/26

Times, locations and ticket prices vary

Check the schedule and get tickets in advance at www.Frameline.org

 

Hot sexy events: June 15-21

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And we’re back! After a brief jaunt around the world, I’ve returned to hunker sexily down amidst a mountain of press releases for SF’s sluttiest happenings (yes, they make press releases). Seems like y’all have been busy since I’ve been gone – this week alone there’s a big-ass conference for nerdy – is there any other kind? – pervs and a class with Madison Young on making your own adult videos. 

Idea: go to Young’s Good Vibes class tonight, complete your star turn post-learnin’, and learn how to market and code the darn thing (or meet someone who can) this weekend! Then give link to all the new friends you meet at Pride. Planning ahead: it pays!

“DIY Porn”

Because it’s not just about figuring out how to many books to prop the Flip atop. No no, recording your sexy precious moments requires a lot more skills – starting off with the skill of knowing what dirty tricks you’d most like to capture for posterity. Femina Potens’ head mistress Madison Young (it’s safe to say) is a master at figuring these kinds of things out, so entrust to her your future on the silver – or laptop – screen. She’ll be touching on scripts, casting, and financing, so dream big.

Wed/15 6-8 p.m., $20-26 

1620 Polk, SF

(415) 345-0500

www.goodvibes.com


Ecosexual Queer Porn Night

Ecosexuality, the sensual relationship with the world around us. Not surprisingly, Nature (that sexy beast) plays a big roles in many pornos. Beaches, vineyards, parks – all this and more you will see for your own dirty little eyes if you attend a mini-fest incongruously located in the Tall Tree Tambo center, which last I checked was a spa and woo-woo health club-skillshare type arrangement in the back of Lower Haight’s favorite hippie hangout, Pkok. Enjoy! (Psst, if things get really natural, ask to take the party to the sauna out back in the garden). 

Thurs/16 8-11 p.m., $10

Tall Tree Tambo Wellness Center

776 Haight, SF (behind Pkok)

www.feminapotens.org


Ynot Summit 

Formerly the Cybernet Expo, this three day conference for the online sex industry promises to hook you up… with networking opportunities, at least. Attend speed mix-and-mingle sessions with your point-and-click-to-perversion peers, learn about legal issues surrounding online porn and escort services, and of course, the Saturday night show. Last year the nerds hit up the Kink.com palace, but this year they won’t even have to truck out the Mission: Kimo’s is hosting a show by the Asian Diva Girls and Smash Up Derby, which is curiously dubbed “one of San Francisco’s favorite bands” by conference organizers. Well hell, if they say so! 

Thurs/23-Sat/25 

Holiday Inn Golden Gateway

1500 Van Ness, SF

www.ynotsummit.com


Kinky Salon: SanFranSexual

Be entertained by Chadd Behavior of SF Boylesque and the triumphant return to Mission Control by X-rated storytelling doyenne Dixie De La Tour – or just fool around with everyone in the building. This week’s Kinky Salon swinger’s party is themed SanFranSexual for a reason, you’re allowed to do whatever the hell you want, in style. 

Sat/18 10 p.m.-late, $25-30 members only

Mission Control 

www.missioncontrolsf.org


Bawdy Storytelling: Tales of Non-Monogamy

Bawdy’s back – could this be the most popular monthly storytelling series in the Bay, pervy or not? – in its East Bay incarnation. Dixie’s overseeing a night of swingtastic synopses, from fundamentalist Christians at key clubs (I’d love to hear the scripture on that), and other godly pursuits.  

Tues/21 8 p.m., $10

The Uptown 

1928 Telegraph, Oakl.

www.bawdystorytelling.com

 

Sing out

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arts@sfbg.com

FRAMELINE It may be summer break for America’s favorite Slushee-barraged show choir, but judging by the array of song-and-dance numbers in this year’s San Francisco International LGBT Film Festival, Glee fever continues to spike. Half of the fest’s showcase films celebrate the power of the performing arts, including Mangus!, about a young man’s against-all-odds dream of playing the lead in his high school’s production of Jesus Christ Spectacular. Leading Ladies features a mother-daughter-daughter trio immersed in the world of competitive ballroom dancing. And the shorts roster offers no less than three musicals — the Australian films Slut: The Musical and Cupcake: A Zombie Lesbian Musical hail, naturally, from the program “Zombies, Aussies, Musicals, Oh My!,” while Who’s the Top? explores a relationship’s diminished sexual undercurrents through musical comedy. Directed by Jennie Livingston, Who’s the Top? is paired with Paris Is Burning (1990), Livingston’s acclaimed full-length documentary on the late-1980s ball scene in New York City.

The on-and-off-stage drama continues with Jamie and Jessie Are Not Together, a tale of thespians, best friends, and housemate tension rooted more in unvoiced amour than in chore wheels and whose turn it is to buy toilet paper. As the title’s Chicago-dwelling characters negotiate Jamie’s imminent departure for the Big Apple and (she hopes) Broadway, a few wistful tunes are crooned, accompanied by the occasional step-ball-change, but the songs feel somewhat opportunistically tacked on, and the film’s strength lies more in its exploration of that foggy, foggy gray area between the romance of intimate friendship and the romance of ripping the clothes off of someone you really care about.

The tweens of Spork show slightly more promise, at least when it comes to working the dance floor at a nightclub unaverse to letting in 13-year-olds. Spork — so nicknamed by her burnout but well-meaning brother due to her intersex status — is shy, awkward, and isolated at school — when not being tortured by a clique of tiny, racist mean girls led by a Britney Spears wannabe named Betsy Byotch. The answer, clearly, is to best the Byotch in a high-stakes middle-school dance-off — for if we’ve learned one thing from Glee and every high school musical and dance-ical pumped out by Hollywood in the past few decades, it’s that community can be found through soaring vocal harmonies, choreographed ass-shaking, and following one’s dreams.

This lesson is perhaps best exemplified by Leave It on the Floor, which updates (and fictionalizes) the drag and tranny ball scene of Paris Is Burning, transports it to the warehouses of South Central L.A., and adds some infectious music and lyrics (the song “Justin’s Gonna Call” is particularly likely to stay trapped in your brain for days). Leave It‘s kicked-to-the-curb protagonist, Brad, is equally in need of community and a place to crash, and he finds both (after a fashion) in the House of Eminence, the reigning underdog of the ball scene, proudly populated by outcasts and freaks — as well as a hot dueting partner, queer family, and a closing-number set of runway moves that nearly set a warehouse ballroom on fire and probably won’t be coming to a show choir competition near you anytime soon.

FRAMELINE 35: SAN FRANCISCO INTERNATIONAL LGBT FILM FESTIVAL

June 16–26, most films $9–$15

Various venues

www.frameline.org

 

Camp rocks

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arts@sfbg.com

FRAMELINE The eponymous character in Ash Christian’s Mangus! has a simple ambition: to be Jesus. That is, to play Jesus in the local production of Jesus Christ Spectacular. Mangus does get the part, but his dreams are crushed when a freak limo accident lands him in a wheelchair and his neighbors decide he’s no longer cut out to play their Lord and Savior.

“When you’re in a small town and you want to be an actor and you don’t get the lead, it’s the most devastating thing in the whole world,” says Christian (2006’s Fat Girls), who was inspired by his own history in community theater.

Mangus! is an interesting but wise choice for Frameline: while it features queer characters (including Mangus’ sister Jessica Simpson, played by Heather Matarazzo), the film as a whole is subtler than other festival picks. It has what Christian calls a “queer sensibility,” but much of that is subtextual.

“I don’t look at it as a queer film,” offers Matarazzo. “I just look at it as a really great dark comedy.”

Christian’s cast is full of actors who might be considered queer icons — among them Matarazzo, Jennifer Coolidge, and Leslie Jordan. But Matarazzo, who is openly gay, doesn’t want to restrict herself.

“When I’m playing to a specific audience because I want this to be a gay and lesbian film, that’s fine for any filmmaker who desires to do that,” she reflects. “But for me, film is really about unifying on all fronts.”

And Christian has his own ambitions. Mangus! is a dark comedy in the tradition of Christian’s cinematic idols John Waters and Todd Solondz. (It’s worth noting that Waters has a cameo in the film, and Matarazzo made her breakthrough in Solondz’s 1995 Welcome to the Dollhouse.) With this work, Christian tackles the topic of discrimination apart from sexuality.

“I’d never really seen a movie with a young disabled kid who had a dream,” he says. “It deals with discrimination in a small town, which I’ve definitely been a part of — not with a disability, but because of the gay thing.”

Mangus! is both hilarious and poignant because its filmmaker is unafraid to hold anything back. It somehow manages to walk the line between over-the-top and honest, presenting a portrayal of disability and sexuality that will only shock those not in on the joke.

“Ash is the perfect master of getting to bring absolute balance in terms of letting an audience pity a character, but then also cheer for him and go along with the ride,” Matarazzo notes. “There was never any kind of mentality of trying to manipulate the audience.”

For a while, Christian did worry about audiences taking his films the wrong way, but he admits that it’s no longer a concern. Indeed, he takes pleasure in making movies edgy enough to unnerve people.

“It’s just something that’s going to keep happening because I don’t want to tell boring stories for Lifetime,” he says. “It’s not really what I want to do. So it kind of turns me on now to have people actually have a problem with what I’m trying to say.”

Those who take Christian’s film in the intended tone will appreciate that it’s not meant to be mean-spirited. In the tradition of the great queer films that came before it, Mangus! lives outside the box: it’s unconventional, subversive, and yes, not even a little bit PC.

“In my heart, I’m not trying to say anything offensive at all,” Christian explains. “They’re just taking it that way.”

MANGUS!

Wed/15, 8:30 p.m., $11

Castro

429 Castro, SF

www.frameline.org

 

Quickies: Short Frameline reviews

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Below are some reviews of films that intrigued us from the upcoming Frameline Film Festival. Check out more of our coverage here.

Codependent Lesbian Space Alien Seeks Same (Madeleine Olnek, U.S., 2011) Who can’t identify with that title? Metaphorically speaking, that is. Although Madeleine Olnek’s B&W feature insists on etaking it quite literally, to pretty hilarious results. Lonely stationery-store clerk Jane (Lisa Haas) tells her shrink she dreamed a close encounter in which a space ship dropped a note her way that read “What are you doing later?” Shortly thereafter, she finds herself the object of amorous pursuit by Zoinx (Susan Ziegler), one of several bald-pated, high Peter Pan-collared exiles from planet Zotz who’ve been dumped in Manhattan to seek “hot Earthling action” and get their hearts broken — because it is believed back home that “big feelings” of love are destroying the ozone. Ergo, guilty citizens must be rendered “numb and apathetic” by off-shore interspecies romance before safely returning. Meanwhile two badly mismatched government operatives (Dennis Davis, Alex Karpovsky) are spying upon the intergalactic love intrigue. Go Fish (1994) meets Plan 9 From Outer Space (1959), at last! June 25, 3:30 p.m., Castro. (Dennis Harvey)

The Evening Dress (Myriam Aziza, France, 2009) Everybody’s crushed on a teacher at some point, and indeed everybody in Helene Solenska’s (Lio) sixth grade French grammar class seems to have a crush on her. Why not: she’s attractive, wears sexy clothing (by classroom standards at least), and addresses the occasional sass with challenging provocation rather than simple discipline. But shy, studious Juliette (Alba Gaia Bellugi) has a crush bordering on obsession, particularly once she misinterprets teach’s attentions toward outgoing male student Antoine (Léo Legrand). You’re never too young to have a nervous breakdown, and our heroine’s increasingly reckless actions threaten to make her a pariah. Myriam Aziza’s feature is in that My Life as a Dog (1985) realm of movies about unpleasant childhoods that aren’t exploitative but at times grow truly discomfiting — it’s a worst case-scenario of pubescent imagination run amuck amid the usual teasing and bullying of peers. It’s a very good film if not an especially pleasant one. June 22, 4 p.m., Castro. (Harvey)

A Few Days of Respite (Amor Hakkar, Algeria and France, 2010) Quiet, bespectacled Moshen and his younger lover Hassan have fled Iran in the hopes of starting a new life together in Paris. They have only each other, and yet, because they lack visas, they must keep their distance while traveling to avoid arousing suspicion. While on a train in southern France, Moshen befriends Yolande, an older widow hungry for companionship who offers him a quick job painting her flat in a nearby small town. He agrees, forcing Hassan to continue hiding out, first in plain sight, and later, unknown to Yolande, in her attic, until tragedy drags everything out into the open. Algerian writer-director Amor Hakkar, who also plays Moshen, has crafted a sparse, intimate drama — emotionally enriched by its muted performances and minimal dialogue — about the lengths we are willing to go for love and the price we must pay in the process. Mon/20, 9:30 p.m., Elmwood; June 22, 9:30 p.m., Castro. (Matt Sussman)

How Are You? (Jannik Splidboel, Denmark, 2011) In the past few years Michael Elmgreen and Ingar Dragset, a Berlin-based artistic duo and romantic couple, have become international art world darlings known for their ambitious, playful, and critical large-scale installations, such as turning an exhibition space into a life-size replica of a New York City subway station or building a Prada pop-up shop in the Southwestern art mecca Marfa, Texas. At only 70 minutes, How Are You? can’t help but be a whirlwind tour, air kissing the bigger issues (commodity fetishism, identity politics, commercialism, and the vexed relationship the art world has to all three) Elmgreen and Dragset’s projects touch on while tracing the duo’s career trajectory all the way to their victory lap at the 2009 Venice Biennale. Brief but solid. Sun/19, 6:30 p.m., Roxie. (Sussman)

L.A. Zombie (Bruce LaBruce, Germany/U.S./France, 2010) If you’re going to see one Bruce LaBruce gay zombie erotic film, don’t make it L.A. Zombie. Alas, the latest from the queer Canadian auteur doesn’t hold up alongside its thematic predecessor, 2008’s Otto; or Up With Dead People. Lacking any of Otto‘s subtlety, L.A. Zombie is all sex, no substance. Sometimes that works: LaBruce’s The Raspberry Reich (2004) doesn’t go light on the porn, and that’s surely one of his best. But L.A. Zombie is lacking on all fronts. It stars noted gay porn actor Francois Sagat as a possible zombie (as in Otto, this is never made clear) who makes it his mission to fuck dead men back to life. Insert endless scenes of the zombie sticking his weird alien cock into gaping wounds and ejaculating blood onto corpses. If you can stomach that sentence, you can handle the film, but what’s the point? LaBruce’s past efforts have all the full-frontal male nudity without sacrificing the humor or cultural commentary. June 23, 9:30 p.m., Victoria. (Louis Peitzman)

Miwa: A Japanese Icon (Pascal-Alex Vincent, France, 2011) Chanteuse, star of stage and screen, outspoken champion of gay rights, drag queen: Akihiro Miwa has worn these many titles on her taxi-yellow, hair-like tiaras since she first rose to prominence as an androgynous torch singer at Tokyo jazz clubs in the 1950s. But it wasn’t until her dazzling star turn as the titular jewel thief in the camp classic Black Lizard (1968) that Miwa became a household name throughout Japan. Despite its clear admiration of its subject, Pascal Alex-Vincent’s documentary gives Miwa the Wikipedia treatment, resulting in a film that shares the unfortunate distinction of being both heartfelt and dull. Even his interviews with the lady herself come off as lusterless. Do yourself a favor, and track down a copy of Black Lizard instead. Mon/20, 1:30 p.m., Castro. (Sussman)

The Mouth of the Wolf (Pietro Marcello, Italy, 2009) This experimental narrative is a mix of archival footage and dramatic vignettes depicting the great love between two unlikely entwined souls who met in prison: ex-hood/longtime jailbird Enzo, a.k.a. Vincenzo Motta), and sometimes drug-addicted transsexual Mary Monaco (who died last year after filming). It’s also a lyrical appreciation of Genoa, the fabled northern Italian seaport that’s experienced tumultuous changes for over two millennia. Pietro Marcello’s unpinnable “docu-fiction” — Motta and Monaco apparently play themselves, a highlight being a 12-minute, nearly unbroken-shot dual interview — is frequently gorgeous cinematic poetry. If you seek the more conventional rewards of prose, you’ll probably be bored. However: anybody looking for Daddy should be informed that Enzo is pretty much the last word in unreconstructed macho-manliness. June 22, 9:30 p.m., Elmwood; June 24, 11 a.m., Castro. (Harvey)

Smut Capital of America (Michael Stabile, U.S., 2010) San Francisco. It’s smutty! You already know that, but do you know how deep-down and dirty it really is, in a historical sense? Basically we invented hardcore pornography in the 1960s (OMG, pubic hair!) and this lively local short, soon to expand to full-length, tells that story through fascinating archival footage, no-punch-pulled interviews with folks like John Waters and pornologist John Karr, and titillating naughty bits. Throughout there’s a feeling that a vital part of the story of sexual liberation, gay and straight, is being unearthed. And the raunchy tales of Polk Street hustlers, sticky-floored cinemas, and buck-wild hippie girls throwing open their golden gates will flood you with San Francisco pride. The short plays as part of the “Only in San Francisco” program with Running in Heels: The Glendon ‘Anna Conda’ Hyde Story and Making Christmas: The View From the Tom and Jerry Christmas Tree. Sun/19, 11 a.m., Victoria. (Marke B.)

Weekend (Andrew Haigh, U.K., 2011) The mumblecore-y movie many of us who lived through the 1990s wish was made back then: all that’s missing is the purposefully retro Cure soundtrack. Two scruffy, hipsterish, actually attractive Brit boys enjoy an ideal weekend fling. There is a fixie involved. Commitment-phobes each — one because he isn’t quite into the gay scene, one because he’s too full-on liberated for relationship gibberish — they gradually and adorably deal with their emotional attraction. By no means is this My Beautiful Launderette, and the melancholy self-regard might come a bit thick (Weekend was a big hit at the SXSW film fest, so … ), but it’s a well-acted, lovely film that examines the state of cute white skinny young bearded gay blokes today. Fri/17, 4:15, Castro. (Marke B.)

Without (Mark Jackson, U.S., 2011) This first feature by Seattle’s Mark Jackson (not to be confused with the Bay Area theater talent) is a stark reading of the psyche of 19-year-old Joslyn (Joslyn Jensen), newly arrived as temporarily caretaker to nearly-vegetative, wheelchair-bound Frank (Ron Carrier) while his kids and grandkids are on vacation. Left with this almost completely helpless charge — requiring butt-wiping, wheelchair-to-bed lifting, and regular transfusions of the Fishing Channel as stimulant — Joslyn seems to wallow in rather than escape her problems. Which appear to consist largely of a lesbian relationship whose gasping breaths we witness in occasional flashback. Isolated by no Internet or cellphone reception, not to mention her own powers of repression, Joslyn gradually looses grip as Jackson’s narrative grows more disturbing and ambiguous. Sat/18, 6:30 p.m., Victoria. (Harvey)

Frameline 35: San Francisco International LGBT Film Festival

June 16–26, most films $9–$15

Castro Theatre, 429 Castro, SF

Rialto Cinemas Elmwood, 2966 College, Berk.

Roxie Theater, 3117 16th St., SF

Victoria Theatre, 2961 16th St., SF

www.frameline.org

 

Our Weekly Picks: June 15-21, 2011

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WEDNESDAY 15

EVENT

“Snakes and Lizards: The Summer of Slither”

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

Mon.–Sat., 9:30 a.m.–5 p.m.;

Sun., 11 a.m.–-5 p.m., $19.95–$29.95

California Academy of Sciences

55 Music Concourse, Golden Gate Park, SF

(415) 379-8000

www.calacademy.org


THURSDAY 16

PERFORMANCE

Fresh Meat Festival

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

Thurs/16–Sat/18, 8 p.m.;

Sun/19, 7 p.m., $15–$20

Z Space at Theater Artaud

450 Florida, SF

www.freshmeatproductions.org


FRIDAY 17

DANCE

Epiphany Productions Sonic Dance Theater

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

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

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odcdance.org


MUSIC

Horrid Red

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

With Burial Hex and Brute Heart

9:30 p.m., $8

Hemlock

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com


SATURDAY 18

DANCE

Patricia Bulitt

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

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

Audubon Canyon Ranch

4900 Shoreline Hwy., Stinson Beach

415-868-9244

www.egret.org


MUSIC

Pete Rock

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

10:30 p.m., $25

Yoshi’s San Francisco

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com


EVENT

Northern California Pirate Festival

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

10 a.m.–6 p.m., free

Vallejo Waterfront Park

Adjacent to Vallejo Ferry Terminal

298 Mare Island Way, Vallejo

1-800-921-YARR

www.norcalpiratefestival.com


MUSIC

Bill Callahan

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

With Michael Chapman

9 p.m., $20

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


SUNDAY 19

MUSIC

Sharon Jones and the Dap Kings

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

With Ben L’Oncle Soul

2 p.m., free

Sigmund Stern Grove

19th Ave. at Sloat, SF

(415) 252-6252

www.sterngrove.org


FILM

Wings of Desire

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

Sun/19–Mon/20, 7:30 p.m.

Also Sun/19, 2 and 4:45 p.m., $6–$9

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com


PERFORMANCE

“Hubba Hubba Revue: Flying Saucer Beach Party”

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

2–8 p.m., $10–$12

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com


TUESDAY 21

MUSIC

Martyrdod

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

With No Statik and Yadokai

9:30 p.m., $7

Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com 


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

 

Stage Listings

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

THEATER

OPENING

Assisted Living: The Musical Imperial Palace, 818 Washington, SF; 1-888-88-LAUGH, www.assistedlivingthemusical.com. $79.59-99.50 (includes dim sum). Opens Sat/18. Runs Sat-Sun, noon (also Sun, 5pm). Through July 31. Rick Compton and Betsy Bennett’s comedy takes on “the pleasures and perils of later life.”

Indulgences in the Louisville Harem Phoenix Theatre, 414 Mason, SF; 1-800-838-3006, www.offbroadwaywest.org. $20-40. Opens Thurs/17, 8pm. Runs Thurs-Sat, 8pm. Through July 30. Two spinster sisters find unlikely beaux in Off Broadway West Theatre’s production of John Orlock’s play.

ONGOING

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

Assassins Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $20-36. Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 25. Whether the world truly needed a Sondheim musical about the joys of political assassination or not is debatable, but as long as there is one it might as well go for the gusto. Brought to you by Ray of Light Theatre, the folks behind last year’s production of Jerry Springer the Opera, Assassins imbues society’s greatest misfits with quirky relatability. From Joel Roster’s hangdog portrayal of Leon Czolgosz (McKinley’s assassin) to Lisa-Marie Newton’s frazzled Sara Jane Moore (attempted to off Ford), Danny Cozart’s foul-mouthed, Santa Claus-suited, Samuel Byck (out for Nixon) to Gregory Sottolano’s loopy Charles Guiteau (bagged Garfield), the solid cast examines the assassination impulse in a breezy, borderline goofy manner. The production takes a more somber tone when Lee Harvey Oswald (Michael Scott Wells) takes the stage, encouraged by John Wilkes Booth (Derrick Silva) to turn a presumptive suicide attempt into one of assassination, while the other assassins beg him to legitimize their dark impulse through his action. The pacing works best when at its most frenetic, though Silva’s Booth, a pokerfaced elder statesman, lends an air of balancing gravitas. But the true stars of the show might well be the ultra-tight, eight-person house band playing a wide variety of American musical styles from the last 150 years, confidently directed by David Möschler.(Nicole Gluckstern) *Blue Man Group Golden Gate Theatre, 1 Taylor, SF; www.tickets.shnsf.com. $50-200. Wed/15-Sat/18, 8pm (also Sat/18, 2pm); Sun/19, 2pm. Jaw-slackening feats of circus skill combine with elaborate otherworldly percussion, subtle fresh-off-the-spaceship clowning, and of course lots of blue body paint in the updated version of the long-running now internationally strewn multi-group Blue Man Group. Mutatis mutandis, it’s a two decades–old formula. But its driving, eyeball-popping musical spectacle and wry, deft way with mass culture send-ups and (albeit rather pushy) audience participation can’t help but entertain. (Avila)

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

Distracted 529 South Second St, San Jose; (408) 295-4200, www.cltc.org. $15-35. Thurs/16-Sat/18, 8pm; Sun/19, 2pm. City Lights Theater Company of San Jose presents a drama written by Lisa Loomer and directed by Lisa Mallette.

East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Through Aug. 7. Don Reed’s hit solo comedy receives one last extension before Reed debuts his new show (a sequel to East 14th) in the fall.

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

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

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

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

*Welcome Home, Julie Sutter Marion E. Greene Black Box Theater, 531 19th St, Oakl; www.theatrefirst.com. $10-30. Thurs/16-Sat/18, 8pm; Sun/19, 2pm. On her first day back from Iraq, African American Marine, mother, and amputee Jenny Sutter (a pensive, quietly affecting Omoze Idehenre) sits in Beckett-like stasis at a bus depot operated by a wound-up cockroach-crazed attendant (Joe Estlack), until a chatty middle-aged woman named Louise (Nancy Carlin), recovering from addiction to everything, convinces her to come to Slab City. The off-the-grid settlement of semi-permanent campers and kooks on the desert edge of Los Angeles turns out to have once been a Marine base, much to the dismay of traumatized and anguished Jenny, who can’t work up the courage to answer the cell phone calls from her mother and children, let alone return to them. A physically handicapped internet-certified preacher (Brett David Williams) meanwhile takes it upon himself to help Jenny, with assistance from sometime girlfriend and recidivist Louise and a local soi-disant shrink (Karol Strempke). They throw a public coming-home ceremony for the cast-off vet. It’s Slab City’s socially awkward and pugnacious jewelry maker Donald (a sharp Jon Tracy) who challenges the militarism and religious pabulum in this enterprise, even as he finds himself irresistibly drawn to the deeply wounded Jenny. Nevertheless, playwright Julie Marie Myatt’s involving story (smoothly and engagingly directed for TheatreFIRST by Domenique Lozano) carries a real if not quite heavy-handed spiritual dimension, peppered with traditional gospel tunes (heard in Johnny cash recordings during scene transitions but echoed by cast members at other times) and undergirded by doubting Jenny’s unconscious quest for signs of a seemingly absent Christian god. What she finds is a community of equally messed up but compassionate souls, and that’s enough. (Avila)

PERFORMANCE/DANCE

Epiphany Productions Sonic Dance Theater ODC Theater, 3153 17th St, SF; (415) 863-9834, www.odctheatre.org. Fri-Sat, 8pm; Sun, 7pm. $15-20. The company performs its 2011 home season, with Heelomali, Alonesome/Twosome, and Solo Lo Que Fue.

“Fauxgirls!” Kimo’s, 1351 Polk, SF; (415) 885-4535. Sat, 10pm. Free. The drag revue celebrates its 10th anniversary with Victoria Secret, Chanel, Davida Ashton, and more.

“Fresh Meat Festival” Z Space at Theater Artaud, 450 Florida, SF; www.freshmeatproductions.org. Thurs-Sat, 8pm; Sun, 7pm. $15-20. Transgender and queer performers take the stage at this 10th annual festival.

“Garage All-Stars II” Garage, 975 Howard, SF; www.975howard.com. Sat-Sun, 8pm, $10-20. Part of the National Queer Arts Festival, this performance includes new choreography by Sara Yassky and Tim Rubel Human Shakes.

“Here: An Evening of Work by Katherine Kawthorne” Shotwell Studios, 3252-A 19th St, SF; (415) 298-2000, www.ftloose.org. Fri-Sat, 8pm, $10-15. Multimedia dance works including Living Line, Sferic, and Lumen.

kDub Dance CounterPULSE, 1310 Mission, SF; 1-800-838-3006, www.counterpulse.org. Fri-Sat, 8pm. $16-20. The Los Angeles company makes its SF debut with the evening-length dance work Fruit.

“Radar Spectacle” Verdi Club, 2424 Mariposa, SF; www.brownpapertickets.com. Fri, 7pm. $10-100. Support the 2011 Radar LAB Writers’ Retreat by checking out this event, with performances by Cintra Wilson, Fauxnique, Keith Hennessy, Lovewarz, Lil Miss Hot Mess, and more.

San Francisco Ethnic Dance Festival Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787, www.ybca.org. Sat, noon; Sun, 1pm. Free-$24. The third weekend of the 33rd annual festival includes events celebrating the Rumson Ohlone tribe plus dance set to the words of transcendent poets.

“Trouble In Mind” Zeum Theatre, 221 Fourth St., SF; (415) 474-8800. Mon, 8pm, $30. The Lorraine Hansberry Theatre benefits from this staged reading of Alice Childress’ play, with Peter Coyote, Geoff Hoyle, Margo Hall, and others. 

Alerts

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ALERTS

By Jackie Andrews

 

WEDNESDAY, JUNE 15

Golden Wheel Awards

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

6–9 p.m.,

$75 individual, group packages available

War Memorial Building

401 Van Ness, SF

www.sfbike.org

 

THURSDAY, JUNE 16

The Castro and LGBTQ history

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

7–9 p.m., $5

GLBT Historical Museum

4127 18th St., SF

www.glbthistorymuseum.org

 

TUESDAY, JUNE 21

Guardian forum: Budget, Healthcare, and Social Services

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

6–8 p.m., free

Local 2 Hall

309 Golden Gate, SF

www.sfbg.com

Media access here and now

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

5:30 p.m., free

SF Public Library

Latino Community Room

100 Larkin, SF

www.spj.com 

 

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

Tipping point

3

sarah@sfbg.com

On June 14, members of the Board of Supervisors will vote to appoint a new member of the Police Commission — in the wake of a messy string of alleged police misconduct scandals that, progressives argue, underscore why having strong civilian oversight is critical to ensuring a transparent, accountable police department the public can trust.

The appointment comes less than two months after San Francisco native Greg Suhr was sworn in as chief in the wake of Mayor Gavin Newsom’s decision to appoint former Chief George Gascón as the next district attorney — a move that has served to muddy the D.A. Office’s efforts to investigate the alleged police misconduct.

Further complicating the board’s choice is the heated battle that erupted over the appointment, led in part by members of two Democratic clubs that represent lesbian, gay, bisexual, and transgender communities.

The Alice B. Toklas LGBT Democratic Club has officially endorsed Julius Turman, a gay attorney and community activist who was a former assistant U.S. attorney and the first African American president of the Alice club. Turman currently works for Morgan, Lewis & Bockius, where he represents companies in actions for wrongful termination, employment discrimination, and unfair competition. He is also state Sen. Mark Leno’s (D-SF) proxy to the San Francisco Democratic County Central Committee and serves on the Human Rights Commission.

On the other side, members of the Harvey Milk LGBT Democratic Club, the voice of the city’s queer left, are supporting David Waggoner, an attorney and community activist who is a former Milk Club president. Waggoner has worked on police use-of-force policy and as a pro bono attorney for the National Lawyers Guild at the Oakland Citizen’s Police Review Board, and been a passionate advocate for the LGBT community, immigrants’ rights, people with disabilities, and the homeless.

The other two applicants for the post are Vanessa Jackson, a staffer at a women’s shelter with experience in counseling ex-offenders; and Phillip Hogan, a former police officer who serves on the board of the Nob Hill Association and has been trying to get on a commission for years.

Although both Jackson and Hogan have diverse experience with law enforcement — Jackson as an African American woman who claims the police have “no respect for people of color” and Hogan as a former police officer of Lebanese-Irish descent who manages real estate — neither has the support of the LGBT community. The position occupied by Deputy District Attorney James Hammer for the last two years, and Human Rights Commission director Theresa Sparks occupied before that, is widely considered to be an LGBT seat.

 

WHO’S THE REFORMER?

So now the fight is about whether Turman or Waggoner would be the strongest reformer.

In a recent open letter, former Board Presidents Harry Britt, Aaron Peskin. and Matt Gonzalez expressed support for Waggoner. “While most hardworking police officers perform their jobs admirably, insufficient oversight and poor management systems have led to significant problems,” their letter stated. “Despite these widely reported problems, the Police Commission has failed to adequately address these issues. San Francisco needs real reform, not more of the same. We believe David Waggoner will be that voice at this critical time.”

At the June 2 Rules Committee hearing, Waggoner proposed taking away master keys to single-resident occupancy (SRO) hotels from the police. “Significant abuse of that resulted in seriously tarnishing the department,” he said.

Turman made an equally impassioned — if less stridently reformist-sounding — speech. “Why would we allow an officer to enter a home, regardless of the master key rule, which I’m not a fan of?” Turman asked. He also said Tasers are dangerous weapons with unintended consequences. “I fear communities of color will suffer more from Taser use.”

Waggoner’s supporters noted that their candidate has more than 15 years of police accountability experience. Turman’s supporters vouched for his integrity, maturity, ability to build consensus, and “belief in strategically serving his community.”

In the end, Sups. Sean Elsbernd and Mark Farrell voted for Turman, while Rules Committee Chair Sup. Jane Kim voted for Waggoner.

That means Turman’s name has been forwarded to the full board with a recommendation. But because the Rules Committee interviewed all the candidates, the board can still appoint any of them.

At the Rules Committee, Sup. Scott Wiener voiced support for Turman. And Board President David Chiu recently told the Guardian that he has known Turman for years, has worked with him professionally, and will vote for him. “I found him to be fair, thoughtful, and compassionate,” Chiu said, noting that he believes the role of the commission is “to provide oversight and set policy.”

Sup. David Campos, one of the solid progressive votes on the board and a longtime Milk Club member, believes Waggoner would make an excellent commissioner but is a friend of Turman, and believes he’ll be a strong voice for reform. “Sean [Elsbernd] and Mark [Farrell] could be in for a big surprise if Julius gets appointed,” Campos mused shortly after Elsbernd and Farrell voted for Turman.

Campos recalled how he and Turman started working at the same firm years ago. “So I got to know him well,” he said, adding he is “like a family member.

“By virtue of his involvement with Alice, some folks think Julius will be a certain way,” Campos added. “But I believe he’ll take a progressive point of view on the issues. He has both the knowledge and the experience with the police, he understand the important role that police oversight and the Police Commission play in making the SFPD accountable.”

Kim told us that she primarily voted for Waggoner because she knows him the best, and not out of concern that Turman wouldn’t do a good job. “I’m more familiar with David and that’s what tipped the scale,” Kim said. “It’s great to have two strong LGBT attorneys who have a clear understanding of public safety issues, the law, and are advocates for the community.”

But Debra Walker, who ran against Kim last November, steadfastly supports Waggoner. “Julius has been active in the Alice B. Toklas club for a while, he’s a prosecutor, while David is more of a citizen’s defense attorney,” she said.

Turman continues to be dogged by reports of domestic violence, thanks to a lawsuit that Turman’s former domestic partner Philip Horne filed in March 2006 alleging that Turman came into his house when he was sleeping on New Year’s Day 2006 and tried to strangle him.

Horne claimed he “was terrified that the lack of air supply would cause him to pass out and potentially die at the hands of such a jealous and unmerciful former lover.” He alleged he was able to calm Turman down only to see him get enraged again and punch Horne in the face seven to 10 times. When Horne decided he needed to go to the emergency room, the complaint states, Turman grabbed his phone and keys saying, “If you leave, you’ll never see the cats (alive) again,” and “I will report you to the state bar.”

Horne claimed he ran outside screaming for help and that when SFPD arrived, they arrested Turman for domestic violence and called an ambulance for Horne.

Turman responded in July 2006 to what he described as Horne’s “unverified complaint,” arguing he acted in “self-defense” and that the conduct Horne complained of “constituted mutual combat.” He added that “damages, if any, suffered by Horne were caused in whole or in part by entities or persons other than Turman.”

In the end, no criminal charges were ever filed against Turman and the case was settled out of court. Turman now says “I’ve done nothing wrong and these allegations are false.”

Campos warns people not to jump to conclusions. “We need to remember that there is a presumption of innocence,” Campos said. “Yes, there was a court case, but there was never a conviction. Yes, there was a settlement, but people do that for a lot of reasons.”

Turman told the Rules Committee that the incident was from “an extremely difficult time that is now being used against me as a political sideshow.”

Meanwhile, Campos notes that without a reform-minded mayor, there will be only so much any board-appointed police commissioners can do. “What we really need to implement police reform is a mayor who is willing to do that,” he said. “Otherwise it’s going to be very difficult because the mayor still gets to appoint four commissioners and mayor still gets to control who is in charge of the police department.”

 

WHAT DIRECTION?

Civil liberties advocates praised as a “first step in the right direction” Suhr’s May 18 decision to issue an order clarifying that SFPD officers assigned to the FBI’s joint terrorism taskforce should adhere to SFPD policies and procedures set by the Police Commission, not FBI guidelines.

But in the coming months, the commission will have to decide whether to push a Portland-style resolution around SFPD involvement with the FBI. The commission also will be dealing with fallout from the other scandals, including the crime lab, the use of force against mentally ill suspects, and videos that allegedly show police conducting warrantless search and seizure raids in single residential occupancy hotels.

These scandals have progressives arguing that it’s critical that the board’s three seats on the commission are occupied by applicants with proven track records of reform.

Waggoner notes that in 2003, voters approved Prop. H., which changed the composition of the commission from five to seven members. Four are appointed by the mayor; three by the board.

Last year, he said, the commission made significant progress in the right direction when it adopted new rules after the Jan. 2 shooting of a man in a wheelchair in SoMa. “That was not the first time an unarmed person with a disability was killed,” he said. “After Prop. H and a crisis, the commission finally took steps. It remains to be seen if Chief Suhr will implement that.”

Waggonner said the current arrangement “creates tension between people who are more willing to defer to the chief on policy issues and being in an advisory capacity, as opposed to people who want to be in the forefront of setting policy.”

That tension played out when Commissioners James Hammer, Angela Chan, and Petra DeJesus tried to find consensus on the Taser controversy last year. “Overall they worked well together. But there’s been no progress yet on Tasers,” he said, noting that the commission eventually decided on a pilot project.

Waggoner said he would be in favor of the commission having a more active role and exerting its authority under the city charter to set policy, but in collaboration with the chief.

The Police Commission’s May 18 joint hearing with the Human Rights Commission about FBI spying concerns was a symbol of the broader issue at the Police Commission. The majority of the commission didn’t see any major problems — but the progressives were highly critical. “Is the commission there to set policy and take leadership, or is it there in an advisory capacity?” Waggoner asked.

With Hammer’s departure, Chan and DeJesus, both board-appointed women of color, are the most progressive members of the commission. Chan hopes Hammer’s replacement believes in strong civilian oversight. “We should never be a rubber stamp for the police department,” he said. “We need to take community concerns very seriously. When the police department is doing great things, we should support them — but if we see something wrong, we should not be afraid to speak out.”

Turman told the Guardian that “being the voice for reform and advising are not mutually exclusive roles — and an effective police commissioner needs to be both.

“I would advocate for series of meetings with representatives from the Arab community, the SFPD, and the FBI to increase communication and understanding of each side’s perspective on exactly what we need to implement in San Francisco,” Turman said.

Asked more about Tasers, Turman said that “one of the things I would be interested in pursuing is a recognition by some that female officers are less likely to incapacitate during an arrest, which could lead to learning for the larger police force.”

But does this means Turman will turn out to be a swing vote for Tasers? Only time — and the board’s June 14 vote — will tell.