San Francisco

End the health-care scam

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OPINION Last year, after receiving data from San Francisco, the Wall Street Journal reported on an investigation into the use of health reimbursement accounts by several local restaurants. It showed a group of employers evading the city’s health care law while charging their customers a “Healthy San Francisco” surcharge that is never actually spent on employees’ health care.

Rather than providing health coverage to their workers, as customers are led to believe, the restaurants are allocating funds for HRAs — and taking back the funds before they can be used.

The numbers speak for themselves: Of the $62 million that was set aside for health care accounts in 2010, more than $50 million was kept by employers.

>>WHO’S GAMING THE SYSTEM? CLICK HERE FOR OUR COMPLETE GUIDE TO RESTAURANTS WITH SURCHARGES — AND WHERE THE MONEY GOES

Workers spoke about never being notified about the accounts; being forced to jump through numerous, often onerous hoops to receive reimbursements or never receiving reimbursements; facing severe restrictions on use of the funds; and fearing retaliation for seeking to access the funds. It was clear that as long as employers can take back unspent funds they have a large incentive to restrict workers’ access.

In response, Supervisor Campos drafted an amendment to the Health Care Security Ordinance (known as Healthy San Francisco) that would have closed this loophole, which was being exploited by a small number of employers. The Chamber of Commerce, accompanied by the San Francisco Chronicle, made hysterical claims about impending job loss and business closures, and after the Board of Supervisors approved the legislation on a 6-5 vote, Mayor Ed Lee vetoed it.

Supervisors Malia Cohen and David Chiu then authored “compromise” legislation that actually didn’t address the problem. Their version merely allowed employers to take back workers’ health care dollars after two years instead of one. This cosmetic change did, however, provide enough window dressing to please the Chamber, so the supervisors approved it and Mayor Lee signed it into law.

Now, just a few months later, an article in the Public Press showed exactly why we opposed the Cohen/Chiu amendment in the first place: It doesn’t really close the loophole. Employers can still take money back from the HRAs. This creates a clear incentive to choose HRAs over insurance — the worst option for workers. Furthermore, the loophole leaves responsible businesses that provide health coverage to employees through insurance or HSF competing against employers that exploit it by paying less into HRAs.

We find it unconscionable that there are businesses charging customers a health-care surcharge and then keeping the money for profit. What is more unconscionable is that City Hall passed an amendment that continues to let it happen.

The Department of Labor Standards Enforcement compliance data for 2011 will be available next month — and if that continues to show abuse of the HRA provision, then it’s time for the Board of Supervisors to end the charade and truly close the loophole once and for all. Healthy San Francisco is about providing health care for workers — not creating additional profit for businesses.

Assemblymember Tom Ammiano represents the 13th District. Supervisor David Campos represents District 9.

Restaurant 1833

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Restaurant 1833

virginia@sfbg.com

APPETITE There’s nothing quite like Monterey’s Restaurant 1833 in San Francisco. Yes, we boast fantastic food, cocktails, wine and beer lists that are competitive with the best in the world. But 1833’s magical setting sets it apart, truly the whole package. Housed in an adobe structure from 1833 (hence the name), I was captivated from the moment I stood on the patio lined with firepits, beneath a sprawling oak. A giant palm tree and redwoods tower over an expansive side deck. 1833 evokes New Orleans or haunted Savannah in Spanish-influenced California architecture.

A broad wood door opens onto a series of enchanting rooms. Red velvet antique couches sit in front of a roaring library fireplace, an absinthe bar is tucked away upstairs, dining rooms are presided over by ghosts that have haunted the house over a century (note Hattie’s Room upstairs). There’s an intimate, one-table dining room, Gallitan’s Room, with a boar’s head guarding relics from the restaurant’s former incarnation as Gallatin’s, a restaurant where presidents and movie stars dined in decades past. The bar is mesmerizing — an illuminated white onyx top glows under slanted roof rafters, imbibers perched in coveted raised booths gaze down at the scene.

But what about the food? This no style-over-substance scenario. Chef Levi Mezick’s menu wanders from whole-roasted meats to pizzas and pastas. There’s bone-in ribeye for two ($75) or a real splurge (temporary until the foie ban kicks in this June) of whole roasted lobe of foie gras ($150). Whole truffle chicken ($38) is blissfully decadent. The chicken is brined for two days with truffle butter injected under the skin. Pizzas ($16-17) are topped with Dungeness crab and leeks or pineapple and sopressatta, while dense, pillowy gnocchi ($22) rest in Parmesan cream with Swiss chard, chanterelles, pickled onions, and crispy croutons.

Appetizers shine, like a delicate beet salad ($12) accented with Greek yogurt and hazelnuts, or a heartwarming helping of bone marrow ($16) with horseradish crust. Bites offer more gourmet delights, particularly fresh, raw hamachi ($6) dotted with pickled jalapenos, avocado, oranges. Among the best items on the entire menu are $4 biscuits: sundried tomato feta biscuits with roasted garlic basil butter or a bacon cheddar biscuit with maple chili butter. Both are flaky, dreamy delights, warm and soft under a smear of butter.

Generous portions leave you fat and contented, while drink offerings threaten to outshine the food. Wine director Ted Glennon curates a playful, sophisticated wine list highlighting the best of the Central Coast and the world. His passion and palate have deservedly led to accolades such as being named one of 2012’s Food and Wine’s top 10 sommeliers. Glennon’s wine list is whimsically annotated with comments such as this one about Chardonnay: “The blonde bombshell has taken the hearts of so many…”

http://www.youtube.com/watch?v=kKY1F0jQank

There’s no slacker in any of his pairings. I was absolutely smitten with 2000 López de Heredia Viña Tondonia Rosé ($50 bottle). This stunning rosé is unlike any I’ve ever had, crisp and acidic, yes, but also funky, earthy, with notes of mushroom and ripe cheese. As it sits it sweetens, evoking sherry while maintaining its crispness.

Local highlights were 2006 Caraccioli Cellars Santa Lucia Highlands Brut Rosé, a dry, floral, sparkling beauty, and 2007 Pelerin Wines Rosella’s Vineyard Pinot Noir, from a Santa Lucia micro-winery producing age-worthy California Pinot. With acidity and body, green tea and licorice notes play with cranberry and dark cherry — lovely with the truffled chicken.

As a cocktail destination, 1833 has no equal in the entire area. Bar manager Michael Lay oversees aging cocktails in barrels with colonial names like Betsy and Abigail. Lay’s talent is apparent in a range of classically influenced cocktails like Commander in Chief ($11), Bulleit Rye whiskey, Carpano Antica sweet vermouth, Campari, Cherry Heering, and orange bitters with a peaty Laphroaig Scotch rinse.

Besides a tableside absinthe cart (brilliant), offering some of my favorites like Duplais or Vieux Pontarlier, Lay makes a mean Hot Buttered Rum prepared tableside. His recipe is perked up with pumpkin pie spice and lemon peel. My favorite cocktail here is a twist on the Penicillin, a Penicillin No. 2 ($11). Instead of Scotch, Lay uses Tres Agaves Reposado Tequila and tops the drink with smoky mezcal, alongside the usual lemon and candied ginger. Further fun is had comparing barrel-aged Negronis, a nine-week-aged Abigail ($12) using Tanqueray gin, Campari, Amaro Nonino, Carpano Antica sweet vermouth, and Ruth-Anne, a more gin-forward Negroni.

We’ve seen each of these parts, yes, but not this exact whole. I long for more settings in my own city as bewitching and multifaceted as 1833. Thankfully, Monterey is not too far away. *

RESTAURANT 1833

500 Hartnell, Monterey

(831) 643-1833

www.restaurant1833.com

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

 

Parks and leaks

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Parks and leaks

THE GREEN ISSUE It happens suddenly, unexpectedly: you turn a corner or hike up a street and notice, almost out of the blue, a well-kept spot of green, a surreal bit of nature sliced out of all the housing and concrete. According to a list provided to us by San Francisco Recreation and Parks (www.sfrecpark.org), there are 46 designated mini-parks, or pocket parks, nestled in various SF neighborhoods: publicly maintained, accessible areas usually no bigger than the size of a single vacant lot. We set off to discover five perhaps lesser known ones, described in the map below.

Then, in a nod to one of our all-time favorite cartographic-experimental books, Infinite City by Rebecca Solnit (UC Press, 2010, www.rebeccasolnit.com) we decided to overlay a map of locations of leaking underground storage tank (“LUST”) cleanup sites, found at geotracker.waterboards.ca.gov. LUSTs are buried tanks of toxic material, usually containing petroleum but sometimes solvents or other hazardous waste, that threaten groundwater, soil, and air and must be cleaned up — often with the help of state and federal funds — before the land they’re beneath can be built on or repurposed. We’ve plotted 85 LUST sites, many of them former or current gas station locations, whose statuses are under assessment or being monitored or remediated.

There is no direct connection between mini-parks and LUST cleanup sites; we think, though, that there is the suggestion of an environmental tale, a hidden history maybe, in the visual juxtaposition of the two.

>>CLICK HERE TO SEE THE MAP (PDF)

On the Cheap

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

WEDNESDAY 4

“Mexico’s National Emergency and the Role of the United States” University of San Francisco, McLaren Conference Center, 2130 Fulton, SF. (415) 422-6919, www.usfca.edu. 5:30pm-7pm, free. Since the gang-related murder of his son last year, poet and journalist Javier Sicilia has not ceased in speaking out against the drug crises of Mexico. He is planning a protest caravan from San Diego to Washington D.C. this summer, and this Wednesday, he will be at USF to share his insight on Mexico’s current social injustices.

THURSDAY 5

After Dark: Gastronomy-themed activities and demonstrations Exploratorium, 3601 Lyon, SF. (415) 561-0360, www.exploratorium.edu. 6pm-10pm, $15 regular museum admission. Lucky for us, we are living through a period of rapid technological advancement. We’re even more blessed when these innovations trickle in to the culinary world, making our dining experience deliciously transformative. Come taste the spirit of modernist cuisine and discover the latest ways technology and food are intersecting.

“Snow White” author book signing and pastries San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org. Book signing at 6pm; Cake cutting at 8pm, free. Camille Rose Garcia gives the Disney princess a vintage punk makeover, and sets the classic Grimm’s tale in a tragically beautiful wasteland. As if this wasn’t a treat enough, pastry chef Dante Nuno of Fire and Icing will be serving his Snow White-inspired cake.

“Spring into Spring NightLife” seasonal produce extravaganza California Academy of Sciences, 55 Music Concourse, Golden Gate Park, SF. (415) 379-8000, www.calacademy.org. 6pm-10pm, $12. Spring means delectable fruits, fresh herbs, and mouthwatering honey. Revel in the lusciousness of the season by talking (and tasting) with Urban Bee SF, then meander over to Earl’s Organic Produce to snack on Earl’s fresh-picked strawberries. In between tasting succulent treats and grooving to the tunes of DJ Sleazemore, make a pit stop at Cocktail Lab to learn how to make a seasonally fresh cocktail drink from the night’s mixologists.

“Behind the Scenes: The Art and Craft of Cinema” Landis Pacific Film Archive, 2575 Bancroft, Berk. (510) 642-1412, www.bampfa.berkeley.edu. Through April 6. 7pm, $9.50 for one program; $13.50 for double bills. Harrison Ford would not have been Indiana Jones without his brown fedora and distressed leather jacket. And Michael Jackson’s “Thriller” would not have been nearly as dazzling without his unforgettable crimson, wing-shouldered jacket. Meet the crafty hands that tailored the defining personalities of many films and iconic performances, as their owner discusses the vital role costuming plays in storytelling.

FRIDAY 6

Jimi Hendrix poetry remix 50 Mason Social House, 50 Mason, SF. (415) 433-5050, www.50masonsocialhouse.com. 7pm-10pm, free. Copus is a rap-jazz fusion ensemble that infuses spoken word with piano, flute, bass, and percussion. Come hear the band take apart the poetry of Jimi Hendrix and bring the chromatic words together to their own beat.

SATURDAY 7

“Drink Beer. Solve Autism.” Pyramid’s new beer release tasting Pyramid Alehouse, 901 Gilman, Berk. (510) 528-9880, www.pyramidbrew.com. 1pm-4pm, $20. Enjoy a relaxing afternoon of live music, snacks, and unlimited samples of Pyramid Breweries’ newest beer. 100 percent of proceeds benefit Ales for Autism.

Lomography film canister hunt Lomography Gallery Store, 309 Sutter, SF. (415) 248-0096, www.lomography.com. 1pm-4pm, $10. To prep for the chocolate-filled egg hunts happening tomorrow, hop on over to Lomography SF and get ready to search every nook and cranny for a gift-filled film canister. They’re scattered all around downtown and are packed with sweet analogue prizes like Lomography products, free film, and workshop admissions.

Titanic Anniversary Ball San Mateo Masonic Lodge Ballroom, 100 N. Ellsworth, San Mateo. (510) 522-1731, www.peers.org. Dance lessons at 7pm; dancing at 8pm, $15 adv.; $20 at door. There are two good things that came out of RMS Titanic sinking: an awesomely dramatic movie, and a chance to have an epic ball to commemorate the tragedy’s centennial in all its submerged beauty. Relive the glorious, pre-iceberg moments of the Titanic as Bangers and Mash plays Edwardian waltzes, polkas, and ragtime hits throughout the night. Meet us on the Titanic. It’s going down.

“Cartoonist in Residence: Mike Reger” meet and greet Cartoon Art Museum, 655 Mission, SF. (415) 227-8666, www.cartoonart.org. 1pm-3pm, free. Mike Reger is a San Francisco cartoonist whose eclectic comics touch on everything from local politics to satirical takes on the city’s drug culture. He also does work at Mission Minicomix, a group that arose out of the ’90s punk scene in the Mission. Come pick his cartoonist brain and check out his latest projects.

SUNDAY 8

“Pumps and Circumstance” The Sisters of Perpetual Indulgence Easter celebration Dolores Park, 18th St. and Dolores, SF. (415) 820-9697, www.thesisters.org. 11am-4pm, free. Celebrate the Sisters’ 33rd birthday at their annually indulged Easter celebration. The morning will commence with face paintings and an egg hunt, and the afternoon will continue with Easter bonnet and hunky Jesus contests. The Sisters promise to have you partying like it’s 1979 again.

21st Annual Union Street spring celebration and Easter parade Union between Gough and Fillmore, SF. (800) 310-6563, www.SRESproductions.com. 10am-5pm, free. The wonderfully wacky street fair boasts a petting zoo, pony ride, climbing wall, inflatable bounces, and live entertainment from local musicians. When you’re passed by a roller-blading cows or a self-propelled mini-float, you’ll know the parade’s begun.

MONDAY 9

“Best Sex Writing 2012” Rachel Kramer Bussel and Susie Bright explore erotic literary work The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30pm, free. Sex columnist Rachel Kramer Bussel and commentator Susie Bright are this year’s eyes and ears in collecting the most alluring and insightful work on the seemingly limitless topic of sex for the always rewarding Best Sex Writing series. Put on your slutty-librarian reading glasses and open up the enticing anthology of the latest political sex scandals, impassioned debates over circumcision, SlutWalks, female orgasm workshops, and many more sensual affairs.

TUESDAY 10

San Francisco Film Society presents “Beyond Film School” Roxie Theater, 3117 16th St., SF. (415) 863-1087, www.roxie.com. 7:30pm, $10. Those first muddled years after film school is quite a murky transition. But for some artists, this daunting passage produces some of their most resounding works. The forum showcases student-produced films and will be followed by a panel discussion on the sustainability of Bay Area-based film careers.

Stage Listings

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

THEATER

OPENING

Goodfellas Live Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Opens Fri/6, 8pm. Runs Fri-Sat, 8pm. Through April 26. The Dark Room offers a comedic take on Scorsese’s gangsters.

BAY AREA

Anatol Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Previews Fri/6-Sat/7 and April 11, 8pm; Sun/8, 2pm; Tue/10, 7pm. Opens April 12, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 13. Aurora Theatre Company performs a world premiere translation of Arthur Schnitzler’s drama about the love life of an Viennese philanderer.

Hairspray Fox Theatre, 2215 Broadway, Redwood City; www.broadwaybythebay.org. $20-48. Previews Thu/5, 8pm. Opens Fri/6, 8pm. Runs April 12 and Fri-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through April 22. Broadway By the Bay opens its 47th season with the John Waters-based, Tony-winning musical.

Of Mice and Men TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Previews Wed/4-Fri/6, 8pm. Opens Sat/7, 2 and 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through April 29. TheatreWorks performs the Steinbeck classic.

ONGOING

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through May 5. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. (Avila)

Any Given Day Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Previews Wed/4-Sat/7, 8pm (also Sat/7, 2:30pm); Sun/8, 2:30pm; Tue/10, 7pm. Opens April 11, 8pm. Runs Wed-Sat, 8pm (also April 21, 2:30pm); Sun, 2:30pm; Tue, 7pm. Through April 22. Magic Theatre performs Linda McLean’s Glasgow-set play about modern, urban life.

*Fool For Love Boxcar Studios, 125A Hyde, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Another installment of Boxcar Theatre’s epic Sam Shepard repertory project, Fool for Love inaugurates their newest performance space within their Hyde Street Studios location. In addition to the reliably strong performances from each of the actors, Fool features notably clever staging. (Gluckstern)

*Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Wed-Sat, 8pm. Extended through April 28. Actors Theatre of San Francisco and director Keith Phillips offer a sharp, spirited production of the 1984 play by David Mamet in which four real estate agents (Mark Bird, Sean Hallinan, John Krause, and Christian Phillips) jockey and scheme for advantage in their Chicago office in a landscape of insecurity and fierce competition. If the scenic design is a little shabby, the strong cast makes that hardly an impediment to a story that feels especially timely. (Avila)

Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-69. Opens Thu/29, 8pm. Runs Thu-Sat, 8pm. Through May 5. Thrillpeddlers launch a new version (new cast, songs, costumes, etc.) of the Cockettes classic by Scrumbly Koldewyn and Martin Worman.

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm, Sun, 7pm. Through April 15. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman approaches indirectly via a good deal of humor. (Avila)

*A Lie of the Mind Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Sam Shepard’s three-act drama is streaked with humor, horror and heartbreak, all of it arising from the most mundane but also extraordinary of things, love and family. That’s Shepard territory, of course, as surely as is the rowdy backwater of the American West where much of the play unfolds. But seeing the exceptionally sharp and powerful production currently up at Boxcar Theatre under direction of Susannah Martin — in the midst of Boxcar’s mostly terrific four-play Shepard fest — suggests 1985’s Lie may cut deeper than most. (Avila)

Maple and Vine American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-95. Opens Wed/4, 8pm. Runs Tue-Sat, 8pm (Tue/10, show at 7pm); Wed and Sat-Sun, 2pm (no matinee Wed/4); April 15, show at 7pm). Through April 22. ACT performs the West Coast premiere of Jordan Harrison’s play about a 21st century couple drawn into a community of people who live as if it’s the 1950s.

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $25-50. Fri, 8pm; Sat, 5pm. Extended through April 14. Dan Hoyle revives his hit solo show about small-town America.

Suicide in B Flat Stagewerx, 446 Valencia, SF; suicideinbflat.blogspot.com. $15. Fri/6-Sat/7, 11pm. Sam Shepard is all over SF at the moment. Contributing to the four-play repertory program Boxcar Theatre has underway comes this lively if uneven production of a little seen Shepard work, a darkly comical jazz noir, by capable newcomers Do It Live, under direction of Will Hand. (Avila)

*True West Boxcar Studios, 125A Hyde, SF; (415) 967-2227, www.boxcartheatre.org. $25. Thu/5-Sat/7, 8pm. The first installment of Boxcar Theatre’s four-play Sam Shepard repertory project, True West ushers in the ambitious run with a bang. This tale of two brothers who gradually assume the role of the other is one of Shepard’s most enduring plays, rich with humorous interludes, veering sharply into dangerous terrain at the drop of a toaster. (Gluckstern)

Waiting for Godot New venue: SF Playhouse Stage Two, 533 Sutter, SF; (415) 336-3522, www.tidestheatre.org. $20-32. Thu, 7pm; Fri-Sat, 8pm. Extended through April 14. The fuchsia papier-mâché tree and swirling grey-on-white floor pattern (courtesy of scenic designer Richard Colman) lend a psychedelic accent to the famously barren landscape inhabited by Vladimir (Keith Burkland) and Estragon (Jack Halton) in this production of the Samuel Beckett play by newcomers Tides Theatre. The best moments here broadcast the brooding beauty of the avant-garde classic, with its purposely vague but readily familiar world of viciousness, servility, trauma, want, fear, grudging compassion, and the daring, fragile humor that can look it all squarely in the eye. (Avila)

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through April 27. 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. 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. (Avila) *

 

Our Weekly Picks: April 4-10

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WEDNESDAY 4

 

Nile

Death metal fans are eagerly awaiting At the Gate of Sethu, the newest album from South Carolina speed-demons Nile. Influenced, as always, by singer-guitarist Carl Sanders’ exhaustive study of Egyptian history and myth, the band’s new offering is sure to feature Nile’s distinctive traits: impossibly fast blast-beats (courtesy of drummer George Kollias), keening, Middle Eastern chords, and creepy, atmospheric interludes played on traditional instruments. Still, the chief delight for any Nile fan should be witnessing the band’s superhuman stamina and chops in person — despite a truncated opening set, few bands can play more individual notes in a single night.(Ben Richardson)

With the Black Dahlia Murder, Skeletonwitch, Hour of Penance

7:30pm, $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Blank Tape Beloved featuring Brother Ali

“Sometimes I don’t write a lot/ I know folks out there call that writer’s block/ I just call it my process/ It comes out when it’s ready to, I guess…” So explains Brother Ali in new single “Writer’s Block,” perhaps as a reply to fans asking about the lengthy stretches between releases. The Minneapolis-based emcee brings a big-picture perspective, striking a lyrical balance between brevity and bookishness. New (and free!) seven-song EP The Bite Marked Heart provides the appetizer for upcoming LP Mourning in America and Dreaming in Color. Ali brings in the band Blank Tape Beloved for what he describes as an impromptu and intimate performance. (Kevin Lee)

9pm, $10

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

Cults

Cults sound like a ’60s girl group (think the Shangri-Las/Ronettes) drenched in dreamy, lo-fi noise. New York-based couple and artistic collaborators Madeline Follin and Brian Oblivion began making music in their home as a hobby not too long ago. Shortly after their hit single “Go Outside” went viral in the blogosphere, however, they landed a record deal and released their first album (Cults). Their vocals, which Follin belts out in a sweet, crooning manner, suggest foreboding themes like senseless depression, unalterable inadequacies, and uneven, entrapping love. You’ll most likely want to slowly sway to these songs — and reverently mimic Oblivion’s steady, controlled head banging. (Mia Sullivan)

With Spectrals, Mrs. Magician

8pm, $21

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

Thu/5, 8 p.m., $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

THURSDAY 5

“Behind The Scenes: The Art and Craft of Cinema”

As a costume designer in Hollywood, Deborah Nadoolman Landis has worked on a host of legendary films and created iconic looks such as the fedora and jacket of Harrison Ford (Indiana Jones) in Raiders of The Lost Ark (1981), the candy apple red leather jacket for Michael Jackson in Thriller, the “College” shirt worn by John Belushi in Animal House (1978), and many more. Landis will be appearing at PFA this week to discuss her work as part of “Behind The Scenes: The Art and Craft of Cinema,” a special two-night program — on Thursday she will be joined by her husband, director John Landis, for a screening of Three Amigos! (1986) — one of several projects they’ve worked on together over the years. On Friday she will join fellow costume designer Aggie Guerard Rodgers for a talk and screening of the classic American Graffiti (1973). (Sean McCourt)

Thu/4-Fri/5, 7pm, $5.50–<\d>$9.50

Pacific Film Archive

2575 Bancroft Way, Berk.

(510) 642-1412

bampfa.berkeley.edu

 

Argentine Tango USA Festival

There are few cities more similar to San Francisco than Buenos Aires — leaving aside the vagaries of bistec versus burrito and geographic shaping (121 compared to 203 square kilometers). The two are major cities with world-class art scenes, passionate histories of social protest, and dammit, we dance. Be you a hippie-shaker or a vogue hand-waver, the motion in your ocean will most surely respond to the sultry allure of tango, brought to us this week in spades in a big-time competition authorized by the Buenos Aires city government. Spring to attend a milonga, which is like a tango jam session, or take a seat to watch the pros pivot it out. (Caitlin Donohue)

Thu/5-Sun/8, $20 competition spectator admission Check website for competition times

San Francisco Airport Marriott

1800 Old Bayshore Highway, Burlingame

www.argentinetangousa.com

 

 

Dark Star Orchestra

Depending on how much second-hand pot you’ve smoked, if you close your eyes and listen up to Dark Star Orchestra, it’s possible to convince yourself you’ve transported back to 1969 for a Grateful Dead show. Yes, DSO is a nationally recognized and acclaimed Dead tribute act (seriously, the band really sound like the Dead) that is coming to show us young whippersnappers what we missed in the 1960s, ’70s, ’80s, and ’90s. So melt into the sunny jams that have shaped our fair city’s culture, expose your inner ecstasy, and rub against the person next to you; lovingly. Also, consider this is a prime opportunity to people-watch and swap Jerry Garcia-related personal transformation stories. (Sullivan)

9pm, $35

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

FRIDAY 6

 

Yours and Mine

If contemporary performance originated partly in response to the cultural primacy of visual art, Macklin Kowal’s Yours and Mine suggests a full-circle act of reclamation in which performance shares not only space but a full dynamic partnership with other objets d’art. In it Kowal, a San Francisco performer-choreographer and current artist-in-residence at Meridian Gallery, responds with capable, thoughtful intelligence to an exhibition by leading Irish contemporary painter Patrick Graham, in an hour-long performance installation involving ten dancers and all three floors of the gallery. The piece promises a further livening of the rooms beyond the already electric effect of Graham’s roiling canvases, as well as an exploration of the way we literally embody the aesthetic experience. (Robert Avila)

Fri/6-Sat/7, 7:30pm, $10–<\d>$20

Meridian Gallery

535 Powell, SF

(415) 624-6765.

www.meridiangallery.org

 

“Beautiful Rebels: A Celebration of the Fashion World of Jean Paul Gaultier”

You got epaulet envy trawling the paparazzi shots from the opening of the JPG-de Young exhibit a few weeks ago. Chin up girl, your chance to fete fashion’s enfant terrible hasn’t passed you by. Sashay to Golden Gate Park to hang with the Guardian (we’re the media sponsors) at this Friday night happy hour event. Drag-cinema supernova Peaches Christ will be doing us the honor of emceeing, and would you believe there will be a fashion show featuring the work of Mister David and others — not to mention a performance by SF’s queer-hop representatives Double Duchess and a craft table by Some Thing artisan Haute Gloo? (Donohue)

Fri/6 5:30pm, free de Young Museum 50 Hagiwara Tea Garden, SF (415) 750-7694

Facebook: Beautiful Rebels www.peacheschrist.com

 

dead prez

The dead prez anthem “It’s Bigger Than Hip-Hop” may as well apply to both dead prez lyricists-producers M-1 and stic.man. Since teaming together in New York in the mid-1990s in New York, M-1 and stic.man have developed from hip-hop artists into social change activists, revolutionary lecturers, and health advocates. (Legend has it the duo used to fling apples into the crowd at concerts.) Both have kept busy with their own projects — stic.man came out with a “fit-hop” album The Workout (Boss Up Inc) espousing the benefits of good breathing tactics and calisthenics, while M-1 has paired with Italian electro producer Bonnot of Assalti Frontali to become AP2P (aka All Power to the People). But dead prez is still very much alive, continuing to tour and working on the long-delayed LP Information Age. (Lee)

With Los Rakas, DJ Mr. E

9pm, $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

 

Thrones

Game on: the band Thrones has been around far longer than that newbie medieval fantasy television show (though not quite as long as the book series it’s based on). Another key difference, this Thrones is actually just one dude: Seattle’s Joe Preston, the metal-grinding doom bassist/Moog-enthusiast who’s spent time on tastemaker labels Kill Rock Stars and Southern Lord, and played alongside Earth, the Melvins, and High on Fire. If Preston were to play his own Thrones game, it would likely involve some sort of underground “chew up this sheet metal and spit it out stylishly” auditory sensation contest. Coda: I was advised against relating Thrones in any way to Games of Thrones, but it has now just happened, so do with that what you will. (Emily Savage)

With Helms Alee, Grayceon

9:30pm, $10

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

 

GWAR

You know a band is worth seeing when the singer has a seven-syllable name for his prosthetic penis. The “Cuttlefish of Cthulu” has flopped mightily at the forefront of GWAR shows for over 20 years, and the Richmond, Va. outfit shows no signs of slowing down. The tunes are still mostly straightforward, forgettable headbanger fuel, but the elaborate costumes and stage show change every tour — half the fun is discovering which foam-rubber politician effigy GWAR is going to disembowel next. My money’s on Rick Santorum this time around. (Ben Richardson)

With Municipal Waste, Ghoul, Legacy of Disorder

8pm, $25

Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com

 

MONDAY 9

Jeff Mangum

How much do we owe the Elephant Six Recording Company collective for our current slate of folk and indie rock? Two decades after a group of four friends launched their own record label in Denver, Elephant Six bands and spin-off projects (The Apples in Stereo and of Montreal among them) are still pushing critically acclaimed music. Core member Jeff Mangum remains among the collective’s most followed musicians, even though his Neutral Milk Hotel released the last of its two LPs fifteen years ago. The everlasting appeal of On Avery Island and In the Aeroplane Over the Sea may stem from a refreshing rawness devoid of glossy production. In these two shows before Coachella, Mangum’s acoustic performances highlight his signature sweet serenade. (Lee)

With Laura Carter and Andrew Rieger of Elf Power and Scott Spillane of the Gerbils

Mon/9-Tue/10, 8pm, $36

Fox Theater

1807 Telegraph, Oakl.

(510) 548-3010

www.thefoxoakland.com 

 

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Rep Clock

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Schedules are for Wed/11-Tue/17 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Other Cinema:” “Psychedelia:” analog-synthesizer subculture works by John Davis, Lori Varga, David Cox, Matthew Bate, and more, Sat, 8:30. “Brazilian Voices of Cinema:” O Dragão da Maldade contra o Santo Guerreiro (Rocha, 1969), Sun, 8.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1606 Bonita, Berk; www.bfuu.org. $5-10. Queen of the Sun: What Are the Bees Telling Us? (Siegel, 2010), Thurs, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Young Adult (Reitman, 2011), Wed, 3:05, 7, and Juno (Reitman, 2007), Wed, 5, 8:55. “Midnites for Maniacs: Growing Up Too Fast Triple Bill:” •Lost in Translation (Coppola, 2003), Fri, 7:15; Battle Royale (Fukasaku, 2000), Fri, 9:30; and House (Ohbayashi, 1977), Fri, 11:45. Admission $13 for one or three films. •2046 (Wong, 2004), Sat, 2:30, 8:55; Days of Being Wild (Wong, 1991), Sat, 5; and In the Mood for Love (Wong, 2000), Sat, 7. •Sutro’s: The Palace at Lands End (Wyrsch, 2011), Sun, 1; Remembering Playland (Wyrsch, 2010), Sun, 3. •The Manchurian Candidate (Frankenheimer, 1962), Sun, 6:30, and The Parallax View (Pakula, 1974), Sun, 8:55.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. The Deep Blue Sea (Davies, 2011), call for dates and times. The Island President (Shenk, 2011), call for dates and times. Jiro Dreams of Sushi (Gelb, 2011), call for dates and times. The Salt of Life (de Gregorio, 2010), call for dates and times. Monsieur Lazhar (Falardeau, 2011), April 13-19, call for times. “World Ballet on the Big Screen:” Romeo and Juliet from the Royal Ballet, London, Sun, 10am; Tues, 6:30. Positive Negatives: The Photography of David Johnson (Steiner, 2011), Sun, 4:15.

ELMWOOD 10070 San Pablo, El Cerrito; www.rialtocinemas.com. Free. “Community Cinema:” Hell and Back Again (Dennis, 2011), Wed, 7.

KADIST ART FOUNDATION 3295 20th St, SF; (415) 738-8668. Free. Kippenberger: The Film (Kobel, 2005), Wed, 7.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema, Film and the Other Arts:” Playtime (Tati, 1967), Wed, 3:10. With a lecture by Marilyn Fabe. “Documentary Voices:” 24 City (Jia, 2008), Wed, 7. “Cine/Spin:” The Blood of a Poet (Cocteau, 1930), Thurs, 7:30. With accompaniment by UC Berkeley student DJs. “Dark Past: Film Noir by German Emigrés:” Caught (Ophuls, 1949), Fri, 7; Criss Cross (Siodmak, 1949), Fri, 8:50; Dark City (Dieterle, 1950), Sun, 6:15. “The Library Lover: The Films of Raúl Ruiz:” Tres Tristes Tigres (1968), Sat, 6; The Suspended Vocation (1977), Sun, 4. “Howard Hawks: The Measure of Man:” Rio Bravo (1959), Sat, 8; El Dorado (1967), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. The Ballad of Genesis and Lady Jaye (Losier, 2011), Wed, 8:45. Better Than Something: Jay Reatard (Hammond and Markiewicz, 2011), Wed-Thurs, 7:30, 9:30. The Hunter (Pitts, 2010), Wed, 7. San Francisco International Women’s Film Festival, Fri-Sun. For more info, visit www.sfiwff.com. Bad Fever (Guy-Defa, 2011), April 13-19, 7.

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. This Is Not a Film (Panahi, 2011), Wed-Thurs, 1, 3, 5, 7, 9. The Turin Horse (Tarr, 2011), April 13-19, 2, 5:30, 8:30.

SF PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Bay Area Community Cinema Series:” Hell and Back Again (Dennis, 2011), Tues, 5:45.

“SONOMA INTERNATIONAL FILM FESTIVAL” Various North Bay locations; www.sonomafilmfest.org. More than 130 independent films from around the world, plus a tribute to legendary filmmaker John Waters, Wed-Sun.

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $7 donation. “Starship Vortex:” •Flash Gordon (Hodges, 1980), Thu, 9, and Barbarella (Vadim, 1968), Thu, 11.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Great Directors Speak:” •Robert Bresson: Without a Trace (Weyergans, 1965), and Chantal Akerman by Chantal Akerman (Akerman, 1996), Thu, 7:30.

The Performant: Ferocious many

Jesse Hawthorne Ficks
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The Ferocious Few and the Anarchist Bookfair disturb the peace.

In the as-yet unwritten book of Bay Area music, at least one chapter should be devoted solely to the bands whose crowd-wrangling skills and attention-grabbing music was honed on the mean streets. From the Mission District’s once-infamous “Live at Leeds” location, inaugurated by punk band Shotwell and later championed by the imitable Rube Waddell (the band, not the ballplayer), to the wriggling mass hysteria of a Gomorran Social Aid and Pleasure Club Parade, to the compact cacophony of one-person clown band Masha Matin, and the finger-pickin’ good Americana of Brian Belknap, the streets of San Francisco, like the infamous hills, are alive with the sound of music.

Of the current ranks of street-side crooners, The Ferocious Few have come to embody the best qualities of the breed. Combining sheer persistence with a driving, southern-rock-influenced, guitar-and-drum combo, at a volume constantly pushing at the edge of 11, the Few prove that safety may be in numbers, but that rock music was never meant to be safe.

However, headlining the Great American Music Hall is a considerable step up from frolicking anonymously in the gutters, and it may be for this reason that when the Few took the stage after a blistering set from Zodiac Death Valley, they had morphed into the many — five rather than two. The focal point was still frontman Francisco Fernandez, whose full-throttle guitar-playing and aggressive, sandpaper-and-moonshine vocals have remained the constant of the Few through several lineups.

Joined by Fred Barnes on Bass, Kevin Oliver on Guitar and keys, and not one but two rock-solid drummers, Jeremy Black, and an effervescent Andrew Laubacher, Fernandez did stray from the Ferocious formula a couple of times, even edging into noodly psych-band territory, but for the most part, adding new musicians to the mix merely meant adding an extra boost to the overall Ferocious sound. But the question remaining is, does this show herald the beginning of a new era for the not-quite-as-Few, or a temporary enhancement of the old? Either way, you’ll want to stay tuned.

Another constantly morphing, scrappy San Francisco stand-by is the annual Anarchist Bookfair, now in its 17th year. One part bookseller’s convention, one part soapbox, and one part educational forum, the Bookfair pulls together a more or less unified presence from a variety of splinter factions from the activist frontlines: radical librarians, punk rock zinesters, oral historians, animal liberators, intentional communities, ideological theorists, and more. Speakers and panels are a big part of the draw, and every year it seems like there’s someone new to the lineup, a reason to keep coming back for more.

This year’s wild card event was a panel somewhat opportunistically entitled “Occupy the Future: Science Fiction writers on radical visions of tomorrow,” featuring sci-fi authors Rudy Rucker, John Shirley, and Terry Bisson. Beginning by positing the question of whether or not the future might include an “anarchist society that works,” the three alternated between discussing technology vs. its breakdown, cooperation vs. chaos, cyberpunk vs. technological singularity, and whether or not humanity has the capability to change with or without a tech “fix.” It was by far the most engaging conversation I encountered at the fair all weekend, though no group consensus was ever reached as to what the future might hold. Hopefully, at a minimum, it will hold more bookfairs.

Editorial: Reject the CPMC deal!

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EDITORIAL For most of the past year, Mayor Ed Lee had been taking a tough line with California Pacific Medical Center, the health-care giant that wants to build a state-of-the-art 555-bed hospital on Cathedral Hill. The mayor had been telling a stunningly recalcitrant CMPC management that the outfit would have to put upwards of $70 million into affordable housing and spent millions more on transit, neighborhood and charity-care programs to mitigate the impacts of the massive project.

But late in March, something happened. Under immense pressure from the Chamber of Commerce and other big business groups, the mayor buckled and agreed to a deal with woefully inadequate mitigation measures. The supervisors should reject the plan and force CPMC to do better.

The biggest problem with a project this size is the mix of jobs and housing. Lee is properly concerned about creating jobs in a city where unemployment in some neighborhoods is stubbornly high. But the proposed deal only guarantees a tiny fraction of the 1,500 permanent new jobs for San Francisco residents.

That means a city that has almost zero vacancy in affordable housing is going to have to absorb a workforce much of which won’t be able to buy or rent anything at current market rates. That means more competition for scarcer housing and higher rents and home costs for everyone.

By any basic planning logic, CPMC should be on the hook for providing enough affordable housing for at least some reasonable percentage of its workforce. Instead, the hospital chain is offering about $33 million, only $3 million of which will be paid up front. That won’t even address half of the housing impact. Besides, the jobs will be there when construction starts, and more when the hospital opens; the limited affordable housing money will come much later. The highest-paid doctors and administrators may be able to afford the pricey new market-rate condos the city is madly approving — but where, exactly, are the nurses, orderlies, clerks, janitors and other health-care workers going to live?

CPMC has agreed to provide charity care at the same level is currently does — which is abysmally low, among the lowest of all nonprofit hospital chains in California. So that’s not an advantage.

And it has promised to keep open St. Luke’s Hospital in the Mission — the only full-service hospital other than SF General in the southeast part of town. But the proposal calls for cutting the number of beds by nearly two-thirds, from 229 to 80. And it allows for the closure of that hospital if CPMC’s system-wide operating margin falls below 1 percent (something that will be hard for the city to challenge, since CPMC handles the books).

It’s cynical how CPMC is using this critical medical facility in an underserved area as a bargaining chip. Already, hospital lobbyists are warning that St. Luke’s will be shut down if they don’t get what they want on Cathedral Hill.

Meanwhile, CPMC has labor trouble and is refusing to guarantee that existing employees at facilities that will be demolished will be able to keep their jobs and seniority at the new hospital.

We realize that CPMC needs to build a new facility to replace aging and seismically unsafe structures elsewhere in town. But the hospital chain also has a responsibility to address the impacts this project will have on San Francisco. And right now, it’s not a good deal.

 

Brown says Lee shouldn’t have taken Mirkarimi’s pay away

Sasha Cuttler
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Brown says Lee shouldn’t have taken Mirkarimi’s pay away

As Mayor Ed Lee continues to duck questions about why he suspended Sheriff Ross Mirkarimi without pay or due process, even former Mayor Willie Brown – who helped elevate Lee into Room 200 – is second-guessing the decision and its legality.

In his Willie’s World column in Sunday’s San Francisco Chronicle, entitled “Ross Mirkarimi needs cash in struggle to keep his job,” Brown wrote, “And on the salary point, I agree with Mirkarimi: He should not be suspended without pay. He should continue to get paid unless and until he ultimately is found guilty of misconduct by the Board of Supervisors.”

The issue isn’t just one of fairness or of Lee trying to coerce Mirkarimi into resigning to avoid city hearings that will determine whether grabbing his wife’s arm during a New Year’s Eve conflict constitutes official misconduct, as Lee charges. It’s also a specific legal issue, particularly to lawyers like Brown.

Mirkarimi’s attorney, David Waggoner, said it’s not surprising to see Brown publicly undercutting the mayor on this issue. “He’s simply stating what the applicable law is on the subject,” Waggoner told us. In this case, it was the Supreme Court, hearing the case Skelly v. State Personnel Board in 1975, that said an executive can’t just unilaterally take away someone’s livelihood.

“If you’re going to fire public employees, you have to give them notice, you have to let them respond, you need to observe due process,” Waggoner said.

That’s one of three causes of action that Superior Court Judge Harold Kahn will consider in a hearing set for April 18 at 9:30 am, where Mirkarimi is asking the courts to reinstate him and restore his salary pending hearings before the Ethics Commission and Board of Supervisors that could take months.

Given the pressure being applied by anti-domestic violence groups and many mainstream media voices, Lee may have felt like he had to remove Mirkarimi and that he could just blame supervisors or the process if it didn’t work. But if the courts find Lee acted illegally while attempting to put supervisors in such an untenable position, it could be a serious blow to Lee’s reputation and governing authority.

UPDATE 5 PM: I also placed a call on the issue to former Mayor Art Agnos, who just back to me and he agreed that Lee acted in a way that was unfair and probably illegal. “I think it’s heavy-handed,” said Agnos, who has been supporting Mirkarimi through the ordeal.

Agnos noted that former Sheriff Richard Hongisto served several days in jail for contempt of court for refusing to carry out the evictions of International Hotel tenants, and he never had his pay docked or faced official misconduct charges. “And here, we see the sheriff being charged with something that occurred before he even took office, and it’s a low-grade misdemeanor that he accepted a plea deal on.”

According to Agnos, Mirkarimi told him that during his brief conversation with the mayor, he offered to tell his side of the story and have Lee talk to his wife, Eliana Lopez, as well, but the mayor wasn’t interested. “When you’re the mayor, you like to hear both sides before making a decision,” Agnos said. “But Lee wasn’t interested.”

The slate controversy at the DCCC

Zelda Bronstein
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The slate controversy at the DCCC

There’s nothing like a combination of insider politics, a struggle for control of the local Democratic Party and the ongoing discussion about the need for progressives and moderates to get along better to make for a complicated political story.

Which is exactly what’s going on with Alix Rosenthal’s effort to put together a Women’s Slate for the Democratic County Central Committee.

I’ve spend way too much time trying to figure it all out, but it raises enough interesting issues to make it worth discussion in the progressive community.

The background: For four years, the progressives have controlled the DCCC – and thus the powerful local endorsements for the local Democratic Party. That’s taken considerable organizing – and it’s worked to a great extent because of a remarkable degree of unity among a famously fractious bunch.
In the past two elections, every progressive group, the Harvey Milk Club, the Tenants Union, the teacher’s union, the nurses, the Sierra Club — and the Bay Guardian – has endorsed essentially the slate of candidates. There are problems with that approach – it’s easy for some people or some groups to get excluded, and you get complaints of machine politics – but in reality, there weren’t a lot of people who identified as progressive getting left out. Quite the opposite – the slate organizers were working hard to recruit people to run. Serving on the DCCC isn’t glamorous and it’s a lot of work. (It’s also at times unpleasant — the arguments are harsh, sometimes more so than necessary.)

In 2012, we have a different problem: The people who are called moderates have convinced a lot of high-profile canidates (former Sup. Bevan Dufty, Sup. Malia Cohen, School Board member Hydra Mendoza) – people who will win on name-recognition alone – to run. Combined with the retirement of Aaron Peskin, and the all-but certain re-election of incumbents like Scott Wiener and Leslie Katz (who remains to this day the only member of the DCCC who refuses ever to take my phone calls) and you have the makings of a conservative victory.

Let me take a second on this “moderate” tag. Moderates in San Francisco are people who are liberal on social issues – like, frankly, 80 or 90 percent of the city – but conservative on economic issues. Conservative is the right word here: The moderates don’t typically support higher taxes on the rich and big business, don’t support development controls, are weak on tenant issues, don’t think that housing should be a right of all people and pretty much buy into what in the Clinton era we called neo-liberalism.

The progressives (who have economic policies more like the Democratic Party of FDR and Lyndon Johnson) and the moderates (who have economic policies more like the Democratic Party of  Walter Shorenstein, Dianne Feinstein and Bill Clinton) have been fighting for decades over the future of a city where there aren’t a whole lot of Republicans.

So when I say conservative I’m not talking about Reagan or Santorum — but I’m talking about a very different economic vision than mine.

And while I’m all in favor of being civil and polite to everyone and respecting friends and colleagues who disagree with you, I guess I’m enough of an old commie (with a lower case “c”) to believe deeply in class struggle and the idea that the rich and powerful don’t give up without a fight.

And having a good working relationship with the conservative Democrats (hey, I’m on great terms with Scott Wiener – we talk all the time and I respect him and like him personally) doesn’t mean I’m ready to give up the notion that in the United States and California and San Francisco, 2012, there’s a class war going on. We didn’t start the war, but we have to fight it to survive — and to keep the city from becoming an ossified playground of the very wealthy.

Okay, enough background and rhetoric. On March 29, Rosenthal – who is also my friend and I respect and often support – sent out an email that announced that all of the women running for DCCC were going to work together on a slate:

“The female candidates for the San Francisco Democratic County Central Committee (DCCC) have banded together to form a slate of our own. It’s called Elect Women 2012, and it includes all women running this June in both Assembly districts in San Francisco, moderates and progressives alike. The slate is intended to provide a support network for both new and seasoned candidates, to develop an amicable working relationship between moderate and progressive candidates, and above all to get more women elected to public office.”

 
That’s all good. More women in politics is good. Supporting new candidates is good. A working relationship between progressives and moderates is good.
But here’s the question, and it’s not a new one in San Francisco: Is it a good idea, both politically and as a matter of strategy, to promote the interests of people who largely disagree with you on issues? If a slate of women helps knock off a progressive man in favor of a conservative woman, is that a positive change?

Rosenthal doesn’t think that’s going to happen. We’ve had a couple of long discussions about this, and she’s looked at the math and the current list of candidates, and she thinks her slate is more likely to help a couple of progressive women (Petra DeJesus, for example) who might not otherwise win.
“You need to touch the voters three or four times before they know who you are,” she told me. “The winners will be people who are on several slates, and the progressives have more slates than the moderates.”

The guys who she agrees should really be on the DCCC and might have a close call (Matt Dorsey, for example, a gay man, or Dr. Justin Morgan, an African American man) won’t win or lose on the basis of a competing women’s slate.

Rosenthal ran for office on a pledge to bring more women into the DCCC and into public office, and that’s an important goal – right now, there’s not a single woman among the citywide elected officials in San Francisco. (That hasn’t always been the case — the mayor for 10 (awful) years was Dianne Feinstein, and in the past decade or so we’ve had a female treasurer, assessor, district attorney, city attorney and public defender. But right now: All guys.

The Board of Supes is a bit lopsided, too – seven men, four women.

And for the same reason that putting people of color into office almost by definition changes the perspective of politics, electing women is a progressive value. No matter how sympathetic the straight white men are, there are things we never had to experience and will never really understand.

That said, I would much rather have (mostly progressive) white guy Aaron Peskin run the Democratic Party than (mostly conservative) Asian woman Mary Jung – and so would Rosenthal. “No question, no doubt about it,” she told me.

Now that Jung has all but announced that she wants to be the next party chair, and since a number of the women on the slate will support her over a progressive (and would support her over Rosenthal) – is this doing the movement any good?

Gabriel Haaland, a transgender man and former president of the Harvey Milk Club, points out that “the Milk Club could simply endorse all LGBT candidates for our slate, and there are some who have argued for that over the years. But we don’t — because we work in coalitions, and that kind of slate undermines the whole concept of coalition politics.”

Hene Kelly, who is on the women’s slate but has insisted that the mailings make it clear she isn’t supporting some of the other candidates who will be connected with her, thinks the Rosenthal plan is a bad idea.

“There are people on this slate I could not and would not support because they don’t share my beliefs,” Kelly told me. “These are nice people, but they don’t see San Francisco the way that I do. Mary Jung and I don’t believe in the same things.”

Rosenthal says that the very fact that so many people who disagree on issues can work together on a slate shows that women can get along and end some of the divisiveness on the DCCC. Kelly – who is a passionate and often fierce fighter – disagrees: “I’m not that easy to get along with.”

Kelly is part of what will be a progressive coalition slate – including women and yes, men – and Latinos, African Americans, LGBT people, young people, older people … a mix. An imperfect but generally San Francisco mix. And all of them share the same political values.

Some of the people who don’t like the women’s slate are, indeed, men – and Rosenthal is at least a little proud of that. In another email talking about a Chronicle story, she notes:

“I have already received panicked calls from some male candidates and leaders, it seems there is quite a buzz about us and about Heather’s article. Which is great.  I hear that Malia said some good things, as did Supervisor Wiener.”

Wait — Scott Wiener and Malia Cohen are happy about the slate? This is supposed to be good news? I like Scott and we’ve worked together on issues we agree on, but I didn’t endorse him for office; on the most critical things, we don’t agree at all. And interestingly, there is not one progressive woman quoted as opposing the idea in the Heather Knight piece in the Chron.

I think the panic is not, alas, about men fearing the power of women. There isn’t a progressive man I know who would be unhappy with Hene Kelly running the party.

The question is about whether this effort might help shift the balance of  power away from the progressives – and, frankly, whether all this talk about getting along together is an excuse for watering down what we want to do and what we believe in.

Maybe Alix Rosenthal is right, and her slate — which will spend about $25,000 in what amounts to co-op advertising — will help bump a couple of progressive women to the top and help the left hold on (narrowly, because it will be close) to the DCCC. Maybe the moderate/conservative crew will win a majority, and some of the moderate women will be impressed by the help Rosenthal gave them and elect her chair (which would be a lot better than some of the alternatives).

Maybe politics should be less rancorous and we should all get along better – except that, in my 30 years of experience, getting along with the moderates has always, always, always, led to a watering down of the progressive program and agenda. 

Maybe I’m just a straight white guy who doesn’t get it – and I’m happy to cop to that possibility.

I agree that there aren’t enough women in local political office, that we need to encourage and promote progressive women candidates, that much of the leadership (such as it is) on the left is male — and that needs to change.

But I’m not sure that working to help elect people who disagree with you on the key economic and political issues is good for the values that I think Alix Rosenthal and I share.

It’s tricky, but at least we should be thinking and talking about it. Nicely. I promise.

Arrests after overnight ‘San Francisco Commune’ occupation

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After at least 100 people remained in a building at 888 Turk for almost 24 hours, police ended the occupation at 1:30 pm today, blocking off the street, and arrested more than 70.

According to a press release from OccupySF, the occupation’s purpose was “creating a community center in the spirit of the buildings original intention, to create a center for health and healing.  In a city with ten thousand homeless people and thirty two thousand vacant but habitable units, it is a crime against humanity that people are prevented from sleeping through the night as part of a political protest or as a basic human right.”

A muni bus carrying police in riot gear pulled up in front of the building and officers ran out, issuing no warning to those inside.

The number of occupiers had jumped since noon, when a march of about 40 supporters arrived. A large group was on the second floor when police entered; according to protesters who remained inside, some had barricaded the stairway.

“For a while, we knew they were inside the building and we could hear a sound like a battering ram,” said one protester, who says that she was transported to the jail in the same vehicle as a man who sustained a broken wrist during the raid.

Some who were outside the building when police arrived were allowed to leave out the front door, and others may have exited from different routes.

Independent journalists were among those arrested.

Protesters say that they were occupying the space to demand rights for the homeless and a community center in which to organize.

The occupation was part of a “National Day of Action for the Right to Exist,” organized by the Western Regional Advocacy Project (WRAP) and USA-Canada Alliance of Inhabitants. According to Paul Boden, an organizer with WRAP, demonstrations in conjunction with the day of action took place in 17 cities.

“The government serves the people. If the laws stops working, and there are people who are homeless on the street and they need a place to stay, they should be able to stay there,” said Shannon Mueller, a sophomore environmental studies major at the University of San Francisco. Mueller and others from Occupy USF joined about 50 others who protested outside police lines as the arrests took place.

Most have been charged with misdemeanor trespass.

Neighbors varied in their responses to the occupation on their street. Some from the Parkview Terraces apartment building across the street expressed support and gave donations to occupiers, while others reproached the group or called, “get a job.”

A group of about 50 supporters gathered at Union Square to at 5pm and marched to 850 Bryant where some of those arrested were being released, blasting music, dancing, and chanting “this is what solidarity looks like.”

Mirkarimi case: Eliana Lopez friend and defender Myrna Melgar responds to critics

Zelda Bronstein
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Mirkarimi case: Eliana Lopez friend and defender Myrna Melgar responds to critics

My opinion piece regarding the plight of my friend Eliana Lopez and San Francisco’s approach to handling domestic violence in her case has generated a lot of discussion since it was printed last week. I have heard from a lot of folks who tell me that it has challenged their assumptions about the particular situation but also about the unintended outcomes of handling all domestic violence through the criminal justice system. It has also generated quite a bit of defensiveness from some anti-domestic violence advocates, who have suggested that questioning their methods is an attack on their goals – it is not, and people who dedicate themselves to helping victims of domestic violence have my very highest respect and admiration.

So allow me elaborate that a little further on that point:

No one is advocating for the return to the bad old days when we looked away from the abuse of women. I am pointing out that for many, having the police automatically open a criminal investigation, regardless of the nature of the problem, which is then followed by prosecution, is a strong deterrent to seeking help.  Defining progress by rates of conviction while we know that more than half of domestic abuse incidents go unreported suggests that something in our approach is not working. 

Domestic violence seldom begins with a murder. It usually begins with the putdowns, the sarcasm, the psychological and emotional abuse, and then, often, to escalating levels of physical abuse. Of course, not every guy who makes sarcastic remarks will eventually hit his girlfriend. Instead of opening a criminal case when the first call comes in from an affected party or a well-meaning neighbor, how about we create a support system within mental health and family support that has a trained health professionals who can answer questions and guide a path to rehabilitation?  

San Francisco has led the way in showing the country how an integrated, public health-oriented healthcare system, community rooted and accessible to all, ought to be run.  We have the technology already to share data among health care professionals that can be immediately transferred to criminal justice professionals when needed.  A system that has only one gear — criminal prosecution — that treats women as children, robs them of their voice and their rights, and renders them incapable of making their own decisions at the slightest evidence or even accusation of abuse is a system that needs to evolve.  We can do better. We need to stop domestic violence while at the same time working towards equal rights and the empowerment of all women individually and as a whole. Those two things must never be mutually exclusive goals.

Despite the strong reactions my opinion has generated in the past week among people who defend the current system, no one has addressed the problem that the zero-tolerance criminalization approach has created in communities where there is fear of the police. It seems that everyone wants to talk about Eliana Lopez, mostly as an appendage of Ross Mirkarimi, but the many women facing this issue remain seemingly invisible in this conversation, their fears and issues unaddressed.  I have heard from immigrants’ rights advocates that they have been voicing these concerns for years, and have gotten nowhere within the domestic violence community. We can do better.

In her essay on March 29 in the Huffington Post, Andrea Shorter of the Commission on the Status of Women explains that the current system for dealing with domestic violence came about as the implementation of 84 recommendations by a group of advocates in response to the gruesome 2000 murder of an Asian immigrant woman at the hands of her boyfriend. In the past 12 years, great progress has been made in reducing domestic violence related homicide rates, both in San Francisco and across the country.

But 12 years is a long time, and a critical look at the system that we have created is needed. It’s important to note that immigrant women are still overrepresented in the domestic-violence homicide statistics in San Francisco. We can do better. We need a system that is both capable of responding quickly and decisively to cases where women’s security or lives are at stake, but of also handling the far more numerous and ambiguous cases in which domestic troubles have not reached that point, but in which families need help to make sure that they do not.

Finally, I feel I must address a couple of the specific accusations that have been made that are just not true. I have never worked for Ross Mirkarimi. I didn’t even contribute to his campaign. (It is, after all, possible for a woman to have an opinion independent of a man’s agenda). I care about my friend Eliana, and the issue of domestic violence. My interest was in addressing what I saw as an thoughtless reaction both by our government and much of our media, which produced results that were needlessly cruel and counter-productive to the people directly involved, and that also, ironically given the supposed purpose of the whole exercise, sent a bad message on how to respond to domestic violence.

Inside OccupySF’s ongoing building takeover

Sasha Cuttler
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Inside OccupySF’s ongoing building takeover

UPDATE 1:15 PM: Without warning or an order to disperse, riot police arriving by bus suddenly raided the building moments ago, making more than a dozen arrests so far. More soon as the story develops.

Editor’s Note: Guardian staff writer Yael Chanoff reports from the inside of vacant building that Occupy SF has taken over in hopes of creating a community center.

The inside is mainly filled with people organizing, exchanging ideas, and e-mailing and calling contacts from around the city who may be able to provide assistance for the effort. Many are coordinating for a meeting with the Catholic Archdiocese – which owns this former mental health clinic at 888 Turk Street – that is scheduled to take place this afternoon. A delegation from the Interfaith Council of San Francisco and the National Lawyers Guild are also on their way to building to help plan for the meeting.

A head count last night showed there were about 125 people here. Some have left, but many arrived this morning, leaving about 100 at this point. Various rooms in the building have been organized for different purposes including a welcome desk and information center, sleeping quarters, library, and medical clinic.

Last night, it was a relaxed party atmosphere with groups in every room expressing ideas for the community center and employing strategies for keeping the space. Graffiti art and messages were painted in hallways, a free hot meal was served, and people mostly respected designated composting, recycling, and trash bins. The commune received at least five deliveries of donated pizza.

By 7 am today, occupiers were sweeping, scrubbing and picking up stray trash, as well as painting over most of the message on the walls with white paint. The police are holding a partial line, with barricades blocking the sidewalk on two sides of Gough and Turk streets, and officers are attempting to prevent people from entering the building.

However, they have not blocked off the street and many people have entered by riding up to the entrance in bikes, cars, or simply walking past police. Deliveries of supplies this morning includes breakfast of cereal, milk, coffee and fruit; as well as mattresses and warming clothing.

About 20 people are sitting outside the building in the sun blasting KPOO radio, which made an announcement on air a few minutes ago that it is the soundtrack of the SF Commune. There is a tent set up on the roof, and a group up there doing a coordinated dance number.

There is a general assembly meeting set for 6 pm and most occupiers are hopeful that there won’t be a police raid before then.

Guest opinion: Free Muni for all youth

Zelda Bronstein
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Guest opinion: Free Muni for all youth

On Tuesday, April 3, the Municipal Transportation Agency board faces a decision between providing free Muni passes for all San Francisco youth or providing free passes to only low-income youth. ComMunity advocates and Sup. David Campos have identified the funding. We are calling on the MTA board to take this opportunity to invest in a new generation of transit riders by establishing free Muni for ALL youth.

The movement to win free Muni passes for youth originated from cuts of between 40 percent and 100 percent to yellow school busses over the next two years.  As a society, we have responsibility to make sure youth can access free public education — and as a city we have a responsibility to get kids to school even as state funding is eliminated.

Right now 60 percent of all trips in San Francisco are taken by car, and for years we have not seen a huge change in transit mode share. If San Francisco wants to meet our climate objectives, we need to take steps now to encourage young people to get out of their cars.  In New York City, a program of free transit passes for youth has created generations of loyal transit riders. In order to truly become a transit-first city, we need to do the same here.

While the struggle to afford bus fare is obviously a larger challenge for very low-income families, due to the high cost of living in the city, there are many working-class and middle-income families who also struggle with the costs of transit for their children. The costs of housing, food, healthcare, and transit add up quickly for San Francisco families and have all contributed to a crisis of family flight out of San Francisco.

San Francisco currently has the smallest child population of any major U.S. city. While this is complex problem, requiring a huge investment in affordable housing and a strategy to bring more working-class jobs to the city, by establishing free Muni for all youth the city can take a very concrete step forward towards making the city more family friendly. Thousands of families would benefit from an extremely modest investment of $8.7 million a year.

The low-income youth and parents who have been at the forefront of this movement advocating for the free youth passes are nervous about their own ability to access a low-income-only pass because of the bureaucratic challenges they experience trying to apply to other government programs. The Muni Lifeline pass for low-income adults is very hard to access, requiring applicants to wait for hours during a weekday at the Human Service Agency headquarters.

The Federal Free School Lunch Program requires parents to provide documentation of income level. Using a means test would be difficult and costly to administer and could exclude some low-income young people — especially those from undocumented families and the children of parents who work in the informal economy. San Francisco should not create paperwork barriers that will prevent our young people from getting to school.

The documentation required now to get youth clipper cards prevents many families from getting them. Immigrant families who do not have copies of all their birth certificates are prevented from getting youth passes when they encounter difficulties getting birth records from their native countries.

With all of those factors, it just makes sense to make Muni free for all youth.

Jane Martin is an organizer with People Organized to Win Employment Rights (POWER).

Neutral Milk Hotel’s Jeff Mangum adds Great American Music Hall show

Tony Robles
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The elusive Jeff Mangum – he of reverentially adored experimental folk act Neutral Milk Hotel – rarely  tours. This, compounded by his strangely personal and dream-provoking lyrics, has caused a boiling fervor over the singer-songwriter that’s rarely seen outside of Morrissey and teen pop stars.

In a recent AV Club article (that also mentions Morrissey and teen pop stars), an author who is somewhat lukewarm on the band, but nonetheless attends a show on this recent tour – to see what all the fuss is about –  describes NMH fans as believing the band’s 1998 album Aeroplane Over the Sea is “the sacred masterpiece or apex of ’90s indie-rock” (For the record, it’s both, thanks.)

http://www.youtube.com/watch?v=RUd9uDREHcs&feature=related

For the counterpoint, the other author in the article sums up the obsession from the start: “This Jeff Mangum tour wasn’t meant for you, the casual fan. It was meant for the diehards who snapped up all the tickets immediately when they went on sale, who fell deeply in love with a record over the years and never thought they’d get the chance to see any of its songs performed live, because its creator was notoriously reticent about performing.”

That said, Mangum has had a double set of shows locked down at the Fox Theater for months now, and yes, most of those tickets are now snapped up (see Picks this week).

And yet, as of this morning, there is a brand new show added to this tour: this Sunday, April 8 at Great American Music Hall. Tickets go on sale today (Mon/2) at 3pm. That’s right, after all that waiting, all that obsessed fan countdown, you’ll now also have the chance to see him in San Francisco proper, at a stunning venue half the size.

http://www.youtube.com/watch?v=z1irjRAvy9c

Jeff Mangum
With Andrew, Scott & Laura (members of Elf Power & The Gerbils)
Sun/8, 8pm, $36
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.gamhtickets.com

Breaking: hundreds with OccupySF ‘occupying’ building

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UPDATE: Representatives of the Archdiocese have made clear that they will not make a decision regarding the building occupation until the morning 

OccupySF, along with at least 400 supporters and homeless advocacy groups, have entered a vacant ’building and plan to turn it into a community center. Participants served a free dinner, unrolled sleeping bags and tacked up posters in rooms marked “sleeping quarters” by organizers, and are currently meeting to decide next steps.

“Occupy San Francisco and Occupy Oakland originally were providing food and shelter to those who didn’t have it previously. That’s the plan I think, to provide food, shelter and a space for political organizing,” said protester Samantha Levens, 33, a deckhand on the Alameda-Oakland Ferry. 

The building, 888 Turk, is the former site of Westside Mental Health Center and has been vacant since the closure of that mental health clinic about five years ago. It is owned by the Archdiocese of San Francisco.

It is available for lease through HC&M Commercial Properties.

About 400 marched to the building at 4:30pm, trailed by an former AC Transit decorated and converted to a protest-party vehicle by Occupy Oakland. The march had the air of an April Fools Day Carnival, complete with clowns, jugglers, and a man dressed as Captain America alongside people with bandanas and Guy Fawkes masks. Protesters marched from Union Square on Geary, chanting “homes not jails” and ”housekeys not handcuffs.”

The march followed a rally in Union Square, in which homeless advocates from Berkeley, Oakland and Sacramento spoke to the crowd, and performers including the Mixcoatl Anahuac dance group and the Brass Liberation Orchestra kept the mood festive.

The protest was part of a national day to defend the rights of the homeless with protests in 17 cities. Paul Boden of the Western Regional Advocacy Project, which planned the Union Square protest, spoke speficically about Business Improvement Districts in San Francisco, which he claimed funell property taxes to businesses at the expense of the homeless.

When the march arrived at Turk and Gough, the site of the building, it had already been unlocked from the inside, and protesters on the roof held a sign reading “organize or starve.”

About 40 police officers provided an on-foot escort for the march. Officers as well as several police vehicles are currently standing by the “occupied” site, and declined to provide comment at this time. 

An OccupySF-associated building takeover occurred Jan. 20 just a few blocks away at the former Cathedral Hill Hotel. At the request of the building’s owners, police entered the building, and no occupiers remained the following morning.

“Occupy SF through the OccupySF commune has inhabited a vacant building for the purpose of creating a community center in the spirit of the buildings original intention, to create a center for health and healing,” according to a press release issued by the group.

 

American Idol: This Country is Stupid Edition

Zelda Bronstein
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12
American Idol: This Country is Stupid Edition

The voters are stupid. They elected George W. Bush (sort of) and now they’ve dissed the Best American Idol Perfomer Ever, wno also happens to be the only Korean to make it anywhere near this point in the show and (I think) the only Asian male.

Heejun Han is funny, has a sense of perspective, and as we saw when he made a last-ditch attempt to save his spot, can really, really sing.

But he’s not a  nice white boy who talks about God and sings about small white towns in the midwest, and he’s not a nice white girl who sings pop songs, and he’s not deferential to Bill Fucking Joel, so  he gets voted off.

Viv and I are boycotting. Actually, I’m boycotting and she’s girl-cotting. We’re never watching again, at least until next week. Heejun was, I think, the only boy she ever liked on AI, and now a bunch of lame-ass losers who sound like everyone else are heading for the final.

Okay, not Joshua, who is the best true singer in the lot, and not Elise, who kicked ass with “Whole Lotta Love” (NOBODY can sing Led Zeppelin, and somehow she did). Oh, and Jessica. Viv likes Jessica.

But the rest of them? Blech.

Let’s have Heejun Han day in San Francisco; he sings better than most of the folks who croon at the Board of Supervisors. And he’s a lot more funny.

 

 

 

SFMTA seeks more parking meter revenue to balance its budget

Sasha Cuttler
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SFMTA seeks more parking meter revenue to balance its budget

San Francisco Municipal Transportation Agency staff and Director Ed Reiskin today unveiled a two-year budget proposal that avoids Muni fare increases or service cuts and directs more money to address the transit system’s deferred maintenance needs, but it relies on substantially increasing parking meter revenues in ways that have been tough sells before.

In addition, the budget proposal – which will be considered by the SFMTA Board of Directors on Tuesday – is seeking labor concessions to lop off another $7 million, which will still need to be negotiated with the militant Transport Workers Union Local 250A. That won’t be easy, but Reiskin made a good first move by recently canning 10 of the agency’s top-paid executives en route to saving $2 million per year just in management salaries.

But the parking meter proposals are likely to stir a hornet’s nest of angry motorists who have come to expect free street parking. Reiskin is proposing to eliminate the free parking on Sundays, making drivers pay for parking between noon and 6 pm. And he wants to add another 500 parking meters.

Both are good ideas for an agency that desperately needs the money, and it has done studies showing that businesses and motorists would benefit from the charges making parking spots more readily available. But each time the SFMTA has tried to implement these proposals – trying to do Sunday meter hours in 2009 and trying to add hundreds of new meters in the Mission and Potrero Hill earlier this year – the torches and pitchforks came out and agency officials sulked off to lick it wounds.

But Reiskin says this is what the city needs to do. An SFMTA press release labels the proposals “modernizing antiquated parking policies, and Reiskin says, “While we’ve made tough decisions in order to develop a responsible, balanced budget, we are doing everything we can to avoid fare increases and service cuts. These proposals reflect our commitment to the city’s Transit First policy and allows for improvement in all modes of transportation.”

Nite Trax: Sisterz of the Underground re-fresh the Bay

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Nite Trax: Sisterz of the Underground re-fresh the Bay

Sometimes being a nightlife writer feels like getting stranded on Techno Dude Island. Not always cuuute. So when I got wind that the classic Sisterz of the Underground hip-hop party crew was hitting the Bay for a huge 10-year anniversary celebration Sat/31 including a party at Public Works and a day of tech workshops and empowerment talks at CellSpace, I jumped on the chance for a breath of fresh female air and an indepth talk with folks who inspired me back in the day to try a few dance floor moves I probably shouldn’t have.

SOTU founder Sarah “Smalls” McCann, creative director Traci P, and organizer Crykit moved away from the Bay a little while ago (and the groundbreaking in-school hip-hop education program they started, Def Ed, is currently in hibernation mode), but the international Sisterz of the Underground network they helped establish is still thriving and inspiring women to discover and transmit the roots of hip-hop dance, art, music, creativity, and culture. The 10th anniversary party reflects that all-encompassing approach with live music from Kid Sister, DJ Shortee, Green B, Jeanine da Feen, and tons more, plus a 1-on-1 dance battle, art and vendor fair, live painting, nail booth… It’ll be a much-needed femme attack in this age of War on Women, hip-hop style acrimony, and the mainstreaming of street spirit. 

I communicated with the trio over email in anticipation of their return, and got not only the trademark Sisterz blend of energy, outspokenness, and positivity, but some juicy tidbits about Bay hip-hop history, the current state of rap and dance, and the ladies’ current doings as well. Check it.      

SISTERZ OF THE UNDERGROUND 10-YEAR ANNIVERSARY CELEBRATION

Sat/31 at Public Works and CellSpace

Details and tickets: sisterzunderground.eventbrite.com

Facebook Invite is here.

 

SFBG It’s been a minute since you’ve been on my radar. Can you introduce yourself and tell us what’s going on with y’all now?

TRACI P I moved to Las Vegas a little over a year and a half ago after an almost decade stint in San Francisco throwing events and creative directing the Sisterz of the Underground. Currently I am the managing partner of RAW Entertainment (www.raw-e.com) which is both a booking agency and event production company based here in Sin City. I book for a variety of artists, like BReal of Cypress Hill,  two-time DMC champ DJ SHIFTEE, and NYC club and fashion DJ Roxy Cottontail. Aside from artist bookings I continue to produce local events here in Vegas as well as a monthly in San Francisco called Femme Fatale at John Colins, every second Thursday — it features an all-female lineup and highlights music, fashion, and art. The next one is Thu., April 12, and will feature live painting, a guest performer and a dubstep DJ line-up including Lotus Drops, Sculltrain and Smashletooth. I also write music interviews for Thrasher Magazine, mostly about hip-hop and rap artists.

SARAH “SMALLS” MCCANN I’m the founder of SOTU and also a B-girl in the Extra Credit Kru. After years of being in the Bay and running SOTU and Def Ed, our hip-hop education program, I moved down to Los Angeles at the end of 2006. Since then, most of my experience has been selling events at various venues including House of Blues Hollywood and Jillian’s Universal. Currently, I’m the marketing sales manager at Pacific Park, the amusement park at the Santa Monica pier while also being a partner in Clique Events Society and a board member for the tour and travel marketing association of Southern California.

On the side of all of that, I also run an entertainment company with my husband, B-boy Machine, called Hit the Floor Productions (www.hitthefloorproductions.com), help direct our in-house dance company, West Bound, and manage Bboy Machine as an artist. When I’m not busy being the business guru that I am, I’m still just a hip-hop head and a die-hard B-girl with Extra Credit Kru! However at this present moment, I’m not breaking as i’m almost 8 months pregnant with my first child!

CRYKIT Hey hey! I’m Michelle, aka Crykit, aka Miss Crix 🙂 I grew up on a farm in Wisconsin, moved to the Bay Area in 2000, LA in 2010, and currently in Las Vegas since 2011. I started DJing, popping,  and breaking in 2002. The rave scene of 98-02 is really where it all began for me. For the last eight years B-girling has been my main focus. I’ve been a member of Extra Credit Kru since day one and with this crew of amazing talented inspiring ladies we’ve taught in schools and studios, entered hundreds of battles, performed at some pretty epic events, been featured in music videos and short films, traveled nationally and internationally

When I moved to LA I manifested what originally was an idea for a hip fashion line with the perfect balance of masculine and feminine HAPPY MEDIUM, into a dancy DJ duo that encompasses everything from dance to art to fashion to music. My partner in crime is a funky stylin’ B-girl I met back in the Bay: Faye aka 13 Moons. (She is DJing the 1-on-1 female dance battle at our Public Works party.)

 

SFBG You must have a lot of memories of SOTU — how did it all come together and what stands out for you most from the past decade?

TRACI P Sarah’s the founder, but I can tell you a bit about how I started with the collective. I moved to San Francisco when I was 19 after leaving UC Davis. Having decided to take an alternate educational path towards my ultimate goal of working in the music industry, I decided to intern at as many record companies and entertainment-oriented entities I could. This included Bomb Hip Hop, Look Records, Live Up Records, and Quannum Records. A boyfriend of mine at the time introduced me to Sarah. I loved the idea of women in the music industry and hip-hop, and felt an overwhelming sense of welcome and support in the collective. I pushed Sarah to let me do whatever she needed and learn more about how she produced events and operated. I started coming in everyday. I had such a respect for her vision, dedication, and the energy she put into making this collective so visible and tangible for women all around the globe. From then on she became a mentor to me. Both she and the Sisterz of the Underground changed my life forever.

SMALLS Well, this is always a long answer for me, as even though I’m pregnant with my first child, I always saw SOTU as my real first child. This all started back in 2000 when I was approached by the owner of the Justice League (now the Independent) about doing a hip-hop event at the venue. I was super inspired by two females in my life at that time: Arouz, a female graff artist, and Inchant, a female MC. i thought it would be super dope to produce an all-female hip-hop event that included all elements of hip-hop (MCing, breaking, graffiti, DJing, beatboxing, etc.). I spent about a month scouting talent from all over and found B-girls from UC Berkeley, Syndel from old dominion, and many more. I asked Medusa to be the headliner and threw a show on January 18, 2001 called Sisterz of the Underground.
The show had over 600 attendees and was a huge success! After the show, everyone was asking me who is Sisterz of the Underground… Well, I was in college at the time and didn’t really have any plans for who or what was SOTU. I decided to ask the girls involved if they were interested in forming a collective where women could comfortably express themselves, come together to share, and put on shows.

After a few more successful shows in the Bay, I decided to organize a group of us to teach at a young women’s conference. At this time, we really didn’t know what we were doing, but we knew we had something to share. From that conference, we were contacted by two all girl groups to come and teach at their center. Well, the year was filled with many shows and many workshops and soon we were voted “Best Hip-Hop Monthly of the Year” in the Guardian and we created a hip-hop education program called Def Ed. Def Ed became such a success and grew into a program that was eventually serving over 3,000 youth a year and existing in 6 counties of the Bay Area.

It’s hard to pinpoint my favorite point of SOTU, but I have to say that my life wouldn’t be the same without it and i would not be the woman that I am without all of my Sisterz that I have met along the way.

CRYKIT I first found out about SOTU at an all girl weekly dance practice at Dance Mission around 2002. There I felt supported in learning all about the culture and its elements. I would sketch in a black book, create stencils, DJ parties, pop, break, freestyle in the car on battle road trips, hahaha. It just sort of became a part of me, a lifestyle. I’m so grateful to have had a collective of such eclectic, empowering, talented women to grow as an artist with, to jump in a cypher with, to create a mix tape with… And most of these women are like super hero goddesses LOL.. Nurses, firefighters, neuroscientists, designers, massage therapists, business owners… the list goes on and on.

My favorite story I guess would be connecting with and building friendships with girls from other countries like Sweden, Germany, and India through SOTU! It’s so cool the network and community has spread globally.

 

SFBG The lineup for this party at Public Works is absolutely insane! It really brings together some true female talent. With female MCs like Nicki, Azealia Banks, and Iggy Azalea all over, do you have any thoughts about the state of females in hip-hop right now?

TRACI P Thank you first off for the compliment, that’s endearing! As far as the state of females in hip-hop, I would like to start by saying that hip-hop in general is in a state of transition as is the music industry as a whole. As the landscape of popular music shifts more and more to being influenced by electronic music, I think that hip-hop as well is starting to play into this trend. Nicki Minaj is a great rapper but some of her songs are SO far from rap or even hip hop. “Starships,” enough said. Iggy Azalea has got a lot of style and I am interested to see where she goes but I am not so confident in her skills as a lyricist.

Then there are one hitters like Kreayshawn whose success can be attributed to the beat of ‘Gucci Gucci’ being along a electronic-dubstep style as well as her look being right for the time. There is less and less attention paid to substance and more to image and look. Half of these girls can’t even perform live and are in a sense disposable because they have no stage presence. Just a pretty face with flashly clothes and jewelry. Then you have these record labels and agencies making it worse because the industry is so in the toilet that the SECOND they smell a lick of talent, they come along, swoop them up, charge ridiculous amounts of money to promoters, the artist never fully develops before being fed to the sharks, and ultimately fails!

But then you have girls like KID SISTER and MIA who steady hold it down. They have their own style and do a good job of incorporating current trends as well as keeping true to themselves and having a voice instead of being a puppet. I’m forever a student, however, and am interested in what’s to come in the music industry.

And the female DJ should also not be forgotten. As is evident in our line-up we respect all elements of hip-hop and the DJ is no exception. I feel as though the past few years have given rise to a great window of opportunity for female DJs and we’ve seen more and more emerge and tear it up! Living in Vegas I see a lot of plastic behind the decks but there are truly real women who can throw it down and rock a party and/or battle just as good as men, La Femme Deadly Venom for one, Pam the Funkstress, Spinderella, we have our own Crykit in Vegas killing clubs with style. It makes me happy to see this.

SMALLS To be honest, I think hip-hop overall is ever changing and growing with different niches and styles that come through. As for females in hip-hop, we’ve definitely come a long way and are continuing to get out there and do our thing. If you look at the different eras of hip-hop, you’ll see how many female MCs were legends in their own right: MC Lyte, Roxanne Shante, Lil Kim, Raw Digga, Bahamadia, Nicki Minaj, the list goes on and on. I also think that female DJs have come along way and are continuing to show that they can rock just as hard or even harder than some male DJs. The thing that’s always been an issue for us women, or at least for me as a B-girl, was not wanting to be viewed as “just dope for a girl.” We want to be viewed as dope overall for our skill and not having anything to do with the fact that we may be a different sex.

CRYKIT I would like to hear better lyrical content in hip hop overall right now. I’m not really moved by too many female MCs at the moment. Wishing Missy Elliot did more, I feel like she can be true to herself but also bring it in at a commercial level. One thing I love about her is she always had real dancers in her videos.. she understands hip-hop as a whole and a community with all elements on display. I’m excited to bring Kid Sister to Public Works, I love her versatility, she sounds fresh on electro house tracks as well as hip-hop.

http://www.youtube.com/watch?v=zOgLK4t-Rts

SFBG I feel like hip-hop in general in the Bay Area, while still lively, is slipping below the radar, on the down swing of a cycle — any thoughts about that?

TRACI P Hip-hop in the Bay is most def on a decline. It was once a mecca but is no longer a hub for new and exciting artists, unfortunately. I have a lot of friends in the rap and hip-hop industry here in the Bay Area whom I would NEVER discredit or whose music I would never put down but as a whole, but I haven’t seen much that’s exceptionally great coming from this sector of California as far as hip-hop is concerned. I would say that the RAP is still there but the hip hop is falling off. I would also like to take this time to say RIP to Special One of Conscious Daughters who hip-hop lost late last year.

SMALLS Unfortunately I don’t live up there anymore, but I have heard that the hip-hop scene has sort of died. Well, i can tell you that it’s not only in the Bay… it’s the same thing in LA. I remember places like the Justice League where you knew you were always going to find a sick hip-hop show whether it was Black Star or Wu-Tang and in LA going to Project Blowed every week. Now, you’re lucky if you can find a club that doesn’t have a dress code and won’t yell at the B-boys and B-girls for starting a cypher. I think this is one of the many reasons that we’ve tried to keep SOTU alive and always try to incorporate the true meaning of hip hop behind our events!

CRYKIT I would say the hip hop dance scene is still thriving in the Bay Area! There’s a lot of talented dancers from the Bay in videos, TV, movies. And currently there’s classes offered at studios like City Dance taught by dancers who have been in the scene for a long time and have learned from the OGs and originators. There are battles almost every weekend filled with high schoolers and up… So in that arena it is still thriving and is a genuine mecca for dancers.

http://www.youtube.com/watch?v=lBjcW9rnjoE

SFBG I love that you’re having workshops during the day at CellSpace that cover both female empowerment and technical skills. Can you tell me a bit about what inspired you to turn the reunion into a true community event?

TRACI P Community is very important to us and key to the idea of empowerment. Obviously the nighttime events are geared toward adults, but we recognize the importance the youth has in shaping the world as a whole — and it’s always been important for us to reach out to the youth through hip-hop. We also founded a hip-hop education program called Def Ed years back, it is unfortunately no longer active, but we taught at many sites around the Bay and still have strong access to many of the kids around the area, it’s important that we maintain that connection.

Also, there is a lot more to the culture of hip-hop than just what you see on a stage or in a music video, the aspects of art, dance, production, and fashion are equally important. At a time when everything seems so fabricated it’s essential that people be exposed to the roots of music and the culture. It is our mission to teach and empower in any way possible. By having females host these workshops, you never know who might be inspired, because it’s not every day women are so praised in such a male dominated arena such as hip hop.

SMALLS This is easy: SOTU has always been about community, education, growth, expression, and hip-hop. This event marks more than 10 years strong as a female hip-hop collective and tying in all of these aspects was truly important to us. There’s no point in just putting on an event to make money (at least for us)….we wanted to produce an event that included the youth and our amazing sisterz sharing their knowledge along with a night time event to remember. We figured having workshops, battles, showcases, vendors, art galleries and all of the various things we are including in this event would show was SOTU has always been about — true hip-hop expression in an open environment that welcomes anyone and everyone!

Crykit SOTU events have always been community-based, that’s where we all began. I love that a part of the celebration is at Cellspace because that’s where we established our breaking practice eight years ago actually, almost a decade we’ve been working with them. It’s a piece of Bay Area dance history, and our practice is the longest-running established regular practice in the city of San Francisco. It’s always important to include the youth. We love the spirit, freedom, and creativity they bring!

SFBG Can I get a current top 5 from each of you?

http://www.youtube.com/watch?v=lDo8Z-eoBiI

Traci P

MIA, “Bad Girls”

Slaughterhouse, “Hammer Dance”

Schoolboy Q, “Hands on the Wheel”

Joey Bada$$, “Survival Tactics”

J. Cole, “can’t get enough’’


Crykit

1. B.Bravo “Swing My Way” remix

2. Flying Lotus/ Thundercat “$200 TB”

3. Trina “Red Bottoms”

4. Mark Ronson “Animal” remix

5. Rye Rye & M.I.A “Sunshine”

Smalls

If I can twist this and get you my current top 5 reasons for still being a true hip hop head:
1. The feeling I get at a live show when everyone has their hands pumping in the air
2. The feeling I get jumping into a hot cypher where the DJ is killin’ it and everyone wants to get in
3. The feeling i get seeing the little girls of Extra Credit Kru enter a battle with us OGs
4. The feeling I get watching my hubby, B-boy machine, smoke someone on the dance floor
5. The feeling I get knowing that no matter how commercial hip-hop has become, that there’s still so many folks doing it right in the community

 

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