Queer

‘Too Much’ — and more

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arts@sfbg.com

THEATER/DANCE/PERFORMANCE Too much of a good thing can be a good thing. That became clear to artist/curators Julie Phelps and Keith Hennessy last year with the unexpected success of “Too Much!,” a no-holds-barred marathon of contemporary queer performance originally conceived as a cheeky 20th anniversary celebration of Hennessy’s lauded yet uncompromising career as performer, choreographer, and activist.

The idea of a “queer 20th anniversary” only got the conversation started, says Hennessy, whose company Zero Performance produced last year’s event. “I’m in a really different space than I was 20 years ago. I’m now 50. I made [my breakthrough] piece when I was in my late 20s. Who are those people now? And where is queer performance at? That sort of launched our thinking about putting on a festival, and [the idea] that the thing in itself should be excessive or ‘too much.’ So we crammed everything into 10 hours.”

This spirit of polymorphous plenitude launched a one-off “queer marathon” so momentous it turns into a second annual this Sunday, over the course of another 10 hours. Between 2 p.m. and midnight, three rooms at Dance Mission Theater are given over to the work of more than 50 artists — a mix of performance, installation, video, public discussion, workshops (in street art and queer games), and dinner. It promises to complicate all the usual expectations around identity-based art and politics. The only thing not overflowing is the price: 10 bucks.

This year’s “Too Much!” is more than a reprise, though. Co-curator Phelps — a young artist who recently cofounded queer performance incubator TheOffCenter, which comes on board as coproducer — explains that she and Hennessy have broadened the program. “Last year we only had performance, live installations, or full-length shows,” she says. “This year we were interested in adding this symposium element to it. While we’re all together, we might as well talk to each other, you know? So we’ve added a few workshops. Irina Contreras, for instance, is doing a stenciling workshop aimed at reminding people of the fully accessible tools they can use to express themselves as political beings, people of action.”

The symposia quotient includes a discussion of the controversial use of blackface as a subversive performance tool, a subject both Hennessy and Phelps see as particularly contentious in local identity-based art and academic discourse.

Among some notable returns from last year are Jesse Hewit, Laura Arrington, and Mica Sigourney, who as drag persona VyvvyAnne ForeverMore returns with another installment of her “Work MORE” series. Phelps describes the series, now in its third iteration, as “decentralizing drag out of nightlife bar culture and putting it into a contemporary art scene where it can be questioned and be challenged.” In this edition, Sigourney pairs drag queens with contemporary performance artists and challenges them to come up with a collaborative piece.

Of course, San Francisco has more than the average share of venues and platforms for queer art, so why is “Too Much!” not (despite the suggestion in the name) overkill?

“The Bay Area, obviously, is one of the gayest places on earth,” acknowledges Hennessy. “There are a number of different contexts for LGBT performers to work in. We looked at those and we tried to think of what doesn’t happen there? What if we did something, in a sense, more DIY? We don’t give a fuck what happens — we’re not going to pay anyone anyway. We’re just going to do this one day, organize it all ourselves, and if you want something different you can go somewhere else.”

Hennessy says they got a small grant this year that allows artists a modest remuneration. But the lack of institutional support or control, not to mention profit motive, combines neatly with a desire to include work that slips through the usual categories. “If we’re not beholden to anything, how much could we queer even the idea of an event?” he asks. “I think we’ve pulled [“Too Much!”] even further in the direction of messing with a simple theatrical structure. That means introducing people doing time-based work, or work that doesn’t fit into theatrical contexts for a variety of reasons.”

TOO MUCH!

Sun./23, 2 p.m.–midnight; $10

Dance Mission Theater

3316 24th St., SF

(800) 838-3006

www.brownpapertickets.com

SF’s new political era

31

news@sfbg.com

You can argue about what the word “progressive” means, and you can argue about the process and the politics that put Ed Lee in the Mayor’s Office. And you can talk forever about which group or faction has how much of a majority on the San Francisco Board of Supervisors, but you have to admit: this city has just undergone a significant political realignment.

Some of that was inevitable. The last members of the class of 2000, the supervisors who were elected in a rebellion against the sleaze, corruption, and runaway development policies of the Willie Brown administration, have left office. Gavin Newsom, the mayor who was often at war with the board and who encouraged a spirit of rancor and partisanship, is finally off to Sacramento. For the first time since 1978, the supervisors will be working with a mayor they chose themselves.

For much of the past 15 years, progressive politics was as much about stopping bad things — preventing Brown and then Newsom from wrecking the city — as it was about promoting good things. But the “politics of anti,” as San Francisco State political scientist Rich DeLeon describes is, wasn’t a central theme in the November elections, and this generation of supervisors comes into office with a different agenda.

Besides, one of the clear divisions on the board the past seven years was the Newsom allies against the progressives — something that dissipated instantly when Lee took over.

But the realignment goes deeper.

Until recently, the progressives on the board had a working majority — a caucus, so to speak — and they tended to vote together much of the time. The lines on the board were drawn almost entirely by what Newsom disparagingly calls ideology but could more accurately be described as a shared set of political values, a shared urban agenda.

There are still six supervisors who call themselves progressives, but the idea that they’ll stick together was shattered in the battle over a new mayor — and the notion that there’s anything like a progressive caucus died with Board President David Chiu’s election (his majority came in part from the conservative side, with three progressives opposing him) and with Chiu’s new committee assignments, which for the first time in a decade put control of key assignments in the hands of the fiscal conservatives.

 

A PROGRESSIVE MAJORITY?

The progressive bloc on the board was never monolithic. There were always disagreements and fractures. And, thanks to the Brown Act, the progressives don’t actually meet outside of the formal board sessions. But it was fair and accurate to say that, most of the time, the six members of the board majority functioned almost as a political party, working together on issues and counting on each other for key votes. There was, for example, a dispute two years ago over the board presidency — but in the end, Chiu was elected with exactly six votes, all from the progressive majority that came together in the end.

That all started to fall apart the minute the board was faced with the prospect of choosing a new mayor. For one thing, the progressives couldn’t agree on a strategy — should they look for someone who would seek reelection in November, or try to find an acceptable interim mayor? The rules that barred supervisors from voting for themselves made it more tricky; six votes were not enough to elect any of the existing members. And, not surprisingly, some of the progressives had mayoral ambitions themselves.

When state Assemblymember Tom Ammiano — who would have had six votes easily — took himself out of the running, there was no other obvious progressive candidate. And with no other obvious candidate, and little opportunity for open discussion, the progressives couldn’t come to an agreement.

But by the Jan. 4 board meeting, five of the six had coalesced around Sheriff Mike Hennessey. Chiu, however, was supporting Ed Lee, someone he had known and worked with in the Asian community and whom he considered a progressive candidate. And once it became clear that Lee was headed toward victory, Sup. Eric Mar announced that he, too, would be in Lee’s camp.

A few days later, when the new board convened to choose a president, the progressive solidarity was gone. Sups. David Campos, John Avalos, and Ross Mirkarimi, now the solid left wing of the board, voted for Avalos. Chiu won with the support of Mar, Sup. Jane Kim, and the moderate-to-conservative flank.

Now the Budget Committee — long controlled by a progressive chair and a progressive majority — will be led by Carmen Chu, who is among the most fiscally conservative board members. The Land Use and Development Committee will be chaired by Mar, but two of the three members are from the moderate side. Same goes for Rules, where Sup. Sean Elsbernd, for years the most conservative board member, will work with ideological ally Sup. Mark Farrell on confirming mayoral appointments, redrawing supervisorial districts, and promoting or blocking charter amendments as Kim, the chair, does her best to contain the damage.

You can argue that having independent-minded supervisors who don’t vote as a caucus is a good thing. You can also argue that a fractured left will never win against a united downtown. And both arguments have merit.

But you can’t argue any more that the board has the same sort of progressive majority it’s had for the past 10 years. That’s over. It’s a new — and different — political era.

What happens now? Will the progressives hold enough votes to have an influence on the city budget (and ensure that the deficit solutions include new revenue and not just cuts)? What legislative priorities will the supervisors be pushing in the next year? How will the votes shake out on difficult new proposals (and ongoing issues like community choice aggregation)?

Mayor Lee has pledged to work with the board and will show up for monthly questions. How will he respond to the sorts of progressive legislation — like tenant protections, transit-first policies, immigrant rights measures, and stronger affordable housing standards — that Newsom routinely vetoed?

How will this all play out in a year when the city will also be electing a new mayor?

 

IDENTITY POLITICS?

When Sups. Chiu, Mar, and Kim broke with their three progressive colleagues to support Chiu for board president — just as Chiu and Mar helped clear the path for Ed Lee to become mayor days earlier — it seemed to many political observers that identity had trumped ideology on the board. There’s some truth to that observation, but it’s too simple an explanation. There’s also the fact that Chiu strongly supported Kim, who is a personal friend and former roommate, in her election, so it’s no surprise she went with him for board president.

And the phrase itself is so laden with baggage and problems that it’s hard to talk about. It has come to signify a wide range of political activity and theorizing founded in the shared experiences of injustice of members of certain social groups. “Rather than organizing solely around belief systems, programmatic manifestoes, or party affiliation, identity political formations typically aim to secure the political freedom of a specific constituency marginalized within its larger context,” says the Stanford Encyclopedia of Philosophy, an ongoing research project by the students and faculty at Stanford University.

Although the notion of identity politics took hold during the social movements of the 1960s and ’70s — when liberation and organizing movements among women and various ethic and other identity groups fed a larger liberal democratic surge that targeted war, economic inequity, social injustice, and other issues — it’s also a political approach that has divided the populace.

“One of the central charges against identity politics by liberals, among others, has been its alleged reliance on notions of sameness to justify political mobilization,” says the Stanford Encyclopedia. “Looking for people who are like you rather than who share your political values as allies runs the risk of sidelining critical political analysis of complex social locations and ghettoizing members of social groups as the only persons capable of making or understanding claims to justice.”

Mar explains that the reality of identity politics and whether it’s a factor in the current politics at City Hall is far more complex.

“With me, David Chiu, and Jane Kim as a block of three progressive Asians — and I still define David Chiu as a progressive though I think some are questioning that — we all come out of what I would call a pro-housing justice, transit-first, and environmental sustainability [mindset],” Mar told us. “But I think because of our ethnic background and experiences, we may have different perspectives at times than other progressives.”

For example, Mar said, many working class families of color need to drive a car so they’ll differ from progressives who want to limit parking spaces to discourage driving. He also has reservations about the proposed congestion pricing fee and how it might affect low-income drivers.\

“I think often when progressive people of color come into office — Jane Kim might be one of the best examples — that sometimes there’s an assumption that her issues are going to be the same as a white progressive or a Latino progressive,” he said. “But I think kind of the different identities that we all have mean that we’re more complex.”

Campos, a Latino immigrant who is openly gay, noted that “as a progressive person of color, I have at times felt that the progressive movement didn’t recognize the importance of identity politics and what it means for me to have another person of color in power.”

But, he added, “I don’t think identity politics alone should guide what happens. A progressive agenda isn’t just about race but class, sexual orientation, and other things. It’s not enough to say that identity politics justifies everything.”

University of San Francisco political science professor Corey Cook told the Guardian that identity has always been a strong factor in San Francisco politics, even if it was overshadowed by the political realignment around progressive ideology that occurred in 2000, mostly as a reaction to an economic agenda based on rapid development and political cronyism.

“I’m not sure that identity wasn’t relevant, but it was swamped by ideology,” Cook told the Guardian. Now, he said, another political realignment seems to be occurring, one that downplays ideology compared to the position it has held for the last 10 years. “I’m not sure that ideology is dead. But the dynamics have definitely changed.”

Cook sees what may be a more important change reflected in Chiu’s decision to put the political moderates in control of key board committees. But he said that shift was probably inevitable given the difficulties of unifying the diverse progressive constituencies.

“It’s hard to hold a progressive coalition together, and it’s amazing that it has lasted this long,” he said.

There’s another kind of identity politics at play as well — that of native San Franciscans, who often express resentment at progressive newcomers talking about what kind of city this is, versus those who see San Francisco as a city of immigrants and ideas, a place being shaped by a wider constituency than the old-timers like to acknowledge.

“I’m honored to join Sups. Elsbernd and Cohen in representing the neighborhoods they grew up in,” Sup. Mark Farrell said during his opening remarks after being sworn in Jan. 8., sobbing when he thanked his parents for their support.

As he continued, he fed the criticism of the notion of ideology-based politics that has been a popular trope with Gavin Newsom and other fiscal conservatives in recent years, telling the crowd he wanted “to turn City Hall into a place based on issues and ideas, not ideology.”

Cohen also placed more importance on her birthright than on her political philosophy, telling stories about entering board chambers through the back door at age 16 when she was part of a youth program created by then-Mayor Frank Jordan, and with former Mayor Dianne Feinstein coming to speak at Cohen’s third-grade class. “I am a San Francisco native, and that is a responsibility I take seriously,” said Cohen, who graduated from the Emerge Program, which grooms women for political office,

“We will have another woman as president of the Board of Supervisors, and we will have a woman as mayor of San Francisco,” she added. And as the sole African American on the board, she also pledged, “I will be working to add more members of the African American community to the elected family of San Francisco.”

But what issues she plans to focus on and what values she’ll represent were unclear in her comments — as they were throughout her campaign, despite the efforts of journalists and activists to discern her political philosophy. In her public comments, her only stated goal was to build bridges between the community and City Hall and let decisions be guided by the people “not political ideologies.”

Oftentimes in recent San Francisco history, identity and ideology have worked in concert, as they did with former Sup. Harvey Milk, who broke barriers as the first openly gay elected official, but who also championed a broad progressive agenda that included tenants rights, protecting civil liberties, and creating more parks and public spaces.

Sup. Scott Wiener, shortly after being sworn into office, acknowledged the legacy of his district, which was once represented by Milk and fellow gay progressive leader Harry Britt, telling the crowd: “I’m keenly aware of the leadership that has come through this district and I have huge shoes to fill.”

Yet Wiener, a moderate, comes from a different ideological camp than Milk and Britt and he echoed the board’s new mantra of collaboration and compromise. “I will always try to find common ground. There is always common ground,” he said.

 

GETTING THINGS DONE?

Chiu is making a clear effort to break with the past, and has been critical of some progressive leaders. “I think it’s important that we do not have a small group of progressive leaders who are dictating to the rest of the progressive community what is progressive,” he said.

While he didn’t single out former Sup. Chris Daly by name, he does seem to be trying to repudiate Daly’s leadership style. “I think that while the progressive left and the progressive community leaders have had very significant accomplishments over the past 10 years, I do think that there are many times when our oppositional tactics have set us back.”

When Chiu was reelected board president, he told the crowd that “none of us were voted into office to take positions. We were voted into office to get things done.”

Some progressives were not at all happy with that comment. “I thought that was a terrible thing to say,” Avalos told the Guardian, arguing the positions that elected officials take shape the legislation that follows. As an example, he cited the positions that progressive members of Congress took in favor of the public option during the health care reform debate.

Talking about getting things done is “a sanctimonious talking point that fits well with what the Chronicle and big papers want to hear,” Avalos said. He said the Chronicle and other downtown interests are more interested in preserving the status quo and blocking progressive reforms. “It’s what they want to see not get done.”

Campos even challenged the comment publicly during the Jan. 11 board meeting when he said, “It’s important to get things done, but I don’t think getting things done is enough. We have to ask ourselves: what is it that we’re getting done? How is it that we’re getting things done? And for whom is it that we’re doing what we’re doing? Is it for the people, or the downtown corporate interests? I hope it’s not getting things done behind closed doors.”

Chiu said that, for him, getting things done is about expanding the progressive movement and consolidating its recent gains. “I think we all share a political goal. As progressives, we all share a political goal of getting things done and growing mainstream support for our shared progressive principles so that they really become the values of our entire city.”

To do that, he said, progressives are going to need to be more conciliatory and cooperative than they’ve been in the past. “I think it’s easy to slip into a more oppositional way of discussing progressive values, but I’m really pushing to move beyond that.”

The biggest single issue this spring will be the budget — and it’s hard to know exactly where the board president will draw his lines. “I have spoken to Mayor Lee about the need for open, transparent, and community-based budget processes and he’s open to that,” Chiu told us — and that alone would be a huge change. But the key progressive priority for the spring will be finding ways to avoid brutal budget cuts — and that means looking for new revenue.

When asked whether new general revenue will be a part of the budget solution, instead of Newsom’s Republican-style cuts-only approaches, Chiu was cautious. “I am open to considering revenues as part of the overall set of solutions to close the budget deficit,” he said. “I am willing to be one elected here that will try to make that argument.” But with his political clout and connections right now, he can do a lot more than be one person making an argument.

Chiu has always been open to new revenue solutions and even led the way in challenging the cuts-only approach to both the city budget and MTA budget two years in a row, only to back down in the end and cut a deal with Newsom. When asked whether things will be better this year given his closer relationship to Lee, Chiu replied, “I think things are going to be different in the coming months.”

During the board’s Jan. 7 deliberation on Lee, Sup. Eric Mar also said that based on his communications with Lee, Mar believed that the Mayor’s Office is open to supporting new revenue measures. He echoed the point later to us.

In addition to supporting the open, inclusive budget process, Mar called for “a humane budget that protects the safety net and services to the most vulnerable people in San Francisco is kind of the critical, top priority.

“I think it’s going to be difficult working with the different forces in the budget process,” he added. “That’s why I wish it could have been a progressive who was chairing the budget process.”

Mar said progressive activism on the budget process is needed now more than ever. “The Budget Justice Coalition from last year I think has to be reenergized so that so many groups are not competing for their own piece of the pie, but that it’s more of a for-all, share-the-pain budget with as many people communicating from outside as possible, putting the pressure on the mayor and the board to make sure that the critical safety net’s protected.”

 

CUTS WILL BE CENTER STAGE

But major cuts — and the issue of city employees pay and benefits — will also be center stage.

At the board’s Jan. 11 meeting, before the supervisors voted unanimously to nominate Lee as interim mayor, Sup. Elsbernd signaled that city workers’ retirement and health benefits will once again be at the center of the fight to balance the budget.

Elsbernd noted that in past years he was accused of exaggerating the negative impacts that city employees’ benefits have on the city’s budget. “But rather than being inflated, they were deflated,” Elsbernd said, noting that benefits will soon consume 18.14 percent of payroll and will account for 26 percent in three years.

“Does the budget deficit include this amount?” he asked.

And at the after-party that followed Lee’s swearing-in, Public Defender Jeff Adachi, who caused a furor last fall when he launched the ill-considered Measure B, which sought to reform workers’ benefits packages, told us he is not one to give up lightly.

“We learned a lot from that,” Adachi said. “This is still the huge elephant in City Hall. The city’s pension liability just went up another 1 percent, which is another $30 million”

Chu agreed that worker benefits would be a central part of the budget-balancing debate. “Any conversation about the long-term future of San Francisco’s budget has to look at the reality of where the bulk of our spending is,” she said.

Avalos noted that he plans to talk to labor and community based organizations about ways to increase city revenue. “I’m going to work behind the scene on the budget to make sure the communities are well-spoken for,” Avalos said, later adding, “But it’s hard, given that we need a two-thirds majority to pass stuff on the ballot.”

Last year, Avalos helped put two measures on the ballot to increase revenue: Prop. J, which sought to close loopholes in the city’s current hotel tax and asked visitors to pay a slightly higher hotel tax (about $3 a night) for three years, and Prop. N, the real property transfer tax that slightly increased the tax charged by the city on the sale of property worth more than $5 million.

Prop. N should raise $45 million, Avalos said. “I’ve always had my sights set on raising revenue, but making cuts is inevitable.”

 

THE IDEOLOGY ARGUMENT

Newsom and his allies loved to use “ideology” as a term of disparagement, a way to paint progressives as crazies driven by some sort of Commie-plot secret agenda. But there’s nothing wrong with ideology; Newsom’s fiscal conservative stance and his vow not to raise taxes were ideologies, too. The moderate positions some of the more centrist board members take stem from a basic ideology. Wiener, for example, told us that he thinks that in tough economic times, local government should do less but do it better. That’s a clear, consistent ideology.

For much of the past decade, the defining characteristic of the progressives on the board has been a loosely shared urban ideology supported by tenants, immigrant-rights groups, queer and labor activists, environmentalists, preservationists, supporters of public power and sunshine and foes of big corporate consolidation and economic power. Diversity and inclusiveness was part of that ideology, but it went beyond any one political interest or identity group.

It was often about fighting — against corruption and big-business hegemony and for economic and social equality. The progressive agenda started from the position that city government under Brown and Newsom had been going in the wrong direction and that substantive change was necessary. And sometimes, up against powerful mayors and their well-heeled backers, being polite and accommodating and seeking common ground didn’t work.

As outgoing Sup. Daly put it at his final meeting: “I’ve seen go-along to get along. If you want to do more than that, if you think there’s a fundamental problem with the way things are in this world, then go-along to get along doesn’t do it.” When Chiu announced that the new progressive politics is one of pragmatism, he was making a break from that ideology. He was signaling a different kind of politics. He has urged us to be optimistic about the new year — but we still don’t know what the new agenda will look like, how it will be defined, or at what point Chiu and his allies will say they’ve compromised and reached out enough and are ready to take a strong, even oppositional, stand. We do know the outcome will affect the lives of a lot of San Franciscans. And when the budget decisions start rolling down the pike, the political lines will be drawn fairly clearly. Because reaching across the aisle and working together sounds great in theory — but in practice, there is nothing even resembling a consensus on the board about how the city’s most serious problems should be resolved. And there are some ugly battles ahead.

Hot sexy events: January 12-18

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Historically speaking, it’s good to be a geek. Think about it – has any era in history more readily rewarded those whose aptitudes shine in the areas of minutiae and social awkwardness? Thanks to the Internet, every geek has an audience – and thanks to the Internet there’s the Internet, a land where technological know-how gets you feature film bio-flicks and material fortune beyond your wildest science fiction fantasies. Basically, geeks get laid these days. Definitely prime time for Bawdy Storytelling to hold an evening of live show-and-tell entitled “Sex Wonk,” (Weds/12) wherein those who are super gungho about the old in-and-out can revel in their geekiness – and that Star Trek hand sign takes on new levels of perversion.

 

“A Penis Show”

Jack Davis crochets penis. Neither more nor less – the artist has whipped up hundreds, if not thousands of the little fellers since his first show upon graduating college. Thanks to his work, you can surround yourself with colorful, crochet cock and balls at Magnet, the free sexual health center in the Castro – take one home to make your apartment walls stand a little more erect. It’ll look great with your ’70s porn pillows!

Through Jan. 31 

Magnet 

4122 18th St., SF

(415) 581-1600

www.magnetsf.org


Bawdy Storytelling: Sex Wonk

The featured guests at this month’s sharing-is-caring story series include Sarah Dopp, eminent webmaster for the transgendered community, engineers, sex educators, and the good people from SF Sex Information, who will be on hand to answer all your pleasantly nerdy queries on boning in between the witty, touching, and downright blush-inducing stories from all the speakers. 

Weds/12 8 p.m., $10

The Blue Macaw

2565 Mission, SF

www.bawdystorytelling.com


Invasion: A Queer Takeover of the Citadel

The Citadel sheds all signs of straightness for a night: hosts Asher and Char preside over an evening of gay, lesbian, bisexual, pansexual, fag, dyke, leatherman, leatherwoman, butch, femme, transgender, transsexual, and genderqueer-styled BDSM debauchery. Added bonus: for all you cheap queers, members are invited to volunteer for an hour at the event and get in gratis.  

Fri/14 8 p.m.-1 a.m., $25 members only

SF Citadel 

1277 Mission, SF

(415) 626-2746

www.sfcitadel.org


SF Spanking Society Munch

Do you ever attend BDSM munches and feel, well, a little soft core? Is all you really want a good spank (or ass to spank)? This is the get-together for you then, cause all that’ll be on the table are the possibility of red cheeks and the probability of kinky conversation. 

Sat/15 noon-2 p.m., free

The Thirsty Bear 

661 Howard, SF

www.soj.org/calendar


Heavy Petting Zoo

Surely this month’s Kinky Salon dress-up swinger’s ball has a theme that most SF weirdos can get down on: the furry, feathery, bescaled kingdom of animalia. Everyone has some kitty cat ears or frog-hued face paint lying around the house, don’t they? And even if you don’t, you can still get your bootie on: swipe your buddy’s denim overalls and viola! You, sir, are a farm hand. Now get to milking that cow.

Sat/15 10 p.m.-late, $30-35 members only

Mission Control 

2519 Mission, SF

www.missioncontrolsf.org


Bedroom Body Moves

Y’know all those classes that are the rage with your racy Aunt Carol in Modesto, the pole dance for exercise courses? Those things are all over the place. But what the hell, why strip for the caloric exodus? Seems silly when you could instead take it all off to get your partner off, amiright? Leaving aside all questions of “staying in shape,” then, we present to you this course, which focuses on the simple act of clothes removal and its seductive powers (especially when you’re sitting on someone’s lap). 

Tues/18 6-8 p.m., $20-25

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com

 

On the Cheap

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

WEDNESDAY 12
How to Build Guitars Bazaar Cafe, 5927 California, SF; (415) 831-5620, www.julianagallin.com/howto. 7pm, free (food and drink purchase encouraged). Rickenbacker 12-string electric guitar lover, Mario DeSio, who began making his own damn guitars — by consulting the internet, no less — when his guitar-buying budget was slashed, will share his humble beginnings, experiences, tools, and finished (as well as unfinished) products. Afterwards, you may not be able to add “luthier” to your resume, but maybe you’ll become inspired by this DIY night.

THURSDAY 13
“The Journey That Saved Curious George” Contemporary Jewish Museum, 736 Mission, SF; (415) 655-7800, www.thecjm.org. 7pm, free with regular museum admission or $5 after 5pm. Experience the stranger-than-fiction journey of Margaret and H.A. Rey, the creators of Curious George, as they escape Paris from the Nazis on homemade bicycles, take a train ride across Europe, and finally a boat to America. Louise Borden, who wrote the book Curious George Saves the Day: The Art of Margaret and H.A. Rey, tells the story with an illustrated discussion and a book signing to follow — after which you will surely want to cuddle up with a sweetheart and read Curious George by the fire, er, space heater.

FRIDAY 14
Bitches Brew Park Life, 220 Clement, SF; (415) 386-7275, www.parklifestore.com. 7pm, free. A good art opening is always a great alternative to spending wads of cash on a Friday night. The possibilities of free or cheap booze and cool stuff always aim to please, and when there’s a rad band thrown in to the mix, you can’t go wrong. This Friday, check out new works from Kelly Tunstall, Marci Washington, Aiyana Udesen, Hellen Jo, and Rebecca Ebeling with special musical performance by Oakland’s Wax Idols

SATURDAY 15
Queer Porn TV Launch Party Lexington Club, 3464 19th St., SF; (415) 863-2052, www.lexingtonclub.com. 9pm, free plus with drink purchase. Celebrate the launch of QueerPorn.TV, a new queer porn site, with drinks, dancing, and general all-around debauchery. Hosted by queer porn icon Courtney Trouble and porn star Tina Horn. DJs Booty Klap (Party Hole) and Jean Jamz (Party Hole, Ships In The Night) will getcha rumps shakin’, and a special performance from porn star Maggie Mayhem should no doubt be the icing on the proverbial cake.

SUNDAY 16
Scott Alexander solo performance RockIt Room, 406 Clement, SF, (415) 387-6343, www.rock-it-room.com. 8pm, free. Brooklyn expatriate Scott Alexander, a.k.a. “Cookie Man,” is that guy you may have seen recently around town hanging out on an inflatable couch while passing out free cookies. Well, he’s a Californian now and wants to make friends – and to do that he will be singing songs, passing out more cookies and, oh yes, bacon. All bases are covered here guys, regardless of whether your thing is off-beat, comedic pop music, cruelty-free baked goods, or fried pig ass.

MONDAY 17
MLK Day of Service Contemporary Jewish Museum, 736 Mission, SF; (415) 752-2483,  www.thecjm.org, www.norcalmlk.org/2011. 11am – 5pm (art poem activity from 1-3pm), free. Yerba Buena Center for the Arts and Yerba Buena Gardens’ sponsor a day of egalitarian activities: a march starting from the park’s MLK memorial, a fair offering free family health services, a children’s reading festival, and the Contemporary Jewish Museum will be open free to the public. Whew! See website for events schedule.

MoAD MLK Day Celebration Museum of the African Diaspora, 685 Mission, SF; (415) 358-7200, www.moadsf.org, www.norcalmlk.org/2011. 11am-6pm, free. MoAD invites the public to enjoy a day at the museum free of charge – and to celebrate MLK’s dream, they’ve got a full slate of community-empowering activities planned. There’s a college fair of historically African-American schools from around the country, live Afro-Cuban music, chalk drawing outside the museum, MLK film screenings, and even a live jewelry-making demonstration and sale. See website for events schedule.

The Performant: Do you SQUART?

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Let it be resolved, improv-based speed-playwriting competitions involving queer performance artists, cake, fabulous spandex, atrocious wigs, adult diapers, bare bums, wind-up hamsters, and flasks of whiskey should always be bestowed a title which sounds like an uncouth bodily function. Because at the very least it leads to the humorous speculation of what particular bodily function that might be. Though hopefully your attention will mostly be on the crazed mish-mash unfolding onstage, because queer performance artists armed with cake, fabulous spandex, and all the rest, put on quite a show.

Or at any rate, they did at the one-year anniversary SQUART, which graced the SOMARTS stage on Sun/9. Conceptualized by Laura Arrington and co-produced by The Offcenter and SOMArts, Spontaneous Queer Art invites participants to create ensemble pieces in two hours abiding by specific criteria, and present the finished piece to a panel of local “celebrity judges”. This season’s theme was New Queer Baby, so the criteria included counting down, making resolutions, and giving birth. Pregnant themes, if you will, and ripe for interpretation.
 
After an awkwardly-timed round of oddience participation, the first of four groups took the stage, dressed to dazzle in glittering tops, tiaras, and a sparkling, assless jumpsuit. After a series of sketches: the birth of a hamster, a needy girl at a party, an impassioned singalong to “If I Could Turn Back Time,” they regrouped to devise a list of non-traditional New Year’s resolutions such as “I need more excessive celebration in my life,” and “I need to find a way to make more money.” Fun stuff, but group number two quickly eclipsed their joie de avenir with a strikingly confrontational piece that traded in “fear, loathing, and ecstasy”. Dressed in diapers and trailer-park drag, the group spent a good portion of the show compulsively adding to the layers of garbage strewn about the stage — condoms, salt, champagne, crumpled paper, shopping bags, a tank of helium — while from the oddience a belligerent “heckler” (Philip Huang) kept interrupting their banal patter with a volley of insults, and deliberately annoying behaviors such as pacing around the room, and throwing his chips at the judges. A climactic moment involving another singalong and a half-naked performer (Michael Velez) being pushed around the stage on the back of a
dumpster screaming “I’m God” to the apathetic masses was the most visually interesting tableau of the whole evening.
 
The exceptional cohesion of the winning group doubtlessly pushed them to the top, points-wise. A woman (Loren Robertson) with a microphone sat on the edge of the stage singing “100 Bottles of Beer” as the rest of the group enacted a fully-clothed orgy which resulted in the birth of one very naked man. Brought to Loren, his head in her lap, he began to nurse at her breast while she continued to sing. This scenario repeated itself variously, while the rest of the cast danced the Hora, and attended a “dance class” in spandex, until there were four wriggling, naked bodies attached to Loren and no more bottles of beer on the wall. Her world-weary acceptance combined with the boundless enthusiasm of her “babies” and the dancers was strikingly nuanced.

A great example of how “spontaneous” doesn’t have to mean “sloppy”, and makes me think SQUARTing more in the New Year could be a resolution worth sticking to.

Historic mayoral vote followed a flawed process

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Ed Lee would be San Francisco’s first Chinese-American mayor right now – if Mayor Gavin Newsom wasn’t delaying his swearing in as lieutenant governor. And Lee might also have had 10 votes on the Board of Supervisors on Tuesday, as he had today, if the process hadn’t involved backroom deals and moderate, lame-duck supervisors kowtowing to the outgoing mayor. In other words, this historic occasion just didn’t need to be sullied the way it was this week.
There was real jubilation at City Hall when I left there a few minutes ago, and for good reason, even though today’s vote will have to be repeated by the new board after Newsom officially resigns. “This is a historic moment for the Chinese-American community,” Board President David Chiu told a packed board chambers, calling it, “a community that has struggled, a community that has seen discrimination.”
Chiu braved the taunts of Sup. Chris Daly and some progressive activists for supporting Lee on Tuesday, steadfastly maintaining that Lee is progressive and the best candidate for this job, despite his five progressive colleagues voting for Sheriff Michael Hennessey. And Lee does have progressive roots and support, as the progressive supervisors have attested publicly.
Once the progressive supervisors were given the chance to talk to Lee – whose openness to accepting the nomination came out of nowhere, reportedly at the urging of Chinatown power broker Rose Pak and former Mayor Willie Brown – all but Daly voted to support Lee.
Yet all of them also publicly noted how the process was deeply flawed and contrary to progressive principles of openness and accountability. “I have questions about the process and how we got to this point,” Sup. John Avalos said before announcing his support for Lee based on a half-hour telephone conversation yesterday (Lee has been in China through his public consideration as interim mayor).  
Sup. David Campos said he nominated Hennessey as a compromise caretaker mayor based on the representation from Newsom that he was acceptable and after being told by Sup. Bevan Dufty that he would support Hennessey. Instead, Dufty refused to vote until calling for a recess and marching down to the Mayor’s Office on Tuesday, returning to be the swing vote for Lee.
“I’m very disappointed in the way this process has gone down,” Campos said, adding that Hennessey “did not deserve the kind of treatment he received.” Sups. Ross Mirkarimi and Eric Mar echoed the point, with Mirkarimi saying he still doesn’t understand why Dufty flipped or what happened when he went to visit the Mayor’s Office.
Through the whole hearing, Dufty – a candidate for mayor himself – didn’t say a word. At one point, he even started clearing out his desk in Board Chambers, throwing away recycled papers and filling a big envelope full of paper clips. He didn’t stick around the hallway for the celebration that he helped enable, instead going straight into his office, where I found him and asked for a reaction to his colleagues’ questioning of his motives and integrity.
“My actions speak for themselves,” was all Dufty would say.
Perhaps they do, but even Lee’s strongest supporters acknowledged that the process of picking him was flawed. “Part of the problem was Ed’s because he couldn’t make up his mind,” Rev. Norman Fong told the Guardian. “The process was bad.”
Without a public discussion or the ability of reporters or supervisors to talk to Lee, Fong acknowledged why some progressives worried that a deal had been cut to continue with Newsom’s policies and personnel. “Some people were concerned about who he’ll listen to,” Fong said, but he said, “I’ve fought with Ed Lee and I know his heart…He’ll do the right thing.”
Gordon Chin of Chinatown Community Development Center said he has worked closely with both Lee and Hennessey and both would have been good interim mayors, and he said this should not have been a partisan fight. “Who nominated Mike Hennessey as the nominee of all of progressive San Francisco?” Chin asked, noting that few progressive constituencies were consulted on the choice or offered their buy-in.
Yet he also acknowledged the unseemly way in which Lee came out of nowhere to get the nomination, with little public vetting, “If Ed was out there a week earlier, it would have been a lot better. It was a flawed process,” Chin said.
So flawed that Daly and many progressive activists are still smarting about what happened and wary of what kind of mayor Lee will be. “No more backroom deals,” queer activist and blogger Michael Petrelis repeatedly shouted at Rose Pak as she was being interviewed outside board chambers.
But Fong just shrugged and told me, “There’s backroom deals on the left too.”

Music Listings

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Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 5

ROCK/BLUES/HIP-HOP

Artwork Jamal Biscuits and Blues. 8 and 10pm, $15.

Funky C Elbo Room. 9pm.

Slim Jenkins, Swamp Angel Café Du Nord. 9:30pm, $7.

Ohio Players Yoshi’s San Francisco. 8 and 10pm, $25-35.

Ash Reiter, Pentacles, Thralls Hemlock Tavern. 9pm, $6.

JAZZ/NEW MUSIC

Gaucho, Michael Abraham Amnesia. 7pm, free.

Michael Parsons Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes. Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Red Wine Social Triple Crown. 5:30-9:30pm, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 6

ROCK/BLUES/HIP-HOP

Death Valley High, I’m Dirty Too Knockout. 9pm, $5.

Havarti Party, Buffalo Tooth, PM, Maston Stud. 8pm, free.

Doug MacLeod Union Room at Biscuits and Blues. 8 and 10pm, $12.

Megafauna, Suite Unraveling, Quinn Hemlock Tavern. 9pm, $6.

Ohio Players Yoshi’s San Francisco. 8 and 10pm, $25-35.

Oona, Con Brio, Karyn Page Bottom of the Hill. 9pm, $8.

Titan Ups, Wicked Mercies, Franco Nero, DJ Dr. Scott Café Du Nord. 8pm, $12.

Verna Beware, Danvilles, Nervous Wreckords Thee Parkside. 9pm, $7.

Jimmy Warren Biscuits and Blues. 8pm, $18.

JAZZ/NEW MUSIC

Chris Clark Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Loe and the Nastys Red Poppy Art House. 7pm, $10-15.

Valerie Troutt Jazz and Soul Quartet Coda. 9pm.

FOLK/WORLD/COUNTRY

Dark Hollow Band Atlas Café. 8pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Electric Feel Lookout, 3600 16th St, SF; www.fringesf.com. 9pm, $2. Indie music video dance party with subOctave and Blondie K.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With resident DJs Haylow, A-Ron, Prince Aries, Boogie Brown, Ammbush, plus food carts and community creativity.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Holy Thursday Underground SF. 10pm, $5. Bay Area electronic hip hop producers showcase their cutting edge styles monthly.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene Rickshaw Stop. 9pm, $18. With Blaqk Audio.

Studio SF Triple Crown. 9pm, $5. Keeping the Disco vibe alive with authentic 70’s, 80’s, and current disco with DJs White Girl Lust, Ken Vulsion, and Sergio.

FRIDAY 7

ROCK/BLUES/HIP-HOP

BlackMahal, Afrolicious, DJ Timoteo Café Du Nord. 9pm, $10.

James Intveld, Red Meat Independent. 9pm, $14.

Monkey, Rule 5 DNA Lounge. 9pm, $10.

Jackie Payne Biscuits and Blues. 8 and 10pm, $20.

Phenomenauts, Tornado Rider, Manzanita Rickshaw Stop. 8pm, $12.

Slowburn, Planting Seeds, Ben Benkert Band, Aspect Slim’s. 9pm, $11.

Soft White Sixties, Trophy Fire, Bird By Bird, Beta State Great American Music Hall. 8pm, $11.

Space Vacation, Gypsyhawk, Green and Wood Hemlock Tavern. 9:30pm, $7.

Velvet Teen, Silian Rail, Low-five Bottom of the Hill. 10pm, $12.

JAZZ/NEW MUSIC

Musical Art Quintet Red Poppy Art House. 8pm, $10.

“San Francisco Tape Music Festival” Southside Theater, Fort Mason Center, Bldg D, Bay at Buchanan, SF; www.sfsound.org. 8pm, $8-15.

FOLK/WORLD/COUNTRY

Michael Winegard Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

DANCE CLUBS

Braza! Som.10pm, $10. With DJs Vanka, Elan, and Caasi.

Deeper 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With rotating DJs spinning dubstep and techno.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics. Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Original Plumbing: Fashion Elbo Room. 10pm, $5. Fashion show with DJs Rapid Fire and 100 Spokes.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Strangelove Cat Club. 9:30pm, $6. “Back to School Night” with old school vs. new school goth and DJs Tomas Diablo, Bryan Hawk, Melting Girl, and Daniel Skellington.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 8

ROCK/BLUES/HIP-HOP

ArnoCorps, Judgement Day, A Band of Orcs Slim’s. 9pm, $14.

Blisses B, Moonlight Orchestra, Vandella Bottom of the Hill. 10pm, $10.

Blvd, Pink Mammoth Independent. 9pm, $15.

Communist Kayte, Basements Thee Parkside. 3pm, free.

Flash Gilmore and the Funbeatles, Lance Burden, Chineke, Organ Trail Kimo’s. 9pm, $7.

Melvins Great American Music Hall. 8pm, $21.

Radishes, Hounds and Harlots, Weekender Hemlock Tavern. 9:30pm, $6.

E.C. Scott Biscuits and Blues. 8 and 10pm, $20.

Walken, Cutthroats 9, Moses El Rio. 10pm, $7.

JAZZ/NEW MUSIC

Pete Cornell Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Patrick Wolff Quintet Red Poppy Art House. 8pm, $10-15.

“San Francisco Tape Music Festival” Southside Theater, Fort Mason Center, Bldg D, Bay at Buchanan, SF; www.sfsound.org. 8pm, $8-15.

FOLK/WORLD/COUNTRY

Ramblin’ Jack Elliott Noe Valley Ministry, 1021 Sanchez, SF; www.noevalleymusicseries.com. 8:15pm, $22.

Whisky Richards, 77 El Deora, Bootcuts, Songs Hotbox Harry Taught Us Café Du Nord. 9pm, $13.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Bootie DNA Lounge. 9pm, $6-12. Mash-ups with Adrien and Mysterious D.

Bowie and Elvis Birthday Bash Edinburgh Castle Pub. 9pm, $5. With DJs Shindog, Skip, and special guests.

Cockblock Rickshaw Stop. 10pm, $7. Queer dance party for homos and friends with DJ Nuxx and guests.

Fire Corner Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.

Frolic Stud. 9pm, $3-7. DJs Dragn’Fly, NeonBunny, and Ikkuma spin at this celebration of anthropomorphic costume and dance. Animal outfits encouraged.

Hacienda Deco Lounge, 510 Larkin, SF; www.decosf.com. 10pm, free. Underground dance music with Inqilab and Tristes Tropiques plus guest Tal Klein.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip-hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Spotlight Siberia, 314 11th St, SF; (415) 552-2100. 10pm. With DJs Slowpoke, Double Impact, and Moe1.

Tormenta Tropical vs. Donuts Rickshaw Stop. 10pm, $5-10. With Teengirl Fantasy, Pictureplane, Disco Shawn, Oro11, and Pickpocket.

SUNDAY 9

ROCK/BLUES/HIP-HOP

Jake Bellows, Whispertown, Heather Porcaro and the Heartstring Symphony Hotel Utah. 8pm, $8.

Grass Widow, Babies, White Fence Hemlock Tavern. 9pm, $7.

Swann Danger, Bellicose Minds Knockout. 8pm, $6.

JAZZ/NEW MUSIC

“San Francisco Tape Music Festival” Southside Theater, Fort Mason Center, Bldg D, Bay at Buchanan, SF; www.sfsound.org. 8pm, $8-15.

FOLK/WORLD/COUNTRY

Afro Lungs Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

*Willie Nelson Fillmore. 8pm, $55.

West Coast Ramblers Thee Parkside. 4pm, free.

DANCE CLUBS

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Maneesh the Twister, and guest Sake1.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 10

ROCK/BLUES/HIP-HOP

Champagne Champagne, Mad Rad, C U Next Weekend, Moe Green Elro Room. 9pm, $8-10.

Foreign Objects, Neocon, Sydney Ducks Hemlock Tavern. 8pm, $5.

JAZZ/NEW MUSIC

Lavay Smith Swinget with Jules Broussard Enrico’s, 504 Broadway, SF; (415) 982-6223. 7pm, free.

FOLK/WORLD/COUNTRY

Toshio Hirano Amnesia. 9pm, free.

*Willie Nelson Fillmore. 8pm, $55.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 11

ROCK/BLUES/HIP-HOP Ex Masheena, Baysic Wonder, Stork Biscuits and Blues. 9pm, $8. Fat Tuesday Band Biscuits and Blues. 8 and 10pm, $15. Rooftop Vigilantes, Primary Structures, Freddi and the Aztecs Hemlock Tavern. 9pm, $6. Roomful of Blues Yoshi’s San Francisco. 8pm, $30. Sweet Chariot, Sparrows Gate, Montra, Nico’s Georis, Matt Baldwin Slim’s. 8pm, $5. FOLK/WORLD/COUNTRY *Willie Nelson Fillmore. 8pm, $55. JAZZ/NEW MUSIC Nick Culp Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. DANCE CLUBS Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ Aesop Dekker and DJ Denim Yeti. Bombshell Betty and Her Burlesqueteers Elbo Room. 9pm, $10. With Fromagique. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Fashion Feud Rickshaw Stop. 7pm, free. With designers Crystal Hermann and Mary M. Yanez. Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx.<\! *

The 2010 Lamebow Awards

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marke@sfbg.com

I’m sorry. I was totally going to rundown all the most drag-queen-slappingiest moments of the incredibly homo-fixated year that was 2010. But then I thought, “Wait a minute! If I know so much about the gays, doesn’t that mean people will know that I’m gay? I can’t possibly come out — I don’t even have a book deal yet! Goddess damn you, Ricky Martin, for setting the bar so high. Nor do I have a book deal AND an autobiographical country record release date! Gee thanks, Chely Wright! (But also, thank you for one-upping Ms. Martin.)”

Anyway, that was a really long thought for me. So let’s just award those two a couple of nice, shiny, Degeneres-shaped 2010 Lamebows for Best Commercial Coming Out and move on. I’m queer, I’m here, I don’t have an agent, oh well. Speaking of commercial outings, let’s lob a Lamebow, too, at Richard Chamberlain, who helped pioneer the apparently lucrative form in 2003 with his autobiography Shattered Love (!). In December, he warned famous actors to stay in the closet because of persistent Hollywood homophobia. Way to monopolize, Dicky! Also: did you know that the most flamboyant cast member of Will and Grace is light and loafy? Shocking. A Lamebow to you, Sean Hayes, for coming out this year and finally putting our frantic speculation to rest at last.

The year 2010 was also when we learned that it only took six horrific teen suicides being reported in one month to remind old gay people that there are young gay people, and that being a young gay person is pretty damn tough. I have no idea how old gay people forgot this, considering several of them must have been young once, but I suspect something involving tiny dogs and/or tribal tattoos. Our major response to deadly homophobic bullying? Just deal with it, twerps. Sure, the “It Gets Better” campaign was wonderful as a high school survivor support group, a risk-free youth outreach effort, and proof that us olds knew how to work the YouTube. But the underlying message — “Don’t bother trying to change the world. One day you can move somewhere you’ll feel normal like us!” — was awfully regressive. We didn’t even have to leave the comfort of the Internet to feel like we did a little something. Shoulder pat! Still, like the obituaries, it was a rare chance to hear non-celebrity gay people’s personal stories, so there’s that.

Finally, a big, sparkly Lamebow must be parachuted in to the numbskulls who thought repealing “don’t ask, don’t tell” was such a splendid idea. Yes, I feel sorry for people who have to lie to serve. And I’m not pissed off because now my hot gay ass can get drafted. I love Canada, it’s full of bears. No, I’m pissed because the successful repeal has probably ruined gay military porn forever. Look, there’s a very good reason why no porn is set in foofy gay bars with a tranny lipsyncing Lady Gaga in the background. Gays only like gay porn that has next to zero possibility of actual gay-acting people appearing in it. Now I have to worry that I’ll pop in my copy of Assghanistan: Taking Kabul by the Horns or Packin’ Stan: Assghanistan II and some Mary in fatigues will prance out a Katy Perry number with her bunkmates, sigh. Thanks a lot, America.

Our Weekly Picks: December 29, 2010-January 4, 2011

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WEDNESDAY 29

STAGE

John Oliver

Emmy-award winning writer and comedian John Oliver has lent a familiar Dickens-esque face to American TVs since he began his role as the senior British correspondent on Comedy Central’s The Daily Show in 2006. In addition to a large body of satirical news work overseas that you don’t care about, he is a regular on NBC’s Community and had a role in 2008’s The Love Guru, which was not his fault. To this day, and as a credit to his commitment to dry humor, he insists on telling every joke with a funny English accent. (Ryan Prendiville)

Wed/29-Thurs/30 and Sat/1, 8 p.m. (also Sat/1, 10:15 p.m.);

Fri/31, 7 and 9:45 p.m., $35.50–$60.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

 

THURSDAY 30

MUSIC

San Francisco Chamber Orchestra

Bottoms Up! is a series of free concerts around the Bay Area featuring 17-year-old internationally renowned cellist Nathan Chan. Chan made his debut at the age of three conducting the San Jose Chamber Orchestra. Although he has grown a bit since then, his prodigious musical ability remains intact. Chan joins bassist Michel Taddei and the rest of the San Francisco Chamber Orchestra in selections by Mozart, Jon Deak, and Tchaikovsky. Advanced reservations are strongly recommended. (Emmaly Wiederholt)

Through Jan. 3

Tonight, 5:30 p.m., free (check website for complete schedule)

Intercontinental Hotel

888 Howard, SF

www.sfchamberorchestra.org

 

MUSIC

Primus

What could be better than catching one of the two upcoming Primus shows to close out your 2010? How about seeing a run through of the classic 1991 album, Sailing the Seas of Cheese? The album, which first introduced a mainstream audience to Les Claypool’s bizarrely innovative bass playing and the band’s self-described brand of “psychedelic polka,” will be performed front-to-back. And just to add to the nostalgia, Jay Lane, one of the band’s original drummers, will be joining in for the first time since 1989. The novelty of the “band playing its classic album” craze might be wearing off a tad, but it’s tough to argue with this one. (Landon Moblad)

With the Residents

Thurs/30–Fri/31, 8 p.m., $42.50

Fox Theater

1807 Telegraph, Oakl.

(510) 302-2277

www.thefoxoakland.com

 

MUSIC

MarchFourth Marching Band

We here at the Guardian are collecting predictions for wonderful (only wonderful) things that will occur in 2011. Let me kick off the convo with an easy lay-up: the continued resurgence of vaudevillian entertainment. The thrift store baroque aesthetic of SF’s circus-burlesque-klezmer whorl has also been fermenting in darkly fantastic corners about the country — and happily, the hobohemians love to tour! MarchFourth Marching Band is one of the O.G.s of this scene, having burst onto (and off of) Portland, Ore., stages in their full be-stilted, brass band flag-twirling fury back in 2003. Let them blast you into your end of the year orbit with 360 degrees of their wily, high-stepping ways. (Caitlin Donohue)

With Bodice Rippers and DJ Shawna

9 p.m., $17

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

FRIDAY 31

PERFORMANCE

BATS Imrov’s New Year’s Eve Special

Both a school and a professional company, BATS Improv is the most awarded, largest, and longest-running improvisational theater group in Northern California. Join BATS this New Year’s Eve to usher in 2011 with a hilarious comedy improv show followed by an after-party complete with tasty snacks and a beer-wine-champagne bar. One complimentary beverage comes with admission. The cast, which includes John Remak, Kasey Klemm, Kimberly MacLean, Rafe Chase, Regina Saisi, and Tim Orr, will perform a variety of scenes and songs inspired by (and possibly even including) members of the audience. What better way to begin 2011 than with laughter and good cheer? (Wiederholt)

Fri/31, 8 p.m., $40

Bayfront Theater

Fort Mason Center, Marina at Laguna, SF

(415) 474-6776

www.improv.org

 

EVENT

Vampire Tour of San Francisco

You’ll probably wake up with marks all over your neck anyway — you might as well have a good excuse for how they got there. Before 2011’s first fling vacuum-sucks your neck into the new year, head over to what is possibly the only event in SF that doesn’t increase ticket prices by 200 percent just because it’s the 31st: Mina Harker’s vampire tour. A self-proclaimed convert by none other than Count Dracula himself back in 1897, Harker now flits about Nob Hill sharing facts from our city’s long involvement with enterprising ghouls of her ilk. A fangtastic early evening plan, particularly if you like biters. (Donohue)

8–10 p.m., $15–$20

Departs from corner of California and Taylor, SF

(650) 279-1840

www.sfvampiretour.com

 

MUSIC

Chris Isaak

Contemporary crooner Chris Isaak really needs no introduction to Bay Area music fans — the longtime San Francisco resident has been performing his retro-rockabilly tinged tunes for more than 25 years now, scoring a multitude of hit singles along the way. It’s only fitting that he come back home to help ring in the New Year here with a gig that promises to be one hell of a party. There should be enough up tempo rockers like “Gone Ridin'” to keep the guys happy and plenty of hauntingly beautiful love ballads sure to make the ladies swoon — “Wicked Game” ought to do nicely as the soundtrack for that first tender New Year’s kiss. (Sean McCourt)

9 p.m., $99

Fillmore

1805 Geary, SF

(415) 346-6000

www.livenation.com

 

PERFORMANCE

“The Marga Gomez New Year’s Eve Spectacular”

Not for nothing is Marga Gomez known as “San Francisco’s queer queen of New Year’s Eve.” For the past seven years, she’s performed at Theatre Rhinoceros’ popular Dec. 31 extravaganza. But the whip-smart, no-holds-barred comedian and playwright has announced that this’ll be her final NYE gig; Gomez fans, temper this bittersweet revelation with the knowledge that she’ll be sure to go out with a mega-bang. The bill is rounded out by transsexual comedian Natasha Muse, Pirate Cat Radio Morning Show host Casey Ley, and Theatre Rhino’s own John Fisher as host with DJ OJ. Plus: balloon drop at midnight! (Cheryl Eddy)

7 and 9 p.m., $30–$35

Victoria Theatre

2961 16th St, SF

1-800-838-3006

www.therhino.org

 

FILM

The Phantom of the Opera

As any Hollywood history buff knows, both of Lon “Man of 1,000 Faces” Chaney’s parents were deaf. Having honed his pantomime skills since birth, Chaney’s success as a silent movie star should’ve surprised nobody (except that one sourpuss studio executive who, according to Wikipedia, told Chaney “You’ll never be worth more than $100 a week.”) One of the actor’s greatest triumphs, as the title role in 1925’s The Phantom of the Opera, is this year’s pick for Grace Cathedral’s annual New Year’s Eve silent movie. Go earlier if you have party plans, or for maximum spookiness, attend the later show, which lets out just before midnight. Musician Dorothy Papadakos accompanies both showings on the cathedral’s Aeolian-Skinner organ, itself almost as old as the Phantom film. (Eddy)

7 and 10 p.m., $10–$20

Grace Cathedral

1100 California, SF

(415) 392-4400

www.cityboxoffice.com

 

MUSIC

Slackers

New York City’s Slackers got unfairly lumped in with all of the punk-tinged, third-wave ska groups that blew up briefly in the mid-1990s. Look closer and you’ll see a band whose musical maturity (if not its lyrics) has always seemed a little classier and less concerned with current trends. And whether touching on rocksteady, soul, dub, reggae or old-fashioned rock and roll, Slackers shows always keep up-tempo, danceable rhythms and a party vibe throughout. Speaking of which — rumor has it the band throws a hell of a New Year’s Eve bash. (Moblad)

With Boss 501 and Lord Loves a Working Man

9 p.m., $35

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

SATURDAY 1

MUSIC

Breakfast of Champions

Saint Patrick’s Day, Halloween, New Year’s Eve: As my uncle Greg and pretty much any alcoholic will tell you, these are generally considered amateur hour when it comes to the drinking. This block party, the first thrown by the Space Cowboy DJ collective, provides an opportunity to celebrate New Year’s Eve, even if you skip out on the countdown, hoping to not have drunk bro vomit on your shoes as soon as the ball drops. Again. Or, it’s the opportunity to just roll straight through the night and keep dancing into next year. Conveniently, it starts when it’s legal to sell booze again. (Prendiville)

6 a.m., $25

Mighty

119 Utah, SF

(415) 762-0151

www.breakfast-of-champions.eventbrite.com

 

MUSIC

Pinback

Pinback is a great example of a band finding its own niche and mastering it. Since 1998, Rob Crow and Armistead Burwell Smith IV have made perfectly precise indie-rock albums, full of snaky bass lines and subtle time signature shifts. The songs can often sound so intricately crafted that they seem mechanical. But luckily, the pair are both gifted in the art of finding strong melodic hooks, counteracting the machine-like production with adequate amounts of human touch and catchy choruses. In a live setting, Pinback is expanded to a five-piece, with collaborators from its albums filling in the empty gaps. (Moblad)

With JP Inc.

10 p.m., $20

Bottom of the Hill

1233 17th Street, SF

(415) 621-4455

www.bottomofthehill.com

SUNDAY

JANUARY 2

 

Edgar Winter

One of two albino brothers. A child prodigy and multi-instrumentalist known to go from keys to saxophone to drums to synths and beyond in a single song. Among hits like “Free Ride,” had a No. 1 with face-melting, synthesizer-pioneering instrumental track “Frankenstein.” A Scientologist, he recorded Mission Earth, an album based on directions from L. Ron Hubbard. Still active into his 60s, Winter frequently tours with Ringo Starr, likely his favorite Beatle. If I had made up Edgar Winter, would you believe me? (Prendiville)

7 p.m., $38

Yoshi’s San Francisco

1330 Fillmore St., SF

(415) 655-5600

www.yoshis.com 

 

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Spank it

0

superego@sfbg.com

SUPER EGO Dear Baby New Year, can you cut up a lot more lines of that fantastic 2010 stuff? Local nightlife and dance music was off the hot hooker. And if the phalanx of shindigs piled up for New Year’s Eve is any indication, there’s a glitter-canon’s worth of glee to come. Below are my favorites, check ’em out. Thxy! Love, Marke B. (P.S. Er, one more thing … you’ve got a little VCR on your leftie. Kids these days!)

 

1984

The long-running (as in almost 20 years!) retro ’80s party is playing host to a free flashback at Mighty, in appreciation of, well, everything ’80s. DJs Dangerous Dan and Skip play all the faves and waves.

9 p.m.–2 a.m., free. Mighty, 119 Utah, SF. www.mighty119.com

 

BOOTIE NYE

The outrageous mashup club teams up with Mezzanine to present this bonkers night, with DJs Adrian and Mysterious D, live band Smash-Up Derby, French rapper Grandpamini, upstairs room by Brass Tax, pirate balloon drop, and much more.

9 p.m.–late, $20–$40. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

COUNTDOWN

Get down with a rockin’ reggaeton, hip-hop, and reggae new year fiesta at Club Six, with the awesome Los Rakas live (seriously, those guys are dope), Jah Warrior Shelter Hi-Fi, the Coo-Yah Ladeez, Mr. E, and more to fill all three dance floors.

8 p.m.–4 a.m., $10. Club Six, 66 Sixth St., SF. www.clubsix1.com

 

15TH ANNUAL COMEDY COUNTDOWN

Yuck up your new year with super-hip (and mostly cute!) comedians Charlyne Yi, the Sklar Brothers, Shane Mauss, Nick Thune, Christina Paszitsky, and a ton more. Hilarious balloon drop!

9:30 p.m., $60–$120. Palace of Fine Arts, 3301 Lyon, SF. www.ticketmaster.com

 

ICEE HOT NYE

Get down and wobbly as the city’s best showcase for grimy-funky new musical styles brings in the new year with London’s Bok Bok and Ramadanman, DJs Disco Shawn, Ghosts on Tape, and Rollie Fingers.

9 p.m., $15–$20. Elbo Room, 647 Valencia, SF. www.elbo.com

 

KIM NALLEY

The incredibly gifted and hot-to-trot jazz chanteuse will “Let the Good Times Roll” with two smokin’ shows on New Year’s Eve at the wondrous Rrazz Room at Hotel Nikko. Just watch Ms. Nalley go!

7:30 p.m. and 10 p.m., $35. Rrazz Room at Hotel Nikko, 222 Mason, SF. www.therrazzroom.com

 

LEXINGTON CLUB NYE

Spend the eve getting down with the coolest dykes on the planet (and the ladies who love them). DJs DURT and Pony Boy rock the tables, Aimee and Chandra host. Free glass of champers from 8 p.m.-9 p.m.!

8 p.m., free. Lexington Club, 3464 19th St., SF. www.lexingtonclub.com

 

LOOSE JOINTS NYE

The awesome funky Friday weekly party with DJs Tom Thump, Damon Bell, and Centipede is a top choice for those looking to get down.

9 p.m., $10. Make-Out Room, 3225 22nd St., SF. www.makeoutroom.com

 

MARGA GOMEZ NYE SPECTACULAR

The queer queen of comedy ramps up her annual yuk-a-thon — she’s really, really funny, folks and her shows are a total treat.

7 and 9 p.m., $30–$35, $10. Victoria Theater, 2961 16th St, SF. www.therhino.org

POWERHOUSE NYE

Showering go-go boys! Muscular bartenders serving it up stiff! Yep, you’re at the Powerhouse, spraying your man-champagne into 2011, with DJ DAMnation and a $100 wet towel contest. (free towel check!)

10 p.m., $10. Powerhouse, 1347 Folsom, SF. www.powerhouse-sf.com

 

ROLLER DISCO

Shrug off the pressure of having to skate off to a hundred other parties and roll to some new wave and disco jams sprinkled with a little Burning Man fairy dust. The Black Rock Roller Disco crew hosts.

8 p.m., $10. CellSpace, 2050 Bryant, SF. www.cellspace.org

 

SOME THING NEW

Some Thing, the weekly Friday night theatrical drag extravaganza (always full of hot altqueers), comes up with something special — drag goddess Juanita More takes the turntables with Sidekick and Stanley Frank to turn you out.

10 p.m., $10. The Stud, 399 Ninth St., SF. www.studsf.com

 

SUNSET AND HONEY

Two of the city’s smartest house and techno collectives, Honey Soundsystem and Sunset, join forces at the awesome new Public Works, with special guests Kim Ann Foxman of Hercules and Love Affair and Tim Sweeney of Beats in Space.

9 p.m.–5 a.m., $30. Public Works, 161 Erie, SF. www.publicsf.com

 

TRANNYSHACK NYE

Good lord — Heklina and her cray-cray drag queens are teaming up with circus-themed party Big Top to wrestle 2010 out the door. Look out, shoulder pads! Tons of performances, Ejector live, and DJ Omar.

9 p.m.–3 a.m., $20. DNA Lounge, 375 11th St., SF. www.dnalounge.com 


Peep our complete list of NYE picks at www.sfbg.com/NYE2011

 

Alerts

0

news@sfbg.com

WEDNESDAY, DEC. 22

Floyd Westerman Retrospective

You may remember him for his role in “Dances with Wolves” as Chief Ten Bears and as a country western singer/songwriter. But Floyd Westerman, a.k.a. Red Crow, was also an outspoken activist for Native Americans and the environment. A new documentary by Steve Jacobson explores his later life and activism. Along with the film, there will also be a social hour at 6:30 and a discussion following the film.

7:30–9:30 p.m., $5 suggested donation

Humanist Hall

390 27th St., Oakl.

510-681-8699

Real Mercantile Holiday Bazaar

If you still have some holiday shopping to do and just can’t summon the will to hit the stores or feed the machine, you can get some great stuff while supporting the local arts community and underground economy at the Real Mercantile Holiday Bazaar. held at arts impresario Chicken John spacious home and performance space. Homemade gifts and food are all available in a festive and very San Francisco atmosphere.

5–9 p.m., free

Chez Poulet

3359 Cesar Chavez, SF

www.therealmerchantile.com

THURSDAY, DEC. 23

Festivus 2010

San Francisco’s legendary Sisters of Perpetual Indulgence and pot activist Ed Rosenthal’s Green Aid unite to present a night of fundraising for the Medical Marijuana Legal Defense and Education Fund. The bash features an airing of grievances, feats of strength, the annual meeting of Dessert First Club, and live music and entertainment including The Phat Fly Girls and burlesque. Creative dress and cross-dressing encouraged.

7:30–11:30 p.m., $50 presale, $60 at door

SomArts

925 Brannan, SF

415-515-7483

SUNDAY, DEC 26

Get Your Spawn On

Join Brent Plater on a stroll through Muir Woods National Monument to learn more about coho and steelhead salmon and how to help them survive. The walk also features a search for endangered salmon in Redwood Creek. Make sure to wear something warm and bring your hiking boots.

10–12 p.m., free with RSVP

Meet at the Dipsea Trail trailhead

Muir Woods National Monument, Mill Valley

www.wildequity.org/events/3166

TUESDAY, DEC 28

Castro Queer-in

Join concerned local resident ins protesting the recently passed sit/lie ordinance more formally known as Proposition L. Bring out any and all musical instruments, games, food to share, face-painting kits, and any items to barter. Everyone will gather outside of Harvey Milk’s former camera store.

Noon–2 p.m., Free

575 Castro

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.

Curtain calls

1

arts@sfbg.com

THEATER Freud called dreams wish fulfillment; or reality, disguised, but basically as we’d like it to be. If you asked the Buddha and Heisenberg about reality, you’d get pretty much the same answer. Not that any of these guys went to the theater a lot in 2010. This year oscillated between quasi-documentary fidelity to facts and burrowing hallucinations like those induced by Gysin and Sommerville’s spinning stroboscopic Dreamachine. (A facsimile of one even graced The Burroughs and Kookie Show, Christopher Kuckenbaker’s Fringe Festival winner and definitely a peak stage encounter in 2010.) But it all amounted to an assault of some kind on the sleepwalking world outside. Dreaming in the theater can be much more lucid.

Best political theater riffs: In the Wake (Berkeley Rep) was not a perfect play, but Lisa Kron’s slightly lopsided new political dramedy had a way of upsetting some fundamental and suspect assumptions of mainstream liberals that was at times electrifying. Dan Hoyle’s The Real Americans, while not as politically provocative, also ventured outside the “liberal bubble” into red state territory, bringing back reportage in the form of deft rapid-fire characterizations, comedy, and music by the young but prodigious solo performer–playwright of Tings Dey Happen and Circumnavigator. And finally, the 51-year-old San Francisco Mime Troupe’s reaffirmed that its brand of agitprop is still a going concern. Posibilidad, or the Death of the Worker, set partly in the USA but inspired by the recent factory takeovers by workers in Argentina, was a shrewd, funny, tuneful plea for cooperatives against the grinning, co-opting tendencies of “capitalism with a human face.”

The most hyped production: Terrell Alvin McCraney’s trilogy, The Brother/Sister Plays. The only one that really worked for me was the second, The Brothers Size, which got a very strong production at the Magic under Octavio Solis. It was lean, focused, a small story with subtle, far-reaching reverberations. The other two plays reached consciously for the grandiose without finally grasping much. Nevertheless, the precedent-setting coordination between the Magic, Marin Theatre Company, and American Conservatory Theater in introducing these plays to the Bay Area was an exciting development.

Boldest venture: Berkeley Rep’s London import, Afghanistan: The Great Game, a seven-hour marathon of short scripts by 12 playwrights on the history and politics of this current critical object of U.S. imperial desire. A mixed bag theatrically, though impressively produced, but the historical perspective — boiling down to a dismal pattern of imperial design and hubris, infamy, and failure — was a point well taken. Indeed, the antiwar protest outside the White House on Dec. 16, where 131 arrests were made ahead of President Obama’s declaration of “progress” in Afghanistan, seemed its logical conclusion.

Best solo performances behind a large desk: Paul Gerrior in Krapp’s Last Tape (Cutting Ball); Joel Israel in Reluctant (Brava).

Best Pas de Donut: Howard Swain and Lance Gardner in Superior Donuts at TheatreWorks.

Best mise-en-scène as meaningful, mindful mess: This Is All I Need by Mugwumpin.

Best visiting productions: Japan’s Zenshinza Theatre Company at Zellerbach (Cal Performances); West Side Story at the Orpheum; Jane Austen Unscripted at BATS’ Bayfront Theater.

Best indefinable night in a theater: Dan Carbone at the Dark Room.

Best experiential fare: Etiquette by London’s Rotozaza (hosted by Yerba Buena Center for the Arts at the Samovar Tea Lounge).

Best extraterrestrial fare: Cynthia Hopkins’ The Success of Failure (or, The Failure of Success) at Yerba Buena Center for the Arts.

Best all-around design: The Tempest at Cutting Ball.

Best productions with death references in the title: Don’t Feel: The Death of Dahmer by writer-performer Evan Johnson; and when i die, i will be dead, a pair of dance/theater pieces by Alicia Ohs. Both Don’t Feel and when i die were nurtured and staged at the now-shuttered queer performance incubator Mama Calizo’s Voice Factory. Until some hoped-for resurrection, R.I.P. Mama Calizo’s.

Best (deconstruction of) Shakespeare: Juliet, directed by Mark Jackson at San Francisco State.

Best Bill Murray: Jody Frandle in Caddyshack Live! at the Dark Room.

Best debut by a new company: Symmetry Theatre with Show and Tell at the Thick House.

Best ensemble casts in a comedy: Learn to Be Latina (Impact Theatre); Shotgun Players’ production of The Norman Conquests (with a special nod to Richard Reinholdt in the title role); Man of Rock (Climate Theater); Scapin (ACT).

Best ensemble cast in a drama: Aurora Theatre Company’s Trouble in Mind (with a special nod to Margo Hall).

Best non-singing lead in a comic opera: Patrick Michael Dukeman in Jerry Springer, the Opera (Ray of Light Theatre).

Page street

0

Rebecca Solnit’s Infinite City: A San Francisco Atlas (University of California Press, 158 pages, $24.95) is one of the best ideas a writer has come up with in a long time. By combining private and public support, Solnit was able to give away portions of the atlas in full-color, full-spread map handouts. (My favorite tracked both famous/infamous queer public spaces and the migration of butterflies throughout the city.). In the process, she also gave lectures in public spaces, providing a public service in the name of history and inclusion before dropping this tome on the book-buying masses. Gent Sturgeon’s version of a city-fied Rorschach alone is worth the price of the ticket. From insect habitats to serial killers, Zen Buddhist centers to the culture wars of the Fillmore and South of Market that some call redevelopment; Solnit and her cadre of artists, writers, cartographers, and researchers — Chris Carlsson, Guillermo Gómez-Peña, and Mona Caron among them — give us the infinite depths and limitless potential that can be found in 49 square miles. (D. Scot Miller)

A lot of good and even great books came from the Bay Area this year, but one stands out: a book of poetry, Cedar Sigo’s Stranger in Town (City Lights, 100 pages, $13.95). He is a young writer who improves dramatically each time I hear him read, and his poetry and critical writing are among the wonders of our age. And of the age before, since through him speak the dead poets David Rattray, John Wieners, Robert Creeley, Denton Welch, Philip Whalen, Salvador Dali, Jean Cocteau, Eartha Kitt, Raymond Roussel, Lorine Niedecker, and Cole Porter. When new writers come to San Francisco, they ask me if I’ve met Cedar Sigo. If they don’t know Sigo’s work, then I hand them a copy of the new collection. Don’t have to say much, I just step back a little to avoid the stars and diamonds and apples popping out of their eyes like toast from a toaster, because this crazy work is that crazy good. (Kevin Killian)

Compared with the prosaic grind of the inner city, the Sunset can seem like a — albeit foggy — vacation. Wide streets, surf breaks, dunes fit to get lost in: the neighborhood is just right for an offbeat bohemian getaway. But maybe those are just the reverberations of the past, which western neighborhood historian Woody LaBounty has dug up in Carville-by-the-Sea (Outside Lands Media, 144 pages, $35). This coffee table book illustrates the lives of the Sunset’s first modern-day inhabitants, who constructed a seaside village of retired street cars to inhabit back in the days before the N-Judah. Colorized at times for an Oz-like effect, the photos LaBounty digs up to illustrate “Cartown” reveal a community of artists, families, and enthusiasts — even a women’s cycling club — amid an untamed, oscillating sandscape. Those converted SoMa warehouse apartments suddenly don’t seem quite so rugged, do they now? (Caitlin Donohue)

In a city that boasts literally hundreds of theatrical world premieres per year, it’s astounding how few make it to the printed page. Bravo, then, to EXIT Press, new publishing arm of the venerable EXIT Theatre, for helping to ensure that at least some of our local play-writing talents will be preserved for posterity. And who better to inaugurate the series than Mark Jackson, whose professional development has been closely tied to the EXIT, and to the San Francisco Fringe Festival, which it produces? Far from being merely a collection of “Fringe-y” experimentation, Ten Plays (EXIT Press, 492 pages, $19.95) is a testament to the tenacity of vision. From reimagined Shakespearean classics (R&J, I Am Hamlet) to Jackson’s breakout hit The Death of Meyerhold, the bleakly comedic American $uicide, and the stirring Kurosawa-esque epic The Forest War, what these plays have in common is an audacious commitment to the illimitable possibilities of live theater. Of which, giving these works an opportunity to reach a wider audience is but one. (Nicole Gluckstern)

By any good political standard, John Lescroart’s Damage (Dutton, 416 pages, $26.95) is awful. It’s all about how a criminal uses the technicalities of law to get released (damn liberal judges) and how his family — newspaper publishers with ties to the (damn liberal) political establishment — protects him even as he continues to rape young women. Reminds me of that atrocious movie Pacific Heights, which is supposed to convince you that eviction protection and tenants rights are unfair to the poor landlords. But Lescroart writes about San Francisco, and does a pretty good job describing the city, and his characters are so real and well-crafted that I’m able to set aside the politics. In this case, Ro Curtlee, the rapist, is such an evil, evil bad guy — but a plausible, privileged evil bad guy — that he comes to life in a way that makes you want to kill him yourself. And makes you understand why a cop might feel the same way. And in the world of crime fiction, making you feel pain is half the game. It’ll be out in paper this spring. (Tim Redmond)

What Carl Rakosi was to Objectivism — a significant poet who dropped out of sight only to reemerge an old master — Richard O. Moore is to the SF Renaissance. The 90-year-old Moore was active in Kenneth Rexroth’s libertarian-anarchist circle in the 1940s, but abandoned poetry publishing for the more efficacious mass media of radio and TV, cofounding both KPFA and KQED in the process (and shooting the only footage of Frank O’Hara to boot). But Moore never stopped writing, and his debut volume Writing the Silences (University of California Press, $19.95) offers a brief but tantalizing introduction to more than 60 years of poetic activity. Moore’s diction is spare but memorable; a hawk’s wings, for example, “balance on the blind/ push of air.” Yet his low-key tones are wedded to an experimental sensibility; witness 1960’s “Ten Philosophical Asides,” which might be the first poem in English riffing on Wittgenstein, more than a decade before language poetry. Writing the Silences is thus belated yet ahead of its time. (Garrett Caples)

I commissioned three of the works in Veronica De Jesus’s Here Now From Everywhere (Allone Co. Editions, 130 pages, $26). Her portraits of Michael Jackson and Jay Reatard ran in the Guardian, while I paid out of pocket for her to render a tribute to the poet John Wieners for my boyfriend. Along with just-announced SECA Award winner Colter Jacobsen, who published this book, De Jesus is my favorite creator of drawings in the Bay Area. Like Jacobsen, she delves into memory — her memorial portraits can be seen for free on the windows of Dog Eared Books, where this book is for sale. The charm and value of Here Now From Everywhere is immediate, but the book reveals more of its multfaceted personality with each return visit. De Jesus’ illustrated dictionary of inspirational icons ranges from superstars to half-forgotten pop heroes, from cultural figures to obscure female athletes. It’s a gift. (Johnny Ray Huston)

“I told Micah last night that my new book would be a haunted house.” Berkeley-based poet Julian Poirier’s El Golpe Chileño (Ugly Duckling Presse, 128 pages, $15) is filled with the ghosts of past and present. Essentially a bildungsroman, it tracks Poirier’s protagonist’s growth from youthful journeyman into adulthood though a kind of mixed-genre Theatre of the Absurd. Vaudeville, comics, memoir, film pitch, epistolary, failed novel, poetry, the carnival, and travelogue are all wielded brilliantly in the hands of Poirier, making for a phantasmagoric reading experience where the whole emerges defiantly greater than the sum of its parts. Poirier writes, “I turned my whole brain into a city and wrote down everything I saw happening there.” And indeed it certainly feels that way — the book is ripe with the names of places, of friends living and dead; with lists of dates and years; and with drawings and photographs, making up what Poirier somewhat obliquely labels “The Stolen Universe.” El Golpe Chileño is truly a success of form and content, of the high and low, of pop and elegy. (John Sakkis)

Look forward in anger

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arts@sfbg.com

HAIRY EYEBALL/YEAR IN ART The year in art is ending on a note both sour and defiant. On Nov. 30, Smithsonian Secretary G. Wayne Clough, caving to criticism voiced by conservative politicians and religious groups, ordered the removal of David Wojnarowicz’s 1987 video A Fire in My Belly from the National Portrait Gallery’s exhibition “Hide/Seek: Difference and Desire in American Portraiture.” It was a cowardly decision; one that ultimately has undermined the credibility of Clough and his institution.

It’s unfortunate that it took an act of censorship to get art — specifically, art by an openly gay artist responding to the darkest hours of the AIDS crisis — back into the national conversation, but the chorus of condemnation coming variously from journalists and critics, art museum associations, and even The New York Times editorial page, has helped to do just that.

Additionally, Wojnarowicz’s piece, which was uploaded to Vimeo by his estate and New York’s PPOW Gallery soon after it had been taken down in Washington, D.C., has undoubtedly been seen by more viewers in the past month than it had at the Smithsonian, or perhaps even in past installations (as of writing this column, the uploaded version has received more than 18,000 views).

This will probably continue to be the case as more galleries and museums across the country, in an impressive show of institutional solidarity, screen and/or install A Fire In My Belly. Locally, SF Camerawork and Yerba Buena Center for the Arts held screenings earlier this month. Southern Exposure will continue to show the piece through mid-February, and SFMOMA is scheduled to screen the full-length version of the video in early January.

While I agree with Modern Art Notes’ Tyler Green that SFMOMA’s commitment to screen A Fire in My Belly is “a turning point” in this whole debacle (New York’s four biggest art museums have remained silent on the matter), I find his characterization of SFMOMA as “America’s most conservative, play-it-safe modern-and-contemporary art museum” a bit harsh. Certainly, this year’s recently revealed SECA winners — three of whom, it must be noted, have been past Goldie recipients, including 2010 winner Ruth Laskey — attest to the fact that, for every groaner of an exhibit (“How Wine Became Modern,” anyone?), SFMOMA is also committed to supporting artists whose work cannot be dismissed as “play-it-safe.” For starters, the memory drawings of Colter Jacobson, one of this year’s SECA winners, certainly fall along the continuum of queer portraiture displayed in “Hide/Seek.”

This is not to encourage wishful thinking. While it’s hard to imagine a San Francisco art institution doing something along the lines of the Smithsonian, I don’t think anyone expected a reignition of decades-old culture wars, let alone in the very city where the Corcoran Gallery infamously canceled a Robert Mapplethorpe exhibit in 1989. The shorter our cultural memory, it seems, the greater is our propensity to repeat the lowest moments of our history.

So, over the past few weeks, I’ve been going over the works, exhibits, and events that I was thrilled did happen here, all glorious reclamations of our Convention and Visitors Bureau’s tagline, “Only in San Francisco.” Here is an in no way complete rundown of some of the art I didn’t cover in this column for a variety of reasons (scheduling conflicts, in-the-moment preference, critical laxity), save for the works themselves.

 

L@TE, BERKELEY ART MUSEUM, MOST FRIDAY NIGHTS

Turning staid-by-day museums into hip nightspots for hip young folks has been the hip thing for institutions to do for some time now. Thankfully, the Berkeley Art Museum knows how to do it right. Skip the catered canapés and light show, and focus on programming that is truly varied and more often than not, locally-minded — from Terry Riley celebrating his 75th to Xiu Xiu frontman Jamie Stewart improvising film soundtracks, from performance artist Kalup Linzy singing dirty love songs to outré Mexican B cinema— all for next to nothing.

 

CARINA BAUMANN, UNTITLED (2) (2008-09), 2ND FLOOR PROJECTS, JAN.–FEB.

At first I couldn’t see the woman’s face in Carina Baumann’s Untitled (2). I stared into the slate-like surface (actually, translucent white film developed on aluminum), incrementally adjusting my height, until the blackness stared back. The effect was not one of shock, as with the mirrors at the end of Disney’s Haunted Mansion ride, in which the holographic undead crowd in with your reflection. Baumann’s art asks for patience and slow adjustment, and in return, regifts your sense of sight.

 

“SUGGESTIONS OF A LIFE BEING LIVED,” SF CAMERAWORK, SEPT.–OCT.

Perhaps most germane to the issues about queerness, identity politics, and representation now being raised (again) by Wojnarowicz-gate and the “Hide/Seek” exhibit, this group show put together by Chicago-based curator Danny Orendorff and SF native Adrienne Skye Roberts took “queerness” out into the desert, helped it cast off the much-tattered coat of identity politics, and asked a group of artists, activists, and filmmakers to record its unfettered visions of things to come (many of which, as the resulting work testified to, are being lived out right now).

 

MATT LIPPS, “HOME,” SILVERMAN GALLERY, APRIL-JUNE; R.H. QUAYTMAN, “NEW WORK,” SFMOMA, THROUGH JAN. 16, 2011

Although Matt Lipps is a photographer and R.H. Quaytman is a painter, they tweak their respective mediums in these unrelated shows to arrive at a similar kind of flat sculpture, which flickers between abstract prettiness and representational heavy-lifting. Lipps’ densely layered photographs of assemblages — in which variously colored photographs of domestic interiors, cut into facets and taped back together to form the original image, become backdrops for cut-out reproductions of Ansel Adams landscapes — collapse foreground and background, personal space and photographic history. Quaytman, working in dialogue with the poetry of Jack Spicer and SFMOMA’s photo archive, silk-screens images from the museum’s holdings onto beveled, wooden panels of various sizes, augmenting them with flashes of Easter eggs-like color and glittering crushed glass.

 

ERIK SCOLLON, “THE URGE,” ROMER YOUNG (FORMERLY PING PONG), JULY–AUG.

Although nothing will top his porcelain casts of assholes that littered Ping Pong Gallery like so many discarded sand dollars for the 2009 group show “Live and Direct,” Eric Scollon’s more recent solo exhibit at the gallery, “The Urge,” continued to queer form and function. The 50 or so small porcelain works, painted in the blue and white style of Dutch Delftware and arranged in pun-laden groupings, smartly played off ceramics’ dual cultural status as both a “fine art” and kitsch object, while throwing shade at modern art’s conflicted relationship to ornament. Speaking of which, if only I had a Scollon for my tree.

 

ANDY DIAZ HOPE, “INFINITE MORTAL,” CATHARINE CLARK GALLERY, THROUGH JAN. 1, 2011

Diaz Hope’s dazzling sculptures owe as much to his engineering background as to, as he puts it in an e-mail, a “revisiting of childhood thoughts about mortality and infinity.” Their mirrored, crystalline exteriors yell “Gaga!” but once immersed in their kaleidoscopic guts, they are, much like Yayoi Kusama’s infinity boxes, meditation chambers built from carnival ride components. Simply beautiful stuff.

SF Camerawork and YBCA do the right thing (Updated)

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Stop me if you think that you’ve heard this one before: a Washington DC art institution caves in to right wing politicians and conservative Christians calling for the removal of “controversial” work made by an openly gay artist.

No, I’m not talking about what happened with Robert Mapplethorpe more than two decades ago. In case you haven’t been following what’s turning into the biggest art news story of 2010, David Wojnarowicz’s video A Fire in My Belly was removed from the National Portrait Gallery’s exhibit “Hide/Seek: Difference and Desire in American Portraiture” on November 30th, after Smithsonian Secretary G. Wayne Clough bowed to pressure from Bill Donohue, President of the Catholic League, incoming House Speaker John Boehner, and Majority Leader Eric Cantor, who denounced the video as a form of, “hate speech.”

In response, the artist’s estate and the P.P.O.W. Gallery in New York have made Fire In My Belly available for exhibiton, and several museums and galleries across the country have started installing the video, along with other Wojnarowicz pieces. Two San Francisco institutions (that, incidentally, happen to be just down the street from each other) join the protest tomorrow.

The Queer Cultural Center and San Francisco Camerawork will screen the entire 13-minute version of Wojnarowicz’s piece at SF Camerawork’s gallery space at 7pm. The screening will be followed by a presentation on censorship and the arts by art historian Robert Atkins as well as a roundtable discussion with Ian Carter, Kim Anno and (via-Skype) “Hide/Seek” curator Jonathan Katz. Yerba Buena Center for the Arts will also show A Fire in My Belly from 11pm to 2am on a continuous loop as part of its Noel Noir party.

I’m still waiting to hear back from SFMOMA’s press office as to whether or not the museum has any plans to install and/or screen the video. In the meantime, Tyler Green’s ongoing coverage of the fiasco at Modern Art Notes continues to be indispensable.

UPDATED: SFMOMA is going to do the right thing too, in January. A publicist for the museum has just confirmed that it will hold a free screening of the full-length (30-min) version of A Fire In My Belly on Tuesday, Jan. 4 at 5:30 pm with a discussion afterward. Way to go!

DAVID WOJNAROWICZ: A FIRE IN MY BELLY

Friday, Dec 10

7pm, free

San Francisco Camerawork

657 Mission St, Second Floor

(415) 512-2020

http://www.sfcamerawork.org/events/index.php?view=monthly

11pm-2am, $20 general admission

YBCA

701 Mission St

(415) 978-2700

http://www.ybca.org/tickets/production/view.aspx?id=12312

 

Music Listings

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Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 8

ROCK/BLUES/HIP-HOP

Andrew Jackson Jihad, Hard Girls, Royal Monsters Bottom of the Hill. 9pm, $10.

Blackstone Heist, Deathjazz, Lloyd’s Garage Elbo Room. 9pm, $7.

*Blind Guardian, Holy Grail, Seven Kingdoms Regency Ballroom. 8pm, $26.

Chairman Wow Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Greenhornes, Hacienda Independent. 8pm, $15.

David Liebe Hart, Hot Panda, Chris Thayer, Donny Divinian Hemlock Tavern. 9pm, $7.

Reckless Kelly Slim’s. 8pm, $16.

FOLK/WORLD/COUNTRY

Belanova Fillmore. 8pm, $39.50.

Gaucho, Michael Abraham Amnesia. 7pm.

Farmer Dave Scher, Chapin Sisters, Neema Café Du Nord. 9pm, $15.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Open Mic Night 330 Ritch. 9pm, $7.

Red Wine Social Triple Crown. 5:30-9:30pm, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 9

ROCK/BLUES/HIP-HOP

Heather Combs, Edie Carey, Aiden Café Du Nord. 9pm, $12.

Ex-Boyfriends, Complaints, Bruises Eagle Tavern. 9pm.

Alan Iglesias Biscuits and Blues. 8 and 10pm, $16. Stevie Ray Vaughn tribute.

Little Teeth, Blackbird Raum, Future Twin Hemlock Tavern. 9pm, $6.

Mike Pinto Band, Jahlectrik, She Beards Bottom of the Hill. 10pm, $10.

Millionyoung, Teen Daze, Great Mundane Rickshaw Stop. 8pm, $12.

Needtobreathe, Daylights Fillmore. 8pm, $20.

Randy Rogers Band, Whiskey Dawn Independent. 8pm, $15.

Lenny Williams Rrazz Room. 8pm, $35-45.

JAZZ/NEW MUSIC

Graham Connah Socha Café, 3235 Mission, SF; (415) 643-6848. 8pm, free.

SF Jazz Hotplate Series Amnesia. 9pm.

SF State Afro Cuban Jazz Ensemble Coda. 10pm, $10.

Swing with Stan Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

FOLK/WORLD/COUNTRY

Alhambra Valley Band Atlas Café. 4pm, free.

Mission 3 Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz, with guest Nappy G, spin Afrobeat, tropicália, electro, samba, and funk.

Base Vessel. 9:30pm, $10. Featuring Hot Natured (Jamie Jones and Lee Foss).

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Electric Feel Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Kissing Booth Make-Out Room. 9pm, free. DJs Jory, Commodore 69, and more spinning indie dance, disco, 80’s, and electro.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Motion Sickness Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Genre-bending dance party with DJs Sneaky P, Public Frenemy, and D_Ro Cyclist.

Nacht Musik Knockout. 10:30pm, $4. Dark, minimal electronic with DJs Omar, Josh, and Justin.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Ümloud DNA Lounge. 7pm, $10. Play Rock Band onstage to raise money for Child’s Play Charity.

FRIDAY 10

ROCK/BLUES/HIP-HOP

Seth Augustus Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Dave Rude Band, Angels of Vice, Dead Neck Bottom of the Hill. 10pm, $12.

Dead Souls Knockout. 5pm.

Hanni El Khatib, Th Mrcy Hot Sprngs, Hairspray Hemlock Tavern. 9:30pm, $8.

Fleeting Trance, Stymie and the Pimp Jones Luv Orchestra Make-Out Room. 7:30pm, $7.

Kottonmouth Kings, (hed)p.e. Slim’s. 8pm, $25.

“Lusty Lady Kinky Kiss-Mass” DNA Lounge. 9pm, $12-15. Burlesque show plus Destroyer, Minks, Trixie Carr, and Horror X.

Magic Bullets, Sleeptalks Knockout. 9pm, $7.

Soulive feat. Karl Denson, DJ Harry Duncan Independent. 9pm, $22.

Kim Wilson Biscuits and Blues. 8 and 10pm, $24.

JAZZ/NEW MUSIC

Bryan Girard Trio Cliff House, 1090 Point Lobos, SF; (415) 386-3330. 7pm, free.

Greenhorse Amnesia. 7pm.

Greg Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

FOLK/WORLD/COUNTRY

Bossa 5-0 Socha Café, 3235 Mission, SF; (415) 643-6848. 8pm, free.

Right On Time Dolores Park Café, 501 Dolores, SF; www.doloresparkcafe.com. 7:30pm, $10.

Ozomatli Fillmore. 9pm, $26.50.

DANCE CLUBS

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fo’ Sho! Fridays Madrone Art Bar. 10pm, $5. DJs Kung Fu Chris and Makossa spin rare grooves, soul, funk, and hip-hop classics.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Heartical Roots Bollywood Café. 9pm, $5. Recession friendly reggae.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Indy Slash Amnesia. 10pm. With DJ Danny White.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Treat ‘Em Right Elbo Room. 10pm. Groove Merchant’s 20th anniversary celebration with Groove Merchant DJs and guests.

Two Kinds of Stupid Holiday Party Rickshaw Stop. 9pm, $10. Live sets with K. Flay and TigerCat, plus DJs Brother Grimm and BAS.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 11

ROCK/BLUES/HIP-HOP

Dandy Warhols, Blue Giant Regency Ballroom. 9pm, $27.

Family Scott, K-9, Psychology of Genocide Thee Parkside. 3pm, free.

*Forbidden, Evile, Gama Bomb, Bonded By Blood, Fog of War DNA Lounge. 2pm, $20.

Donald Glover, Childish Gambino Slim’s. 9pm, $15.

Golda + Guns, Sugarspun, Skyflakes, Apple Orchard, Little Bits Rock-It Room. 9pm, $6. San Bruno fire victims benefit.

Derick Hughes Biscuits and Blues. 8 and 10pm, $20.

Chaka Khan, Chrisette Michele Warfield. 8pm, $45-82.

Phenomenauts, Neutralboy, Murderland Thee Parkside. 9pm, $10.

San Cha, DJ Moxy 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Shannon and the Clams, Night Beats, Outlaw Hemlock Tavern. 9:30pm, $6.

Soulive feat. Karl Denson, DJ Harry Duncan Independent. 9pm, $22.

Voodoo Glow Skulls, Jokes For Feelings, Rockfight Bottom of the Hill. 10pm, $12.

JAZZ/NEW MUSIC

Bill Carey Socha Café, 3235 Mission, SF; (415) 643-6848. 8pm, free.

Emergency String X-Tet with Rent Romus Meridian Gallery, 535 Powell, SF; www.meridiangallery.org. 8pm, $10.

Emily Anne’s Delights Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

FOLK/WORLD/COUNTRY

Ozomatli Fillmore. 3 and 9pm, $10-26.50.

Zoyres Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Bootie: Holiday Party DNA Lounge. 9pm, $6-12. Xmas mash-ups with Adrian and Mysterious D.

Club Gossip Cat Club. 9pm, $5-8. Tribute to Nine Inch Nails.

Cockblock Rickshaw Stop. 10pm, $7. Queer dance party with DJ Nuxx and guests.

Frolic Stud. 9pm, $3-7. DJs Dragn’Fly, NeonBunny, and Ikkuma spin at this celebration of anthropomorphic costume and dance. Animal outfits encouraged.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Spotlight Siberia, 314 11th St, SF; (415) 552-2100. 10pm. With DJs Slowpoke, Double Impact, and Moe1.

Tormenta Tropical Elbo Room. 10pm, $5-10. Electro cumbia with Natalie Storm, Max Glazer, Sabo, Disco Shawn, and Oro11.

SUNDAY 12

ROCK/BLUES/HIP-HOP

“Anais Mitchell Presents: Music of Hadestown” Great American Music Hall. 8pm, $21. With Thao Nguyen, Sean Hayes, John Elliott and the Hadestown Orchestra, and Michael Chorney.

Jon Anderson Regency Ballroom. 8pm, $37-55.

Arsis, Powerglove, Conducting from the Grave, Absence Thee Parkside. 8pm, $12-15.

“Battle of the Bands” DNA Lounge. 5:30pm, $12. With Astronomy Lounge, Madman’s Lullaby, Smash Atoms, and more.

Black Crowes Fillmore. 8pm, $60.

Karina Denike, Upsets Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 8pm, free.

Gene Taylor Blues Band Slim’s. 8pm, $21.

Stornoway, Head and the Heart Independent. 8pm, $14.

Toiling Midgets, White Pee, Bloodfucker Hemlock Tavern. 9pm, $7.

Joe Louis Walker Biscuits and Blues. 8 and 10pm, $20.

JAZZ/NEW MUSIC

Valeriana Quevedo, Larry Vuckovich, Jeff Chambers Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

FOLK/WORLD/COUNTRY

Amy Obenski, Erica Sunshine Lee, Jess Brewster Yoshi’s San Francisco (in the lounge). 8pm, $7.

Whiskey Richards, Leo Rondeau Thee Parkside. 4pm, free.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, roots, and dancehall with DJ Sep, J Boogie, and guest Ross Hogg.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Pachanga! Coda. 5pm, $10. Salsa dance party with Orquesta La Moderna Tradición.

Religion Bar on Church. 3pm. With DJ Nikita.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 13

ROCK/BLUES/HIP-HOP

C-Money and Players Inc. Elbo Room. 9pm, $10.

Ed Jones Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 8pm, free.

Tame Impala, Stardeath and White Dwarfs Independent. 8pm, $15.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45.

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 14

ROCK/BLUES/HIP-HOP

Badly Drawn Boy Café Du Nord. 8pm, $25.

Black Crowes Fillmore. 8pm, $60.

CCR Headcleaner, Bleak Ethnique, Tongue and Teeth Hemlock Tavern. 9pm, $5.

Dominique Leone, Ash Reiter, Poor Sweet Creatures Amnesia. 9pm.

Low, Charlie Parr Great American Music Hall. 8pm, $17.

Man Among Wolves, Damaura, Red Light Mind Bottom of the Hill. 9pm, $8.

Bob Margolin Biscuits and Blues. 8 and 10pm, $20.

DANCE CLUBS

Bombshell Betty’s Burleque Bailout Elbo Room. 9pm, $10. With Fromagique and the Burlesqueteers.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

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. For complete listings, see www.sfbg.com.

THEATER

OPENING

Joyful Noise: A Gospel Celebration of Christmas Southside Theater, Fort Mason Center; 345-7575, www.LHTSF.org. $25-50. Previews Fri/10, 8pm. Opens Sat/11, 8pm. Call for dates and times. Through Dec 31. Lorraine Hansberry Theatre presents a rechristened version of their Black Nativity production.

Siddhartha, the Bright Path The Marsh Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Previews Sat/11-Sun/12, 3pm; Thurs/16, 7:30pm. Opens Dec 17, 7:30pm. Call for dates and times. Through Jan 9. Marsh Youth Theater presents a holiday celebration, directed by Lisa Quoresimo.

BAY AREA

Arabian Nights Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2549, www.berkeleyrep.org. $34-73. Opens Sat/11, 8pm. Call for dates and times. Through Dec 30. Tony-winning Mary Zimmerman’s production makes a return to Berkeley Rep.

A Christmas Carol Center REPertory Company, 1601 Civic Drive, Walnut Creek; (925) 943-7469, www.centerREP.org. Previews Thurs/9, 8pm; Fri/10, 11am and 7:30pm. Opens Sat/11, 2pm and 7:30pm. Call for dates and times. Through Dec 19.Center REP presents the holiday classic.

ONGOING

Absolutely San Francisco Phoenix Theater Annex, 414 Mason, 4th floor; 433-1235, www.absolutelysanfrancisco.com. $28. Fri-Sat, 8pm. Through Dec 18. Karen Hirst’s one-person musical about lost love.

Babes in Arms Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. $24-44. Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through Dec 19. 42nd Street Moon presents John Guare’s adaptation of the musical by Rodgers and Hart.

Christmas in Hell: The Real and True Story About the Guys Who Saved Christmas Dark Room Theater, 2263 Mission; (800) 838-3006, www.brownpapertickets.com. $20. Fri-Sat, 8pm. Through Dec 18. An original holiday play, written and directed by Jim Fourniadis.

Caligari Studio 385, 385A Eighth St; www.brownpapertickets.com. $10-30. Fri, 8pm. Through Fri/10. Promising new company HurlyBurly stages its adaptation of the 1920 German expressionist film The Cabinet of Dr. Caligari in a Soma bondage club with productive and not-so-productive results. Production values are enjoyably thoughtful (including lighting designer Amanda Ortmayer’s moody use of small portable lights, laser pointers, and snatches of pure, delicious darkness) as the audience mills around a cement room in which actors stand or lie frozen, and in some cases encased, like some macabre wax museum. Daniel Korth’s script makes up in clever, fluid dialogue what it can lack in narrative coherence. But the doom-clouded storyline, featuring a fated romance between an ardent young man (a likeable Eddie Barol) and his somewhat aloof object of desire (a nicely detached yet powerful Shay Wisniewski), is familiar enough in sporadic outline that this isn’t a big deal. The play demands a certain over-the-top performance style, however, which few of co-directors Korth and Mikka Bonel’s otherwise capable actors really carry off (Gerri Lawlor is one of the more notable exceptions). The freedom to walk around the space as action unfolds on surrounding stages (or inaction in cages) is a visual and atmospheric plus. The production’s real limit is that its neo-expressionist dark-carnival invention comes across at times as too borrowed, as when a late-era Tom Waits song is heard. At least it wasn’t one from The Black Rider. (Avila)

Cavalia: A Magical Encounter Between Horse and Man White Big Top, adjacent to AT&T Park; www.cavalia.net. $39.50-239.50. Check website for shows and times. Through Sun/12. Over 100 performers, including 50 horses, take the stage in this circus-like show from Montreal.

Christian Cagigal’s Obscura: A Magic Show EXIT Cafe, 156 Eddy; 1-800-838-3006, www.brownpapertickets.com. $15-25. Thurs-Sat, 8pm. Through Dec 18. Magician Christian Cagigal presents a mix of magic, fairy tales, and dark fables.

Cinderella African American Art & Culture Complex, 762 Fulton; (800) 838-3006, www.brownpapertickets.com. $10-30. Fri/8pm; Sat, 3 and 8pm; Sun, 3pm. Through Dec 19. African-American Shakespeare Company presents the classic fairytale, starring Velina Brown.

Cora Values’ Christmas Corral Exit Cafe, 156 Eddy; 673-3847, www.brownpapertickets.com. $15-25. Fri-Sat, 8:30pm. Through Sat/11. There are Christmas Carol’s and then there are Christmas Carol’s. There are the no-expenses spared varieties with clever rigging and fabulous costumes and larger-than-life characterizations of those classic Christmastide archetypes—the lonely bastard, the beatific poor man, the lovable child. There are the more modest productions, community theatre affairs, with A-for-effort, fun-for-the-whole-family, casual appeal. And then there’s the Cora Values treatment, which throws the whole silly notion of family togetherness out the window and instead throws a party for the orphans of the holiday season—the bah-humbuggers and true unbelievers. In this rock-bottom budget “illiterary

adaptation” of Dickens’ classic in “the most authentic form we know how” a ragtag crew from the Gas ‘N’ Gulp in Rectal, Texas, bumble through a singular interpretation of the tale, punctuated by original comic songs penned by Cora (Sean Owens) and Emmett Cornpike (Don Seaver). Sticklers for textual authenticity or political correctness may cringe at the chorus of the solo song by Tiny Tim (Amanda Ortmayer), “This Won’t Be Another Lame Holiday,” but Dickens wrote a few head-scratching lines himself. Take this description of Marley’s face appearing in Scrooge’s doorknocker: “It&ldots;had a dismal light about it, like a bad lobster in a dark cellar.” “Charles Dickens’ immortal text” Cora remarks dryly. You said it sister. (Gluckstern)

Dirty Little Showtunes! A Parody Musical Revue New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Jan 16. Tom Orr’s adults-only holiday show returns, with direction by F. Allen Sawyer and musical direction by Scrumbly Koldewyn.

Golden Girls: The Christmas Episodes CounterPULSE, 1310 Mission; www.ticketfly.com. $25. Thurs-Sat, 7 and 9pm. Through Dec 23. Heklina, Cookie Dough, Matthew Martin, and Pollo Del Mar return with their stage tribute to the sitcom.

The Lion in Winter Actors Theatre, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Wed-Sat, 8pm. Through Dec 18. Actors Theatre of SF presents James Goldman’s play of palace intrigue.

Match Royce Gallery, 2901 Mariposa; 1-866-811-4111, www.matchonstage.com. $12-28. Thurs-Sun, 8pm. Through Dec 18. Expression Productions presents Stephen Belber’s new suspense drama.

The Oddman Family Christwanzaakuh Spectactular! Exit Stage Left, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Sat, 8pm. Through Dec 18. Guerrilla Rep and Beards Beards Beards present a new twisted musical farce.

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

A Perfect Ganesh New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-40. Wed-Sat, 8pm; Sun, 2pm. Through Dec 19. New Conservatory Theatre Center presents the Terrence McNally play, directed by Arturo Catricala.

Ruth and the Sea Stage Werx Theatre, 533 Sutter; www.ruthandthesea.com. $18-24. Thurs-Sat, 8pm. Through Dec 18. Wily West Productions presents Gwyneth Richards in a kooky holiday show, directed by Stuart Bousel.

Shrek The Musical Orpheum Theatre, 1192 Market; (888) SHN-1799, www.shnsf.com. $30-99. Tues, 8pm, Wed, 2 and 8pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm (no performances Dec 24, Dec 25, and Dec 31). Through Jan 2. Eric Petersen stars in the stage version of the animated blockbuster.

A Tale of Two Genres SF Playhouse, Stage Two, 533 Sutter; www.un-scripted.com. $10-20. Thurs-Sat, 8pm (also Sat, 3pm; additional shows Dec 20-23). Through Dec 23. Un-Scripted Theater Company performs an improvised musical in the style of Charles Dickens.

The Tempest Exit on Taylor, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-20. Thurs-Sat, 8pm; Sun, 5pm. Through Dec 19. In Cutting Ball’s latest foray into Shakespearean realms, three entangled subplots and eleven characters are enacted by just three actors, in order to explore the relationships between the principle characters by representing their internal characteristics through the actions of the more minor roles. Set on an enchanted island (or, in Cutting Ball’s interpretation, at the bottom of a swimming pool) The Tempest begins with stormy weather, but quickly grows into a full-blown hurricane of shipwrecked nobles, nymphs, and drunks, plus the turbulent awakenings of a teenage daughter’s libido, and the rumblings of her over-protective papa. The most effective dual-character is Caitlyn Louchard’s Miranda-Ariel, as both characters are quite under the stern control of Prospero (David Sinaiko) and equally deserving of release. Less affecting yet somehow equally congruous is Sinaiko’s comic turn as the buffoonish Stephano, who stumbles through the forest in his boxer shorts, yet somehow maintains an air of mock dignity that does parallel Prospero’s. Donell Hill’s Caliban-Ferdinand endures his lust-love for Miranda and servitude to Prospero alternating between raw physicality and social ineptness. But since “The Tempest” is littered with characters even more minor, the game cast is stretched too thinly to fully inhabit each, and the entire subplot involving King Alonzo, Gonzalo, and Antonio in particular suffers from this ambitious over-extension. (Gluckstern)

The Tender King Phoenix Theatre, 414 Mason, Sixth Flr; www.secondwindtheatre.com. $20-25. Fri-Sat, 8pm; Sun, 2pm. Through Sat/11. The current firestorm over leaked diplomatic cables and exposed government lies and imperial machinations are nothing new in The Tender King. Second Wind’s debut of Bay Area playwright Ian Walker’s new drama takes audiences back to 1945, a critical period in the structuring of the postwar world as dominated ever since by the American Empire. Walker explores the tensions and contradictions attendant on the countdown to American global hegemony in three characters, two rooms, and one fateful decision. President Harry Truman (Brian O’Connor), newly ensconced in office after FDR’s death, sits drinking in a darkened room (mood-inducing lighting by Rob Siemens) as an ambitious young functionary named Will (Stephen Muterspaugh) arrives to get his John Hancock on the order to drop the new A Bomb on two Japanese cities. In shades of Schiller’s Mary Stuart, Truman delays and evades cunningly, filled with the exuberant knowledge and burden of power. Meanwhile, a semi-romantic, semi-sadistic relationship between Will and a French-German prostitute (Natalie Palan) unfolds in a parallel scene—a complex echo of the shock-doctrine advantage Will advocates to Truman in the face of a stunned and helpless European population. Directed by Walker, the production relies not ineffectively on heightened vernacular language and performances, although the latter while sturdy can feel more rote than in-the-moment, and the neat narrative framework and effervescent dialogue strays into formulaic conceits. Nevertheless, the play’s well-researched and articulated detail as well as forceful conviction make it both worthwhile and generally engaging—not to mention as politically au courant as anything on stage just now. (Avila)

The Velveteen Rabbit Yerba Buena Center for the Arts, Novellus Theater, 700 Howard; 978-2787, www.ybca.org. Call for dates and times. Through Sun/12. ODC/Dance presents Margery Williams’ holiday favorite.

BAY AREA

Becoming Julia Morgan Berkeley City Club, 2315 Durant, Berk; (510) 984-3864, www.brownpapertickets.com. $24-30. Fri-Sat, 8pm; Sun, 5pm. Through Jan 9. Janis Stevens stars in Belinda Taylor’s play about the trailblazing architect.

A Christmas Carol: The Musical Novato Theater Company Playhouse, 484 Ignacio, Novato; 863-4498, www.novatotheatercompany.org. $10-18. Fri-Sat, 8pm; Sun, 3pm. Through Dec 17. Novato Theater Company presents a new adaptation of the holiday classic.

A Christmas Memory TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm (alos Thurs/23, 2pm and Fri/24, 7pm). Through Dec 26. TheatreWorks presents the seasonal tale by Truman Capote.

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Dec 19. Don Reed’s one-man show continues its extended run.

Lemony Snicket’s The Composer is Dead Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. Call for dates and times. Through Jan 15. Berkeley Rep premieres the new musical, written by Lemony Snicket, with music by Nathaniel Stookey.

Loveland The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Fri, 7pm; Sat, 8pm. Through Sat/11. Ann Randolph’s hit one-woman comic show continues its extended run.

Of the Earth – The Salt Plays: Part 2 Ashby Stage, 1901 Ashby; (510) 841-6500, www.shotgunplayers.org. $17-30. Thurs-Sat, 8pm; Sun, 5pm (beginning Dec 19). Through Jan 30. Shotgun Players present the second half of writer and director Jon Tracy’s Odyssey-inspired tale, with music by Brendan West.

*The Play About the Naked Guy La Val’s Subterranean, 1834 Euclid, Berk; (800) 838-3006, www.brownpapertickets.com. $10-20. Thurs-Sat, 8pm. Through Dec 18. Impact Theatre presents an off-Broadway hit, written by David Bell and directed by Evren Odcikin.

The World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston, Berk; (800) 838-3006, www.themarsh.org. $8-50. Sun, 11am (also Dec 20-23, 11am and Dec 26-30, 11am). The Amazing Bubble Man’s show presents flying saucer bubbles and other wonders.

PERFORMANCE/DANCE

Club Chuckles Hemlock Tavern, 1131 Polk; 923-0925. Wed/8, 9pm. $7. Club Chuckles turns seven with standup by David Liebe Hart and others.

Comedy Returns to El Rio! El Rio, 3158 Mission; (800) 838-3006, www.brownpapertickets.com. Mon/13, 8pm. $7-20. Lisa Gedulgig hosts a monthly comedy night.

Double-Wide White Trash Christmas Show Martuni’s, 4 Valencia; 241-0205, www.dragatmartunis.com. Sun/12, 7pm. $5. A holiday edition of the “Bijou” cabaret showcase.

FoolsFURY 12th Anniversary Gala Theater Artaud, 450 Florida; www.foolsfurygala.eventbrite.org. Sat/11, 7:30pm. $30-60. The local theater ensemble celebrates a birthday.

Forking II: A Merry Forking! Christmas Off-Market Theaters, 965 Mission; (800) 838-3006, www.pianofight.com. Call for dates and times (through Dec 30). PianoFight presents a holiday-themed choose-your-own-adventure play.

A Funny Night for Comedy Actors Theatre, 855 Bush; 345-1287, www.NatashaMuse.com. Sun/12, 7pm. Natasha Muse and Ryan Cronin host an evening of comedy.

Ironic/NOT Ironic! Viracocha, 998 Valencia; 374-7048, www.viracochasf.com. Thurs/9, 9pm. Harmon Leon performs.

Literary Death Match – Holiday Bloodbath Special Elbo Room, 647 Valencia; www.literarydeathmatch.com. Fri/10, 7pm. $7-10. An evening of yuletide literary mayhem.

Mischievous Maidens Christmas Skylark Bar, 3089 16th St; 621-9294. Fri/10, 8pm. Free. A Christmas-themed burlesque night.

Project. B. The Garage, 975 Howard; 518-1517, www.brownpapertickets.com. Fri/10-Sat/11, 8pm. $10-20. Tanya Bello’s company presents Triquetra, a work from this year.

Doug Stanhope Rickshaw Stop, 155 Fell; 861-2011, www.rickshawstop.com. Wed/10, 8pm. $20. The vulgar comedian hits the Bay.

Touring Cast of Shrek Theater 19, Pier 39; 273-1620, www.HelpIsOnTheWay.org. Mon/13, 7:30pm.$35-65. A one-night-only cabaret to raise funds for the Richmond/Ermet AIDS Foundation.

Trashina Cann The Garage, 975 Howard; 518-1517, www.brownpapertickets.com. Wed/8-Thurs/9, 8pm. $10-20. The company presents a new queer dance theater wok titled Legacy.

Our Weekly Picks: December 8-14, 2010

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WEDNESDAY 8

MUSIC

Holy Grail

Though you practically need a PhD in metal to keep track of Holy Grail’s ever-shifting lineup, one thing is obvious to anyone — even a layperson — when he or she first hears the band: singer James Paul Luna has one of the best young voices in rock ‘n’ roll, period. Ascending to falsetto heights with polished ease, the siren-lunged Pasadena, Calif., native fronts a band dedicated to the exuberant excess of early eighties speed metal, and his Halfordesque attack on the mic is complimented by the frenetic shredding and double-bass gallop of the band that backs him up. Touring in support of long-awaited debut LP Crisis in Utopia, Holy Grail is not to be missed. (Ben Richardson)

With Blind Guardian and Seven Kingdoms

8 p.m., $32

Regency Ballroom

1300 Van Ness, SF

1-800-745-3000

www.theregencyballroom.com

PERFORMANCE

 

David Liebe Hart

Along with James Quall and Richard Dunn (R.I.P.), David Liebe Hart is the cream of the crop of lovingly bizarre actors populating Adult Swim’s Tim and Eric Awesome Show, Great Job! The show takes pride in exposing the world to forgotten Hollywood street performers, bit actors, outsider musicians, and left-field comedians, all of which can be used to sum up Liebe Hart’s career. Armed with his trusty puppet and musical tales of being abducted by Corrinian aliens, he’ll be headlining Club Chuckles’ Seventh Anniversary Show lineup. Be sure to greet him with a friendly “Salame!” (Landon Moblad)

With Hot Panda, Chris Thayer, and Donny Divanian

9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

FILM

“Andy Warhol: Face and The Velvet Underground in Boston Cinematheque Benefit”

An early look at recent restorations of two of Andy Warhol’s most obscure movies (both long out of circulation) is the hidden jewel of San Francisco Cinematheque’s fall season. Face (1965) is an hour-long expression of Edie Sedgwick’s superstar photogenie. The Velvet Underground in Boston (1967) collects rare footage of the Exploding Plastic Inevitable house-band in its prime. Taken together, the films should present an unusual view of Factory life. The screening benefits Cinematheque’s upcoming programming, so you’ll leave knowing you’ve done your part for underground movies. (Max Goldberg)

8 p.m., $15

Victoria Theatre

2961 16th St., SF

(415) 863-7576

www.sfcinematheque.org

 

PERFORMANCE

Legacy, A One Ho Show

Presented by the AIRspace residency program, Trashina Cann (real name: Randen Kane) stars in Legacy, A One Ho Show, a queer-friendly, autobiographical dance theater piece exploring the misfortunes and vices passed down through Kane’s family and their effects on her life today. Journeying through three generations of women and their struggles with abandonment, sexual abuse, unwanted motherhood, prostitution, and incarceration, Kane comes to understand that her troubling past can also save her. Using burlesque, song, dance, and video, Kane manifests her incredible life story and her will to overcome, all the while staying extraordinarily entertaining. (Emmaly Wiederholt)

Wed/8–Thurs/9, 8 p.m., $10–$20

Garage

975 Howard, SF

(415) 518-1517

www.975howard.com

 

THURSDAY 9

PERFORMANCE

Adam Carolla

What hasn’t funny guy Adam Carolla done in his show business career? He got his start in radio (Loveline), branched out into television (The Man Show), written and starred in a feature film (2007’s The Hammer), and expanded onto the Internet with his podcast talk show. Carolla’s latest foray finds him as the author of a new book, In Fifty Years We’ll All Be Chicks … And Other Complaints From An Angry Middle-Aged White Guy, which he’ll be promoting and signing during his “Christmas Carolla” tour of the West Coast, bringing his caustic yet sidesplitting and hilarious, stand-up to the raw and uncensored — as it should be — live stage. (Sean McCourt)

Thurs/9, 7:30 and 9:30 p.m.;

Fri/10–Sat/11, 8 p.m. and 10:15 p.m., $32.50–$35.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

 

FRIDAY 10

VISUAL ART

 

“Boom”

Art is made in all manners of cracks and crevices and four-bedroom apartments. How are we to know that what we have the pleasure of viewing gallery-side is the best of the best, the most succulent bit of Dungeness in San Francisco’s cioppino? Well, we don’t, and now I’m hungry. But events like “Boom” tend to help matters. The event is an entry fee-free juried art show, which means that a) artists don’t gotta have sold a $700,000 piece to kick it (congrats to Chor Boogie, by the way); and b) Southern Exposure has supplied an expert mind to deem said art worthy of your collection or not. (Caitlin Donohue)

Through Dec. 18

Opening reception tonight, 6–9 p.m., free

Southern Exposure

3030 20th St., SF

(415) 863-2141

www.soex.org

 

EVENT

“The Lusty Lady’s Kinky Kiss-Mass Party”

Ohhhhh! Uhhhhuh! Fuhkuhhhhhhh … there, no, therrrreee! Ahhhhhhh! Yesssssss! Can’t get enough? Don’t worry, babe, there’ll be plenty to get you off at the Lusty Lady’s ho-ho-holiday fundraiser. Love peppermint? Enter the Candy Cane Suck-Off Contest! Love cheeky 1960s garage rock and ’70s hard glam? See the Minks and Destroyer, covering two great bands named after two great things: the Kinks and Kiss, respectively. Love hot naked women who are unionized, lionized, organized, and revolutionized? Then raise your glass of cheap booze while you help raise funds to keep the shades raised, one hot dollar at a time. (Kat Renz)

With Trixxie Carr, Horror X, and DJ Omar

8 p.m.-3 a.m., $12–$15

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

 

SATURDAY 11

MUSIC

“The I Am Donald Tour” with Donald Glover + Childish Gambino

As the man-child Troy on NBC’s Community (and a former writer for 30 Rock), 26-year-old Donald Glover currently stands on the precipice of a breakout comedic acting career. So what’s he doing releasing a non-novelty rap album (under the name Childish Gambino)? Although his current celebrity makes it initially hard to take his music seriously, once you move past the indie-kid stroking (“H.O.V.A. with glasses/Weezy but nerdy”) and TV-star titillation (“NBC is not the only thing I’m coming on tonight”), Glover’s casual willingness to be introspective and examine uncomfortable personal struggles signals that he plans on doing more than vacationing in the genre. (Peter Galvin)

9 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

THEATER

Siddhartha, The Bright Path

Performed entirely by kids and young adults, Siddhartha, The Bright Path chronicles Siddhartha’s epic journey to becoming the Buddha alongside the story of modern-day Chandra from San Francisco. Chandra finds herself amid a bounty of birthday presents posing questions about the real value of material goods in the face of human suffering. The two meet on the banks of the Ganges River under a bodhi tree where the Buddha helps Chandra find enlightenment relevant to her life. Fused with Indian music, art, and kathak dance, this play combines traditional Indian culture with the warmth of the holiday season. (Wiederholt)

Through Jan. 9

Previews Sat/11–Sun/12, 3 p.m.; Dec 16, 7:30 p.m.

Opens Dec 17, 7:30 p.m. (schedule varies), $10–$50

Marsh Youth Theater

1062 Valencia, SF

www.themarsh.org

 

MUSIC

Gama Bomb

The burgeoning retro-thrash movement has become so overcrowded that it’s hard to separate the wheat from the chaff, but hold onto your gigantic white Reebok hi-tops — Gama Bomb is coming. The Dublin, Ireland, quintet is among the best of an uneven bunch, cranking out gleeful, inventive ditties full of machine-gun picking and nerdy, caterwauled vocals. Tales from the Grave in Space (2009) picked up where its previous effort left off, drawing on the band’s love of booze, bawdiness, and pulpy pop culture to weave an adrenalized tapestry shot through with divebombing solos and single-stroke rolls. Hearing the blitzkrieg live will be another matter entirely, and the Bomb is making its first visit to the U.S., so expect an all-out assault. (Richardson)

With Forbidden, Evile, Bonded by Blood, and Fog of War

2:30 p.m., $20

DNA Lounge

375 11th St., SF

(415) 626-2532

www.dnalounge.com

 

SUNDAY 12

EVENT

Jeff Hoke

Alchemy, dreams, psychology, the stars — wrapped up in an enigmatic Myst-like museum and served to you in a picture book that aims to explain all four. Jeff Hoke is a unique mind. He’d have to be to hold his position as senior exhibits designer at Monterey Bay Aquarium, and we’re given an inside track to the inner workings of the man’s cerebellum with his new book, Museum of Lost Wonder (whose basic premise is explained above). On this day, he takes to the Exploratorium, where he plans to “merge the myths of science and nature,” according to the museum’s website. Screw on your thinking cap. (Donohue)

3–5 p.m., free with museum admission ($10–$15)

Exploratorium

3601 Lyon, SF

(415) 561-0360

www.exploratorium.edu

 

MONDAY 13

MUSIC

Tame Impala

Tame Impala describes itself as “the movement in Orion’s nebula and the slime from a snail journeying across a footpath.” Clearly, Tame Impala is a psychedelic rock band, complete with outrageous metaphor and hyperbole. But unlike a number of other noted bands in the resurging genre, its heavy sound derives more from a traditional hard groove than wild, in-studio manipulation. If at times the sound is evocative of the Flaming Lips, there’s good reason: Lips producer Dave Fridmann had his hand in Tame Impala’s debut, Innerspeaker. Adding to the vibe, this bill features Stardeath and White Dwarfs, contributors to the Lips’ 2009 Dark Side of the Moon remake and musical progeny of Wayne Coyne. (Ryan Prendiville)

With Stardeath and White Dwarfs

8 p.m., $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

TUESDAY 14

FILM

The Triplets of Belleville

With luck, January 2011 will bring the release of the much-delayed animated picture The Illusionist. Originally intended for rollout in 2007, director Sylvain Chomet’s second film should be of particular interest to Francocinephiles, based on an unproduced script written by Jacques Tati. Until then, revisit The Triplets of Belleville, a showcase of Chomet’s unique gift for caricature and Tati’s influence, free of excessive dialogue. Nominated for Best Animated Film at the 2003 Academy Awards, it lost to Finding Nemo, but it should have at least won Best Animated Dog of All Time. (Prendiville)

Dec. 14–15, 7:15 and 9:15 p.m.;

Also Dec. 15, 2 p.m., $6–$9

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

 

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‘Infinite City’ maps out inexhaustible SF

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In the introduction to her thrilling new book, Rebecca Solnit provides the best explanation for why Infinite City: A San Francisco Atlas (University of California Press) can only be referred to as a San Francisco atlas, not the San Francisco atlas. “Every place is if not infinite then practically inexhaustible … any single map can depict only an arbitrary selection of the facts on its two-dimensional surface…”

What makes Solnit’s atlas appealing is the very arbitrary nature of the facts she chooses to have represented through a selection of 22 gorgeously rendered maps and a series of essays — many written and curated by guest collaborators with a particular interest in the storied intersection between geography and culture: poets, activists, archivists. From a map of “the names before the names,” an overview of the more than 100 indigenous tribes settled within the Bay Area circa 1769, to a map of the few remaining 6 a.m. bars which once catered to a large population of third-shift workers, to a map juxtaposing 2008’s tally of 99 murders within San Francisco proper with its flourishing population of Monterey cypress trees, the atlas reveals the truths simmering beneath the accepted fictions.

Or rather, a series of selective truths — for part of the joy of Infinite City is the infinite ways in which it can be read. The geo-politically inclined will want to take note of map #4: Right Wing of the Dove, which documents the locations of corporations such as Bechtel, military outposts such as Travis Air Force Base, and defense research laboratories such as Lawrence Livermore National Laboratory while maps for the Bay Area’s self-proclaimed foodie set include both map #7: Poison/Palate, and map #18: The World in a Cup, which details just a sampling of our many beloved coffee houses. Other maps include overviews of black history, butterfly habitats, queer spaces, Ellis act evictions… The subjects, like the possibilities, seem endless.

There’s even a map of San Francisco reimagined as a human head, accompanied by a tongue-in-cheek phrenological reading by novelist Paul La Farge.

It’s the map of Solnit’s internal San Francisco juxtaposed with that of performance artist Guillermo Gómez-Peña’s that comes closest to explaining the human compulsion to want to map out our known territories. In this particular map, both subjects define a series of unrelated places by defining who they are when they are there. From Rebecca: “In the Japanese Tea Garden I am always six years old; in the Sunset, I am almost Irish enough, but not San Franciscan enough; in the Excelsior, I am some chick from the Mission.” From Guillermo: “On the Golden Gate Bridge I still don’t feel suicidal; in Chinatown I am mistaken as a tourist from Spain or Argentina; In the Bollywood Café at 19th and Capp, I am the wrong kind of brown.”

As any of the greats of travel literature might point out, it’s tapping into our relationships with place that we are able to explore our relationships with others and ourselves more deeply. Infinite City offers a more than a few possibilities for each.