San Francisco

The lost Postal Service audition tape

Tony Robles
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0

So this is pretty much perfect. It’s been 10 years since the Postal Service released its mega indie hit album, Give Up. Go way back to the band’s original “auditions” in this new clip.

Also, the band, which of course features Death Cab for Cutie’s Ben Gibbard on lead vocals, just announced a second Bay Area date later this year (the first one quickly sold out). The Postal Service will play Berkeley’s Greek Theater July 26 (sold out) and July 27 (not yet sold out). Tickets and additional info on those here. Specifically, get tickets to the July 27 show here.

The America’s Cup is killing us!

Sasha Cuttler
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56

First Larry Ellison and his rich cronies try to perpetrate an audacious real estate scam on San Francisco, after pitting us against other cities to host his America’s Cup race. Even though we were able to scale back that swindle, they still evicted Teatro ZinZanni from Pier 27 so they could profit from overpriced waterfront concerts at the spot they supposedly need for their boat race — lying, cheating and corrupting the system along the way.

Then we learned that Ellison, the world’s fifth richest man, and the other 1-percenters on the America’s Cup Organizing Committee, may stick San Francisco taxpayers with a $20 million bill for their race because they’re all too greedy and selfish to honor their private fundraising commitment – which they could cover by simply writing checks for amounts they would barely notice, and which they’d probably find a way to write off of their taxes anyway.

And now, on top of all those outrageous indignities … they’re killing people!

Well, maybe Ellison and his crew aren’t actually committing murder. But during last weekend’s venerable Escape from Alcatraz triathlon – which was moved up from the warm-ish summer months to the frigid winter because the yachts are apparently unable to share the bay for a few hours one morning – one man died of a heart attack and 150 participants had to be rescued (three times the normal number) because the water was so dangerously cold.

Just one more example of how overentitled rich people, with the active complicity of the Mayor’s Office, are having their way with San Francisco, heedless of the consequences.

Noise Pop 2013: YACHT, Shock, and Future Twin at Slim’s

Tony Robles
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0

When I went to see YACHT, a couple years ago during the Treasure Island Music Festival, it was playing outdoors in the afternoon, and it seemed like the wrong time and place. Last year at the Fox, the conceptual electropop band seemed stifled by the combination of the large venue and sparse crowd, and also mired by the same lackluster audio conditions that made headliner Hot Chip sound like it was playing underwater. But Saturday at Slim’s, on my last night of Noise Pop, it seemed just…

Fuck, I’ve wandered into the Goldilocks cliché.

Anyway, YACHT likes to keep it personal. Personable? The duo of Jona Bechtolt and Claire L. Evans (bolstered by other band members on tour) affect a borderline cultish air — utopian ideals were all over its last album Shangri-La and lead track, um, “Utopia” — that plays better when the audience is kept close, in a intimate venue.

“Ahhh, your hair is so long!” a woman in the sold out crowd screamed, when singer Evans first appeared on stage during the sound check, dark roots showing under what was previously close cropped and bleached blonde. It struck me as the kind of thing you say to a close friend you haven’t seen in a while. (“She’s much better looking than the last time I saw her,” someone else near me judged later in the show.)

This friendly rapport makes a lot of sense, given how much effort the group makes towards fostering it. Hopping off stage and tangling the crowd up in a mic cord has basically become a rock party trick at this point (probably because it’s an almost foolproof way to charm the crowd). Evans employed it as a starter, but went on to continually flatter fans and solicit questions, indulging in requests for hugs and spare beers. Throughout this course of events, singer, multi-instrumentalist, and YACHT founder Bechtolt competed for the larger cult of personality with a hopped-up glee.

Somewhat listless at the Fox performance, YACHT was nothing but efficient on Saturday. Maybe it was limited on time to begin with, but the set clicked by, highlighted by high-energy renditions of “I Walked Along” and “Utopia” — better than any I’ve heard.

An obvious encore followed (right after Bechtolt assured someone — probably the guy up front waving a sticker sheet and Sharpie since the sound check —that he’d sign anything five minutes after the show was over) with “Ring the Bell,” a super snappy version of shout-along “Psychic City,” and “Second Summer.” It was all done with an intentionality that could be either super endearing to a fan or off-putting viewed as an outsider, but I’m increasingly finding myself group with the former.

Openers

Shock: “We only have two minutes left and our songs are like seven minutes,” singer and bassist Terri Loewenthal of Shock said, after playing three tracks of slinky synth funk with slow vocals and lots of glissando. Five or so minutes later, the ground finished its set and she added, “So that was the short version.” Which was pretty satisfying.

Future Twin: Future Twin was precociously San Francisco, noting that one song was about trying to find affordable housing and cracking dead on delivery jokes about the nudity ban only applying out on the streets. But with dynamic singer and guitarist Jean Yaste  — whose voice recalls equally parts Corin Tucker and Exene Cervenka — and drummer Antonio Roman-Alcala, this band can get away with saying whatever it wants during mic breaks. Its upcoming benefit for the Roxie at the Verdi Club with Thee Oh Sees and Sonny and the Sunsets has it in good company.

Tussle: It’s been three years since I last saw Tussle at Milk Bar, and given the recordings the group released since then I had high expectations to see it much improved. But trouble with setting up a ton of equipment and subsequent delays really hobbled its start, and the group never seemed to quite overcome it. Unintentional tempo shifts seemed common, the double drummers never quite seemed to sync, and the generally structureless songs seemed to only end when every member came to the sudden realization that someone else was cuing them to wrap it up.

Who am I?

Jesse Hawthorne Ficks
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0
Who am I?

arts@sfbg.com

DANCE CounterPULSE always makes a point of thanking its volunteers. One can only hope that they’ll turn up en masse to help clean up after Faye Driscoll and Jesse Zaritt step off the stage this coming weekend. Their You’re Me is not exactly what might be called a clean show. Still, if the work-in-progress preview, presented at the end of their residency at the Headlands Center for the Arts almost two years ago, is any indication, the mess is more than worth it. After all, most of us will recognize a mess when we see it.

The Los Angeles-born Driscoll lived in San Francisco from 2003 to 2005. She put in a shift at the ODC/Pilot Program — for on-the-verge choreographers — even though dance was not her primary focus at the time. As she explained in a recent phone conversation from her home in Brooklyn, in San Francisco, “I really was inspired by the music and art scene, hanging out with people who were putting band together that were kind of art bands.” At the time, she was in recovery mode from two years of performing and touring with Doug Varone and Dancers. Apparently it had not been all that happy a match — too much structure, too much energy from the top down.

So San Francisco — where the mantra is “you can do anything you want,” and where you go “to find yourself” — proved to be liberating experience for her, particularly because she had been so “serious and disciplined about dance” since her childhood.

In some ways Driscoll is still trying to find herself. On the most visible level You’re Me is a piece about a relationship — after all, it is performed by a man and a woman. But it’s also a work looking at identity: the one you claim for yourself, that one you are working toward, or the one that is imposed on you by the outside world. For many people that is unstable territory that tends to slide away from under your feet.

Partly because she “had a lot going on in my home that was kind of crazy,” and because she remembered people reflecting an identity back to her that was quite different than the one she experienced herself, Driscoll was drawn to dance early on. “Dance had the structure that allowed me to express what I am in the world,” she says. “It was the place where I could go and practice my movements and make myself open to other people’s bodies.”

You’re Me is inspired by the in-between spaces Driscoll observes in non-verbal human communication, as well as by fixed historic representations she and Zaritt collected in the visual arts, from Renaissance paintings to contemporary magazines. In the process they became fascinated by how ideas of what is masculine and feminine have changed over time. Finding much that resonated but also created dissonance within themselves, the experience fed into their appetites for trying out other identities.

To do that choreographically, in one section of the five-part 80-minute duet, the two performers also draw on one of the earliest ways kids try to tell us something about who they are. A little girl who wobbles around in her mother’s heels is considered cute. A little boy who prefers dresses to pants rings alarm bells. Role-playing, fantasy games, make-believe, dress-up —whether in a playgroup or the theater — are serious business. They present way of talking about being or becoming in the world. But they are also a lot of fun.

Driscoll describes her working process as taking “things and blowing them up, creating them to excess and putting them into rhythmic structure and try to pull them apart and grapple with them.” Here, in addition, to the physically demanding movement interactions, the dancers have to don, strip off, and exchange parts of props and costumes, often at dizzying speed. They rehearsed a lot, she says, and they have a prop master who makes sure that the final mess is nicely controlled.

Pulling You’re Me together, however, was a different challenge. Like many artists, Driscoll is homeless, scurrying around from one studio to another. “I could never rehearse with all that stuff I had to lug around.” That’s why the residency at Headlands became such a respite: they gave her a closet. *

YOU’RE ME

Thu/7-Sun/10, 8pm, $20-$30

CounterPULSE

1310 Mission, SF

www.counterpulse.org

 

Rep Clock

Andrew Lam
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Schedules are for Wed/6-Tue/12 except where noted. Director and year are given when available. Double features marked with a •. All times pm unless otherwise specified.

AQUARIUM OF THE BAY Pier 39, SF; www.oceanfilmfest.org. $8-150. “San Francisco International Ocean Film Festival,” over 50 ocean-inspired films from around the world, Thu-Sun.

BERKELEY UNITARIAN FELLOWSHIP HALL 1924 Cedar, Berk; www.greensangha.org. $10. “Plastics 360: Film Night,” short films about plastic waste, Thu, 7.

BRAVA THEATER CENTER 2781 24th St, SF; sfbff.blogspot.com. $12. “San Francisco Bulgarian Film Festival,” first annual event featuring six films from Bulgaria, Sat-Sun.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. Chasing Ice (Orlowski, 2012), Wed, 2:30, 4:45, 7, 9. •Cabaret (Fosse, 1972), Thu, 2:25, 7, and Pennies from Heaven (Ross, 1981), Thu, 4:45, 9:20. •The Outside Man (Deray, 1972), Fri, 7, and The Terminator (Cameron, 1984), Fri, 9:10. Peaches Christ Productions presents: Paris is Burning (Livingston, 1990), Sat, 8. With a pre-show ball and guest Latrice Royale, Sat, 8. Advance tickets ($22-42) at www.peacheschrist.com. •Days of Heaven (Malick, 1978), Sun, 2, 8, and Heaven’s Gate (Cimino, 1980), Sun, 4.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. Amour (Haneke, 2012), call for dates and times. Happy People: A Year in the Taiga (Herzog and Vasyukov, 2012), call for dates and times. Quartet (Hoffman, 2012), call for dates and times. “Oscar Nominated Shorts: Animation, Documentary, and Live Action,” call for dates and times.

“CINEQUEST” Various venues, San Jose; www.cinequest.org. $5-50. The 23rd annual film fest honors a slew of stars in addition to screening global films and highlighting new film technology. Through Sun/10.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $9-10. “Midnight Movies:” The Room (Wiseau, 2003), Sat, midnight. With host Sam Sharkey.

“EAST BAY INTERNATIONAL JEWISH FILM FESTIVAL” Various East Bay venues; www.eastbayjewishfilm.org. $10. Forty films total, with special focuses on Jewish-Muslim relations and musicals. March 9-17.

NEW PARKWAY 474 24th St, Oakl; www.thenewparkway.com. $6-10. “Parkway Classics:” Quadrophenia (Roddam, 1979), Thu, 9pm; “Thrillville:” “Sci-Fi Bob’s Psychotronix Film Festival,” Sun, 6. “Documentary Series:” Flag Wars (Bryant and Poitras, 2003), Tue, 7.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alfred Hitchcock: The Shape of Suspense:” The Paradine Case (1947), Wed, 7; Rope (1948), Fri, 7; I Confess (1953), Fri, 8:40; Lifeboat (1944), Sun, 5. “Werner Schroeter: Magnificent Obsessions:” Palermo or Wolfsburg (1980), Thu, 7; Deux (2002), Sat, 8:30. “And God Created Jean-Louis Trintignant:” Violent Summer (Zurlini, 1959), Sat, 6:30. “Filmmaker Provocateur: Jean Rouch:” Moi, un noir (1958), Sun, 3. “Documentary Voices:” “Latin American Legacies: Films of Leandro Katz,” Tue, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. “Hollywood Before the Code: Deeper, Darker, Nastier!”: •Lady Killer (Del Ruth, 1933), Wed, 8, and Night World (Henley, 1932), Wed, 6:30, 9:40; “Tribute to Screen Legend Lyle Talbot with Margaret Talbot in Person:” •Fog Over Frisco (Dieterle, 1934), and Heat Lightning (Le Roy, 1934), Thu, 6:30, 9:40. The Jeffrey Dahmer Files (Thompson, 2012), Wed-Thu, 7. Birth Story: Ina May Gaskin and the Farm Midwives (Lamm and Wigmore, 2011), March 8-14, 7, 9:15 (also Sat-Sun, 3, 5).

SAN FRANCISCO PUBLIC LIBRARY 100 Larkin, SF; www.irishamericancrossroads.org. Free. “Crossroads Irish American Festival:” Nights in Shanaglish (Tighe, 2012), Sat, 1 (live Irish musical performance; film at 1:45).

VOGUE 3290 Sacramento, SF; www.cinemasf.com. $10. “Rendez-vous with French Cinema:” Augustine (Winocour, 2012), Fri, 5 and Tue, 5; You, Me, and Us (Doillon, 2012), Fri, 7:30 and March 13, 7:30; Rich is the Wolf (Odoul, 2012), Sat, 5 and Tue, 7:30; Granny’s Funeral (Podalydès, 2012), Sat, 7:30 and March 14, 5; You Will Be My Son (Legrand, 2012), Sun, 3:30; The Suicide Shop (Leconte, 2012), Sun, 7 and March 14, 7:30; Journal de France (Depardon and Nougaret, 2012), Mon, 5; Persecution (Chéreau, 2012), Mon, 7:30 and March 13, 5.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. “International Buddhist Film Festival Showcase 2013:” KanZeOn (Cantwell and Grabham, 2011), Sat, 2; The Mourning Forest (Kawase, 2007), Sat, 4; Olo, The Boy from Tibet (Iwasa, 2012), Sun, 2; Tokyo Waka (Haptas and Samuelson, 2011), Sun, 4. *

 

Our Weekly Picks: March 6-12

Andrew Lam
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0

WEDNESDAY 6

Sixth Annual International Juried Plastic Camera Show

These days, every smartphone-toting amateur can create his or her own hazy vignette to remind us of those groovy days before digital photography. But Instagram and its peers always stop short in their quest for that special quality that only real lo-fi technology — cameras constructed of plastic and the occasional piece of tape — can achieve. In its sixth Plastic Camera Show, RayKo Photo center will exhibit the best 90 photos chosen from thousands of international submissions, with a special focus on Los Angeles-based Thomas Alleman’s black-and-white images that his plastic camera manages to render in a mood that is both cinematic and sordid. Instagram has nothing on these photos. (Laura Kerry) Through April 22 6-8pm opening, free RayKo Photo Center

428 Third St., SF

(415) 495-3773

www.raykophoto.com


THURSDAY 7

University Dance Theatre

Student recitals are just one of a number of campus spring rituals. The University Dance Theatre’s at SF State University is no exception. This year’s program, besides showing new works by alumni, faculty, and advanced students, is very much worth trip out into the fog belt. KT Nelson, Co-Artistic Director of ODC/Dance, with whom State has an ongoing relationship, is setting her Transit on student performers. Transit is witty, wistful, and wondrous; sort of a love letter to harried urban lives. Max Chen’s fantastical, multipurpose bikes also pay tribute to the City’s favorite mode of transportation. Nelson knows that spectacular props can steal a show; she didn’t let it happen. Transit focuses its lively energy on where it belongs — the dancing. (Rita Felciano)

Through Sat/9, 8pm, $8–$15

San Francisco State University

Creative Arts Building

1600 Holloway Ave.

(415) 338-2467

creativestate.sfsu.edu

 

San Francisco International Ocean Film Festival

To celebrate its 10th year, the San Francisco International Ocean Film Festival is assembling the following: a Cousteau (Jean-Michel, son of Jacques, who will be a special guest at the opening-night gala); a documentary about the first lady of surfing (Brian Gillogly’s Accidental Icon: The Real Gidget); and a shark-themed program highlighted by Steve Dilaridan’s adorably-titled animated short I’m Going to Bite Someone. And that ain’t even taking into account the rest of the over 50 ocean-themed films from some 14 countries. Dive in! (Cheryl Eddy)

Through Sun/10, most films $8–$14 (opening gala, $150)

Bay Theater

Aquarium of the Bay

Pier 39, SF

www.oceanfilmfest.org


FRIDAY 8

The Hush Sound

Chicago’s the Hush Sound was “discovered” in 2005 by Pete Wentz via Panic! At the Disco’s Ryan Ross, but don’t hold that against it. The group’s simple boy-girl harmonies and catchy melodies are at once sincere and whimsical, creating a timeless, folk-tinged pop sound. When the band formed, core songwriters Greta Salpeter and Bob Morris were essentially still children, going to school and lifeguarding, respectively. In the years and three albums that followed, the band mercifully never lost its youthful nature. Now, after a five-year hiatus, the Hush Sound is finally back with a new album in the works — and its ready to relive its youth. (Haley Zaremba)

With the Last Royals, Sydney Wayser

8pm, $15

Great American Music Hall

859 O’Farrell

(415) 885-0750

www.slimspresents.com

 

Pickwick

A Youtube comment on the song “Blackout” from Pickwick’s record, Myths Vol. 3, reads “these fucking albums are nowhere to be found.” Though one should usually ignore Youtube comments, in this case we say, Kamelbutiken, you have a point. For the past year, the band has sold out shows in its native Seattle and earned spots in notable festivals, gaining hype only through the release of a series of seven-inch vinyl records and online videos. It’s hard to believe that with all the recognition they’ve earned, March 12 marks the release of the band’s official debut album. While the soul-and-folk-infused rock the band makes is still nowhere to be found, find Pickwick live at the Independent. (Kerry)

With Radiation City, Sandy’s

9pm, $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

Melt! with Machinedrum

Futuristic beats producer Travis Stewart, a.k.a. Machinedrum, takes cues as much from hip-hop and jungle rhythms as from the current dubstep/wobble craze. The American-born Berlin resident has produced for rising Harlem star Azealia Banks and counts rhymesayer Theophilus London and UK-based dream-techno star Lone as collaborators. Machinedrum keeps his productions quick and tightly-woven, typically floating catchy melodies and some sonorous vocal samples alongside shuffling beats. The multi-faceted Stewart has also earned respect for his recent reinterpretations of giants in their respective genres, Scottish electronic duo Boards of Canada and psychedelic jazzist Sun Ra. (Kevin Lee)

With French Fries, Dark Sky, and more

10pm, $17.50–$20

1015 Folsom, SF

(415) 431-1200

www.1015.com


SATURDAY 9

San Francisco Bulgarian Film Festival

With directors like Cristi Puiu (2005’s The Death of Mr. Lazarescu) and Cristian Mungiu (whose latest, Beyond the Hills, opens March 15) leading the charge, the Romanian New Wave is a well-established phenomenon. So it stands to reason that next-door neighbor Bulgaria would also be eager to come into its own, cinematically speaking — and the inaugural San Francisco Bulgarian Film Festival is here to share some of the country’s recent triumphs with local audiences. Included in the two-day fest are Bulgaria’s 2011 Oscar submission, Tilt, about friends who dream of opening a bar amid the country’s tumultuous early 1990s; and contemporary drama Love.Net, a hit at the 2011 Bulgarian National Film Festival. (Eddy)

Through Sun/10, $12

Brava Theater Center

2781 24th St, SF

sfbff.blogspot.com

 

Garry Winogrand retrospective

Legend has it that Garry Winogrand would shoot an entire roll of film in a single block, barely pausing or taking his eye away from his Leica camera’s viewfinder until he reached the end. As a result, his body of work presents barely mediated views of daily life in postwar America. And it presents a lot of them. Winogrand produced so many rolls of film that he never saw an estimated 250,000 images contained on them before his untimely death in 1984. In a retrospective that will travel the globe after leaving San Francisco, SFMOMA will display about 100 of these never-before-seen prints, adding to an already prolific and important collection. We’re lucky to get to see so many streets through Winogrand’s eyes. (Kerry)

Through June 2

$9–$18

SFMOMA

151 Third St., SF

(415) 357-4000

www.sfmoma.org

 

Flogging Molly

Don’t let Flogging Molly fool you: everything about the band may seem wonderfully drunk and Irish, but like any other illusion, it actually hails from Los Angeles. Vocalist Dave King, however, is a bona fide Irishman, and his thick brogue is the perfect addition to Flogging Molly’s Celtic-flavored punk madness. Whether or not you want to listen to songs about drunken pirates and whiskey in your free time, its live show is a spectacle that anyone could and should enjoy. Though the band has been together and touring since the ’90s, it hasn’t slowed down one iota. That x-factor that makes some live shows over-the-top fun simply can’t be spoken for. Grab a bottle of Jameson and go see for yourself. You can thank me later. (Zaremba)

With Mariach El Bronx, Donots

7:30pm, $32.50

Fox Theater

1807 Telegraph, Oakland

(510) 302-2250

www.thefoxoakland.com


MONDAY 11

Efterklang The Danish band Efterklang first gained international plaudits with its soaring 2007 LP Parades on the Leaf Label Ltd and such triumphant, symphonic battle cries as “Mirador” and “Caravan.” Since switching labels to 4AD Ltd., Efterklang has (somewhat regrettably) corralled that bright energy and fostered a more direct, intimate sound. Legend has it that the Danish trio wandered through an abandoned Norwegian coal mining settlement near the North Pole formerly operated by the Soviet Union. The band’s journey and field recordings became source material for last year’s Piramida, in which frontperson Clasper Clausen drops his voice an octave and embarks on mysterious stories of exploration and melancholy. (Lee)

With Nightlands

8pm, $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

 www.slimspresents.com

 

San Francisco Moth StorySLAM: Secrets

The Moth: “True Stories Told Live.” Where else could we listen to strangers, alone on a stage with their words, telling fantastical-but-true personal stories of Jewish mobster uncles, family embezzlement, Montgomery Clift’s wishes from beyond the grave, the whiskey-soaked life of a rookie reporter, the cult of Radical Honesty, and sexual awakenings during midlife crises? The NY-born series — in which reading from notes is a major no-no — has been going strong since 1997, with monthly StorySLAMs (open mics) in LA, Chicago, Louisville, and Seattle, among other cities. The San Francisco Moth StorySLAM launches today at the Rickshaw Stop and will continue on the second Monday of every month. The first round’s theme is “secrets” so come prepared to divulge the dirt. And as podcast host Dan Kennedy always notes, “we hope you have a story-worthy week.” (Full of secrets you’re willing to share.) (Emily Savage)

7pm, $8

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian, 225 Bush, 17th Flr., SF, CA 94105; or e-mail (paste press release into e-mail body — no attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage listings

Andrew Lam
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0

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

THEATER

OPENING

The Chairs Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $20-45. Opens Thu/7, 7:30pm. Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through March 31. Cutting Ball Theater performs Rob Melrose’s new Eugene Ionesco translation.

Dead Metaphor ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-95. Opens Wed/6, 8pm. Runs Tue-Sat, 8pm (also Sat, 2pm; Sun/10, 7pm; Tue/12 show at 7pm); Sun, 2 and 7pm. Through March 24. American Conservatory Theater performs George F. Walker’s dark comedy about postwar living.

The Great Big Also Z Space, 450 Florida, SF; www.zspace.org. $15-30. Previews Thu/7-Fri/8, 8pm. Opens Sat/9, 8pm. Runs Thu-Sat, 8pm; Sun, 5pm. Through March 24. Mugwumpin performs a world premiere about creating a new world.

A Lady and a Woman Eureka Theatre, 215 Jackson, SF; www.therhino.org. $15-30. Previews Thu/7-Sat/8, 8pm. Opens Sat/9, 8pm. Runs Wed-Sat, 8pm; Sun, 3pm. Through March 24. Theatre Rhinoceros performs the Bay Area premiere of Shirlene Holmes’ play about a love affair between two African American women in the late 19th century.

BAY AREA

Fallaci Berkeley Repertory Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Previews Fri/8-Sat/9 and Tue/12, 8pm; Sun/10, 7pm. Opens March 13, 8pm. Runs Tue, Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through April 21. Berkeley Rep performs Pulitzer-winning journalist Lawrence Wright’s new play about Italian journalist Oriana Fallaci.

The Mountaintop Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $23-75. Previews Wed/6-Fri/8, 8pm. Opens Sat/9, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm), through March 31. Starting April 3, runs Wed-Thu, 11am (also Thu, 8pm); Sat, 8pm; Sun, 2pm. Through April 7. TheatreWorks performs Katori Hall’s play that re-imagines the events on the night before Dr. Martin Luther King, Jr.’s assassination.

The Real Americans Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Opens Fri/8, 8pm. Runs Fri, 8pm; Sat, 5pm. Through April 6. Dan Hoyle shifts his popular show about small-town America to the Marsh’s Berkeley outpost.

ONGOING

Assistance NOHspace, 2840 Mariposa, SF; www.opentabproductions.com. $20. Thu-Sat, 8pm; Sun, 6pm. Through March 30. Leslye Headland’s comedy about assistants is loosely based on her experiences working for Harvey Weinstein.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

God of Carnage Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Thu-Sat, 8pm. Through March 30. Shelton Theater presents Yasmina Reza’s Tony-winning comedy about upper-middle-class parents clashing over an act of playground violence between their children.

Inevitable SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $20. Thu-Sat, 8pm. Through March 23. SF Playhouse’s “Sandbox Series,” enabling new and established playwrights to stage new works, kicks off its third season with Jordan Puckett’s drama about a woman trying to make sense of her life.

Jurassic Ark Exit Theatre, 156 Eddy, SF; www.theexit.org. $15-25. Fri-Sat, 8pm. Through March 16. Writer-performer David Caggiano’s zany, well-executed solo play centers on a Christian televangelist who is unwaveringly bent on making a big-budget movie about a cowboy-like Biblical Noah, his Ark, and the largely lovable dinosaurs callously left out of the story — a project he sees delivering a decisive blow to the Darwinians, while turning cineplexes across the land into celluloid cathedrals. Brother Dallas and his proselytizing pitch eventually find receptive ears in a trinity of movie-industry heavies, whose collective business acumen demands a few changes to the script. Meanwhile, the intoxicating power of it all leads to a lapse in Brother Dallas’s righteousness and a scandal reminiscent of Hugh Grant’s career. Dallas rebounds from this bout with the Devil and sees his movie made — but surely only he is unaware that the Devil keeps a Hollywood address. Smartly directed by Mark Kenward, this low-frills production relies almost exclusively on Caggiano’s sturdy ability with quick-change characterizations (couched in Dylan West’s modest lighting design and a suggestive soundscape by sound editor–musician John Mazzei). The fitful satire trades in pretty orthodox caricature and, in Brother Dallas, lacks a very compelling or sympathetic central figure; but it unfolds with a very cinematic imagination that, while formulaic, is itself one hell of a movie pitch. (Avila)

Just One More Game Exit Theatre, 156 Eddy, SF; www.tripleshotprodutions.org. $25. Thu-Sat, 8pm; Sun/10 and March 17, 2pm. Through March 30. Triple Shot Productions presents Dan Wilson’s video game-themed romantic comedy.

The Lisbon Traviata New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25. Wed-Sat, 8pm; Sun, 2pm. Through March 24. New Conservatory Theatre Center performs Terrence McNally’s play, a mix of comedy and tragedy, about the relationship between two opera fanatics.

The Motherfucker with the Hat San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $30-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through March 16. A fine cast makes the most of Stephen Adly Guirgis’s deceptively coarse, often amusing little play, The Motherfucker with the Hat, which receives its local premiere in a sure and rowdy production from SF Playhouse. Director and designer Bill English’s striking two-tier set almost belies the intimate nature of the quirky story, which concerns a hapless parolee and recovering alcoholic named Jackie (a winningly frazzled, bumptious Gabriel Marin) who retreats to his AA sponsor’s apartment to pine and plot revenge after he discovers a stranger’s hat in the bedroom of his longtime Puerto Rican girlfriend, Veronica (played vividly by an at once edgy and vulnerable Isabelle Ortega). But Ralph, his suave and persuasive sponsor (played with unctuous charm gilded by just a hint of ineptitude by an excellent Carl Lumbly), may not be the guy he wants in his corner. Not that Jackie can see that — he’s got a man-crush on Ralph that dwarfs his already ambivalent affection for much put-upon but stalwart cousin Julio (a sharply funny Rudy Guerrero) and blinds him to the warning signals from Ralph’s own disgruntled wife (a coolly disgusted Margo Hall). Throughout, these working-class New York borough dwellers display their wit and shield their soft underbellies with a rapid-fire barrage of creative swearing. English and cast display a real comfort with this kind of material (this is SF Playhouse’s fourth Girguis play), which drapes its soft heart in the intimations of violence more than the real thing. If the heat and imaginative cursing also seem to cover up for a play with little dramatic purpose beyond a gentle and somewhat pat exploration of loyalty, maturity, and trust, there’s pleasure to be had in the unfolding. (Avila)

Pageant: The Musical! Victoria Theatre, 2961 16th St, SF; www.brownpapertickets.com. $25. Thu/7-Sat/9, 8pm. Robbie Wayne Productions presents this “drag-tastic adventure through the hilarious world of beauty contests.”

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

Steve Seabrook: Better Than You Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Fri, 8pm; Sat, 8:30pm. Through March 22. Kurt Bodden’s San Francisco Best of Fringe-winning show takes a satirical look at motivational speakers.

The Voice: One Man’s Journey Into Sex Addition and Recovery Stage Werx Theater, 446 Valencia, SF; thevoice.brownpapertickets.com. $10-18. Fri-Sat, 8pm. Through April 6. Ticket sales for David Kleinberg’s autobiographical solo show benefit 12-step sex addiction recovery programs and other non-profits.

The Waiting Period Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Fri, 8pm; Sat, 5pm. Through March 30. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. Note: review from an earlier run of the same production. (Avila)

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-50. Sun, 11am. Extended through March 17. The Amazing Bubble Man (a.k.a. Louis Pearl) continues his family-friendly bubble extravaganza.

BAY AREA

Dostoevsky’s The Grand Inquisitor Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through March 31. Central Works performs Gary Graves’ adaptation of the story-within-a-story from The Brothers Karamazov.

The Fourth Messenger Ashby Stage, 1901 Ashby, Berk; www.thefourthmessenger.com. $23-40. Wed/6-Thu/7, 7pm; Fri/8-Sat/9, 8pm; Sun/10, 2pm. It’s been some time since a work by local playwright Tanya Shaffer last graced our stages, not since 2005 to be precise, and in keeping with her penchant for multicultural themes, her latest piece, The Fourth Messenger, is a reimagining of the Siddhartha story, written as a musical in collaboration with composer Vienna Teng. Raina (Anna Ishida), a “hungry” journalism intern with a secret agenda, pitches her first scoop — the debunking of a beatific guru named Mama Sid (Annemaria Rajala) — and embeds herself in a meditation retreat where she can get close to the famously private teacher and uncover her past. Neither as humorous or as merciless as Jesus Christ Superstar or as exuberant as Godspell (though the excellent song “Monkey Mind” crackles with wit and trenchant observation, and the tender “Human Experience” genuinely uplifts), Messenger does offer a fairly solid primer to the path of spiritual enlightenment including its all-too-human fallout and sacrifices. The white-on-wood set design by Joe Ragey frames the action in a deceptively delicate layer of gauze and mystery, and the capable ensemble inhabit their multiple roles with ease — from jaded newsies to loyal disciples. Which makes it doubly unfortunate that the jazzy, piano-driven score seems pitched just outside of most of the actor’s ranges, even those of the notably skilled Ishida and Rajala, an admitted distraction for the monkey-minded, which is to say most of us. (Gluckstern)

My Recollect Time South Berkeley Community Church, 1802 Fairview, Berk; (510) 788-6415. $12-25. Thu/7 and Sat/9, 8pm; Fri/8, 9pm. Inferno Theater performs Jamie Greenblatt’s play about the life of former slave Mary Fields.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.improv.org. $20. “Theatresports,” Fri, 8pm. Through March 29. “Double Feature,” Sat, 8pm. Through March 30.

“The Buddy Club Children’s Shows” Randall Museum Theater, 199 Museum Wy, SF; www.thebuddyclub.com. Sun/10, 11am. $8. Family improv with Kevin Adams’ Adventure Theater.

“RAWdance presents the CONCEPT Series: 13” 66 Sanchez Studio, 66 Sanchez, SF; www.rawdance.org. Sat/9-Sun/10, 8pm (also Sun/10, 3pm). Pay what you can. An informal, intimate salon of contemporary dance with Here Now Dance Collective, Mark Foehringer Dance Project SF, Randee Paufve, and more.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“Shylock” Kanbar Hall, JCCSF, 3200 California, SF; www.jccsf.org. Fri/8, 8pm. $32-45. Guy Masterson performs a solo play about Shakespeare’s infamous Merchant of Venice character. *

 

On the Cheap listings

Andrew Lam
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0

Submit items at listings@sfbg.com. For further information on how to submit items for listings, see Picks

WEDNESDAY 6

RayKo’s sixth annual plastic camera show RayKo Photo Center, 428 Third St., SF. www.raykophoto.com. Through April 22. Opening reception: 6-8pm, free. You’d never these cameras’ non-pro status by the breathtaking images they are capable of creating. Highlighted in this year’s RayKo show is LA-based artist Thomas Alleman, who began using a Holga camera in 2001 to document the aftermath of 9/11. His dreamy, dramatic prints perfectly pinpoint the dysfunctional beauty of these toy cameras.

“Beyond THC: Cannabidiol and the future of medical marijuana” Commonwealth Club of California, 595 Market, SF. www.commonwealthclub.org. 5:30pm, $12 members, $7 students, $20 nonmembers. Martin A. Lee, author of Smoke Signals — which focuses on the social history of cannabis — will be speaking about the benefits of cannabidiol (CBD), a non-psychoactive component of marijuana that lacks the “high” effect of THC and contains key medicinal benefits. Lee will discuss how the medical marijuana industry has responded to the discovery of CBD and sign copies of his book afterward.

THURSDAY 7

Robot NightLife California Academy of Sciences, 55 Music Concourse, SF. www.calacademy.org. 6-10pm, $12. This beloved weekly museum soiree delves into sci-fi this evening with a focus on robots. Managing director of Silicon Valley Robotics will speak to the local innovation and commercialization of robots and Academy curator Gary Williams will show off footage of deep-sea corals from Pillar Point Harbor. A robotic performance by art group Survival Research Labs and exceptional designs by robot design studio BeatBots are also on tonight’s schedule.

“Art Star” Otis Lounge, 25 Maiden Lane, SF. www.otissf.com. 10pm-2am, free. If you’re looking to submerge yourself into the city’s art community, head over to Otis Lounge to meet and network with artsy individuals at this monthly first Thursday event. Whether you make, buy, sell, or just love art, all creatives are welcome.

Community dinner St. Cyprian’s Episcopal Church, 2097 Turk, SF. www.saintcyprianssf.org. 7pm, free. Hungry, cash-strapped health nuts listen up. This free dinner created from USF’s garden and local farmers markets is open to everyone and anyone interested. The event lacks any motivation beyond a heartfelt effort to bring the community together through wholesome food.

Writerscorps Live with Tamim Ansary Contemporary Jewish Museum, 736 Mission, SF. www.sfartscommission.org. 6:30-7:30pm, free. Award-winning youth writing program WritersCorps has partnered with the CJM for a multi-generational live reading. Author Tamim Ansary will read from his memoir West of Kabul, East of New York, based on his family’s immigration from Afghanistan to San Francisco. The reading will also showcase WritersCorps teaching artist Minna Dubin and students from Downtown High School, Aptos Middle School, Mission High School, and more.

First Thursday with OM Cocktails Hang Street Gallery, 567 Sutter, SF. www.hangart.com. 6-8pm, free. Organic mixology — premixed in the bottle? Will wonders never cease. Check out this brand’s coconut-lychee cocktails and more at Hang Street’s First Thursday reception.

FRIDAY 8

East Bay Bike Party, location TBA. 7:30, free. eastbaybikeparty.wordpress.com. It’s time to go green, literally. The theme of this month’s East Bay group rideout is the favored color of enviro-fans and Kermit the Frog alike. Whether you want to channel your inner leprechaun or bike around as giant pot leaf, the possibilities are endless. If you’re a Bike Party virgin make sure to also look over the code of conduct to help keep the event as community-friendly as possible.

SATURDAY 9

White Walls gallery 10th anniversary show White Walls, 886 Geary, SF. www.whitewallssf.com. Through April 6. Opening reception 7-11pm, free. Town’s best-known “urban art” gallery hosts this retrospective of a decade of boundary-breaking work within its wall (kind of — the gallery recently moved to a larger space on Geary Street). Check out works from Shepard Fairey, ROA, Apex, Ferris Plock, and of the best who have plied works there.

“Doctors on Board” Oakland Marriott City Center, 1001 Broadway, Oakl. www.pmfmd.com/doctors-on-board. 6am-6:30pm, free to students. Application required. The Physicians Medical Forum is hosting a day of workshops and skills training session helping African American students to attend medical school and residency programs. Prominent physicians will provide information about medical school preparation, medical specialties, and life as a physician.

“Quilt San Francisco” Concourse Exhibition Center, 635 Eighth St., SF. www.sfquiltersguild.org Also Sun/10. 10am-4pm, $10 for two-day pass. This two-day exhibit, organized by the San Francisco Quilters Guild, vividly showcases the revitalization of the traditional art form. 400 quilts and special exhibits will shown the many artistic dimensions of wearable art and modern stitching. There will also be a children’s corner, where kids can get marching orders for a treasure hunt that will lead them to special quilts in the show.

Irish-American children’s hour of music, song and dance San Francisco Public Library, Fisher Children’s Center, 100 Larkin, SF. 11am, free. www.sfpl.org. Crossroads, an annual Irish-American festival timing to open up St. Patrick’s Day season, invites the kiddos to learn traditional Irish dance taught by instructors from the Brosnan School of Irish Dance.

Fourth annual World Naked Bike Ride Meet at Justin Herman Plaza, Market and Embarcadero, SF. www.worldnakedbikeride.org. 11am-4pm, free. Protest global dependency on oil and find out what its like to pedal through Fisherman’s Wharf in the buff. All are welcome to take part — even clothed riders — but those in the buff earn extra badass points, given the uncertain status of the ride under the city’s new anti-public nudity ordinance.

“Permutation Unfolding” Root Division, 3175 17th St., SF. www.rootdivision.org. Opening reception 7-10pm, free. Bring the kids to the opening of this group exhibition exploring the biomorphic formations that can spring from the artistic process (we’re not sure what that means either.) There will be an all-ages creativity station, a perfect place to craft while Markus Hawkins spins an auditory web in an 8pm performance.

SUNDAY 10

Exploratorium’s On the Move Fest Mission District location: Buena Vista Horace Mann School, 3351 23rd St., SF. 11am-4pm, free; Bayview location: Bayview Opera House Ruth Williams Memorial Theatre, 4705 Third St., SF. 11am-4pm; Embarcadero location: Pier 15, 11am-10pm. www.exploratorium.edu. All locations offer free admission. Everyone’s favorite on-hiatus science museum is sending 10 trucks tricked out with the kind of wacky, hands-on exhibits its know for to the Mission, Bayview, and the Embarcadero for a day of science, music, and food. In both Bayview and the Mission, enjoy itinerant filmmaking, projects that encourage attendees to sport costumes and act out a special script which will then be chopped, screwed, and shown to the public.

TUESDAY 12

“Stars of Stand-up Comedy” Neck of the Woods, 406 Clement, SF. www.dannydechi.com. 8pm, $10. Comedian and pencil musician (exactly what that means we are not quite sure, please report back if you go) Danny Delchi is hosting tonight’s show. Long-time Niners field announcer Bob Sarlatte and the quirky Mr. Mystic will be performing alongside a number of other top Bay Area comedians.

Persian New Year Festival Persian Center, 2029 Durant, Berk. www.anotherbullwinkelshow.com. What better way to welcome spring than to jump over a bonfire? Head over to the Persian Center to take part in this ritual that has been passed down since Zoroastrian times. Accompanying the fiery activity will be Persian food, music, and dancing.

Sunshine superheroes

Andrew Lam
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0
Sunshine superheroes

From the nation’s Capitol to local city halls, requests filed under the Freedom of Information Act (FOIA) and local public records laws tend to be stymied by bureaucracy. Protecting the public’s right to know requires fierce dedication, and for 28 years, the Northern California Chapter of the Society of Professional Journalists (SPJ) has honored journalists, lawyers, citizens and others who have successfully used public records to hold government accountable. In an era of steep budget cuts and assaults on transparency laws, these first amendment champions deserve serious cred.

On March 12, during national Sunshine Week, the winners of the annual James Madison Freedom of Information Awards will be honored at a banquet hosted by SPJ’s local Freedom of Information Committee. Here are a few of the first amendment champions who will be honored for their work.

UP AGAINST THE FBI

Before embarking down the path of a FOIA request, it’s worth considering what sort of rabbit hole you might find yourself down. When then-undergraduate Seth Rosenfeld began investigating FBI activities on UC Berkeley’s campus for his senior journalism project, he started with a mere nine thousand pages of FBI files obtained through the Freedom of Information Act by his university’s newspaper, The Daily Californian. Thirty-one years and five lawsuits later, he ended up with a total of more than 300,000.

Rosenfeld, who has worked as an investigative reporter for the San Francisco Examiner and the San Francisco Chronicle, enlisted a team of pro-bono lawyers to pursue his case. The FBI resisted, claiming that the records were of little public interest and demanding that Rosenfeld pay thousands of dollars in processing fees, then by heavily excising any documents they were forced to release. The agency, which spent more than $1 million trying to withhold the information from Rosenfeld, argued that redactions were necessary to protect law enforcement operations, national security and the privacy of people named in the records. On one document, Rosenfeld found scrawled by former FBI director J. Edgar Hoover himself: “I sense utter fright as to the Freedom of Information Act. It doesn’t open up the flood gates to every ‘kook,’ ‘jackal’ and ‘coyote’ to all our publications, files & records.”

Rosenfeld’s research led him to publish Subversives: The FBI’s War on Student Radicals and Reagan’s Rise to Power, which details how the FBI, under Hoover, used Cold War-era tactics to target political dissent on the UC campus. The book reveals Hoover’s close relationship with Ronald Reagan and a plot—ultimately successful—to fire then-UC president Clark Kerr. Rosenfeld is this year’s winner of the Norwin S. Yoffie Career Achievement Award. (Dylan Tokar)

OUTING CONFLICTED JUDGES

Using information obtained through the Freedom of Information Act, Jennifer Gollan and Shane Shifflett of the Center for Investigative Reporting examined conflicts of interest in California’s federal judiciary. Using financial disclosures, court records and judicial budgets, Gollan and Shifflett cross-referenced the financial investments of federal judges with cases in which they filed rulings.

They discovered that, since 2006, judges had entered more than two dozen rulings in cases involving companies in which they owned stock — a violation of federal law and the Judicial Code of Conduct. Their investigation revealed flaws in the system that should prevent conflicts of interest. In California, Gollan and Shifflett found, judges are allowed autonomy in deciding who and how their financial interests are monitored.

Their story also demonstrated that FOIA doesn’t always function the way it should. According to the reporters, the federal government inhibits public access to what is supposed to be public information, by collecting fees from the Public Access to Court Electronic Records (PACER) valued at nearly five times the cost of running the system. The federal judiciary also refused to cooperate with the investigation. Fee waivers for PACER records were refused, judges were notified of requests for financial disclosures, and financial figures regarding PACER fees were withheld. (Tokar)

REALLY, BERKELEY? AN ARMORED VEHICLE?

Copwatch is a Berkeley-based advocacy organization dedicated to monitoring police action and opposing police brutality. Last May, Copwatch filed a FOIA request and received documents revealing that the Berkeley Police Department had requested a $170,000 armored vehicle from the Department of Homeland Security. The vehicle — a Lenco BearCat G3 — resembles a military-style armored truck and was intended to assist the Berkeley, University of California and Albany police in suppressing civilian protests and potential civil unrest. Thanks to the vigilance of Copwatch, the local community mobilized to oppose the introduction of the BearCat and convinced Berkley lawmakers to withdraw the request for funding. (Avi Asher-Schapiro)

For a full list of winners, visit tinyurl.com/sunshine13. The James Madison Freedom of Information Awards Banquet will be held at 5:30pm, Tues/12. To purchase tickets, visit tinyurl.com/2013spjFOI.

Editor’s notes

Andrew Lam
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5

EDITOR’S NOTES Way back in the early 1980s, when I had a lot more hair and it wasn’t so grey, I got a tip that the San Francisco school district had a serious problem with asbestos contamination. My colleague Jim Balderston and I checked it out, and yes indeed — the toxic stuff was in so many classrooms that thousands of students were at risk.

After we broke that news, and the district started scrambling to clean up the mess, we asked ourselves: How were things allowed to get to that point? Who screwed up? Who let it happen?

We knew there was a paper trail, and we were all set to put together a detailed request under the Public Records Act, which would have taken months to process. But first we met with the recently hired school superintendent, Ray Cortines, and asked him how much he knew about the past few years of school maintenance.

“Very little,” he said. “But I know where you can find out.”

He took us to a huge room, filled with maybe 50 filing cabinets. “All of the building history and maintenance records are in here,” he said. “If you need to use the copy machine, just let me know.”

And that was that. No scrutiny from a district lawyer, no redactions, no documents withheld for shadowy reasons … just two reporters with full access to public records. He literally told us to turn out the lights whenever we were done.

We got some amazing stories. I’d like to think we hastened a lagging asbestos abatement program and revealed who was at fault .. but nothing bad happened. I guarantee that the district could have found a way, maybe even an arguably legal way, to keep us from seeing half the records we reviewed — but as Cortines saw it, what would have been the point?

And guess what? It was 1987. There wasn’t any fancy software program or nifty, expensive app. Just an open door.

That’s how a public agency should think about public records.

Now its 2013, and San Francisco is the epicenter of the Information Revolution. And as we note in this issue, it’s harder than ever to get the folks at City Hall — who love the tech world and all it offers — to turn over basic information about how they’re running the city.

That’s about as crazy as it gets.

Compromised position

Andrew Lam
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16
Compromised position

steve@sfbg.com

When Mayor Ed Lee came to the Board of Supervisors for his monthly “question time” appearance Feb. 12, Sup. David Chiu tried to get some sense of where the mayor stood on a controversial piece of legislation that would allow more condominium conversions.

Chiu explained the complexities and implications of an issue where the two sides have dug in and appear to have little common ground, and he asked the mayor for some guidance.

“What is your position on this pending legislation?” he asked. “What protections would you support to prevent the loss of rent-controlled housing in our increasingly unaffordable city? How would you address the concern that if we allow the current generation of tenancy in common owners to convert, we will replace then with a new generation of TIC owners and additional real estate investments that will lead us right back to an identical debate within a short time?”

But if Chiu and other board members were looking for leadership, direction or a clue of where the mayor might stand, they didn’t get it. Lee said he understood both sides of the issue and hoped they could reach a consensus solution — without offering any hints what they might look like or how to achieve it. “I can’t say that I have a magic solution to this issue that will make everyone happy,” the city’s chief executive explained.

Asked by the Guardian afterward why he didn’t take a position and whether he might be more specific about how he’d like to see this conflict resolved, he replied, “I actually did take a position, even though it didn’t sound like it, because I actually believe they have good points on both sides.”

That’s a typical answer for a mayor who rose to power preaching the virtues of civility and compromise and striving to replace political conflict with consensus. But now several major, seemingly intractable issues are facing the city — and insiders say Lee’s refusal to take a strong stand is undermining any chance for successful.

The lack of mayoral leadership has been maddening to both sides involved in the negotiations over the condo-conversion legislation. Tenant advocates say the mayor’s waffling hardened the positions on both sides and emboldened the group Plan C and its allies in the real estate industry to reject the compromises offered by supervisors and tenant advocates.

“It’s very unhelpful,” San Francisco Tenants Union head Ted Gullicksen said of Lee’s refusal to take a stand. “Someone needs to kick the realtors in the butt, and that’s not happening. They have no impetus at all to compromise.”

Then there’s the case of California Pacific Medical Center’s proposed new hospital, a billion-dollar project that would transform the Cathedral Hill neighborhood and have lasting impacts on health care in San Francisco.

The mayor’s eagerness to get the deal done — even if it wasn’t the best deal for the city — led to a proposal that fell apart last year under scrutiny by the Board of Supervisors. That project has now been in mediation for months — and sources tell us they’re getting close to a deal that has little resemblance to the anything offered by the Mayor’s Office.

California Nurses Association Director of Public Policy Michael Lighty, who has been involved with the CPMC negotiations, said Lee’s unwillingness to take a strong and clear stand, or to help mediate the dispute once the deal blew up, is why this negotiation has been so difficult and protracted.

“If he had engaged stakeholders and the supervisors, we wouldn’t have had to go to the brink last summer,” he said. “You’ve got to have clear objectives and be willing to fight for those, and that means saying no…If you’re willing to accept any deal and just put political spin on it, this is what you get.”

 

 

ADMINISTRATOR-IN-CHIEF

Neither Lighty nor others involved in the CPMC negotiations would discuss details of the pending deal, as per the instructions of mediator Lou Giraudo. But they did talk to the Guardian about the political shortcomings that led to such a protracted mediation process on a project that has been in the works for many years and involving a looming state deadline to replace the seismically unsafe St. Luke’s Hospital.

Lighty called Lee’s conciliatory approach to CPMC “an administrative orientation and not a political one,” noting that what worked during Lee’s long career as a city administrator may not be working well now that he’s in the Mayor’s Office dealing with issues where consensus isn’t always possible.

“I don’t think it’s a very sophisticated view and I don’t think it’s one that produces the best results,” Lighty said.

Lighty did say the negotiations were getting close to resolution. “What comes before the board is going to be vastly superior to what the mayor and CPMC proposed,” he said. “I think what you’ll find whenever this comes out is it will repudiate the mayor’s approach.”

He contrasted Lee’s style to that of his predecessor, Gavin Newsom, who took positions on most controversial issues and would often get involved with forcing his allies to cut deals. For example, shortly after taking office on 2004, Newsom demanded that his allies in the hospitality industry end their lockout of hotel workers, and when they refused he turned on them and even famously joined workers on the picket line, pressuring the hotels to soon end the lockout.

“Why did you need to bring in an outside mediator for CPMC? Why didn’t the mayor do that?” Lighty asked, noting that Lee has stayed away from the current negotiations.

Ken Rich from the Mayor’s Office of Economic and Workforce Development has been in those meetings but didn’t return our call. Mayoral Press Secretary Christine Falvey has also ignored repeated messages seeking comment on the issues raised in this story.

Rudy Nothenberg, who negotiated big deals on behalf of five successive mayors before Lee and who has been critical of the Warriors Arena deal that the Mayor’s Office has negotiated, said Lee’s unwillingness to take strong stands with developers is hurting the city.

“I was able to say I’m going to get the best deal I can for the city,” Nothenberg told us, saying he approached all negotiations, including the construction of AT&T Park, with the understanding from the mayors he worked for that he could simply say no to bad deals. “You need to bargain for the city as if these guys walked away, well, then that’s okay too.”

Sup. David Campos, who has been trying to get CPMC to strengthen its commitment to keeping St. Luke’s open as a full-service hospital, agreed that, “There have to be times when you’re willing to say no.” And on the CPMC project, Campos said that fell to the supervisors when the Mayor’s Office wasn’t willing to. “It was clear that the board was not going to approve it,” Campos said, “and sometimes you have to do that to get to a result you can live with,”

UCSF Political Science Professor Corey Cook said the problem is less with Lee’s overall philosophy than with what is strategically smart on individual issues.

“The mayor’s strength is in trying to come up with consensus measures,” Cook told us, calling the approach “generally a good one” and saying “the decider isn’t always who you want, then you get George W. [Bush].” Yet Cook also said intractable problems like the condo conversion debate may require a different approach. “Sometimes you do need to stake out clear ground to limit the terms of the debate.”

 

 

CHIU’S CENTRAL ROLE

Chiu has at least been willing to put his energies behind his belief in compromise, taking an active role in the CPMC and condo negotiations, as well as complicated current negotiations involving how to legalize but limit Airbnb’s shared housing business in San Francisco, which involves landlord-tenant-neighbor dynamics, regulation of private leases, and complex land use and taxation issues.

“It’s been a very long month. I’ve been going around the clock on several challenging negotiations,” Chiu told the Guardian. “The most important things to work on are often the ones that are the most difficult to get done.”

Chiu was reluctant to discuss the negotiations, calling it a sensitive moment for each of them. But he did admit that he was disappointed in Lee’s non-answer to his publicly posed question. “I had hoped for a little more direction,” Chiu said. And while these negotiations haven’t shaken his faith in compromise, he did say, “It depends on the substance of the issue whether there are common ground solutions that are superior to two warring sides.”

But all involved in the condo debate say it appears we’ll be stuck with the latter. “The two sides are so far apart that I don’t know what a compromise that both sides would live with would even look like,” Campos said. “There are certain issues where I don’t think compromise or consensus is possible.”

On this one, tenant advocates are trying to protect a finite supply of rent-controlled housing and real estate interests want to convert that same housing into condos. “If the issue was just existing TIC owners, we would come to an agreement,” Gullicksen said. “But clearly the agenda of Plan C and the realtors is they just want more condos.”

Plan C board member Kat Anderson told us, “I have a simple approach to this: Home ownership is important to me.”

She was undeterred by arguments that thousands of new condos are now being built in San Francisco, but there’s a steadily dwindling number of rent-controlled apartments in a city where two-thirds of San Franciscans are renters.

Anderson made it clear that she wants to not only allow the backlog of condo applicants to be approved, but she doesn’t want to slow the flow of condo conversions for a few years thereafter or place TICs themselves under the cap, compromises offered by Gullicksen. “The worry is that if you change the system, it will never come back and we’ll lose our tiny toehold of 200 units [that the lottery allows to be converted to condos annually],” Anderson said. And so we end up with the very thing Lee sought to avoid: a big, nasty, divisive public fight that will probably end up being decided by big money and deceptive campaign mailers rather than a civil, deliberative political process. And the mayor has nobody to blame but himself.

“Unlikely trio” of supervisors saves CPMC hospital deal

Sasha Cuttler
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37

An ideologically diverse trio of supervisors, a community-minded mediator, and a deliberate negotiations process (one that that involved local stakeholders and verified corporate claims) has managed to do what the Mayor’s Office couldn’t: reach an agreement that seems to be a good deal for the city and has broad political support for California Pacific Medical Center to build two new full-service hospitals in town.

It differs from the disastrous deal announced by Mayor Ed Lee last year in key ways. St. Luke’s Hospital – a staple of care for low-income San Franciscans that must to rebuilt to meet new state earthquake safety standards – will be about 50 percent larger than previously proposed, while the new luxury hospital that CPMC has been trying to build on Cathedral Hill will be about 50 percent smaller.

That simple flip alleviated much of the Cathedral Hill project’s impact on traffic and affordable housing – which CPMC will still pay $14 million and $36.5 million respectively to mitigate, more than in the previous agreement and part of a roughly $80 million payment to the city – and overcame community concerns about the company’s commitment to St. Luke’s.

The new deal also has stronger local hiring requirements and more stringent guarantees that CPMC will serve MediCal patients and provide more charity care to the poor, regardless of the company’s financial situation, while maintaining contributions to community-based organizations at the same level as under the previous agreement.

In many ways, the agreement repudiates the deal cut last year by Mayor Ed Lee, which CPMC refused to significantly modify or even support with verifiable financial claims even as it fell apart in spectacular fashion under scrutiny last year by the Board of Supervisors, particularly during hearings at the Land Use Committee chaired by Sup. Eric Mar.

That flawed deal was rushed to completion just as the Saleforce headquarters expansion that had been trumpeted by Lee and the America’s Cup real estate deal both fell apart, which sources tell the Guardian put pressure on Lee to quickly deliver something to the business community and building trades (read tomorrow’s Guardian for more on Lee’s approach to tough negotiations and its implications).

But today’s press conference to announce the new deal at St. Luke’s was a forward-looking celebration of what was universally lauded as a big victory for the community. And most of the credit seems to go to mediator Lou Giraudo, who owns Boudin Bakery, and Sups. David Campos, David Chiu, and Mark Farrell, who all stepped up late last summer to salvage the project.

“There are two stories: the deal itself and the process,” Giraudo told the crowd. He said that he had some trepidation going in and that all he knew of the supervisors was what he read in the newspapers, and that the three represented the left (Campos), right (Farrell), and center (Chiu). Giraudo said they were the keys to making this deal happen.

“I have never been so impressed by politicians to come together as one,” Giraudo said, praising the trio for working hard, bringing in outside expertise to verify CPMC’s financial claims, and working with their constituencies. “We depoliticized together and then we built trust.”

Farrell also praised both the deal – “It ensures we have access to quality health care for years to come in San Francisco.” – and the process, in which the three supervisors worked well together. “I think about the future of the Board of Supervisors and us working together as colleagues,” he said. “None of us have spent more time on anything than we have CPMC.”

Campos echoed the point. “I really cannot be more proud of the work that we as the Board of Supervisors did here,” Campos said, noting how they had all committed to work together for the good of the city, demonstrating “how we, as the Board of Supervisors, can work on even the most difficult issues and resolve them.”

He also praised his constituents in the community coalition of labor, housing, and social justice advocates – including San Franciscans for Healthcare, Housing, Jobs, and Justice – who had pushed for a better deal for San Francisco. “This is a victory for them at the end of the day,” Campos said, singling out their consultant Paul Kumar for helping shape a deal that ensures that, “St. Luke’s plays a large role in the CPMC system.”

Kumar, a consultant with the National Union of Healthcare Workers who wasn’t at the event, later told the Guardian, “This is a victory for democratic planning.” He noted that CPMC and its parent company, Sutter Health, are notoriously hard-nosed negotiators and that he’s hoping this agreement represents a turning point in their relationship with the community and their employees.

“The question is if we can parlay this into a better and more responsible relationship between Sutter and the city,” Kumar said.

Chiu – who has been at the center of several difficult city negotiations in recent years, and who helped lead the board’s charge against CPMC last year – told the conference, “When we started this process, I was not hugely optimistic we would get here,” calling the supervisors “an unlikely trio.” But he praised all parties involved for working to get a deal with strong local hiring and charity care provisions.

“This is a comprehensive project,” Chiu said.

When Lee spoke, he praised the deal and the crucial role played by the three supervisors. “This project would not have gotten done without their direct involvement,” said Lee, who didn’t attend any of the dozens of negotiating sessions, although Ken Rich from the Mayor’s Office was involved. Yet the unusually grim-faced mayor also seemed to bring up the only doubts expressed about the deal, saying “The job is never done, this is an announcement about where we are today” and vaguely warning that, “It’s sensitive, people do have trepidation about what this will mean to them going forward.”

Afterward, Lee took reporters’ questions while walking steadily to his car, without pausing to get into what he was alluded to or why this deal seems so much better than the one he cut, except to say that the “health care landscape has changed.” Later, a mayoral staffer who would only speak on background, said one key to this deal was that CPMC had decided that demand for hospital beds would drop in the future and that they needed fewer in San Francisco.

CPMC CEO Dr. Warren Browner, who had some tough clashes with supervisors last year, didn’t go into the reasons behind the sweetened deal during his presentation (except to contest Giraudo’s comment that he had fought through “deal fatigue and was weary at times” by saying that he actually had a lingering case of “walking pneumonia” that he thanked CPMC’s medical staff for helping to cure.).

After comparing the negotiations to the legend of Sisyphus repeatedly pushing a boulder uphill, Browner said, “We are looking forward to going through the process and putting shovels in the ground, hopefully in 2013.”

 

Terms of the deal, which were formally introduced at today’s Board of Supervisors meeting, include:

  • Permits for a 120-bed St. Luke’s Hospital, 274-bed Cathedral Hill Hospital (or an additional 30 beds if St. Luke’s operates at 75 percent capacity), medical office buildings at both hospitals, a parking garage with up to 990 spaces (limited to CPMC staff and patients only) on Cathedral Hill, and a new Neurosciences Institute at Davies Medical Center.

  • St. Luke’s Hospital will have a number of specified services – including acute care, senior and community health care, labor and delivery, intensive care, cancer treatment, mental health services, and outpatient care – to ensure it remains a full-service hospital.

  • CPMC caring for 30,000 charity care and 5,400 Medi-Cal managed care patients per year, limits on healthcare cost increases to city employees, and CPMC endowing a new $9 million Healthcare Innovation Fund to increase capacity at local clinics.

  • CPMC contributing $36.5 million to the city’s affordable housing fund and paying $4.1 million to replace the homes it displaces on Cathedral Hill.

  • At least 30 percent of construction job and 40 percent of the permanent entry-level positions in the new facilities will be San Franciscans, and CPMC will contribute $4 million to job training.

  • To offset transportation impacts at Cathedral Hill, CPMC will give $14 million to the SFMTA and “institute a robust transportation demand management program,” as well as spending $13 million on pedestrian safety and streetscape improvements at all its San Francisco facilities.

 

 

Leo Villareal’s magical Bay Lights

Sasha Cuttler And Mary Magee
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7

Tonight, March 5, the western span of the Bay Bridge will be illuminated in the much-anticipated Bay Lights installation, created by internationally acclaimed artist Leo Villareal.

The project will incorporate an “intelligent lighting” system, powered by 25,000 individually programmable LEDs that will be illuminated according to “abstract sequences inspired by the kinetic activity around the bridge,” Villareal explained at a press conference at the San Francisco Ferry Building this afternoon. “It’s not a light show,” the artist noted, and added that he preferred to think of it more as “the equivalent of a digital campfire.”

Villareal, who has worked in software in addition to being an artist, emphasized that the lighting system is highly efficient, using only enough power to cost about $15 per night.

The project has been in the works for two and a half years and under construction for the last six months. Private funders have raised $6 million of the total $8 million needed. The presenting organization is Illuminate the Arts, a nonprofit organization.

San Francisco Mayor Ed Lee, speaking at the press conference, emphasized an economic projection finding that the installation could result in $97 million in local economic activity. He expressed support for it as an important project for generating private support for public art. “This project has unleashed incredible generosity,” showing funders that “art is something exciting, and cool to get behind as a sponsor,” Lee said. “I think it will release even more generosity” for art in San Francisco, he added.

When the Guardian took the opportunity to ask Lee what could be done to help make San Francisco more affordable for artists in general, he responded, “I am very sensitive to that,” and said he was making an extra effort to work with the arts community, particularly those who “want to create art homes and art locations in mid-Market.” Lee added that even tech employees have expressed to him that they value living in a city where arts are thriving, so “we have to make sure there’s the right balance for that.”

Trouble down under: SF indie film banned in Australia

Andrew Lam
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21
Trouble down under: SF indie film banned in Australia

Cuddle porn, banned in Oz? The Australian Classification Board took exception with auteur Travis Mathews’ tender look at life and love among gay men in San Francisco — which included explicit sex scenes. Film fanatics at the Melbourne Queer Film Festival, Sydney’s Queer Screen, and the Brisbane Queer Film Festival will be missing out on Mathew’s work — I Want Your Love was scheduled to screen at all three this year.

Look, James Franco is sad too. “This seems really silly,” the actor says, wearing an absolutely interestingly patterned t-shirt and blonde head of hair in the video statement below. “I don’t think we’d be having this conversation if he’d made a very violent film.” Franco and Mathews recently collaborated on the film Interior. Leather Bar., inspired by the 40 minutes of S&M footage excised from the 1980 Al Pacino film Cruising:

 

Just as it did in 2010 with Bruce LaBruce’s gay bloodbath LA Zombie, the Classification Board deemed I Want Your Love‘s sexual content “gratuitous.” The term struck a chord with I Want Your Love‘s supporters, who may fail to see the connection between their film’s depictions of real-life gay sex and LaBruce’s necrophiliac plotline/erect zombie prosthetics.

“This is movie about gay life and relationships,” wrote the president of local gay porn company Naked Sword, Tim Valenti, in an editorial for Huffington Post that will be posted later today (we are sneaky/his press person sent us the op-ed text early-like.) Naked Sword produced I Want Your Love. “If we wanted to just sell sex, we could have made another porno,” Valenti writes. “But where’s the challenge in that?”

You can check out I Want Your Love on the Naked Sword website. Here’s Marke B.’s review of the flick from when it screened at the 2012 Frameline Fest: 

I Want Your Love (Travis Mathews, US, 2011) Local director Travis Mathews’ first full-length feature — produced by porn impresario Jack Shamama and the good, pervy folks at Naked Sword — is so beautifully shot, edited, paced, and true to life for a certain young, scruffy, artsy fag demographic (not to mention brimming with explicit sex scenes) that you probably won’t notice that hardly anything happens plotwise. A cute performance artist named Jesse, played by one of our top performance artists also named Jesse, is getting ready to move back to Ohio due to those all-too-familiar San Franciscan money woes, but maybe also to forge some deeper connection to life. That’s about it. The true joy here is seeing most of the Bay Area’s gay underground arts scene nailing peripheral roles: Brontez Purnell hilariously steals the movie, cute naked gay boys abound, and the whole thing really does come off as a lovely West Coast boho version of last year’s UK indie hit Weekend, with more fog and condoms.

Happy International Women’s Day: There’s a long way to go

Sasha Cuttler And Mary Magee
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6

This coming Friday marks International Women’s Day, an event geared toward promoting gender equality across the globe. As women seek greater representation in politics, media, tech and other professional realms, controversies around gender equality issues continue to arise – even in San Francisco, a city nationally recognized for its progressive commitment to equality.

Last week, San Francisco Mayor Ed Lee landed in hot water with a comment that led some to question if he was implying that women with kids don’t have the time to serve as elected officials.

A few weeks before that, San Francisco blogger and programmer Shanley Kane shook things up with a widely circulated essay blasting Silicon Valley’s “toxic lies about culture,” in which she paints the start-up world as limiting for women despite oft-expressed ideals of inclusivity:

“What your culture might actually be saying is … We have a team of primarily women supporting the eating, drinking, management and social functions of a primarily male workforce whose output is considered more valuable. We struggle to hire women in non-administrative positions and most gender diversity in our company is centralized in social and admin work.” 

And when we dropped by the RSA Security Conference last week at San Francisco’s Moscone Center out of sheer curiosity to hear what the founder of Wikipedia had to say, we learned that even people who strive for an internationally inclusive open-source encyclopedia project are experiencing lopsided gender representation, and struggling to address it.

Jimmy Wales, who started Wikipedia about 12 years ago, asked his audience to “imagine a world in which every single person on the planet is given free access to the sum of human knowledge” as the foundational goal of the global endeavor, which is headquartered in San Francisco. But despite this lofty objective of global inclusivity, he admitted that Wikipedia is struggling to attract more female participation when it comes to the people who are writing articles for it.

As things stand, the people who contribute entries to Wikipedia are 87 percent male, he said. “We’re not happy about that number,” Wales said, noting that it is reflective of the gender imbalance in the tech community in general. “This is a really important goal for us: To improve female participation,” he added.

Dishearteningly, it seems to follow a broader trend of a lack of female representation in traditional media. A report released a couple weeks ago by the Women’s Media Center included some eye-opening stats:

  • At the current pace, it will take until 2085 for women to reach parity with men in leadership roles in government/politics, business, entrepreneurship and nonprofits.
  • By a nearly 3 to 1 margin, male front-page bylines at top newspapers outnumbered female bylines in coverage of the 2012 presidential election. Men were also far more likely to be quoted than women in newspapers, television and public radio. That’s also the case in coverage of abortion, birth control, Planned Parenthood and women’s rights.
  • Forty-seven percent of gamers are women, but 88 percent of video game developers are male.
  • The percentage of women who are television news directors edged up from the previous year, reaching 30 percent for the first time.

This may not sound like a lot to celebrate, but come Friday, the ongoing struggle for gender equality might just give you the inspiration to check out some local activities commemorating International Women’s Day, Women’s History Month or just some remarkable female-driven projects in the Bay Area.

Pick up a copy of the Guardian tomorrow and check out our special Women’s History Month event listings, where we’ll highlight everything from a gathering honoring female media professionals, to meet-ups for female coders, to murals painted by women, courtesy of Guardian Culture Editor Caitlin Donohue.

Stardust tea in Japantown: Crown and Crumpet re-opens in a quicker format

Andrew Lam
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0

The beloved tearoom Crown and Crumpet Tea Room – which closed down its previous Ghirardelli Square location nine months ago – reopened in the first floor lobby of Japanatown’s New People entertainment hub and shopping center.

After deciding not to renew the lease on their waterfront space, Crown and Crumpet owners, husband and wife team Amy and Chris Dean were asked to open up a Japantown location by the folks behind New People. To the Deans the neighborhood seemed like a natural fit.

“We partner with the J-Pop festival and have a lot of fans like Lolita girls who love Crown and Crumpet and Japantown as well,” Amy Dean tells me on my trip to the shop on its first day up and running. “Because we collaborate with them a lot they asked if we would open up a Crown and Crumpet here.”

The new space is significantly smaller than its old location, which is why it has appropriately enough, been packaged a “tea stop café” as opposed to a tearoom. Dean explains, “we wanted to make it a little different so that people would know it is a casual, quicker version of our old shop. It’s a quicker experience but you still get afternoon tea.”

Crown and Crumpet is currently working to create cinema snacks and bento boxes for the movie theater in New People’s basement. The casual vibe is reflected in the shop’s prominent positioning of its to-go service, and it’s on the way to selling Blue Bottle coffee. (As of right now, Amy and Chris are working to get their degree from Blue Bottle’s training program before they can start brewing).

But though the small space might not allow for as much lingering as the Ghirardelli Square location, but that doesn’t mean vistors won’t want to stick around. From the giant teacup clock hanging on the wall to trademark floral-and-polka-dot tablecloths to the staff’s coordinating aprons, Crown and Crumpet’s a sweet sight.

The three-tiered afternoon tea was the standard order among customers on the afternoon I visited. Amy Dean personally explained each item on the plates as she simultaneously ran around working out some standard opening day kinks. The service was stacked: petit fours on top, crumpets and a scone in the middle, and sandwiches on the bottom level of the tray.

I opted to try out their signature stardust black tea, which was delightfully sweet but more importantly, sparkled! The blend has tiny silver shimmering specks in it.

Crown and Crumpet is still working to open up a bigger location, similar to its former site. The Deans aim to open that up before Christmas in the Union Square neighborhood. “We tentatively have a space where we hope to include a library area for the men as well as a party room,” Dean says.

There is no denying Crown and Crumpet’s Tea Stop Café offers a different experience compared to the old shop. But with 110 reservations on the books for its second day of service, and 62 visitors by the time I visited on Friday, it would seem customers still have a sweet spot for the place. “It’s really amazing that we have so many people that love us,” says Dean. “There are other tearooms in San Francisco but we really pay attention to details, the charm, and whimsicalness of it all.”

Crown and Crumpet Tea Room 1746 Post, SF. (415) 771-4252, www.crownandcrumpet.com

 

Shannon and the Clams awaken ‘Rip Van Winkle’

Tony Robles
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0

Our beloved kings and queen of trash rock and doo-wop hybrid Shannon and the Clams released “Rip Van Winkle,” the first single off their upcoming Hardly Art release, Dreams in Rat House (coming May 21).

The song, which features back-up by Magic Trick’s Noelle Cahill, is again the perfect blend of garage pop and beachy surf punk a la the Trashwomen, and has that cool hiccuping guitar effect kicking off the hip-shaking, foot-stomping, hand-clappy new track. As expected, chainsaw vocalist-bassist Shannon Shaw’s distinctive pipes stand out above all else. This all just serves to further excite us for the release of Dreams in Rat House.

Check the new song HERE.

Shaw, vocalist-bassist Cody Blanchard (King Lollipop), and drummer Ian Amberson also this week announced a tour with fellow Bay Area favorite, Mikal Cronin, which takes the bands through SXSW and back. Unfortunately that schedule does not yet include a local show upon return, though that can’t be far behind, right? (Alas, Shannon and the Clams plays its SXSW kickoff last night at Elbo Room.)

https://www.youtube.com/watch?v=S0PBWuqRrpg

While the new album has yet to produce an official video, this seems like a good time revisit the Shannon and the Clams mini movies we’ve loved since the beginning (many directed by Shaw’s brother, Dan), way back when we just knew of Shaw as of Hunx’s Punkettes, and after the devotion solidified with 2010’s glorious Ruin Christmas EP and 2011’s Sleep Talk LP (1-2-3-4 Go!):

https://www.youtube.com/watch?v=K5Mk03QVeCg

https://www.youtube.com/watch?v=8NrAWAxE5dM

https://www.youtube.com/watch?v=57KUgVsM8rw

White House supports cell-phone petition

Zelda Bronstein
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5
White House supports cell-phone petition

A petition calling for legislation to legalize unlocking cell phones has passed the magic 100,000 mark, mandating a White House response — and guess what? The Obama administration says it agrees that consumers should have the right to reprogram their phones to work on any carrier’s network.

Sina Khanifar, a San Francisco entrepreneur, started this whole movement, and it’s picked up steam quickly. Now, with the Obama administration on board, he just needs a member of Congress to introduce a bill overruling the Library of Congress and freeing the cell phones.

Rep. Pelosi, who represents San Francisco, would be an excellent choice to carry the legislation, no?

Noise Pop 2013: Califone, ‘Scene Unseen,’ and DIIV

Tony Robles
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0

Will 2013 be the year that Noise Pop began downsizing? Or, is the festival simply adjusting its focus towards smaller, rising acts? Either way, this year’s lineup was surprising from the get-go, eschewing the name-brand, Flaming Lips-y headliners in favor of rising, blog-friendly outfits like Toro Y Moi and DIIV. Sadly, I couldn’t occupy nine venues at a time, so here’s a rundown of the Noise Pop shows I did see this past weekend.

CALIFONE
Having listened to Califone‘s records for over a decade, yet never seen it live, I was curious about the band’s strategy in translating its studio material to the stage. From its introductory statement, Roomsound (2001), to the extended freakout-jams of Heron King Blues (2004), to last year’s Sometimes Good Weather Follows Bad People, Califone’s sound has always been production-oriented, augmenting the rustic twang of blues and roots music with an equally faded, rusted, precarious palette of electronic sound. No one merges the old and the new quite like Califone in the studio; the band’s records are visionary, but sadly, its live show didn’t quite measure up.

My first impression: no electronics. Frontperson Tim Rutili’s four-piece band consisted simply of two guitars, bass, and drums, leaving behind a significant part of the Califone identity. While this stripped-down approach isn’t necessarily a bad move, it requires a batch of songs strong enough to resonate after being whittled down to their skeletal forms.

While certain pieces thrived under the minimal treatment (“The Orchids,” “Electric Fence,” “Bottles and Bones”) others began spinning their wheels after a while (“Ape-Like,” “All Tied,” by Rutili’s side project Red Red Meat), without electronic ornamentation to keep the dynamics compelling. Yet, whenever the instrumentation was lacking, Rutili’s raspy voice and slide guitar came to the rescue, and picked up most of the slack.

While I would’ve liked to see them approach their studio material with more ambition and imagination, Rutili and Co. certainly made the trip to Cafe Du Nord worthwhile.

SCENE UNSEEN
After Califone, I headed to 1015 Folsom to catch the last two sets of Scene Unseen, the club’s attempt to piece together the remnants of the “chillwave” scene of summer 2010. NYC’s Washed Out and recent Bay-Area transplant Toro Y Moi played DJ sets, one after the other, both of which seemed to amount to little more than standing in front of a MacBook, and pushing play. So, those seeking a “performance” were likely disappointed. However, both musicians put on competent, engaging sets, showing a deft understanding of flow and dynamics, and putting the crowd into a well-controlled frenzy.

Washed Out‘s crowd-pleasing-est moment was likely Todd Terje’s “Inspector Norse,” the space-disco extravaganza that every critic seemed to embrace in 2012. The best thing I heard for the first time was “Holding On” by Classixx, a house anthem that played like a poor-man’s “Digital Love” by Daft Punk, yet trounced most of the competition.

Toro Y Moi’s set was more diverse, and less reliant on four-on-the-floor percussion than Washed Out’s. Jumping from a Larry Levan remix of Positive Force’s “We Got the Funk,” to Daphni, Purity Ring, Mariah Carey, and most memorably, Ginuwine’s “Pony,” the lack of genre-specificity was reminiscent of Anything in Return, Toro Y Moi’s new LP that rejects the notion of chillwave for something warmer, more personable, and harder to classify.

It seems that Washed Out and Toro Y Moi have differing priorities at this point, with one staying comfortably within the confines of chillwave, and the other exploring beyond its boundaries. As a result, there wasn’t much of a unifying scene to be found at Scene Unseen, but it was a treat to see both artists, in a one-two punch.

DIIV
One of the most promising groups within the current revival of shimmery, glassy dream-pop, NYC’s DIIV put on a truly impressive show for a one-album band. While it simply doesn’t have enough material at this point for an all-killer-no-filler, hour-long set, the band showed a great ability to adapt its recordings for the stage. Upping the tempos on a handful of songs, and veering into some extended jams, it managed to subvert expectations constantly, however slightly, making for a way more compelling show than a note-for-note playthrough of its 2012 debut Oshin would have been.

“Air Conditioning” was a big highlight, rejecting the laid-back swagger of the studio version, for a fast, propulsive, borderline-motorik groove that recalled the Velvet Underground and Ride. “Wait” and “How Long Have You Known?” were similarly impressive, rounding out the slam-dunk middle section of Oshin. The big surprise of the night came with a cover of Stereolab’s “Blue Milk,” (Bradford Cox’ favorite song, perhaps), a number that fit in seamlessly with the band’s glassy, shiny guitar sound, yet pushed its penchant for droney, chugging dynamics to a new extreme.

However, the elephant in the room: a lot of DIIV’s material sounds the same. Tracks like “Past Lives,” “Earthboy,” and “Sometime,” feature slight variations on the same guitar melody, and I’m still not sure how that makes me feel.

Whether its music is modular, lazy, or just underdeveloped this early in the game, there’s no doubt the band has a lot of room for refinement. Despite that, it was pretty thrilling to witness DIIV at (hopefully) the start of its lifespan, hungry to put its potential on display.

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