San Francisco

EDITORIAL: Save the HANC recycling center

Zelda Bronstein
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11
EDITORIAL: Save the HANC recycling center

The foes of the Haight Ashbury Neighborhood Council recycling center — including the mayor and Rec-Park Director Phil Ginsberg, who desperately want to get the low-income riff-raff who sell cans and bottles for a living out of the Haight and Inner Sunset — pulled out all the stops Dec 2, dragging good ol’ Chuck Nevius, who’s always ready to stand up for what isw clean and well-manicured and free of urban grit, into the fight. The Nevius column in the Chron is almost too perfect; he describes the center as “a noisy, ugly industrial plant” that doesn’t belong in Golden Gate Park. Well, the center is technically in the park, I suppose, but it’s not exactly smack amid Speedway Meadow or the Arboretum; it’s way off on the edge, in an area that most people don’t even think of as the park.

But see, here’s the real issue:

It is a magnet for the down and out, some of whom use the can and bottle payout as an ATM for booze and drugs, and even raid the neighborhood bins to fill their carts.

Imagine: A magnet for the “down and out” in the Haight. Imagine: A way for people to make some money without panhandling (which Nevius dislikes) or hassling tourists (which Nevius dislikes) or selling drugs (which Nevius dislikes) or stealing (which all of us dislike). Imagine: A community-run institution that actually creates green jobs for people who might otherwise be homeless (and doing things that Chuck Nevius dislikes).

The real issue is that the mayor never liked HANC (since he lives in the Haight, he ought to stop by a HANC meeting sometime; it’s really not that scary) and doesn’t like the idea of homeless people congregating around the recycling center, and would just as soon get rid of anything that doesn’t fit his vision of a squeaky clean, fully gentrified city.

And it’s not as if Ginsberg wants to restore that corner of the park to native flora; it will be, in his vision, a community gardening center. Nice, but not exactly a natural space. The new center would also attract small crowds — but of a very different demographic. Which, again, is what this is all about.

The HANC recycling center does everything that Gavin Newsom claims to support. It provides green jobs. It offers employment opportunities for people who are on the margins of society, and lets them get back on their feet — without a penny of taxpayer money. It promotes recycling and sound urban ecology.

The private company that collects our garbage and recycling, which is called Recology, doesn’t like the fact that poor people go around and collect cans and bottles from the blue bins on the sidewalk; the stuff is worth money, and the company would rather keep it. But in the end, the material goes to the same place and stays out of the landfills, which ought to be the point. And honestly, isn’t scavenging and recycling cans and bottles a better occupation than agressive panhandling and crime?

The center’s a bargain for San Francisco, and the personal peeves and suburban sensibilities of Newsom, Ginsberg and Nevius shouldn’t shut it down. The Recreation and Parks Commission should direct Ginsberg to back off on eviction proceedings and let the center stay.

 

 

Sip Snack and Shop on Chestnut Street

Jesse Hawthorne Ficks
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Sip Snack and Shop on Chestnut Street

The Marina Merchants Association & The San Francisco Bay Guardian Present:

Sip Snack & Shop on Chestnut Street

Thursday, December 2nd from 6-9PM — Start your holiday shopping this season in the Marina, woo! There’ll be great deals and yummy treats all evening.

Ticket includes:
Tastings from over 20 restaurants and more than 25 beverage sponsors! Raffles & discounts of 15% or more at all participating businesses. Live Entertainment!


$30 Tickets available at http://sipsnackshop.eventbrite.com

Ticketed guests may pick up your wristbands, wine glass, and program guide at either of these locations on Dec. 2nd starting at 6PM:
Eastside West – 3154 Fillmore Street (at Greenwich)
Wells Fargo – 2197 Chestnut Street
Kelly Keiser Splendid Interiors – 2381 Chestnut St.

*All proceeds benefit the Marina Merchants Association.

Participating Businesses
The Animal Connection II | Arbonne International | Benefit | Bin 38 | Books Inc. | Circa | City Optix | Crunch Fitness | E’Angleo | Eastside West | eCosway | GAP | Heritage Row | Isa |J’s Galleria | Jack’s | Judy’s Café | Kara’s Cupcakes | Kelly Keiser Splendid Interiors | Marina & Kebab | Marine Layer | Mezes | Monkey on Chestnut | Pacific Catch | Paper Source | Patxi’s Chicago Pizza | The Plant | Pluto’s | Pottery Barn | Pure Beauty | Rabat | The Republic | Ristorante Parma | San Francisco Optics on Chestnut | SusieCakes | Toss Designs | Two Skirts | Wandering Vet | We Olive | Wells Fargo | Y&I Clothing Boutique

Sponsors
Artesa | Bear Flag | Black Star | Blue Moon | Brugal Rum | Chateau Potelle | DeLoach | Don Pilar | FIJI Water | Haamonii | Honest Tea | Hope & Grace | Hotel Del Sol | Long Meadow Ranch | M Squared | Magners | Millesime Cellars | Pale Moon | Peroni | Pretzel Crisps | Red Bull | Rock Sake | Solerno | Spring Mountain Vineyard | St. Supery | Svedka | Tres Agaves | Trumer | Vivid Bliss | Y. Rousseau

Partners
The Bachelors of San Francisco | Crawl SF | Marina Community Association | PinchIT | San Francisco Ballet | SF City Dish | Spinsters of San Francisco | Urbanis | Yelp

Entertainment
The Clef Divers | The Lollipop Guild, a San Francisco Gay Men’s Chorus ensemble | Marina Middle School Band

For a family-friendly affair on the next night check out Chestnuts on Chestnut: http://www.face

Let’s play the “local hire” numbers game

Mary Magee
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There’s been a lot of discussion at City Hall about the pressing need for mandatory local hire legislation, as opposed to San Francisco’s current “good faith” efforts. And it seems that everyone agrees upon is that something needs to be done, as the Board prepares to vote December 7 on Sup. John Avalos’ local hire proposal, which seeks to ensure that 50 percent of workers hired on city-funded construction projects will be local residents.
The move comes at a time of high unemployment in the recession-hit construction industry, but would kick in as San Francisco stands poised to spend $27 billion on public works projects over the next decade.
‘The city needs to leverage its funding position to ensure that our residents benefit from these investments,” Avalos said at a Dec. 1 committee hearing on his legislation, which would require 25 percent of hours on city-funded construction projects, to be worked by local residents in the first year. This rate would rise 5 percent each year to 50 percent.
It would also require 50 percent of apprentice hours to be worked by local residents in the first year (with out-of-state workers exempt from these requirements).

These requirements currently apply to each individual construction trade (carpenters, painters, laborers, operators, brick masons, plasterers) and not to overall project hours.

The city would pay incentive bonuses to contractors that exceed the requirements.
Contractors who failed to meet the requirements would have the option of paying liquidated damages to the city, or sponsoring apprentices during the project.

But a December 1 report from Ted Egan, the city’s chief economist, estimates the legislation would raise the city’s contracting costs by $9.3 million per year, while creating 350 jobs.
 
Egan breaks down the city’s estimated $9.3 million in contracting and administrative costs into three distinct piles: $2 million in higher bid costs from hiring the unemployed, $4.5 million in higher bid costs from hiring the already unemployed, and $2.8 million in higher costs associated with penalties.

‘This cost represents approximately 1 percent of the city’s $934 million estimated annual spending on covered projects,” Egan noted, adding that the cost to the city will be lower in early years, because unemployment is high now and labor is widely available.

“This is a conservative estimate,” Egan added, “as it assumes no contractor exceeds the target and receives incentive bonuses from the city, and also excludes any contractor productivity losses caused by breaking up core crews.”

Egan acknowledges that most city expenses are associated with inflated contractor bids.
“These will occur because the local supply of skilled trades workers is insufficient to meet the local hiring requirements of the legislation,” he observed. “Contractors will be forced to pay above-the-market wages to workers that already have jobs, and pay the city penalties because resident labor is unavailable in many trades. These costs will be passed on to the city. This excess cost to the city could largely be mitigated by choosing local hiring targets that better reflect local supply.”

“The legislation will increase local employment and associated spending at local businesses, at the cost of higher City contracting costs,” Egan warned. “The legislation creates a net spending and jobs benefit, as written; with recommended mitigations, the positive economic impact can increase, and the cost to the city can decline.”

Egan calculated that estimated costs to the city could be reduced to $2.4 million, if Avalos’ proposed legislation is amended in the following ways:

1.    Replace across-the-board 50 percent mandatory requirements with trade-specific mandates to reflect “supply and demand in each trade.”
Egan argues that across-the-board requirement would lead to higher contracting costs “for several trades where required demand exceeds current supply.”
These impacted occupations include operators, brick masons and plasterers, and represent 50 percent of projected demand for city projects, over the next ten years, Egan said.
“Other occupations, such as carpenters, painters, laborers, and drivers are less impacted and can sustain the scheduled mandate, provided goals are set on an industry-wide and not a project-by-project basis,” Egan stated.

2.    Require a study every two years “to modify requirements and assess progress to a 50 percent mandatory requirement.”
Egan’s report suggests that the city conduct a review for two years, and then set mandatory participation levels for two years for brick masons, block masons, stone masons, cement masons, carpet, floor and tile installers and finishers, concrete finishers and terrazzo workers, construction equipment operators (except paving, surfacing and tamping equipment operators), drywall installers, ceiling tile installers and tapers, electricians, pipe layers, plumbers, pipe fitters and steam fitters, plasterers, stucco masons, roofers and sheet metal workers.
Egan’s proposal is that the city assess the length of time required for each of these trades to develop a pool of qualified resident workers to support a 50 percent local hire mandate, and then, if necessary, propose amendments to the mandatory levels for these trades.

3.    Allow contractors to transfer credit hours
Egan suggests that contractors and sub-contractors could accumulate credit for hiring local residents on non-City funded projects, transfer those accumulated credit hours to other contractors, and apply those credit hours to contracts for covered projects to meet the applicable minimum mandatory hiring requirements, or work off assessed liquidated damages. “Transferred credit hours may only be applied against mandatory hiring requirements for the trade in which they were accumulated,” Egan’s report states.

4.    Eliminate incentive payments
Egan recommends eliminating incentive payments, “since the ability to transfer accumulated credit hours provides a similar, and more efficient, incentive for contractors to exceed targets.”

Egan notes that his analysis assumes that annual public works spending is equal to the 10-year average in the city’s capital plan, which is $3.1 billion.
“60 percent of that will be spent on projects not covered by the legislation, because they are state- or federal-funded,” Egan stated.

He predicts that unemployment in the trades will average 10 percent in the next decade.
“Current unemployment in construction is 20 percent in San Francisco,” Egan said.

Egan argued that allowing contractors that exceed local hire requirements to transfer the additional hours, within a trade, to other contractors “would allow the same local hiring targets to be met on an industry-wide basis, not a project-by-project basis.”

He also recommended eliminating proposed incentive payments.
‘Giving contractors the ability to sell their excess hours creates a private incentive to exceed hiring targets. Contractors which do not meet the local hire requirements will compensate those that do,’ Egan wrote.

But at a Dec. 1 hearing by the Board’s Budget and Finance committee, not everyone agreed with Egan’s findings.

Missing from his “economic costs” equation, some speakers observed, were estimated savings from reduced law enforcement costs and poverty rates, if residents got jobs.
Egan acknowledged that his report does not factor in socio-economic benefits of the plan.
‘It’s a very fair point, but it’s hard to quantify,” Egan told the Guardian.

And while Avalos’ legislation proposes to phase in the local hiring mandate over the course of six years, Egan’s report simply focuses on costs when the city hits 50 percent.

Egan said he could have broken down his report into a phased-in, year by year, basis.
“But it gives the impression of greater certainty,” Egan said, noting that it’s not clear how much the city is going to spend on construction next year. “So, given what we’re planning to spend over the next 10 years, here’s an average estimate,” he explained.

I asked Egan about his report’s claim that there is a 20 percent unemployment rate in the construction industry in San Francisco, given that other city officials, including Mayor Gavin Newsom and Sup. John Avalos, have cited a 40 percent rate.

“The 2009 census figures came out in November and it said that 20 percent of San Francisco residents who are in construction say they are unemployed,” Egan said.

He acknowledged that the 40 percent unemployment rate that Newsom and Avalos cited likely refers to unemployment among folks who work in San Francisco’s construction industry, but live outside the city, where housing prices are cheaper.

Asked if his office was recommending that the local hire percentage start at 20 percent, as some building trades requested during the Budget Committee hearing on Avalos’ proposal Egan indicated this was not the case.
“We don’t see a problem in year one,” Egan explained. “There are a lot of unemployed people in year one that are available, so that target is not hard to meet.

The main problem, to Egan’s mind, was not the mandatory 50 percent local hiring goal, per se, but the requirement that it be achieved by every individual trade.
“That’s why we recommend doing a process every two years to take a look at how good a job individual trades are doing, and then set targets based on the rates of producing a supply of qualified workers,” he said.

“Some won’t take seven years to achieve a 50 percent rate, but others could take much longer,” Egan explained. ‘Otherwise, contractors, will have to raise bids so they can afford to pull qualified workers off other contracts. That would lead to shuffling people around, and the city paying for it, without new people being trained.”

So, that’s where the conversation seems to be headed going into Tuesday’s Board meeting, with the building trades still pushing for amendments, and Avalos, the chief sponsor of the legislation, reportedly trying to win support from Sup. Bevan Dufty, so that he can pass veto-proof legislation before the end of the month. Stay tuned.

‘Infinite City’ maps out inexhaustible SF

Jesse Hawthorne Ficks
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‘Infinite City’ maps out inexhaustible SF

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

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

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

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

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

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

Newsom and downtown groups court Cohen

Sasha Cuttler
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Newsom and downtown groups court Cohen

A rogue’s gallery of downtown power brokers and moderate politicians is lining up to give D10 supervisor-elect Malia Cohen money during a fundraiser at Democratic Party money man Wade Randlett’s house tonight (Wed/1). And while the group may be trying to buy the support of a candidate they didn’t support in the election, Cohen and some of her progressive supporters say she’s been open to developing relationships across the ideological spectrum.

“Fear not,” Cohen told us when we raised an eyebrow at the host committee, and she noted that most of those on the list didn’t endorse her candidacy. “It is a fundraiser event, and now that I’m a newly elected supervisor, I look forward to meeting everyone.”

The guest list includes Mayor Gavin Newsom, former Mayor Willie Brown, Sup. Sean Elsbernd, Assembly member Fiona Ma, Building Owners and Managers Association director Ken Cleaveland, lobbyist Sam Lauter, Brook Turner with Coalition for Better Housing, Kevin Westlye of Golden Gate Restaurant Association, Janan New of San Francisco Apartment Association, as well as building trades head Michael Theriault and Tim Paulson of the San Francisco Labor Council.

“That’s not my perception of it,” Randlett – who used to run the downtown political organization SFSOS – told us when we asked about downtown’s attempt to buy influence with a candidate who finished the campaign about $20,000 in debt. He also rejected the characterization that it was a high-roller event, noting that prices initially listed at $100-$500 have since been lowered to $50. “Anyone who wants to attend at any price is welcome,” he said.

“I think it’s smart of their part, because they didn’t support her in the election, to try to give her money in the end,” said Gabriel Haaland of SEIU Local 1021, which did endorse Cohen. “It remains to be seen where she’s going to land [politically], but it seems clear what this group is attempting to do, to influence her votes.”

Cohen also received endorsements from the San Francisco Democratic County Central Committee, its Chair Aaron Peskin, and Board of Supervisors President David Chiu, who says he isn’t concerned about the Randlett fundraiser. “I understand that she has been celebrating with people from across the ideological spectrum,” Chiu said.

Indeed, Cohen said she is anxious to get to know representatives of San Francisco constituencies across the spectrum, borrowing a line from Shirley Chisholm, the first African-American women elected to Congress, in calling herself “unbought and unbossed.” Cohen said, “I will do a great job representing everyone. I will protect the interests of District 10 residents.”

Randlett, who flamed out with SFSOS before reviving his standing as a top-tier Democratic Party fundraiser by being an early backer of Barack Obama’s presidential bid, told us that was a connection he shares with Cohen. “The only reason I supported Malia from the beginning and am hosting the event for her is that like me she was there for Barack from Springfield through election night, never wavered in her support for him, and continues to stick by him now, when fair weather friends are carping from the sidelines,” Randlett told us.

Paulson told us that Cohen asked him to co-host a fundraiser with Newsom – who Cohen once worked for although he didn’t support her in this election – and that he didn’t see the complete roster until a couple days ago. “I am surprised there was this list,” Paulson said of the groups that regularly oppose progressive candidates and legislation.

But Haaland said that labor and the left will also be reaching out to Cohen, whose lack of a strong ideological grounding and representation of a district slated for the city’s most ambitious redevelopment plans will make her a pivotal vote on the new board. “We have to do our best to reach out to her as well,” Haaland said.

 

Rep Clock

Andrew Lam
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Schedules are for Wed/1–Tues/7 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. “Radical Lights: San Francisco Lines of Sight,” Wed, 7:30. Co-presented by San Francisco Cinematheque, Pacific Film Archive, and Prelinger Archives. “Other Cinema:” •D Tour (Granato, 2008) and Sleeping Nights Awake (Albright, 2010), Sat, 8. Calvin and Sweetpea (Fletcher, 2007), Sun, 8.

BRIDGE 3010 Geary, SF; (415) 668-6384. Free ($4 suggested donation). “Cowboy Bebop Appreciation Society and Landmark’s Bridge Theatre present Bebop Nights: Everybody Dies Edition” Fri, midnight.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $10-15. The Sound of Music (Wise, 1965), Wed-Sun, 7 (also Sat-Sun, 1). Presented sing-a-long style.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. The Girl Who Kicked the Hornet’s Nest (Alfredson, 2009), call for dates and times. Inside Job (Ferguson, 2010), call for dates and times. Leaving (Corsini, 2009), call for dates and times. Today’s Special (Kaplan, 2009), call for dates and times. Vision: From the Life of Hildegard Von Bingen (von Trotta, 2009), call for dates and times. “San Francisco Grand Opera Cinema Series:” Lucia de Lammermoor, Thurs, 7; Sat, 10am. “Buddhist Film Festival Showcase 2010,” Dec 2-9. These shows, $12.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. “Bay Area Culture and Performance Art,” presented by video activist Steve Jacobson, Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100 (reservations required). $10. “CinemaLit:” Tristram Shandy: A Cock and Bull Story (Winterbottom, 2005), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” Tribulation 99 (Baldwin, 1999) with ‘Disaster” (Millner, 1975-76), Wed, 7:30. “Carl Theodor Dreyer:” The President (1918), Fri, 7; Vampyr (1931), Fri, 8:40. “Grin, Smile, Smirk: The Films of Burt Lancaster:” The Crimson Pirate (Siodmak, 1952), Sat, 6:30; Sweet Smell of Success (Mackendrick, 1957), Sat, 8:40; Elmer Gantry (Brooks, 1960), Sun, 4:45. “Days of Glory: Revisiting Italian Neorealism:” Voyage in Italy (Rossellini, 1953), Sun, 3.

PARAMOUNT 2025 Broadway, Oakl; (510) 642-5249, www.bampfa.berkeley.edu. $25. The Passion of Joan of Arc (Dreyer, 1928), Thurs, 7:30. An oratorio with silent film featuring Mark Sumner’s Voices of Light libretto, performed by UC Berkeley’s Perfect Fifth and conducted by Mark Sumner.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. Animal Kingdom (Michod, 2010), Wed, 2, 7, 9:25. Polack (Kenney, 2010), Thurs, 8. Saint Misbehavin’: The Wavy Gravy Movie (Esrick, 2009), Dec 3-9, 7:15, 9:15 (also Sat-Sun, 2, 4; Wed, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Prince of Broadway (Baker, 2010), Wed-Thurs, call for times. California Tango (Togliatti, 2010), Fri, 8. The Temptation of St. Tony (Ounpuu, 2010), Dec 3-9, call for times.

SAN FRANCISCO MUSEUM OF MODERN ART 151 Third St, SF; www.sfcinema.org. Free with museum admission ($9-18). Rara (film) (Bussotti), Thurs, 7. Presented with live piano accompaniment by Sylvano Bussotti. “Bussotti: Concert-Restrospective,” post-screening concert with Bussotti and sfSoundGroup, Thurs, 9.

SHATTUCK 2230 Shattuck, Berk; (510) 843-3699. Free. “Mathematics, Love, and Death:” “Rite of Love and Death” (Mishima, 1965) and “Rites of Love and Math” (Graves and Frenkel, 2010), Wed, 7.

VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10-12. Kamu Gaidan (Sai, 2009), Wed, 4:45. “8x8x8 Film Fest,” eight short films presented by the San Francisco Jewish Film Festival, Thurs, 8. For info on this event, visit www.jccsf.org. “China Underground,” seven new films from China, Fri-Sun. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Go to Hell for the Holidays:” Red White & Blue (Rumley, 2010), Thurs, 7:30; Feast of the Assumption: BTK and the Otero Family Murders (Levitz, 2008), Sat, 7:30; Wolf Creek (Maclean, 2005), Sun, 2.

Playlist

Andrew Lam
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Playlist

JANE BIRKIN

Di Doo Dah

(Light in the Attic)

Arriving in the wake of Light in the Attic’s reissue of the masterful L’Histoire de Melody Nelson, this, Birkin’s first proper — if such a word can be applied to anything involving Serge Gainsbourg — solo album, is a series of light delights. Jean-Claude Vannier trades his characteristic dark orchestration for a string sound that is agile and brighter. On the title track, Birkin revels — in a melancholy way — in her tomboyish characteristics, setting the stage for more pun-filled escapades in androgynous amorousness. Elsewhere, she’s a hitchhiker, a sidewalk cruiser, a hotel trick, a girl on a motorcycle, and other fantasy figurines. The most audacious song is “Les capotes anglaises,” which begins with her blowing up condoms and letting them float off a balcony. The special treat is “Le décadanse,” not so much a failed attempt at creating a dance craze as a successful erotic mockery of dance crazes. There, Gainsbourg appears for another classic duet.

 

DÂM-FUNK

Adolescent Funk

(Stones Throw)

The album’s name is apt, as these tracks, recorded between 1988 and 1992, capture Dâm-Funk’s sound and outlook in a teenage stage of sonic bumptiousness and lyrical lustiness. The content is spelled out in the titles: songs like “I Like Your Big Azz (Girl),” “Sexy Lady,” and “When I’m With U I Think of Her,” are a world away from the mystic leanings of more recent Dâm-Funk tracks like “Mirrors.” Equally direct are the album’s musings on existence, such as “I Love My Life.” The sound owes a debt to — or is a youthful outgrowth of — the early 1980s electro funk of Prince, Mandre, and others. Dâm-Funk has been honing his use of analog keyboards for a long time — when it comes to Korgs and Casios, he’s no new kid on the block, though he was back when these songs were captured on tape. The homecoming-dance cover art, selected by Peanut Butter Wolf from Dâm’s photo albums, captures the vintage feel perfectly.

 

THE FLYING LIZARDS

The Secret Dub Life of the Flying Lizards

(Staubgold)

Flying Lizards are best known for creating possibly the cheapest British chart-topper in history, a pots-and-pans 1979 cover of “Money (That’s What I Want),” distinguished by Deborah Evans’ hilarious deadpan vocal. As the title hints, Evans isn’t present on The Secret Dub Life of the Flying Lizards, nor are any other traditional vocalists — instead, main Lizard David Cunningham remixes 1978 source material by Jah Lloyd. The catch was that Cunningham only had a mono master tape to work with, rather than the plethora of tracks usually associated with dub. A lost gem from the early days of reggae-punk fusions and collisions, this album — with loops built from tape-splicing — reveals the dub underpinnings of Cunningham’s brash and innovative work on “Money.” An irreverent vanguard producer, he uses ping-pong balls to create ricochet effects on one track, just as “Money” seems to throw everything but the kitchen sink at listeners.

 

GIRLS

Broken Dreams Club EP

(True Panther Sounds)

One of the things that makes Girls so special is Christopher Owens’ ability to write so directly about the unavoidable aspects of life without falling into cliché. So it is on “Heartbreaker,” which begins with the observation, “When I look in the mirror/ I’m not as young as I used to be/ I’m not quite as beautiful as when you were next to me.” A newer addition to Girls’ nascent greatness, as displayed on this six-song collection, is their facility at traversing various genres while always sounding like themselves. The reggae and early rock ‘n’ roll fusion “Oh So Fortunate One,” the bossa nova touches of “Heartbreaker,” and the country lament of the superb title track (complete with pedal steel) sound like … Girls. While the sonic palette shifts from song to song — and sometimes within them — more than one composition evokes the anthemic balladry of their 2009 debut album’s “Hellhole Ratrace.” That’s no small achievement. The outlook, though, is less hopeful and more disillusioned. Who knows what the future holds.

 

GOLD PANDA

Lucky Shiner

(Ghostly International)

There should probably be a moratorium placed on the use of the word panda in group names, but the man known as Gold Panda can be forgiven, based on the sheer zinging energy of this album, which has nothing in common with any Beach Boys-flavored Animal Collective endeavors. One of Gold Panda’s trademarks is a sharply-edited, sped-up approach to vocal samples that makes Kanye West’s sound like screw. Instrumental tracks such as “Vanilla Minus,” “Snow & Taxis,” and the incandescent “Marriage” call the crackling warmth of the Field to mind, but their energy is more hyper, their outlook much more colorful. “Same Dream China” takes the glassy percussion of Pantha Du Prince’s “Stick to My Side” into out there realms — it’s one of a few tracks that maneuvers across a high wire just above exotica and Orientalism. A late contender for techno album of the year.

 

THE MANTLES

Pink Information

(Mexican Summer)

San Francisco’s the Mantles deliver great straightforward rock ‘n’ roll. Dressed in a cover by local artist Michelle Blade, this EP picks up where their debut album left off, as guitarist-singer Michael Olivares leads the charge with vocals that somehow manage to sneer and snarl and seem amiable at the same time. “Situations” is actually kind of harsh, taking a scenester or gold-digger to task for his or her shallow and failure-fated state of being. “Lily Never Married” is more reflective, a portrait of a spinster that opens into thoughts about family within a changing world. “Waiting Out the Storm” finds the group trying on its epic journey boots, and they fit just fine.

 

BRIAN MCBRIDE

The Effective Disconnect

(Kranky)

A disturbing subject yields mournful tone poems on this album by Stars of the Lid’s McBride, which collects elements of his soundtrack for Vanishing of the Bees, a 2009 documentary on colony collapse disorder. (Mercifully, voice over by Ellen Page is left off the album.) There’s no flight-of-the-bumblebee whimsy in McBride’s musical testimony to the spirit of the beehive. In the liner notes, he writes that filmmakers George Langworthy and Maryam Henein suggested he focus on “the gloriousness of the bees, the endurance and hardships of traditional beekeepers, pesticides, and the holistic nature of non-industrial agriculture.” These elements aren’t always clearly distinguished, but they are present in a manner that avoids cliché.

 

ARTHUR RUSSELL AND THE FLYING HEARTS FEATURING ALLEN GINSBERG

Ballad of the Lights

(Presspop Music)

“Ballad of the Lights” was performed by a friend at the late Arthur Russell’s funeral, which is as strong a proof as any that it is an important entry within his vast and diverse songbook. This two-song 10-inch vinyl release couples it with another recording from Russell’s many studio collaborations with Allen Ginsberg. Ginsberg’s recitals within “Ballad of the Lights” almost come off superfluous, except that they set the glory of the song’s resurrection-like structure in greater relief. The B-side, “Pacific High Studio Mantras,” is a Buddhist chant accompanied by instrumentation, and perhaps not intended for commercial release. (Ginsberg himself hinged back and forth about whether it should presented in this fashion.) Bob Dylan even figured briefly within Ginsberg’s and Russell’s endeavors, but with so few of them available, it’s hard to discern whether “Ballad of the Lights” is their best work. That it’s pretty great is clear, even if coupled with portraits by Archer Prewitt that play into the more cloying aspects of viewing artists as icons.

 

THE SOFT MOON

The Soft Moon

(Captured Tracks)

It’s no surprise that the debut album by Bay Area musician Luis Vasquez is dark and densely claustrophobic — nor is it a surprise that it’s excellent. It kicks off with one highlight from his earlier EPs, “Breathe the Fire,” where his whispered vocal — dancing over doom-laden bass and guitar worthy of Pornography-era Cure — manifests maximum sinuous menace. The death dance of “Circles” is more Sister of Mercy-like, but really, Vasquez transcends well-known goth and more obscure dark wave poses and influences through sheer intensity of focus. “Sewer Sickness” might be the album’s darkest and most compelling black pit, as Vasquez’s susurrant vocals take on the quality of a malevolent primal incantation.

 

SOLAR BEARS

She Was Coloured In

(Planet Mu)

Like Gold Panda, Solar Bears counter a dodgy name by delivering solid tunes. She Was Coloured In is more melodic than most recordings on Planet Mu. “Children of the Times” mixes Johnny Marr-caliber guitar shimmer with a Vocoder chorus that is sure to evoke comparisons to Air. Likewise, the title composition places Air-y elements up against Aphex Twin-like ambience. Enjoyably ham-fisted prog keyboard flourishes dive in and out of techno terrain on the title track. The chord changes and underpinnings of “Head Supernova” evoke Angelo Badalamenti’s scores for David Lynch. The riddle of Solar Bears is whether all these touchstones or influences add up to an act with its own identity or — perhaps no less an achievement in 2010 — a generically beautiful album.

 

JIM SULLIVAN

UFO

(Light in the Attic)

When an excellent songwriter disappears, his or her voice remains. There is proof of this in the recent issuing of Connie Converse’s priceless previously-private recordings, and now in this reissue of the 1969 debut album by Jim Sullivan, a ten-song collection that fuses orchestral ornamentation and plainspoken brevity. Sullivan vanished into the New Mexico desert one day in 1975, but his musical legacy is being revived, and rightfully so, as the best moments here are reminiscent of better-known contemporaries such as Fred Neil and Tim Hardin. All the doomed young men: there’s something eerie about the funereal string intro of the opening track “Jerome,” yet Sullivan’s music also possesses vitality and good cheer. Best of all is “UFO,” a graceful piece of baroque pop (and quintessential example of a California paranormal mindset), adorned with echo-laden effects that Malibu kinfolk and relative survivor Linda Perhacs might appreciate.

 

WILD NOTHING

Golden Haze EP

(Captured Tracks)

Captured Tracks is home to some of the most beautiful guitar sounds being made today, thanks to Beach Fossils and this group, who see no shame in sheer ’80s-ness. Wild Nothing hail from California, but England meets Australia (and gets along with it better than usual) on “Your Rabbit Feet,” as Slowdive-gone-fast guitar radiates around a vocal that’s equal parts Morrissey and Robert Forster in its offhand debonair delivery. “Take Me In” has another immediate, whirligig guitar melody, and a chorus as big as 100,000 violins. Gorgeous stuff.

Our Weekly Picks: December 1-7

Andrew Lam
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WEDNESDAY 1

MUSIC

Good for the Jews

The last time this parodic-Hebraic duo made it to this city, they were greeted by a protesting Nazi who had posted up in front of their show. “He felt that we were representative of the Jewish-owned media. But I want to know: if we’re representing Zionist power, why am I staying at a Holiday Inn?” says group member Rob Tannenbaum. Honestly, the two (the other member is David Fagin) could probably care less about the crazies. Their Xmas alternative songs, which include “Reuben the Hook-Nosed Reindeer,” poke fun at the schmaltz of Christianity and Judaism — secular, and less so — alike, a perfect side dish for your holiday Chinese takeout. (Caitlin Donohue)

8 p.m., $15

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

THURSDAY 2

FILM

The Passion of Joan of Arc

One of the great meteors of film history, Carl Theodor Dreyer’s silent elegy literalizes the adage that the eyes are the mirror of the soul. The Passion of Joan of Arc (1928) charges religious iconography with the erotic fluency of moving images, paving the way for subsequent generations of film transcendentalists who have sought the sacred in the profane. Once you’ve witnessed Maria Falconetti’s Joan, your sense of what’s possible in film acting is forever marked. Seeing the movie at the Paramount accompanied by an orchestral performance of Richard Einhorn’s Voices of Light score promises to be an awesome treat — the cinematic equivalent of a purification ritual. (Max Goldberg)

7:30 p.m., $25

Paramount Theatre

2025 Broadway, Oakl.

(510) 642-5249

www.bampfa.berkeley.edu


THEATER

“San Francisco’s Golden Girls: The Christmas Episodes”

Picture it: San Francisco, 2010. Overcome by their affection for The Golden Girls and a tidal wave of holiday spirit, a quartet of drag superstars (Heklina, Cookie Dough, Matthew Martin, and Pollo Del Mar), plus one legendary rocker (Jane Wiedlin of the Go-Go’s), join forces to present two full-length episodes of the immortal sitcom live on stage. (For GG experts, because I know you’re out there, the eps are “Twas the Nightmare Before Christmas” and “Long Day’s Journey Into Marinara.”) Heklina and company earned raves for The Golden Girls: The Play, and this jolly twist offers an ideal, cheesecake-fueled opportunity to greet the season. (Cheryl Eddy)

Through Dec. 23

Thurs.–Sat., 7 and 9 p.m., $25

CounterPULSE

1310 Mission, SF

www.ticketfly.com

 

MUSIC

Mister Heavenly

Mister Heavenly is the result of a long-rumored collaboration between top-flight indie rock songwriters Nick Thorburn (Islands, Unicorns) and Honus Honus of Man Man. Originally slated to be little more than a tossed-off sidestep, the project picked up steam with the addition of drummer Joe Plummer (Modest Mouse, Shins). No recordings have surfaced yet, so it’s tough to tell what Mister Heavenly is actually gonna sound like. But with Thorburn on record describing it as a low frequency, slowed down version of doo-wop — appropriately dubbed “doom-wop” — I think it’s at least safe to bank on it being awesomely strange. (Landon Moblad)

9 p.m., $12

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com EVENT

 

EVENT

Left Coast Leaning Festival

Pin it on whatever factor you like, but the fact remains that the Best Coast whoops that other coast’s ass, wraps it up nicely, and drops it in the mail marked “Return to Sender.” For reals, it’s nice out here. You already knew that, and so do the wonderful young-person spoken word artists at Youth Speaks, who along with the Yerba Buena Center for the Arts are putting together this homage to the Wild West’s cultural diversity and its many happy mutations of hip-hop culture. Tonight alone you can check out the modern fusion dance stylings of Adia Tamar Whitaker and a dreamy, beautiful animated piece by Los Angeles’ Miwa Matreyek. (Donohue)

Thurs/2–Sat/4, 8 p.m., $20

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

 

FRIDAY 3

DANCE

Liss Fain Dance

Choreographer Liss Fain presents The False and True are One, which plays with the notion of how an event can be perceived differently by various people. Fain breaks up the common proscenium presentation of dance by creating a series of galleries on the stage that audience members can meander through at their leisure. Fain’s talented dancers (Jennifer Beamer Fernandez, Private Freeman, Megan Kurashige, Shannon Kurashige, Alec Lytton, and Bethany Mitchell) will perform throughout Matthew Antaky’s architecturally designed performance space while actor Jeri-Lynn Cohen enacts short stories by Lydia Davis. The result will be many different perceptions and viewings of the same performance. (Emmaly Wiederholt)

Fri/3–Sat/4, 8 p.m., $25

Z Space

450 Florida, SF

www.lissfaindance.org

 

VISUAL ART

“Stella Luminosa”

Electric Works’ new group show “Stella Luminosa” is like a much-needed shot of bourbon to steady oneself against the already advancing avalanche of holiday-themed treacle. Brining together such guiding lights as Dave Eggers, Matt Furie, Ian Huebert, Jason Jägel, Keegan McHargue, Clare Rojas, and Gina Tuzzi, “Stella Luminosa” presents these artists’ highly idiosyncratic winter wonderlands (with extra emphasis on “wonder”) and the odd ducks who inhabit them. Why settle for good cheer when there is plenty of weird cheer to go around? (Matt Sussman)

Through Dec. 24

Reception tonight, 6–8 p.m.

Electric Works

130 Eighth St., SF

www.sfelectricworks.com

 

MUSIC

Mr. Oizo

Who is the elusive Mr. Oizo? Here’s what we know for sure: French. Reportedly born Quentin Dupleux, although it’s specious. Electro DJ and producer. On the notorious Ed Banger record label with Justice, SebastiAn, and Cassius. Frequent collaborator with additional label-mate and proto Ke$ha, Uffie. Double identity as a film director. The subject of most recent film, Rubber, involves a homicidal tire with psychic powers. First infiltrated the U.S. in 1999 with seemingly harmless yet ubiquitous “Flat Eric” Levi’s ad campaign, the soundtrack from which may have been used to indoctrinate domestic sleeper agents. Current developments in sound are more nefarious and possibly deadly. Further surveillance required. (Ryan Prendiville)

With Boyz IV Men

10 p.m., $19.50

103 Harriet

103 Harriet, SF

(415) 431-1200

www.1015.com

 

DANCE

Human Creature and Jessica Damon

Human Creature shares the bill with Jessica Damon and Dancers in this performance presented by Resident Artist Workshop (RAW). With four new works choreographed by codirectors Derek Harris and Meegan Hertensteiner and music by composer Mark Hertensteiner, Human Creature’s witty and dark subject matter includes sleep, a postapocalyptic beginning, and the subconscious. Choreographer Jessica Damon’s piece Coated investigates how it must feel to be coated in oil and addresses the environmental problems associated with innovation and the unconsidered costs of technological growth. Stick around for beer and wine at the post-show party in the basement with DJ K-Real. (Wiederholt)

Fri/3–Sat/4, 8 p.m., $10–$20

Garage

975 Howard, SF

(415) 518-1517

www.975howard.com

 

SATURDAY 4

DANCE

“Pilot 57: Pilot Light”

Twenty years and 27 programs later, ODC’s Pilot series one reason young dancers continue flocking to the Bay Area, cost of living be damned. Pilot participants are not beginners; they have a professional, though usually small, track record. What they want and get from Pilot are 11 weeks of working with equal-minded colleagues in a supportive environment that provides feedback. Practical advice on how to make it in a competitive field is thrown in. Artists Nathan Cottam, Amy Foley, Daria Kaufman, Elizabeth McSurdy, Raisa Punkki, and Charles Slender bring wide perspective to their projects, which should make for appealing shows — and probably had sparks flying during the working sessions. (Rita Felciano)

Sat/4–Sun/5, 8 p.m., $12

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org

 

SUNDAY 5

MUSIC

Jonathan Richman

Some know him as the leader of 1970s pre-punk trailblazers, the Modern Lovers. Others recognize him as the wide-eyed crooner known to pop up in Farrelly brothers comedies. But it’s the 30 years’ worth of quirky solo albums that have made Jonathan Richman one of the finest cult singer-songwriters of his era. Combining early rock ‘n’ roll songwriting strummed out on a clean Telecaster; a surplus of world music influences; and sparse, tasteful accompaniment from his longtime drummer Tommy Larkins, Richman is a hilarious and charming performer whose live show is not to be missed. (Moblad)

With Gail Davies

8 p.m., $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

DANCE

Mary Sano Dance Collaborations

Mary Sano is a passionate advocate for the work of Isadora Duncan. In Japan she was a modern dancer until she encountered the work of the great California dance pioneer. Her programs usually feature Duncan and Duncan-style dances, but she often brings in actors, musicians, and poets for intriguing salon-type evenings. For Ship of Dreams: Kanrin Maru — 150 Years of Hope, Struggle and Friendship, her first evening-length piece, she dipped into all of these resources. Everybody has heard of Commodore Perry, who is credited-blamed for “opening” Japan to wonders of Western civilization in 1851. But does anybody know the story of the Kanrin Maru, which — against incredible odds — carried the first Japanese emissaries to the U.S. in 1860, landing of course in San Francisco? Sano “recreates” this journey with four dancers, seven actors, and five musicians, including Native American singer Dennis Banks. (Felciano)

7 p.m., $28

Brava Theater

2781 24th St., SF

(415) 647-2822

www.brava.org

 

MUSIC

Casiotone for the Painfully Alone

Is it possible that Owen Ashworth has cheered up? For more than a decade Casiotone for the Painfully Alone has been an appropriately descriptive title for his brand of subdued, introspective, keyboard-infused indie pop. But now it’s over. He announced in suitably emo fashion (via LiveJournal): “After nearly 13 years of being the dude from Casiotone for the Painfully Alone, I’m ready for a fresh start and a new challenge. So, after Dec. 5, 2010 (the 13-year anniversary of my first show), I’m throwing out the old songs and I’m trying something new.” Expect this show to be especially bittersweet. (Prendiville)

With Donkeys and Ian Fays

9 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com 


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Stage Listings

Andrew Lam
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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

Babes in Arms Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. $24-44. Previews Wed/1, 7pm; Thurs/2-Fri/3, 8pm. Opens Sat/4, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through Dec 19. 42nd Street Moon presents John Guare’s adaptation of the musical by Rodgers and Hart.

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

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

Cora Values’ Christmas Corral Exit Cafe, 156 Eddy; 673-3847, www.brownpapertickets.com. $15-25. Opens Fri/3, 8:30pm. Runs Fri-Sat, 8:30pm. Through Dec 11. The holiday hostess leaves the I-19 Gas ‘N’ Gulp to share her take on Dickens.

Dirty Little Showtunes! A Parody Musical Revue New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Previews Fri/3-Sat, 4, 8pm; Sun/5, 2pm; Fi/10, 8pm. Opens Sat/11, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Tom Orr’s adults-only holiday show returns, with direction by F. Allen Sawyer and musical direction by Scrumbly Koldewyn.

Golden Girls: The Christmas Episodes CounterPULSE, 1310 Mission; www.ticketfly.com. $25. Opens Thurs/2, 7pm. Runs Thurs-Sat, 7 and 9pm. Through Dec 23. Heklina, Cookie Dough, Matthew Martin, and Pollo Del Mar return with their stage tribute to the sitcom.

The Oddman Family Christwanzaakuh Spectactular! Exit Stage Left, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $20. Opens Thurs/2, 8pm. Runs Thurs-Sat, 8pm. Guerrilla Rep and Beards Beards Beards present a new twisted musical farce.

Ruth and the Sea Stage Werx Theatre, 533 Sutter; www.ruthandthesea.com. $18-24. Opens Thurs/2, 8pm. Runs Thurs-Sat, 8pm. Through Dec 18.Wily West Productions presents Gwyneth Richards in a kooky holiday show, directed by Stuart Bousel.

Shrek The Musical Orpheum Theatre, 1192 Market; (888) SHN-1799, wwwshnsf.com. $30-99. Opens Wed/1, 2pm. Runs Tues, 8pm, Wed, 2 and 8pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm (no performances Dec 24, Dec 25, and Dec 31). Through Jan 2.Eric Peterswn stars in the stage version of the animated blockbuster.

BAY AREA

Becoming Julia Morgan Berkeley City Club, 2315 Durant, Berk; (510) 984-3864, www.brownpapertickets.com. $24-30. Opens Fri/3, 8pm. Runs Fri-Sat, 8pm; Sun, 5pm. Through Jan 9. Janis Stevens stars in Belinda Taylor’s play about the trailblazing architect.

A Christmas Memory TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-67. Previews Wed/1-Fri/3, 8pm. Opens Sat/4, 8pm. Runs Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Dec 26. TheatreWorks presents the holiday tale by Truman Capote.

Of the Earth – The Salt Plays: Part 2 Ashby Stage, 1901 Ashby; (510) 841-6500, www.shotgunplayers.org. $17-30. Previews Thurs/2-Fri/3, 8pm. Opens Sat/4, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm (also Wed/7pm beginning Dec 15). Through Jan 30. Shotgun Players present the second half of writer and director Jon Tracy’s Odyssey-inspired tale, with music by Brendan West.

ONGOING

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

Caligari Studio 385, 385A Eighth St; www.brownpapertickets.com. $10-30. Fri-Sat, 8pm. Through Dec 10. HurLyBurLy performs an original adaptation of the 1920 silent film, The Cabinet of Dr. Caligari.

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

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

It’s All the Rage The Marsh, 1062 Valencia; (800) 838-3006, www.brownpapertickets.com. $20-50. Sat, 8:30pm; Sun, 7pm. Through Sun/5. 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, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor—including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships its left in its wake) or in ominous memories of her too complaisant mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. (Avila)

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

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

Or, Magic Theatre, Fort Mason Center, Marina at Laguna; 441-8822, www.magictheatre.org. $20-60. Wed-Sat, 8pm (also Sat, 2:30pm); Sun, 2:30pm; Tues, 7pm. Through Sun/5. The latest from New York playwright Liz Duffy Adams (Dog Act, One Big Lie) is a neo-Restoration romp with contemporary political overtones, sexual and otherwise, and a lot of winking, verse-bound, hit-and-miss humor. The play imagines Aphra Behn (Natacha Roi) in her modest mid-17th-century London living quarters (a spare, elegantly worn arrangement beautifully conceived by set designer Michael Locher) as she negotiates a notable professional transition from spy for the Crown to the country’s first female playwright (best known today for The Rover). But visits by secret and amorous patron King Charles II (Ben Huber), equally smitten leading lady Nell Gwynne (Maggie Mason), on-the-lam fellow spy William Scott (Huber), and several other major and minor people and personages (all played in quick-change style by Huber and Mason), presents Aphra with severe challenges as well as, of course, creative opportunities as a writer. Despite, however, generally sharp and energetic performances under Magic Theater artistic director Loretta Greco’s fluid staging, the farce itself feels too forced and thinly layered to really continue mounting as giddily as it should. The play’s self-conscious nod to contemporary American politics, meanwhile, unintentionally mimics an all-too-familiar course from enthusiasm for change to stagnant anti-climax.

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

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through Dec 19. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

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

The Real Americans The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs-Fri, 8pm; Sat, 5pm; Sun, 3pm. Through Sat/4 (resuming in Jan 2011). Dan Hoyle’s acclaimed one-man show, directed by Charlie Varon, continues its extended run.

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

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

The Tender King Phoenix Theatre, 414 Mason, Sixth Flr; www.secondwindtheatre.com. $20-25. Fri-Sat, 8pm; Sun, 2pm. Through Dec 11. Second Wind Productions presents Ian Walker’s noir-tinged World War II drama.

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

 

BAY AREA

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

Cinderella, Enchanted Julia Morgan Center for the Arts, 2640 College, Berk; (510) 665-5565, www.berkeleyplayhouse.org. $15-33. Call for run times. Through Sun/5. Frenchie Davis plays the Fairy Godmother in this production of the Rogers and Hammerstein musical.

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

Happy Now? Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $32-53. Tues and Thurs-Sat, 8pm; Wed, 7:30pm; Sun, 7pm. Through Sun/5. Marin Theatre Company performs Lucinda Coxon’s stinging comedy about contemporary marriage.

Lemony Snicket’s The Composer is Dead Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. Call for dates and times. Through Jan 15, 2011. Berkeley Rep premieres the new musical, written by Lemony Snicket, with music by Nathaniel Stookey.

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

Palomino Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sun/5. David Cale brings his new solo play about a gigolo to Aurora Theatre for its Bay Area premiere.

*The Play About the Naked Guy La Val’s Subterranean, 1834 Euclid, Berk; (800) 838-3006, www.brownpapertickets.com. $10-20. Thurs-Sat, 8pm. Through Dec 11. Impact Theatre presents an off-Broadway hit, written by David Bell and directed by Evren Odcikin.

 

PERFORMANCE/DANCE

“Balls to Balzac: A Journey From Testicles to Women in the Bourbon Restoration” cellSPACE, 2050 Bryant; 323-0246, www.cellspace.org. Sun/5, 8pm. $10. Choreogrpaher Amy Lewis presents a performance art dance lecture.

“Booze, Boys, and Brownies: A Musical Journey” Exit Theatre, 156 Eddy; (800) 838-3006. $9-12. Fri/3-Sat/4, 8pm (through Dec 11). A one-woman show about an actress who traveled from SF to Tinseltown.

The False and True Are One Z Space, Theater Artaud, 450 Florida; www.lissfaindance.org. $12.50-25. Fri/3-Sat/4, 8pm. Liss Fain Dance presents a performance installation featuring Jeri Lynn Cohen.

“Holiday Humbug Clown Cabaret” TJT – The Jewish Theatre, 470 Florida; 522-0786, www.tjt-sf.org. $15. Mon/6, 7 and 9pm. The Clown Cabaret of the Climate Theatre presents a holiday show.

Human Creature and Jessica Damon The Garage, 975 Howard; 518-1517, www.975howard.com. $10-20, Fri/3-Sat/4, 8pm. Human Creature and Jessica Damon and Dancers present works as part of RAW.

“Kinetic Reality” Studio Theater, USF Lone Mountain Campus, 2800 Turk; 422-3888, PASJtickets@esfca.edu. $5-10. Thurs/2-Sat/4, 8pm. USF’s fall dance show, with work by Laura Arrington, Jo Kreiter, and others.

“Left Coast Leaning Festival” YBCA Forum, 701 Mission; 978-2787, www.ybca.org. $10-20. Thurs/2-Sat/4, 8pm. YBCA and Youth Speaks presents the second fest, with performances by Jogja Hip-Hop Foundation, the 605 Collective, and others.

“Lipstick and Kisses 2010: A Flaming Lotus Girls Extravaganza” SOMArts, 934 Brannan; www.flaminglotus.com. Free. Fri/3, 7pm-2am. The fire art mavens present an evening of art, music, and fun.

The Other Woman The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. Tues/7, 8pm. $10-15. Marsh Rising presents a performance by Victoria Zackheim.

“Pilot Light” ODC Theater, 3153 17th; www.odcdance.org. $12. Sat/4-Sun/5, 8pm. An evening of new work by six emerging choreographers.

Music Listings

Andrew Lam
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0

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

WEDNESDAY 1

ROCK/BLUES/HIP-HOP

Con Brio, Astral Force Elbo Room. 9pm, $8.

“Dweezil Zappa Plays Zappa” Warfield. 8pm, $44.50-89.50.

Fancy Dan Band, Erin Brazill and the Brazillionaires, Sioux City Kid Bottom of the Hill. 9pm, $8.

Keith Crossan Big Band Biscuits and Blues. 8 and 10pm, $15.

New Up, Bernadette, Crackerjack Highway, M80 Mailbox, DJ Jack Frost Independent. 8pm, $14. Benefit for Blue Bear School of Music.

Phantom Kicks, Actors, Sunbeam Rd Rickshaw Stop. 8pm, $10.

“Silicon Valley Rocks: A Benefit For Music in Schools Today” Great American Music Hall. 7pm, $45-75.

FOLK/WORLD/COUNTRY

Good for the Jews Café Du Nord. 8pm, $15.

DANCE CLUBS

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

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

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

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

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

Neighborhood 111 Minna. 9pm, free. With Hot Tub, Man/Miracle, Spirit Spout, King Most, Dnae Beats, Shlohmo, and more.

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

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

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

THURSDAY 2

ROCK/BLUES/HIP-HOP

Brothers Comatose, Jugtown Pirates, Human Condition Slim’s. 8pm, $13.

Burial, Vaccuum, No Statik, Torture Unit Kimo’s. 9pm, $7.

Big Bad Daddy Cade Biscuits and Blues. 8 and 10pm, $16. BB King tribute.

French Miami, Horns of Happiness, Teenage Sweater Hemlock Tavern. 9pm, $7.

Mister Heavenly Café Du Nord. 9pm, $12.

Moccretro, Havarti Party, Tarantula Tango, Rival Parties, Family Matters Stud. 7pm, free.

Elliot Randall and the Deadmen, Victoria George, Tiny Television Independent. 8pm, $14.

JAZZ/NEW MUSIC

“Hellkats Holiday Bash” DNA Lounge. 7pm, $13. With Jazz Mafia All-Stars and Hubba Hubba Revue. Benefit for Jennifer “Jersey” Mitti.

Mighty Diamonds Yoshi’s San Francisco. 10:30pm, $22.

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

Al Stewart Yoshi’s San Francisco. 8pm, $25.

FOLK/WORLD/COUNTRY

Annie Bacon’s Folk Opera, Audiafauna, Seedy Naturalists Swedish American Hall (upstairs from Café Du Nord). 8pm, $15. Benefit for the Liberation Institute.

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

Chelle and Friends Coda. 9pm, $10.

Knuckle Knockers Atlas Café. 8pm, free.

My Peoples, B Foundation, La Muñueca y Los Muertos Bottom of the Hill. 9pm, $12.

DANCE CLUBS

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

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

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

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

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

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

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

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

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

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

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

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

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

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

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

FRIDAY 3

ROCK/BLUES/HIP-HOP

Alabama Mike Biscuits and Blues. 8 and 10pm, $20.

Audio Dub, Last Ambassadors Elbo Room. 10pm, $13.

Black Witchery, Blasphemophager, Diocletian, Obeisance Thee Parkside. 9pm, $12-15.

Boney M. Nob Hill Masonic Auditorium, 1111 California, SF; www.discosf.com. 7pm, $45-135.

Congress Coda. 10pm, $10.

Diego’s Umbrella, Triple Cobra, Loyd Family Players Independent. 9pm, $12.

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

K-Holes, Wax Idols, Stickers Hemlock Tavern. 9:30pm, $7.

Midnight Chaser, Bastard, Vanishing Breed Kimo’s. 10pm, $7.

Eddie Money Rrazz Room. 7 and 9:30pm, $45-50.

“Popscene Presents Chicago vs. San Francisco” Rickshaw Stop. 9pm, $10. With Hey Champ, Butterfly Bones, and Moneypenny, plus DJ sets by Team Bayside High and Aaron Axelsen.

“Secret House Party with People Under the Stairs” Slim’s. 9pm, $19. With DJ Day.

Sistas in the Pit, Cleve-Land, MILF, Ani DiFranco’s Dick 111 Minna. 9:30pm. Benefit for Todd “Spor Virus” Smith.

JAZZ/NEW MUSIC

Mike Stern Band Yoshi’s San Francisco. 8 and 10pm, $18-26.

FOLK/WORLD/COUNTRY

Cuban Cowboys, Dead Westerns, DJ Santero Bottom of the Hill. 8:30pm, $12.

Left Coast Special Socha Café, 3235 Mission, SF; (415) 643-6848. 8pm, free.

DANCE CLUBS

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

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

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

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

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

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

Germany Calling Cat Club. 9:30pm, $6. German goth and industrial with DJs Tomas Diablo, Joe Radio, Xander, and Unit 77.

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

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

Mighty’s 7-Year Anniversary Mighty. 9pm, $7. With DJ Shortkut, Derek Hena, Motion Potion, Syd Gris, DJ Platurn, and more.

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

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

Strangelove Cat Club, 1190 Folsom, SF; (415) 703-8965. 9:30pm, $6. With DJs Tomas Diablo, Melting Girl, Sage, and Daniel Skellington spinning goth and industrial.

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

SATURDAY 4

ROCK/BLUES/HIP-HOP

Chris Cain Biscuits and Blues. 8 and 10pm, $20.

John Enghauser, Fat Opie, Beautiful Losers Hotel Utah. 10pm, $10.

I-80s Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Marco Benevento Trio Independent. 9pm, $20.

Maus Haus, Fol Chen, Brent Amaker and the Rodeo, Exrays, Epicsauce DJs Bottom of the Hill. 9pm, $12.

Eddie Money Rrazz Room. 7 and 9:30pm, $45-50.

Mumlers, Sic Alps, Big Eagle, Bart Davenport Rickshaw Stop. 8pm, $10-15. Benefit for Akassia Mann, mother of Big Eagle’s Robyn Miller.

Tropical Sleep, Midnite Snaxxx, Bitter Honeys Hemlock Tavern. 9:30pm, $6.

Walken, Huntress, Dark Black Bender’s, 806 S. Van Ness, SF; www.bendersbar.com. 9:30pm, $5.

“We’re Number Fun! Bay Area Derby Girls Prom and Awards Ceremony” Thee Parkside. 9pm, $15.

Yung Mars, Elevaters Café Du Nord. 9:30pm, $12.

JAZZ/NEW MUSIC

Bad Plus Herbst Theatre, 401 Van Ness, SF; www.sfperformances.org. 8pm, $20-50.

Lori Carsillo Coda. 7pm, $5.

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

Mike Stern Band Yoshi’s San Francisco. 8 and 10pm, $26.

FOLK/WORLD/COUNTRY

“Abjeez: Live in San Francisco” Hemlock Tavern. 8pm, $40.

Jean Marie Paxton Gate, 824 Valencia, SF; (415) 824-1872. 7pm, free.

Rock Soup Ramblers Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

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

DANCE CLUBS

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

Debaser Knockout. 11pm, $5. Wear your flannel and get in free before 11pm to this party, where DJ Jamie Jams and Emdee play alternative hits from the 1990s.

Everlasting Bass 330 Ritch. 10pm, $5-10. Bay Area Sistah Sound presents this party, with DJs Zita and Pam the Funkstress spinning hip-hop, soul, funk, reggae, dancehall, and club classics. Fire Corner Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests. Foundation Som., 2925 16th St., SF; (415) 558-8521. 10pm.

Gemini Disco Underground SF. 10pm, $5. Disco with DJ Derrick Love and Nicky B. spinning deep disco.

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

Kontrol Endup. 10pm, $20. With resident DJs Alland Byallo, Craig Kuna, Sammy D, and Nikola Baytala spinning minimal techno and avant house.

New Wave City: Depeche Mode Tribute DNA Lounge. 9pm, $7-12. Eighties with DJs Skip, Shindog, and Melting Girl.

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

Saturday Night Soul Party Elbo Room. 10pm, $10. With DJs Lucky, Phengren Oswald, and Paul Paul spinning 60s soul.

Souf Club Six. 9pm, $7. With DJs Jeanine Da Feen, Motive, and Bozak spinning southern crunk, bounce, hip hop, and reggaeton.

Soundscape Vortex Room, 1082 Howard, SF; www.myspace.com/thevortexroom. With DJs C3PLOS, Brighton Russ, and Nick Waterhouse spinning Soul jazz, boogaloo, hammond grooves, and more.

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

SUNDAY 5

ROCK/BLUES/HIP-HOP

Casiotone for the Painfully Alone, Donkeys, Ian Fayes Bottom of the Hill. 9pm, $12.

Tommy Castro Biscuits and Blues. 8 and 10pm, $20.

Epica, Scar Symmetry, Agonist, Blackguard DNA Lounge. 6:30pm, $23.

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

Posies, Brendan Benson, Aqueduct Independent. 8pm, $20.

Radiators, Battlehooch Slim’s. 8pm, $25.

Desirea Rodgers Rrazz Room. 3pm, $25.

Jonathan Richman, Tommy Larkins, Gail Davies Great American Music Hall. 8pm, $15.

JAZZ/NEW MUSIC

Kay Kostopoulos Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

Mike Stern Band Yoshi’s San Francisco. 5pm, $5-26.

FOLK/WORLD/COUNTRY

Grooming the Crow, Everheart Thee Parkside. 4pm, free.

DANCE CLUBS

Afterglow Nickies, 466 Haight, SF; (415) 255-0300. An evening of mellow electronics with resident DJs Matt Wilder, Mike Perry, Greg Bird, and guests.

DJ Anthony Atlas Hemlock Tavern. 9pm, free.

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

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

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, roots, and dancehall with DJ Sep, Vinnie Esparza, and guest B-Love.

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

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

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

Pachanga! Coda. 5pm, $10. Salsa with Jesus Diaz y su QBA.

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

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

MONDAY 6

ROCK/BLUES/HIP-HOP

Abyssinians, Native Elements, Revival Sound System Independent. 9pm, $20.

Chris Duarte Biscuits and Blues. 8 and 10pm, $15.

Mrt. St. Helens Vietnam Band, Globes Rickshaw Stop. 8pm, $12.

Western States Motel, Maren Parusel, Ash Reiter Hemlock Tavern. 6pm, $6.

DANCE CLUBS

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

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

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

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

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

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

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

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

TUESDAY 7

ROCK/BLUES/HIP-HOP

Bedouin Soundclash, Moneybrother, Los Hot Boxers Slim’s. 8pm, $15.

Conspiracy of Beards, Ruby Howl, Gilded Hooks Café Du Nord. 8:30pm, $10.

Delta Spirit, Fling, Darker My Love Fillmore. 8pm, $18.50.

Chris Duarte Biscuits and Blues. 8 and 10pm, $15.

Gay Blades, Girls With Guns, Go-Going-Gone Girls Bottom of the Hill. 9pm, $10.

Gracious Few, Danielle Barbe, Reckless in Vegas Independent. 8pm, $10.

DANCE CLUBS

Brazilian Party Night Elbo Room. 9pm, $5. Brazilian dance hits, samba, funk, and more with DJ Dion and DJ Kwala.

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

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

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

Cash and Carrey

Andrew Lam
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0
Cash and Carrey

arts@sfbg.com

FILM You had to forgive most of the gay press for getting a little too excited over Brokeback Mountain (2005). Oh, no doubt it’s a great movie, or that the Oscar going to the fraudulent Crash (2004) said less about that film’s virtues than a skittishness that other movie stirred. But its excellence and commercial success induced widespread bouts of wishful thinking in the form of announcing new trends that never came to pass.

Five years later, there hasn’t been another mainstream American film in which a gay relationship is taken seriously and granted central importance. (You could argue for The Kids Are All Right, but that’s mostly a comedy, a big arthouse hit rather than even a modest mainstream one — and the fact remains that lesbians played by attractive actresses aren’t nearly as threatening to the sanity, morality, masculinity, and private parts of many Americans as gay men.) Nor has a single major movie star come out as gay or bi, despite the hilarity induced by excuses for such police-intervention activities as “offering a ride” to transgender sex workers at 4 a.m. or getting mugged while “walking the dog” in a well-known cruising park (also at 4 a.m.). In all these regards, television has leapt well ahead of the big screen.

Given typically imitation-crazed Hollywood’s failure to built on Brokeback‘s success — or see it as anything more than a fluke — the case of I Love You Phillip Morris is interesting for what it is and isn’t. It is, somewhat by default, the biggest onscreen gay romance (not including foreign and indie productions, which are always ahead of the curve) since that earlier film, even if it is (again) primarily a comedy, and one whose true-story basis provides the leavening element of stranger-than-fiction curiosity. (Nobody’s bothered by the gayness of movies like 2005’s Capote because we accept the otherness of real people too famous and/or peculiar to be relatable.)

What Phillip Morris is not, however, is a Hollywood or even American film, all appearances to the contrary. Its financing was primarily French — presumably because there wasn’t enough willing coin on this side of the Atlantic. Yes, not even for a comedy starring Jim Carrey. And for a while it didn’t even look like Phillip Morris would be an American release, even after it had played (and done pretty well) virtually everywhere else, from Europe to Latin America to Southeast Asia to frikkin’ Kazakhstan. The reasons (some legal) are unclear, but it seems pretty certain the aforementioned squeamishness around guys kissing and cuddling and diddling factored in — never mind that those guys are Carrey and Ewan McGregor.

Free at last, albeit without much fanfare, Phillip Morris proves to have a whole lot more in common with Steven Soderburgh’s The Informant! (2009) — true tale turned farcical caper, to diverting if mixed results — than to tragic Brokeback, even if love runs a rather sad, thwarted course here, too. We meet Steven Jay Russell as an uber-perky all-American lad — a nascent Jim Carrey — perhaps permanently warped at age eight by the discovery that he’s adopted. Nonetheless he proceeds along the road of dead-center normality, getting married (Leslie Mann manages to be both very droll and very Christian as Debbie), having kids, being a loveable Mr. Policeman, and fucking guys only on the QT.

A near-fatal accident, however, induces him to merrily chuck it all — he’s so nice the family can’t help wishing him well — and live life to the fullest by moving from Georgia to South Beach and becoming a “big fag.” He soon discovers that “being gay is really expensive,” or at least his chosen A-lister lifestyle is. Having been schooled by his adoption trauma, Steve figures if everything you think you know can so easily turn out to be a lie, why not becoming a fibbing superstar? He begins diverting funds from his corporate employer, amazed at what a chief financial officer position and a golf-playing, polo-shirt-wearing front can get away with. At least to a point — the point that commences several ensuing revolving-door years of cons, captures, prison stints, and ingenious escapes.

It is during one hoosegow stay that he meets the non-tobacco-related Phillip Morris (McGregor), a sweet Southern sissy who got there by sheer haplessness rather than criminal guile. Steven is an ardent, protective lover — if he’s also slippery as an eel, that’s at least partly because he thinks his lies protect those he loves — and Phillip is a slavishly adoring 1950s housewife who just happens to have been born with a penis.

Like The Informant!, Phillip Morris fudges the facts a bit for narrative convenience and strains at times for an antic tone that makes life itself a sort of genre parody. In his genius-IQ mind, does Russell see himself as the hero of a perfect if artificial sitcom-type world? Or does casting Carrey require the same sort of hyperreal gloss routinely applied to gimmick-driven vehicles like Yes Man (2008), Bruce Almighty (2003), and Liar Liar (1997), because he bends any context like a funhouse mirror? (Only once, in 1998’s The Truman Show, did that context meaningfully amplify his cartoonishness; and only once, in 2004’s Eternal Sunshine of the Spotless Mind, has he calmed down to ordinary human proportions.) Glenn Ficarra and John Requa, making their directorial debut after team-writing a bewildering trio of mainstream comedies (2001’s Cats and Dogs, 2003’s Bad Santa, and 2005’s The Bad News Bears), approach their fascinating material with brashness and some skill, but without the control to balance its steep tonal shifts.

Surprisingly, it’s in the “love” part that they often succeed best. While their comic aspects sometimes tip into shrill, destabilizing caricature — the excess that brilliant but barely-manageable Carrey will always drift toward unless tightly leashed — this movie’s link to Brokeback is that it never makes the love between two men look inherently ridiculous, as nearly all mainstream comedies now do to get a cheap throwaway laugh or three.

Russell’s scenes with AIDS-fallen first boyfriend Jimmy (Rodrigo Santoro) are very poignant. And the many more with McGregor, who plays white-trash nelly with an uncondescending delicacy that’s both amusing and wistful, are quite lovely. There’s one scene of them chatting in their prison cell — viewed overhead in bed, Phillip’s head in the crook of Steven’s arm — that’s so affectionately intimate you can see exactly why the movie took two years to get a U.S. release. Even the prior scene of Carrey riding a different man’s ass like a bucking bronco isn’t as half so threatening as this, an utterly unguarded moment with two famous faces that both happen to be male conveying a perfectly synched love.

I LOVE YOU PHILLIP MORRIS opens Fri/3 in San Francisco.

 

Cho tunes

Andrew Lam
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0
Cho tunes

superego@sfbg.com

SUPER EGO “You know me, I’m always doing something,” Margaret Cho practically purred over the phone en route to another smash show on the East Coast. Um, understatement of the year much? While the Cho-stess with the Mostest is lately giving off the chill vibes of an edgy comedian and right-on scenester in her prime (she’s not shy about being on the golden side of 40), she’s been more active than ever. “I totally have symbolic flames on the side of my tour bus,” she quipped. “It’s so retro ’90s.”

The San Francisco-born, Korean American, queer-lovin’ smart-mouth may have a fulltime TV job on Lifetime’s Drop Dead Diva, but she’s also just released an actually damn good album of “comedy music,” Cho Dependent, with guest helpers like Tegan and Sara, Fiona Apple, Ben Lee, and Ani DiFranco. (Her DIY dancing turd outfit for the “Eat Shit and Die” video is pretty priceless.) Her current “Cho Dependent” tour, however, focuses less on the tunes and more on the stand-up topics she’s polished to raucous perfection. “I talk about immigration, my mother, maybe my new bellydance workout. Also gay rights — I hear they’re really in right now,” she deadpans. High on her agenda when she hits the city? Some more ink at Everlasting Tattoo on Divisadero, “the best tattoo shop in the world.”

“It’s just so awesome to be coming back to SF on this tour,” she continues. “It’s always like coming home to family. A family with a lot of little dogs.”

MARGARET CHO: CHO DEPENDENT Sat/4, 8 p.m., $29.50–$49.50. Nob Hill Masonic Auditorium, 1111 California, SF. www.livenation.com, www.margaretcho.com

 

PHONIC

Thursday night workout time. The weekly Phonic party at Endup is one of my favorite scene treats, and the lineup this time around is too SF techno-tasty to pass up. Dabecy of Electronic Music Bears joins Honey Soundsystem’s Jason Kendig and Pee Play for some distinguished beats in a deeper vein.

Thu/2, 10 p.m.–4 a.m., free before midnight, $10 after. EndUp, 401 Sixth St., SF. www.theendup.com

 

BETTER

This party on Maiden Lane promises to be a fun crush of styles, with wide-ranging dancefloor selections from DJ Deevice (Pirate Cat Radio), Jason Kendig (again!), Sleazemore (Lights Down Low), and Solar (Sunset). “We’re really hoping to save downtown from douchebags and the women who love them,” Deevice told me. “The place is nice, but not chi-chi. I mean, it can’t obviously double as a strip joint like other downtown clubs. Just come and have some fun.”

Check out DJ Deevice’s absolutely lovely “Better” mix:

“Dec 2010 Mix” by DJ Deevice

 

Fri/3, 9:30 p.m.–3 a.m., $5 before 11 p.m./ $10 after. 45 Maiden Lane, SF

 

LAZER SWORD

Finally! Bay natives Lazer Sword, the fab duo who basically broke the future bass scene wide open, are releasing their debut album and it’ll be bonkers. Lazer’s Low Limit and Lando Kal beam in for brain melt, with support from spooktastic up-and-comer OoOoOO, OG atmospheric electro-hopper Machinedrum, and DJ Dials, who always has great hats. It’s all part of Hacksaw Entertainment’s second anniversary blowout.

Sat/4, 9 p.m.–3 a.m., $14.50 advance. Mighty, 119 Utah, SF. www.hacksawent.com

 

SMALLTOWN DJS

One of the highlights of my recent trip up north — this rad-cute duo from Alberta, Canada, pops four turntables and manages to do in Girl Talk types when it comes to mixing electro banger flair with underground house beats, hip-hop and Bmore swagger, and sly pop winks. Somehow it doesn’t come off as Vegas-y mashup as one might supect — maybe it’s vinyl Canadian party magic.

Sat/4, 9 p.m.–3 a.m., $5 before 11 p.m., $10 after. Public Works, 161 Erie, SF. www.publicsf.com

 

TIARA SENSATION PAGEANT

Get ready for glamour and outrage — of a fantastic, ethereal bent, of course. The kids from the Friday weekly Some Thing party blow up with this must-see drag runway fundraiser for the Off Center theater. Contestants: Alotta Boutte, Elijah Minelli, Honey Mahogany, Lil Miss Hot Mess, Mercedez Munro, Monistat, and Turleen. DJs: Stanley Frank and Hoku Mama Swamp. Plus: Juanita More and Miss Rahni. Names!

Sun/5, 8 p.m.–midnight, $35. Temple, 540 Howard, SF. www.templesf.com 

 

Olden Days

Andrew Lam
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0
Olden Days

le.chicken.farmer@gmail.com

CHEAP EATS There are however hazards of hanging out with people young enough to be your sister’s best friend’s daughter. I’m not talking about going roller skating in my underwear, riding on the handlebars of a bike in a skirt and heels at night, or even eating at a vegan soul food restaurant in Oakland.

No, my most harrowing moment since falling in with my new adopted family came two nights ago, on a sturdy and all-around stationary bar stool at my friendly neighborhood sports bar, the Phoenix. Where I am generally comfortable and at home, if not drunk.

In this case, Coach was there with her just-graduated-from-sex-school cohorts, and she and one of the “trainers” were talking about a particular practice called sounding, which made me want to either die or order wings and watch football.

I chose the latter. And then, when the wings came, because this is the kind of gal I am, I went around with the plate and offered some to all the vegetarians. We’re supposed to live in the moment, right, so you never know … is my thinking.

Well, here comes the harrowing part, and it has nothing to do with vegetarians or urethras. One of Coach’s friends started talking about some guy she’s sleeping with who won’t put out. And everyone’s like: Wow. Whoa. Imagine that. Dude don’t want sex.

I said, “How old is he?” I don’t know why I said this, I guess because I’ve appreciated older men myself.

“Old,” my friend’s friend said.

“How old?”

“Really old,” she said.

Ostensibly I wanted to get to the bottom of this no-sex situation, because I care, but it’s not like I didn’t know I was, in the process, setting myself up for something truly disastrous. “How old,” I said, “is really old?”

Now it was Coach’s turn to watch TV.

“Really really old,” the young woman said. Then I knew she was going to say the age of really really old, and held my breath. “Forty-eight,” she said.

I exhaled. Forty-eight is older than me. Yay, I would not have to kill myself! I have, in fact, six more months of youthful happy living left before I am really really old, according to her.

Kids can be so careless. I love them, but San Francisco is a tiny town, and I have been steeping in it since this ‘un was seven. Of course I knew her old man! I didn’t realize it at the time, but later figured it out: I have known him since she was 12. Not biblically. We’ve crossed paths. But I considered him a catch in the 1990s, and the last time I saw him, just a month or so ago, I thought the same thing: catch. Then again, he’s a lot younger and way cooler than most of the really really really older men I have dated — one of whom was old enough to be my first cousin’s maid-of-honor’s father.

I got sick. It started that night, and the next morning, yesterday, it had me — by the throat. Usually when I get sick, I simply try to pretend I’m not sick until it’s no longer necessary to pretend, which sometimes takes weeks. This time, however, I decided to act sick, in part because I was house sitting a house with very comfortable beds in it. I saw this once in a movie: You start by calling in sick, then go back to bed.

While I was in bed, I didn’t masturbate. I’m old. I read a book until I fell asleep, and then I woke up and read some more until I slept some more, then I got up and started making chicken soup, which came out great.

The book I read was called The Old Man Who Read Love Stories. I loved it, and I’m sure the soup is even better today, but the truth is that I feel pretty much better too. It worked! Who knew? You can get back in bed and get better quicker than if you go about your business, playing soccer in the rain and so forth.

Not for its dry oven-barbecued ribs, collard greens and cornbread, but for its strangely sweet duck soup.

LAO THAI SOUL FOOD KITCHEN

Lunch: Mon.–Fri. 11 a.m.–3 p.m.;

Dinner: daily 5–9:30 p.m.

1406 Solano, Albany

(510) 559-3276

MC,V

Beer and wine

 

Ho-ho-horror

Andrew Lam
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0
Ho-ho-horror

arts@sfbg.com

FILM There is probably nowhere in the Christian-majority world where it’s as OK to wax hum-buggy about Christmas and all it entails as San Francisco. Allergies to carols (admit it, they’re horrible), frantically enabled shopaholicism, and forced contact with those people you moved here to get away from are all tolerated, even encouraged here.

In the rakishly Grinch-like spirit such sentiments allow, Yerba Buena Center for the Arts is observing “the season” with “Go to Hell for the Holidays: Horror in December.” This series might just as easily have been titled “Grievous Bodily Harm” since it serves up a six-program lineup of film and video features whose common thread is excess of a highly splattery kind. Included are a few variably antiqued golden oldies, as well as newer titles unlikely to get local commercial runs anytime soon (if ever). Some are fun, some deliberately unpleasant, and a couple manage to be both. All provide a sort of palliative effect for those seeking refuge from the suffocation of wholesome holiday cheer.

Because Jesus probably would, let’s approach “Hell”‘s contents tactfully, in ascending order of assault on any delicate sensibilities. The sole double bill on offer is also hands-down winner in terms of camp value, providing unintentional laughs in bulk for every intended scare. In fact, these two underseen gems of bright and shining awfulness comprise one of the more genius programming matches of 2010.

First up is the barely describable, let alone explicable, 1985’s Night Train to Terror, which alongside They Saved Hitler’s Brain (1968), Al Adamson’s ouevre, and a handful of other oddities personifies that most secret, least natural of genres: the Frankensteinian film. By which we don’t mean anything directly related to Mary Shelley, but rather movies crudely, grotesquely composed of parts harvested from other movies abandoned as dead.

Few are as triumphantly, energetically, and entertainingly arbitrary as Night Train, which stitches together bits of three features variably orphaned by legal trouble, runaway funding, aborted shooting, or all the above. Linking them — or desperately trying to — are scenes in which “Mr. Satan” and a white-bearded God gamble in a private car for the souls of their fellow train passengers. The latter are an ensemble of ultra-perky “New Wave” youth in Flashdance (1983) garb singing and kinda dancing in a neverending MTV video for synthpop non-hit “Dance With Me.”

Familiar B-flick faces like John Phillip Law and Cameron Mitchell surface sporadically in the wildly condensed “case histories” our biblical antagonists debate, drawn from individual films otherwise known as Cataclysm, Carnival of Fools, and Scream Your Head Off. That this bastard 1985 anthology was assembled, let alone actually shown in theaters, restores your faith in predictable mankind’s ability to occasionally touch the truly, inspirationally senseless.

This feeling one could apply to virtually anything by the late Doris Wishman, whose decades of bottom-rung exploitation work left miraculously intact an approach to such basics as continuity, camera coverage, and synch sound so primitive it achieves a sort of abstract impressionism. Her 1983 A Night to Dismember was stab at the slasher genre after almost a quarter century selling softcore sex. She brought to it exactly the same WTF aesthetic and narrative perversity she had to Nude on the Moon (1961) and Bad Girls Go to Hell (1965). If you’re a Wishman newbie, Dismember is a great place to start since its saga of the compulsively homicidal suburban Kent family is awesomely clumsy without being too dull or claustrophobic.

The mayhem she contrives (no doubt most “gore” was thriftily broiled for stew after each day’s shoot) looks even more laughable alongside the too convincing graphic ugh-liness of Thai cinematographer Tiwa Moeithaisong’s directorial debut Meat Grinder (2009). Its protagonist is a Bangkok noodle shop proprietor whose extremely abused history triggers a Texas Chainsaw style attitude toward fresh victuals, and whose threadbare grip on reality provides our brain-scrambling POV. Starting out like just another exercise in “Asian Extreme” excess, this grows both more outre and controlled as it goes along, balancing jet-black comedy with a certain grotesque pathos.

Charting a reverse trajectory is Red White & Blue, the first U.S. feature by Brit writer-director Simon Rumley, whose 2006 The Living and the Dead is one of the most original films (horror or otherwise) in recent memory. For 80 minutes, it’s a chillingly fine portrait of some well-marginalized characters in Austin, Texas, culminating in possibly the most alarming home invasion since Henry: Portrait of a Serial Killer (1986). But the rest degenerates into rote revenge-fantasy torture porn, further weakened by deliberate story mystifications more enervating than enigmatic.

There are excuses for horror fans who’ve missed Living and Dead — it was barely released in the U.S. — but none for those as yet unbathed in the blood of Wolf Creek. Allegedly based on actual events (a fib), Greg Mclean’s 2005 first feature takes exactly half its length to let nothing happen. Nothing, that is, save our getting to know three young people just ordinary and interesting enough to grow concerned about as they drive across Australia at summer holiday’s end, halted in the middle of nowhere by what at first seems routine bad luck. Several long dread-accruing minutes later, it turns out what’s happening to them is something far, far worse, unrelated to either luck or anything routine. Brilliantly atmospheric and visceral, Creek justifies YBCA’s hyperbolic claim as “possibly the best horror film of the decade.”

Also on “Hell”‘s menu are two films I could say more about, but won’t. Regarding Mladen Djordjevic’s Life and Death of a Porno Gang (2009), that’s because this all-outrages-inclusive tragicomedic mock-doc road flick was only available for preview in its original Serbian language. Still, it’s recommendable. Whereas Marc D. Levitz’s U.S. documentary Feast of the Assumption: BTK and The Otero Family Murders (2008), about a serial killer’s capture and impact on victims’ families 30 years later, would merit further discussion if it didn’t wobble between tabloid TV and home movie — all the while raising serious questions it doesn’t address, or perhaps even notice.

“GO TO HELL FOR THE HOLIDAYS”

Dec. 2–18, $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

 

The America’s Cup rip-off

Andrew Lam
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10
The America’s Cup rip-off

EDITORIAL Gigantic international sporting events tend to be great fun for the people who attend. They make great promotional videos for the host city. They can generate big revenue and profits for some private businesses.

But when the party’s over and the bills come due, these extravaganzas aren’t always a boon to the municipal treasury. And at a time when San Francisco can’t afford to pay for teachers and nurses and recreation directors, the supervisors ought to be giving much greater scrutiny to the deal that could bring the America’s Cup yacht races to the bay.

In 2009, as the city of Chicago was preparing an unsuccessful bid for the 2016 Olympics, the Chicago Tribune took a look at what the 1996 games had meant to another U.S. city, Atlanta. The Trib’s conclusion: lots of private outfits and big institutions did well — the Atlanta Braves got a new baseball stadium and the Georgia Institute of Techology got a new swimming and diving center — but the city itself didn’t get much money at all.

That’s exactly the way the deal that Mayor Gavin Newsom negotiated with Larry Ellison, the multibillionaire database mogul and yachtsman, is shaping up. A shadowy new corporation controlled by Ellison would get control of more than 30 acres of prime waterfront land worth hundreds of millions of dollars. The city could lose $42 million, and possibly as much as $128 million.

We don’t dispute the huge economic impact of holding an event that could attract more than 1 million visitors to the Bay Area. Those people will spend money in bars, restaurants, shops, and hotels. The waterfront improvements and increased tourism will create, according to economic reports, 8,840 jobs.

But as the Board of Supervisors budget analyst points out, those are not permanent, full-time jobs; much of the increased employment needs would be met by increased productivity (bartenders and waiters handling more customers than usual), overtime, and temporary jobs. And again: Most of the benefits will go to the private businesses in the tourist industry. The city’s increased tax revenue won’t be nearly enough to cover the expenses. Even if the America’s Cup group raises $32 million — and that’s not guaranteed in the deal — the city would still be down $10 million.

So in effect, San Francisco is preparing to spend $42 million of taxpayer money (and to forego as much as $86 million more by giving away waterfront land that could be developed) to benefit the sixth-richest person in the world, a new company he’s going to create and control, and the tourist-related businesses in town.

Oh, and to make it even juicier: the city is promising to seek state approval for Ellison to build condos or a hotel on the waterfront — something nobody else can legally do.

This doesn’t strike us as a terribly good deal.

It looks worse when you consider how the negotiations proceeded: The mayor and other city officials insisted they were scrambling to give Ellison everything he wanted to make sure that San Francisco beat out two other competitors. But as Rebecca Bowe reports on page 12, there were no other formal bids; Ellison’s team, based at the Golden Gate Yacht Club, was only negotiating with one city, San Francisco.

There are alternative proposals. The Telegraph Hill Dwellers Association wants to see the race complex moved from the Central Waterfront to the Northern Waterfront, and there may be ways of saving money. And Sup. Ross Mirkarimi points out that if Ellison wins the races in 2013 and comes back again the next time around, San Francisco could become what Newport, R.I., once was: a repeat host to an event that will bring more and more benefits as time goes on. That, however, involves a number of risks and variables that are far from certain at this point.

We’d like to know a lot more about what Ellison’s development plans are. We’d like to know who, exactly, will be running his new corporation that will get development rights for a couple of nice waterfront parcels.

But before the supervisors sign off on any deal, they need to set a bottom line: this can’t cost the city any net revenue. The San Francisco city treasury and local taxpayers shouldn’t be subsidizing an event created by and for the very wealthy.

 

DREAM on

Andrew Lam
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2
DREAM on

sarah@sfbg.com

Spurred by congressional Democratic leaders’ promises to hold a vote on the DREAM (Development, Relief, and Education for Alien Minors) Act before the end of Congress’ lame-duck session this month, immigrant and civil rights advocates are pushing for the passage of bipartisan legislation that would give undocumented youth a shot at citizenship if they go to college or serve in the military for two years.

On Nov. 29 in San Francisco, several undocumented young people joined members of the Bay Area Coalition for Immigration Reform outside Mission High School — where as much as 20 percent of the student population may be undocumented, according to principal Eric Guthertz — to explain why it makes sense to give youth who grew up in the United States a shot at legal status.

“We are not asking you to give us a green card,” Anna, a student from Guatemala, said at the event. “All we want is a chance to succeed and give back to this country. We live here, we pay taxes, we’re smart, we go to college, but afterward we can’t work and give back.”

Mario, a 22-year-old gay student who was born in Peru to a Chinese father and Peruvian mother, graduated from UC Berkeley with a civil engineering degree. He explained that because of his lack of documentation, he can’t get a job to pay his bills or save up to pursue a master’s degree, and fears being deported to a homophobic country.

“It would be a waste of talent because I’ve learned California-specific engineering rules and the U.S. building code,” Mario said. “Sometimes I wake up from a nightmare about being detained. I came out here, but in Peru, I’d probably be back in the closet.

Joining Anna and Mario was Shing Ma “Steve” Li, a nursing student at City College, who was released Nov. 19 after two months in federal detention, shortly before he was to be deported to Peru. San Francisco Democrat Sen. Dianne Feinstein introduced legislation to halt his removal, saying it would be “unjust” to deport Li before a DREAM Act vote takes place.

Li, who speaks Cantonese, English, French, and Spanish, grew up reciting the Pledge of Allegiance and dreams of opening a clinic to serve low-income San Franciscans. But recently, federal immigration authorities flew him 800 miles to a jail in Arizona, all because his parents brought him here when he was 12 and he lacks documentation.

“We were handcuffed and shackled to our seats, and I wondered what would happen if the plane went down,” Li recalled.

Li believes the main barriers to the legislation’s passage is lack of accurate information. “People need to know the facts, see the people, and hear their stories,” Li said. “Then they’ll know it is a human rights issue.”

Guthertz said that as principal of Mission High, every year he sees undocumented youth who have great grades and lots of advanced placement classes “hit the wall” of their status. “Over and over, I’ve seen the heartbreaking effect of their situation,” Guthertz said. “The DREAM Act is yet another avenue to help these students.”

Eric Quezada, executive director of Dolores Street Community Services, noted that congressional leaders did not agree to the DREAM Act vote “out of the goodness of their heart — it’s because of the hard work of immigrant advocates.”

Quezada said the push to force a DREAM Act vote in Congress this year began when undocumented youth staged a sit-in in Sen. John McCain’s (R-Ariz.) office in May. “And the vote of Latinos saved the Senate from a Republican takeover on Nov. 2,” he said.

“But we understand this window is closing,” Quezada added, referring to the reality that Republicans will take control of the House in January. “So we’re not taking one vote for granted. And this is the first step. If we are able to pass the DREAM Act, it will be a downpayment for comprehensive immigration reform.”

Sup. John Avalos says the DREAM Act recognizes the contribution immigrants make to the community, and to the creation of economic opportunities for everybody. “Immigrants here support themselves and their families across the water, so it makes sense that we make proper investments and support,” Avalos said. “Education is one way to make the world a more stable place.”

Sup. David Campos, who came to the U.S. from Guatemala as an undocumented teenager, sees the DREAM Act as a piece of commonsense legislation.

“It’s so modest,” Campos said. “Even those who are against comprehensive immigration reform should be for something that recognizes that young people, who came here not by choice but because of their parents’ issues, should be given a chance to give back.”

Campos said his father was able to gain legal status for his whole family because of his employment, but that many undocumented youth aren’t so lucky.

“We open the doors to our public schools, we invest in their education, and then, when they are ready to give back to us, we say, ‘No, we don’t want you here,'” Campos said. “The best and brightest, the risk-takers, come here. As a country, we cannot go forward unless we realize that this influx of creativity and entrepreneurship made this country what it is.”

The biggest fish

Andrew Lam
-
6
The biggest fish

rebeccab@sfbg.com

Shortly after Larry Ellison, the billionaire CEO of Oracle Corp. and owner of the BMW Oracle Racing Team, won the 33rd America’s Cup off the coast of Valencia, Spain, in February 2010, a reception was held in his honor in the rotunda at San Francisco City Hall.

The event drew members of Ellison’s sailing crew, business and political heavyweights such as former Secretary of State George Schultz, and other VIPs. Attendees posed for photographs with the tall, glittering silver trophy at the base of the grand staircase.

As part of the celebration, Ellison helped Mayor Gavin Newsom into an official BMW Oracle Racing Team jacket, and Newsom granted Ellison a key to the city, a symbolic honor usually reserved for heads of state and the San Francisco Giants after they won the World Series. Shortly after, the mayor and the guest of honor, whom Forbes magazine ranked as the sixth-richest person in the world, sat down for a face-to-face.

That meeting marked the beginning of the city’s bid to host the 34th America’s Cup in San Francisco in 2013. Since securing the Cup, Ellison has made no secret of his desire to stage the 159-year-old sailing match against the iconic backdrop of the San Francisco Bay, a natural amphitheater that could be ringed with spectators gathered ashore while media images of the stunningly expensive yachts are broadcast internationally.

Newsom and other elected officials have feverishly championed the idea, touting it as an opportunity for a boost to the region’s anemic economy. The city’s Budget & Legislative Analyst projects roughly $1.2 billion in economic activity associated with the event — the real prize, as far as business interests are concerned. It would also create the equivalent of 8,840 jobs, mostly in the form of overtime for city workers and short-term gigs for the private sector.

While the idea has won preliminary support from most members of the Board of Supervisors, serious questions are beginning to arise as the finer details of the agreement emerge and the date for a final decision draws near.

Ellison and the race organizers would be granted control of 35 acres of prime waterfront property in exchange for selecting San Francisco as the venue for the Cup and investing $150 million into Port of San Francisco infrastructure. But the event would result in a negative net impact to city coffers.

Hosting the event and meeting Ellison’s demands for property would cost the city about $128 million, according the Budget & Legislative Analyst, just as city leaders grapple with closing a projected $712 million deficit in the budget cycle spanning 2011 and 2012.

Part of the impact is an estimated $86 million in lost revenue associated with rent-free leases the city would enter into with Ellison’s LLC, the America’s Cup Event Authority (ACEA). In exchange for selecting San Francisco as a venue and investing in port infrastructure, ACEA would win long-term control of Piers 30-32, Pier 50, and Seawall Lot 330 — waterfront real estate owned by the Port of San Francisco, with development rights included. Seawall Lot 330, a 2.5-acre triangular parcel bordered by the Embarcadero at the base of Bryant Street, would either be leased long-term or transferred outright to ACEA.

The most vociferous opponent of the America’s Cup plan is Sup. Chris Daly, who has voiced scathing criticism of the notion that the city would subsidize a billionaire’s yacht race at a time of fiscal instability. “The question is whether or not the package that San Francisco’s putting together is good or bad for the city,” Daly told the Guardian, “and whether or not it’s the best deal the city can get.”

 

THE CREW

According to a Forbes calculation from September 2010, Ellison’s net worth is $27 billion, making him several times wealthier than the City and County of San Francisco, which has a total annual budget of about $6 billion. Ellison reportedly spent $100 million and a decade pursuing the Cup.

As soon as Ellison expressed interest in bringing the Cup to San Francisco, Newsom began charting a course. Park Merced architect and Newsom campaign contributor Craig Hartman of the firm Skidmore, Owings & Merrill was tapped to reimagine the piers south of the Bay Bridge as the central hub for the event, and soon Hartman’s vision for a viewing area beneath a whimsical sail-like canopy was forwarded to the media.

The mayor also issued letters of invitation to form the America’s Cup Organizing Committee (ACOC), a group that would be tasked with soliciting corporate funding for the event. ACOC was convened as a nonprofit corporation, and it’s a powerhouse of wealthy, politically connected, and influential members.

Hollywood mogul Steve Bing, who’s donated millions to the Democratic Party and funded former President Bill Clinton’s 2009 trip to North Korea to rescue two imprisoned American journalists, is on the committee. So is Tom Perkins, a Silicon Valley venture capitalist, billionaire, and former mega-yacht owner who was once dubbed “the Captain of Capitalism” by 60 Minutes. George Schultz and his wife, Charlotte, are members. Thomas J. Coates, a powerful San Francisco real estate investor who dumped $1 million into a 2008 California ballot initiative to eliminate rent control, also has a seat. Coates resurfaced in the November 2010 election when he poured $200,000 into local anti-progressive ballot measures and the campaigns of economically conservative supervisorial candidates.

Billionaire Warren Hellman, San Francisco socialite Dede Wilsey, and former Newsom press secretary Peter Ragone are also on ACOC. There are representatives from Wells Fargo, AT&T, and United Airlines. One ACOC member directs a real estate firm that generated $2.5 billion in revenue in 2009. Another is Martin Koffel, CEO of URS Corp., an energy industry heavyweight that made $9.2 billion in revenue in 2009. There’s Richard Kramlich, a cofounder of a Menlo Park venture capital firm that controls $11 billion in “committed capital.” And then there’s Mike Latham, CEO of iShares, which traffics in pooled investment funds worth about $509 billion, according to a BusinessWeek article.

There’s also an honorary branch of ACOC composed of elected officials including House Minority Leader Nancy Pelosi, Gov. Arnold Schwarzenegger, Sen. Dianne Feinstein, and others. Their role is to help the Cup interface with various governmental agencies to control air space, secure areas of the bay exclusively for the event, set up international broadcasts, and bring foreign crew members and fancy sailboats into the United States without a hassle from immigration authorities.

ACOC is expected to raise $270 million in corporate sponsorships for the America’s Cup. That money will be funneled into the budget for ACEA. It’s unclear whether the $150 million ACEA is required to invest in city piers will be derived from ACOC’s fund drive.

The city also anticipates that ACOC would raise $32 million to help defray municipal costs. “However,” the Budget & Legislative Analyst report cautions, “there is no guarantee that any of the anticipated $32 million in private contributions will be raised.”

A seven-member board, chaired by sports management executive Richard Worth, will direct the ACEA, according to Newsom’s economic advisors, but the other six seats have yet to be filled. ACEA’s newly minted CEO is Craig Thompson, a native Californian who previously worked with a governing body for the Olympics and has helped coordinate major sporting events internationally. In an interview with sports blog Valencia Sailing, Thompson provided some insight on why major corporations might be inspired to donate to the cause. Basically, the Cup is the holy grail of networking events.

“It’s a very difficult economic situation we are going through, and it’s not the best time to be looking for sponsors for a major event,” Thompson acknowledged. “On the other hand, the America’s Cup is one of the very few activities … that offer access to really top-level individuals in terms of education or economic situation. The America’s Cup is a unique platform for a lot of companies that want access to those individuals that are very difficult to reach under normal circumstances. I can tell you for example that Oracle is very pleased with the marketing opportunity the America’s Cup has presented to them. They invite their best customers and are very successful in turning the America’s Cup into a platform for generating business. The same thing can be true for a lot of different companies that need access to wealthy individuals.”

But should San Francisco taxpayers really be subsidizing a networking event for the some of the business world’s richest and most powerful players?

 

TRANSFORMING THE WATERFRONT

Over the past four months, Newsom’s Office of Economic and Workforce Development (OEWD) has been negotiating with race organizers to hash out a Host City Agreement outlining the terms of bringing the America’s Cup to San Francisco.

The proposal will go before the Board of Supervisor’s Budget & Finance Committee on Dec. 8, and to the full board Dec. 14. A final decision on whether San Francisco will host the race is expected by Dec. 31. ACEA and ACOC will each sign onto the agreement with the City and County of San Francisco.

From the beginning, the event was envisioned as “the twin transformation,” according to OEWD — the America’s Cup would be transformed by attracting greater crowds and heightened commercial interest while San Francisco’s crumbling piers would be revitalized through ACEA’s $150 million investment in port infrastructure.

The plan paints downtown San Francisco as the “America’s Cup Village” during the sailing events, and a study produced by Beacon Economics estimates that the financial boost would come primarily from hordes of visitors flocking to the event — more than 500,000 are expected to attend. The city expects a minimum of 45 race days, including one pre regatta in 2011 and one in 2012 (or two in 2012 if the one in 2011 doesn’t happen), a challenger series in 2013, and a final match in 2013.

The transformation of the city’s waterfront would be dramatic. In addition to the rent-free leases for Piers 30-32, 50, and Seawall Lot 330, ACEA would be granted exclusive use of much of the central waterfront, water, and piers around Mission Bay, and water and land near Islais Creek during the course of the event. Under the Host City Agreement, race organizers would have use of water space spanning Piers 14 to 22 ½; Piers 28, 38, 40, 48, and 54, a portion of Seawall Lot 337, and Pier 80, where a temporary heliport would be sited.

Seawall Lot 330, a 2.5-acre parcel valued by the Port at $33 million, lies at the base of Bryant Street along the Embarcadero and has a nice unimpeded view of the bay. Piers 30-32 span 12.5 acres, and Pier 50 is 20 acres.

The Budget & Legislative Analyst’s study predicts that the ACEA could opt to build a 250-unit condo high-rise on Seawall Lot 330, deemed the most lucrative use. Under the Host City Agreement, the city would be obligated to remove Tidelands Trust provisions from Seawall Lot 330, which guarantee under state law that waterfront property is used for maritime functions or public benefit. Tweaking the law for a single deal would require approval from the State Lands Commission, but Newsom, in his new capacity as lieutenant governor, would cast one of the three votes on that body.

The combination of construction, demolition, lost rent revenue, police and transit, environmental analysis, and other event costs would hit the city with a bill totaling around $64 million, according to the Budget & Legislative Analyst study. Since city government would recoup around $22 million in revenue from hosting the Cup, the net impact would be around $42 million. That doesn’t include the potential $32 million assistance from ACOC.

At the same time, the city would stand to lose another $86.2 million by granting long-term development rights to 35 acres of Port property for 66 to 75 years without charging rent, bringing the total cost to $128 million. OEWD representatives played down that loss in potential revenue, saying past attempts to redevelop piers hadn’t been successful because none could handle the upfront investment to revitalize the crumbling piers.

The Host City Agreement has raised skepticism among Port staff and the Budget Analyst that tempered initial enthusiasm for the event. “The terms of the Host City Agreement will require significant city capital investment and will result in substantial lost revenue to the Port,” a Port study determined. Faith in that plan seems to be eroding and it may be scrapped for an alternative plan that’s cheaper for the city.

The Northern Waterfront alternative substitutes Piers 19-29 as the primary location for the event and eliminates the Mission Bay piers from the equation. Under this scenario, ACEA would invest an estimated $55 million, instead of $150 million. In exchange, it would receive long-term development rights to Piers 30-32 and Seawall 330 on “commercially reasonable terms,” according to a Port staff report.

Board of Supervisors President David Chiu requested that the Port explore that second option more fully, and the Port report notes that it would reduce the strain on Port revenue. The Northern Waterfront plan would cost the Port a total of $15.8 million, instead of $43 million, the report notes. Port staff recommended in its report that both the original agreement and the alternative be forwarded to the full board for consideration.

 

PHANTOM BIDS?

Under the competition’s official protocol, Ellison, as defender of the Cup, has unilateral power to decide where the next regatta will be held. Race organizers have said it’s a toss-up between San Francisco and an unnamed port in Italy — though it’s anyone’s guess how seriously a European site is being considered by a team headquartered at the Golden Gate Yacht Club, a stone’s throw from the Golden Gate Bridge.

According to a San Francisco Chronicle article published in early September, Newsom issued a memo stating that San Francisco was competing against Spain and Italy to become the chosen venue. Valencia was said to be offering a “generous financial bid,” and a group in Rome was rumored to have offered some $645 million to bring the Cup to Italian shores, the memo noted. It was a call for the city to present Ellison with the most attractive deal possible to compel him to pick San Francisco.

Speaking at an Oct. 4 Land Use Committee hearing, OEWD director Jennifer Matz told supervisors: “San Francisco was designated the only city under consideration back in July. Now we are competing against the prime minister of Italy and the king of Spain.”

However, the veracity of those claims came into question in mid-November. Daly, incensed that the Mayor’s Office never communicated with him about the Cup despite wanting to hold it in his sixth supervisorial district, launched his own personal investigation. He fired off an e-mail to Team Alinghi, a prior America’s Cup winner, and began communicating with other European contacts until he got in touch with someone in Valencia’s municipal government.

“I got a call back from a representative who basically said I should know something,” Daly recounted. Valencia, his source said, never submitted a bid to host the Cup. At a Nov. 13 press conference, Valencia’s mayor Rita Barbera confirmed this claim, according to a Spanish press report, expressing disappointment that the city had been eliminated from consideration as a host venue. “There was no formal bidding process,” she charged. She also denied reports that any money had been offered.

Meanwhile, the Budget Analyst was unable to find any concrete evidence that other host city bids had been submitted. “We have nothing to confirm that other offers have been made,” Fred Brousseau of the Budget Analyst’s office told the Guardian.

In response to Guardian queries about whether the Mayor’s Office had evidence that Italy had indeed submitted a bid, Project Manager Kyri McClellan of the OEWD forwarded a one-page resolution from the Italian prime minister assuring race organizers that there would be tax breaks, accelerated approvals, and other perks guaranteed if the Cup came to Italy. However, an Italian journalist who looked over the resolution told the Guardian that the document didn’t appear to be a formal bid, merely a response to a query from race organizers.

Daly has his doubts that either Valencia or the Italian port were ever seriously considered. “I think they were phantom bids,” he said, “created by either Larry Ellison or the Newsom administration … to place pressure on the Board of Supervisors.”

A representative from OEWD told the Guardian that officials have no reason to doubt that the European bids, and accompanying offers of money, were real. However, the city wasn’t privy to race organizer’s discussions about possible European venues. A final decision is expected before the end of the year.

Daly hasn’t held back in voicing opposition to the America’s Cup and blasted it at an Oct. 5 Board meeting. “This tacking around Sup. Daly will not get you in calmer waters,” Daly said. “I told myself I was not going to make a yachting reference. But I will bring a white squall onto this race and onto this Cup, and I will do everything in my power starting on Jan. 8 to make sure these boats never see that water.”

 

WIND IN WHOSE SAILS?

The America’s Cup would undoubtedly bring economic benefit to the area and create work at a time when jobs are scarce. Police officers would get overtime. Restaurant servers would be scrambling to keep up with demand. Construction workers seeking temporary employment would get gigs. Hotels would rake it in. Pier 39 would be booming. However, the Budget Analyst report cautioned: “It is unlikely that any labor benefits would remain in the years after the America’s Cup event is completed.”

Certain small businesses would catch a windfall. John Caine, owner the Hi Dive bar at Pier 28, didn’t hesitate when asked about his opinion on the city hosting the Cup. “Please come fix our piers. It’s a shout-out to Larry Ellison,” he said. Caine said he supports the America’s Cup bid 100 percent, and is excited about the boost it could give his business. The Hi Dive would not be required to relocate under the proposal, he added.

At the same time, other small business would be negatively affected, particularly those among the 87 Port tenants who would be forced to relocate to make way for the America’s Cup. The Budget Analyst’s report also notes that retail businesses in the area whose services had no appeal to race-goers might suffer from reduced access to their stores, since crowding and street closures would shut out their customers.

The sailing community has rallied in support of the Cup, and Newsom has received hundreds of e-mails from yachting enthusiasts from as far away as Hawaii and Florida promising to travel to San Francisco with all their sailing friends to watch the world-famous vessels compete.

Ariane Paul, commodore of a classic wooden boat club called the Master Mariners Benevolent Association, told the Guardian that she was excited about the opportunity for the America’s Cup to showcase sailing on the bay. “In the long term, it’s a win-win,” Paul said. “It would be great to have that boost.” As for the financial terms of the deal, she remained confident, saying, “I don’t think that the city is going to let Larry Ellison walk all over them.”

Sup. Ross Mirkarimi is often politically aligned with Daly, but not when it comes to the issue of the America’s Cup. As a kid growing up on the island of Jamestown, a tiny blue-collar community located off the coast of Rhode Island, Mirkarimi learned to sail and occasionally spent summers working as a deckhand. Every few years, the America’s Cup would come to nearby Newport, transforming the area into a bustling hub and bringing the locals into contact with famous sailors. It left an everlasting impression. When the BMW Oracle Racing Team secured the 33rd Cup off the coast of Valencia, Mirkarimi did a double-take when he saw a photograph of the winning team — his childhood friend from Rhode Island was on the crew.

Mirkarimi told the Guardian he supports bringing the Cup to San Francisco because of the economic boost the area will receive — if the Cup continues to return to San Francisco as it did for 53 years in Newport, he said, the city could look forward to a free gift in improved revenue associated with the event, and that could help quiet the tired annual debates over painful budget cuts.

At the same time, he acknowledged that the Budget Analyst report had prompted what he called healthy skepticism. “I think the onus is on the city and Cup organizers to make sure the benefits far, far outweigh the investment,” Mirkarimi said. “This effort is not just about making one of the wealthiest men in the United States that much more wealthy … That can’t be the case,” he said. “It has to be about what will the Cup do in order to be a win-win for the people of San Francisco.” Mirkarimi said he expected scrutiny of the details of the agreement at the Dec. 8 Budget and Finance Committee hearing: “Naturally, in this time of economic downturn … people want to know, what’s the outlay of cost, and what are we going to get in return?” 

Alerts

Andrew Lam
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0

news@sfbg.com

WEDNESDAY, DEC. 1

Local hiring hearing

Sup. John Avalos’ San Francisco Local Hiring Policy for Construction ordinance, which mandates that construction projects that get city money hire more San Franciscans, has its first hearing and vote before the Board of Supervisors Budget and Finance Committee.

Noon, free

City Hall Room 250

1 Dr. Carlton B. Goodlett Place, SF

554-7723

 

FRIDAY, DEC. 3

Young Workers art auction

Young Workers United, the SF-based advocacy organization behind mandatory paid sick days and other progressive reforms, is hosting an art auction and fundraiser. This event features speakers, dancing, food and drinks, a raffle, and a silent art auction.

7–11 p.m. $10–$25 suggested donation

Mission Cultural Center for Latino Arts

2868 Mission Street

www.youngworkersunited.org

 

AK Press Holiday Sale

Buy independent books, zines, and anarchist lit to your heart’s content at this holiday sale, which offers books as low as $1 and a discount on everything. Drop into this warehouse, located minutes away from the 19th Street BART Station.

4–10 p.m., free

AK Press Warehouse

674-A 23rd St., Oakl.

510-208-1700

 

SATURDAY, DEC. 4

SantaCon

How could thousands of Santas be wrong? Come find out how wrong — oh, so very wrong — this annual flashmob bar crawl can be. In the last several years, SantaCon has grown from dozens to hundreds to thousands of people dressed as Santa Claus, sexy elves, and all manner of XXXmas characters (so many that it’s now broken down into several groups that try to converge a few times during the long, sloppy afternoon).

Noon, free

Throughout SF and the East Bay

Check online for meet-up locations

www.sanfranciscosantarchy.wordpress.com

www.santacon.info/San_Francisco-CA

 

Sea Watch for Endangered Sea Creatures

Come down and search for sea creatures like the humpback whale, stellar sea lion, and southern sea otters while enjoying the views from Fort Funston. This event is part of the Golden Gate National Parks Endangered Species Big Year, which seeks to help save the parks’ endangered species. 9–11 a.m., free RSVP required Fort Funston Observation Deck

Skyline Blvd., SF

415-349-5787

 

Wavy Gravy and his movie

Wavy Gravy is known as the emcee of the Woodstock festival, a hippie icon, activist, clown, and even a Ben & Jerry’s ice cream flavor. Wavy Gravy and filmmakers have created a documentary of one man’s quest to make the world a better place. Playing in theaters for one week only with a talk from Wavy Gravy and filmmakers on Dec. 4.

2, 4, 6, 8, and 10 p.m.

$8 (before 6 p.m.) $10 (general admission)

Landmark Shattuck Cinemas

2230 Shattuck, Berk.

(510) 464-5980

 

SUNDAY, DEC. 5

 

SFBC’s Winterfest

The San Francisco Bicycle Coalition, the city’s biggest grassroots advocacy organization, holds its annual winter fundraiser and membership party. Come bid on bike-related art and merchandise, hear from leaders of the carfree movement, and party down with more than 1,000 of the tightest butts in town.

6-10:30 p.m.

$15 for members, $40 for nonmembers (includes one-year membership)

SOMArts Gallery

934 Brannan, SF

www.sfbike.org/winterfest 

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

 

Emergency forum Tues. / 30 on HANC recycling center eviction

Sasha Cuttler And Mary Magee
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8

An emergency community forum will be held tonight, Nov. 30, about the Recreation and Parks Department’s plan to evict the Haight Ashbury Neighborhood Council (HANC) Recycling Center from a parking lot in Golden Gate Park. If Mayor Gavin Newsom and his former chief of staff, Rec & Park General Manager Phil Ginsburg, succeed in their plan to evict the 36-year old recycling center, they’ll kill 10 green jobs, eliminate a rare source of income for poor people, and put an end to a community resource that costs San Francisco taxpayers nothing.

HANC believes the recycling center is being targeted by Newsom’s administration as a form of political payback, since the progressive organization opposed Proposition L, the sit / lie ordinance, which Newsom supported.

Ginsburg wants to evict the recycling center, which pays rent to the city, and replace it with a community gardening center that would cost $250,000. The shaded lot doesn’t seem like an ideal site for growing produce.

A memo issued Nov. 29 from Ginsburg to Rec & Park Commissioners notes that it is legal for the department to move forward with the eviction without commission approval. Apparently, Newsom’s administration intends to send 10 people to the unemployment line and kick a 36-year-old green resource to the curb without any public input, despite receiving 400 postcards from San Francisco residents opposing the eviction. The Rec & Park Commission will take up the issue of the new community garden center at its Thurs., Dec. 2 meeting.

Tonight’s emergency forum, organized by Keep Arboretum Free, is an attempt to open up a space for public dialogue.

A stakeholder meeting took place this afternoon with Ginsburg, District 5 Sup. Ross Mirkarimi, Department of the Environment Director Melanie Nutter, representatives from the San Francisco Police Department, represenatives from the offices of Assembly Member Tom Ammiano and City Attorney Dennis Herrera, HANC, and area residents.

Jim Rhoads of the HANC Recycling Center told the Guardian just after the meeting, “They’re going to evict us by the end of December. That’s their goal. The mayor has it in for us and he wants to get us out before he leaves.”

The recycling center, located at Frederick and Arguello streets, operates a buyback program for recyclable materials as well as a San Francisco native plant nursery. Residents from the Inner Sunset Park Neighbors have voiced complaints about “quality-of-life issues” that they link with some of the center’s patrons. During buyback hours, held from 10 a.m. to 3 p.m., people arrive with shopping carts filled of cans and bottles to exchange for small amounts of cash. Some of them are homeless.

Representatives from HANC, Rec & Park, and the Inner Sunset Park Neighbors have been invited to speak at tonight’s forum. “There are strongly felt opinions on both sides,” a flier for the event notes. “In the interest of a broad discussion, a number of long time local residents organized this forum for a full public airing of the issues prior to the Dec. 2 Commission meeting.”

The forum will be held tonight, Tuesday, Nov. 30, from 7 to 9 p.m. at St. John of God, 5th Avenue at Irving St.

To voice your opinion about Rec & Park’s plan to evict HANC, call Phil Ginsburg at 415-831-2701 or email him at Philip.Ginsburg@sfgov.org.

Where the plastic bag ban started

Zelda Bronstein
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8
Where the plastic bag ban started

Even Gov. Schwarzenegger is now supporting a ban on plastic bags in California, saying the measure, which narrowly failed in the state Senate last session, is a top environmental priority. But let’s remember:

While Debra Saunders is making fun of those wacky supervisors in San Francisco who try all these crazy things, it was Sup. Ross Mirkarimi, who pushed the first ban on plastic bags, and the San Francisco supervisors who approved it.

Of course, when the rest of the country starts to realize that pushing high-fat, high-calorie foods to kids by hawking plastic toys is a bad public policy idea, Saunders will be making fun of something else.

Why selling state buildings is so dumb

Zelda Bronstein
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18
Why selling state buildings is so dumb

To stem the massive hemorrhaging in the budget, the state of California has authorized the sale of 24 state-owned office buildings across the state to private investors. The state would then rent back the office space.


It’s a classic case of short-term thinking: In the end, the state will end up paying more money in rent than it will gain from the sales. The nonpartisan Legislative Analyst’s Office reported in April that over the next 30 years, the lease payments will likely cost $5  billion more than if the property had stayed in the state’s possession.


But it would provide an immediate injection of $1.2 billion into the state’s general fund.


But there’s an interesting twist that hasn’t been reported on: The state buildings are currently exempt from local property taxes. Once they’re in private hands, county assessors can put them on the tax rolls.


And the way the deal is structured, the state — that is, the taxpayers — will be subsidizing the private owners to cover the local property tax bills. In effect, the deal means that the state will be shifting more money from its general fund to local government — a good thing for counties, but not a terribly good deal for Sacramento.


According to Eric Lamoureux, spokesperson for the Department of General Services, if the local cities decide to tax the new owners, the rent state agencies pay would increase to make up the difference. The private owners would pay nothing.
“The [cost of the tax] is built into lease terms. Ultimately, the state would be paying that.” Lamoureux said.


And while San Francisco City Attorney’s office is still unsure of the exact terms of the sale-lease back agreement, they plan on looking out for the city’s best interests.


 “The city attorney is going to be extremely diligent with the recorder-assessor to collect all the taxes that are owed,” Matt Dorsey, press spokesperson for City Attorney Dennis Herrera, told us. And by collecting property tax, the local city governments would get a nice boost in revenue.


The sale to California First LLC, a partnership between Hines Interests and Antarctica Capital, has already been met with opposition including a lawsuit and an injunction trying to prevent the deal.

Caretaker mayor concept blasted by Daly

Sasha Cuttler
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18
Caretaker mayor concept blasted by Daly

There’s been much talk about naming a “caretaker mayor” to replace Mayor Gavin Newsom in January – most of it coming from downtown-oriented politicians, advocates, and publications, who are in the minority on the Board of Supervisors – but Sup. Chris Daly offered a full-throated denunciation of the idea this week.

At the end of Tuesday’s long debate on adopting a procedure for choosing a successor mayor, Daly appealed to his colleagues, “Can we please spend a minute talking about what we’d like to see in the new mayor of San Francisco?” And in his remarks that followed, he focused on shooting down the notion that a caretaker mayor is what this troubled city needs.

The idea behind a caretaker would be to choose a technocrat who would pledge not to run for reelection in the fall, thus keeping any prospective candidate from gaining an advantage from incumbency. Names most frequently cited by moderate politicians and media voices are SFPUC head Ed Harrington, Sheriff Michael Hennessey, and City Administrator Ed Lee. Some more progressive caretaker names that get dropped include former Mayor Art Agnos and SF Democratic Party chair Aaron Peskin.

But Daly – publicly sounding a perspective that’s been widely discussed in progressive circles, who question why the board’s progressive majority would purposefully punt away the chance to lead – said the idea is fundamentally flawed: “You would be putting someone in office who is necessarily weak and hamstrung.”

While Daly acknowledges that he’d like to see a progressive in Room 200 and that “the political divide is real” between progressives and moderates, he said the flaws in installing a caretaker mayor should be apparent to everyone. To deal with a $400 million deficit and other structural budget issues, the new mayor is going to have to show leadership and have a base of support, which a caretaker mayor wouldn’t.

Although the Hearst-owned Chronicle has been promoting the idea of a caretaker mayor now, Daly noted that the Hearst-owned Examiner editorialized against the idea last time the city was in this position, in 1978 after Mayor George Moscone was assassinated and the board picked Dianne Feinstein to become mayor. “The City should not have to accept a “caretaker” mayor invested with only a thin veneer of authority,” editorialized the Examiner.

“It would be a colossal mistake,” Daly said of choosing a caretaker mayor. “We need to do better than just someone who knows the inner workings of city government.”

But the fear that the board’s progressive majority would put a progressive in office – or even a moderate politician with some progressive inclinations and connections – seems to be downtown’s greatest fear right now. The fun begins Dec. 7 when the board resumes its discussion of the issue and could start taking nominations.

Chronicle finally uses the P word: Progressive

Sasha Cuttler
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41
Chronicle finally uses the P word: Progressive

The San Francisco Chronicle ran a good story yesterday on progressives hopes for appointing one of our own as the next mayor. But beyond being fair to progressives that are often demonized by a newspaper whose political sympathies lie with the downtown crowd, the article was notable for something else: it’s use of the word “progressive.”

For years, Chronicle editors have refused to use the word that is most commonly used to describe the people and ideology that controls a majority of the Board of Supervisors, opting instead to label progressives as “far-left” or “ultra-liberal,” while the economic conservatives in town get the reasonable-sounding label “moderate.”

Sources tell the Guardian that this bit of Orwellian wordsmithing started with former Editor Phil Bronstein and was fueled by Mayor Gavin Newsom complaining to Chronicle editors that calling his political enemies “progressives” made us sound too reasonable, rather than the wild-eyed radicals he considered us to be.

I and others have discussed this with Chronicle Metro Editor Audrey Cooper, and her bewildering argument is that progressive “is a politically loaded term that doesn’t mean much to our readers.” I’ve pointed out that the word is quite descriptive and has deep historical roots in California and its own caucus in Congress – and that labeling us “ultra-liberal” is far more loaded and pejorative – but to no avail.

I ran into the writer of yesterday’s story – Rachel Gordon, a solid reporter and former colleague from the City Desk NewsHour television program – at the Board of Supervisors meeting yesterday afternoon and she said that political reporters at the Chronicle have long been pushing to use “progressive” and the editors finally changed the policy.

I have a message in to Cooper and I’ll follow up in Comments if I learn anything more about how and why the decision was made. But it’s good to know the paper of record is now letting progressives be progressives. Maybe now we can get rid of the “moderate” label. How about SoLibEconoCons (socially liberal economic conservatives)? OK, maybe that still needs some work.

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