San Francisco

Music Listings

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

WEDNESDAY 3

ROCK/BLUES/HIP-HOP

Hudson Bell, Winechuggers Café Du Nord. 9:30pm, $10.

Aloe Blacc with the Grand Scheme, Maya Jupiter, DJ Matthew Africa Rickshaw Stop. 8pm, $14.

Caldecott, Spooky Flowers, Guns for San Sebastian, Ansel Bottom of the Hill. 9pm, $8.

Paula Cole Yoshi’s San Francisco. 8pm, $26.

Dr. Dog Fillmore. 8pm, $25.

Lila Downs Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 7:30pm, $25-65.

Elsinore, Dot Punto, Elissa P, Ash Reiter Elbo Room. 9pm, free.

Sean Hayes, Arann Harris and the Farm Band Independent. 8pm, $17.

Hypnotist Collectors, Sweet Bones, Starfish in the Clouds Milk Bar, 1840 Haight, SF; www.milksf.com. 9pm.

Candye Kane Biscuits and Blues. 8pm, $18.

No Joy, La Sera, Wax Idols Hemlock Tavern. 9pm, $7.

Eliza Rickman, Chris Trapper, Jason Adamo Hotel Utah. 8pm, $10.

Ryuichi Sakamoto Regency Ballroom. 8pm, $30-37.50.

DANCE CLUBS

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

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.

RedWine Social Dalva. 9pm-2am, 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 4

ROCK/BLUES/HIP-HOP

Natacha Atlas Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 7:30pm, $25-65.

Bayside, Senses Fail, Title Fight, Balance and Composure Regency Ballroom. 7:30pm, $18.

Avi Buffalo, AB and the Sea, Colleen Green Bottom of the Hill. 9pm, $14.

Roger Clyne and the Peacemakers, High Five Revival Café Du Nord. 8:30pm, $16.

Djavan Warfield. 8pm, $37.50-62.50.

Dr. Dog Fillmore. 8pm, $25.

Foxtail Somersault, Tomihira, Vir, Tracing Figures Rickshaw Stop. 8pm, $10.

Grand Nationals, Good Luck Jimmy, Uncle Frank and the Co-Defendants, Ash Gray Hotel Utah. 8pm, $8.

Mean Jeans, Shannon and the Clams, Margaret Doll Rod, Therapists, Skumby Thee Parkside. 9pm, $8.

Monarch, Trees, Al Qaeda Hemlock Tavern. 9pm, $7.

Two Door Cinema Club, Generationals, Funeral Party Slim’s. 8pm, $17.

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

Wild Thing, SF Blows Knockout. 9:30pm, $5.

DANCE CLUBS

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

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

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

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

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

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

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.

FRIDAY 5

ROCK/BLUES/HIP-HOP

Bear in Heaven, Lower Dens, Sun Airway Independent. 9pm, $14.

Darondo Café Du Nord. 9pm, $15.

Rick Estrin and the Night Cats Biscuits and Blues. 8pm, $20.

Funk Revival Orchestra, Karyn Page Boom Boom Room. 9:30pm, $10.

Mark Growden a.Muse Gallery, 614 Alabama, SF; www.brownpapertickets.com. 7:30pm, $20-90.

Hillstomp, McDougall Thee Parkside. 9pm, $8.

I The Mighty, Of Shape and Sound, 5606, Hometown Bottom of the Hill. 9pm, $12.

Ray Manzarek and Roy Rogers Yoshi’s San Francisco. 8 and 10pm, $18-25.

Moanin’ Dove, Goldenhearts with Kaboom String Band, Linda Perry, Soft White Sixties Cellspace, 2050 Bryant, SF; www.tiny.cc/3uvwz. 8pm, $12.

Patsychords, Coyote Grace, Alessi’s Ark, Kelli Scarr Hotel Utah. 8pm, $8.

La Plebe, Lenny Lashley’s Gang of MDC, Classics of Love, Nino Zombi Slim’s. 8:30pm, $15.

Roche, Sex Worker, Bookworms Li Po Lounge. 8pm.

Walken, Lesbian, Grayceon Hemlock Tavern. 9:30pm, $8.

JAZZ/NEW MUSIC

Francis Wong Old First Church, 1751 Sacramento, SF; (415) 474-1608. 8pm.

FOLK/WORLD/COUNTRY

Afrofunk Experience Coda. 10pm, $10.

Heather Ambler and Jim Goodkind Mercury Café, 201 Octavia, SF; (415) 753-7855. 7:30pm, free.

Brass Tax Amnesia. 10pm, $5.

SambaDa Great American Music Hall. 9pm, $16.

DANCE CLUBS

Bearracuda DNA Lounge. 9pm, $10. House music dance party for bears and other wildlife, with live performances by Christeene, Smash-Up Derby, and more.

Braza! Som.10pm, $10. One-year anniversary celebration with DJ Spinna, plus residents Kento, Vanka, and Elan and live batucada with Fogo Na Ropa.

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

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.

Family Vibes Elbo Room. 10pm, $8-10. Dub, bhangra, and Latin with Non Stop Bhangra, Locura, and Surya Dub,

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

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

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

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

Oldies Night Knockout. 9pm, $2-4. Doo-wop, one-hit wonders, and more with DJs Primo, Daniel, and Lost Cat.

Rick Preston, Michelle Sanz, Christian Intrigue Triple Crown. 9pm. Spinning house to raise money for the American Red Cross to help victims of the San Bruno disaster.

Popscene vs. Loaded Rickshaw Stop. 10pm, $10. With Young the Giant, Geographer, DJ Aaron Axelson, and DJ Omar.

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 The 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, Joe Radio, Fact 50, and Prince Charming spinning goth and industrial.

SATURDAY 6

ROCK/BLUES/HIP-HOP

Big Light, Big Universe, Scraping for Change, Distorted Harmony, Lost Cosmonauts, Body or Brain Great American Music Hall. 7pm, $15.

Browntown West, Okie Rosette, Starr King Pops Bottom of the Hill. 2:15-5:15pm, $15. Starr King Elementary School benefit.

Colour Revolt, Cast of Thousands, Polaris at Noon Bottom of the Hill. 9:30pm, $10.

David J with Jill Tracy, Oddbird, Five Beats One Café Du Nord. 9:30pm, $15.

Evolution: The Ultimate Tribute to Journey, La Ventana Slim’s. 9pm, $16.

Ruth Gerson Hotel Utah. 8pm, $10.

Mark Growden a.Muse Gallery, 614 Alabama, SF; www.brownpapertickets.com. 7:30pm, $20-90.

Laurie Morvan Band Biscuits and Blues. 8pm, $20.

Ledisi Palace of Fine Arts, 3301 Lyon, SF; www.sfjazz.org. $30-75.

Left Alone, Rocketz, Howlers, Bum City Saints Thee Parkside. 9pm, $8-10.

Magic Leaves, Moccretro, Spurm Hemlock Tavern. 9:30pm, $6.

Mondo Drag, Your Cannons, Rachel Fannan Fivepoints Arthouse, 72 Tehama, SF; (415) 989-1166. 8pm, $5.

Pepper, Fishbone, Pour Habit Warfield. 8pm, $28.

Small Black, Class Actress, Young Prisms Independent. 9pm, $14.

Mavis Staples and Billy Bragg Fillmore. 8pm, $36.50.

Chelsea TK and the Tzigane Society, Love Dimension, Moon Balloons Hotel Utah. 9:30pm, $6.

Trans Am, Nice Nice, Jonas Reinhardt, Beat Broker Rickshaw Stop. 8:30pm, $15.

Jody Watley Yoshi’s San Francisco. 8 and 10pm, $28-36.

JAZZ/NEW MUSIC

Roy Haynes and the Fountain of Youth Band Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 8pm, $25-65.

“Switchboard Music Festival Preview” Porto Franco Records Art Parlor, 953 Valencia, SF; (650) 678-8020. 8pm, $15. With Telepathy and Happy Hour Jazz Quintet.

Zachary James Watkins, Kenneth Atchley Li Po Lounge. 9pm, $5. With films by John Reily with soundtracks by Lars Hidde and Charles Kremenak.

FOLK/WORLD/COUNTRY

Africa Rising feat. DJ Jerimiah Coda. 10pm, $10.

Magic System, Les Twins Mezzanine. 8pm, $30.

Tango No. 9 Noe Valley Ministry, 1021 Sanchez, SF; www.noevalleymusicseries.com. 8:15pm, $17.

DANCE CLUBS

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

Debaser Knockout. 9pm, $5. Nineties alternative with DJ Jamie Jams and Emdee.

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.

Leisure Paradise Lounge. 10pm, $7. DJs Omar, Aaron, and Jet Set James spinning classic britpop, mod, 60s soul, and 90s indie.

New Wave City: Duran Duran Tribute DNA Lounge. 9pm, $7-12. With DJs Skip and Shindog.

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. Sixties soul with DJs Lucky, Phengren Oswald, and Paul Paul.

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 7

ROCK/BLUES/HIP-HOP

Terry Adams Yoshi’s San Francisco. 8pm, $25.

Azalea Snail, Werewolves, Art of Shooting, Technicolor Yawn Hemlock Tavern. 5pm, $7.

Circa Survive, Dredg, Codeseven, Animals As Leaders Regency Ballroom. 7pm, $20.

A Decent Animal, Manatee, Graham Patzner Hotel Utah. 8pm, $7.

George Glass, Grimoon, Silent Pictures Knockout. 9pm, $7.

Johnny Flynn, Cheyenne Marie Mize, Goh Nakamura Rickshaw Stop. 8pm, $12.

Kegels, Penny Dreadfuls, Dead Panic Bottom of the Hill. 9pm, $10.

Rubbersidedown, Burn River Burn, Dead Neck Café Du Nord. 8pm, $10.

JAZZ/NEW MUSIC

Kally Price with Old Blues and Jazz Band, Emperor Norton’s Jazz Band Amnesia. 9pm, $7-10.

FOLK/WORLD/COUNTRY

José James and Jef Neve Florence Gould Theatre, Legion of Honor, 100 Legion of Honor Dr, SF; www.sjfazz.org. 2pm, $30.

Yellowjackets: The Jeff Lorber Fusion feat. Randy Brecker and Eric Marienthal Palace of Fine Arts, 3301 Lyon, SF; www.sfjazz.org. 7pm, $25-65.

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.

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

Dance Social Knockout. 5pm, free. Northern soul, Motown, rocksteady, and more with DJs Dr. Scott and Revival Sound System.

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

DJ Anthony Atlas Hemlock Tavern. 9pm, free.

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

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 DJs Fab Fred and Antonio with Jesus Diaz y su QBA.

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

MONDAY 8

ROCK/BLUES/HIP-HOP

Average White Band Yoshi’s San Francisco. 8pm, $25.

Marc Cohn, Sahara Smith Palace of Fine Arts, 3301 Lyon, SF; www.ticketmaster.com. 8pm, $38.50.

Combichrist, Aesthetic Perfection, (iVardensphere), God Module, DJ Decay Slim’s. 7:30pm, $24.

Heavy Independent. 8pm, $14.

Lucabrazzi, Vatos Locos, Spawn Atomic, Bckup Razor Elbo Room. 9pm, $5.

Supervillains, Ballyhoo!, Agent Deadlies Bottom of the Hill. 8:30pm, $10.

KT Tunstall, Hurricane Bells Warfield. 8pm, $30-40.

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 DJs 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 9

ROCK/BLUES/HIP-HOP

Average White Band Yoshi’s San Francisco. 8 and 10pm, $16-25.

Brookhaven Amnesia. 9pm.

Nectarine Pie, TRMRS, Apache Hemlock Tavern. 9pm, $6.

OK Sweetheart, Parlor Hawk, Desert Noises, Sean Barnett Hotel Utah. 8pm, $10.

Pains of Being Pure at Heart, Weekend, Grave Babies Independent. 8pm, $15.

Kurt Vile and the Violators, Soft Pack, Purling Hiss Rickshaw Stop. 8pm, $12.

DANCE CLUBS

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.

GOLDIES 2010: Jennifer Locke

Jesse Hawthorne Ficks
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GOLDIES 2010: Jennifer Locke

In her pieces, Jennifer Locke has, variously, jumped rope for 30 minutes in a full-body latex suit (cutting out a hole in the bottom afterward to drain out her accumulated sweat and urine); wrestled with a partner at the Berkeley Art Museum smeared in stage blood; covered herself in Elmer’s glue, let it dry into a second skin, and then peeled it off; received a lap dance from a male stripper; and branded a fellow participant.

Granted, reducing Locke’s art to such a titillating laundry list is a superficial move. But the immediate visceral spectacle her work repeatedly presents is undeniably seductive — albeit in a punk rock kind of way. It’s hard not to be pulled in by the grappling, athletic bodies, the donning and shedding of second skins, all frequently soundtracked by the amplified breath of the participants themselves, even if it sometimes causes one to flinch.

Locke, who has spent considerable time working as a pro dom and is herself a champion submission wrestler, is keenly aware of her art’s initial draws. “Yeah,” she laughs over the phone, “athletic bodies are inherently sexy. It’s in our nature as human beings to want to look. But I want there to be a barrier between the audience and the image of the body.”

In Locke’s work, which she describes as a sculptural hybrid of live studio actions and video, the camera often provides that layer (or more often, layers) of mediation. Locke strategically uses video within her pieces to alter the on-site audience’s expectations and perceptions of what’s occurring in front of them, as well as those of viewers encountering the pieces as video documents after the fact.

Whatever erotic or transgressive charge a viewer may have invested in the actions being performed becomes rewired through the camera set-up, or is short-circuited entirely. As critic Daniel Coffeen has noted of Locke’s work: “She does not dabble in human affect but in human mechanics.”

In the aforementioned BAM piece, Red/White (Fake Blood), Locke and her wrestling partner sparred in the museum’s loading bay, their actions relayed to the audience via a live video feed that, due to technical difficulties, wound up being projected in black and white. The door to the dock, however, was left slightly ajar so anyone who wanted to see the “real event,” and the piece’s “true colors,” could — although no one was ever specifically directed to.

In Black/White, a three-day piece done as part of the opening of the San Francisco offices of the Marina Abramovic Institute of Performance Art, Locke placed the camera filming a live feed of her actions so that it encompassed those viewing her as well, then projected that image on a rear wall so the audience could observe either Locke’s action or the projection of themselves watching Locke’s action, but not see both simultaneously.

“I used to talk a lot in my artist statement about power dynamics, but then I realized over time that I’m more interested in how meaning gets produced,” she says. “Power is a means to talk about that, but I want to know how those hierarchies actually shift around in reality: Who’s in control? Am I? Is the camera? Is the audience? My work is like a three-card monte.”

www.jenniferlocke.net

>>MORE GOLDIES 2010

Election 2010: Wiener confident in D8, but Mandelman not giving up

Sasha Cuttler
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Election 2010: Wiener confident in D8, but Mandelman not giving up

The mood was buoyant in Harvey’s bar in the Castro, where D8 supervisorial candidate Scott Wiener had 54 percent of the vote in early returns when he arrived around 9:30 pm. His lead over progressive candidate Rafael Mandelman has narrowed since then (45-33 percent at last count), and that campaign was still hopeful at its party at Pilsner Inn on Church Street.
“The question is does it get tight enough that the number two votes make a difference,” Mandelman told the Guardian, referring to the ranked choice election and showing hope that many of Rebecca Prozan’s second choice votes would go to him. Mandelman noted that his campaign had a solid volunteer effort and good turnout in the district. “We think it’s going to be closer than in looks right now.”
But Wiener expressed confidence that he will prevail. “I feel really good about it,” he told the Guardian. The race was fairly cordial among the candidates, but Wiener got hit pretty hard by mailers from labor and tenant groups attacking him as hostile to progressive priorities.
“It got negative toward the end, and I think that’s unfortunate, but that’s modern politics and the truth prevailed,” said Wiener, who has argued that his record of votes on tenant issue while serving on the DCCC was better that it was represented in this election. In fact, even some progressives think Wiener might be a better vote on tenant issues than incumbent Bevan Dufty, who was consistently a swing vote against tenant protection legislation.
In fact, Wiener campaign manager Adam Taylor, who is a renter, told us that he wouldn’t have worked on the campaign if he didn’t believe Wiener would stand up for renters’ rights. “We expected certain falsehoods to count out and they did,” said Taylor, who was running his first campaign in San Francisco. “I’m proud of how we kept our head held high.”

Election 2010: Theresa Sparks supporters await results

Sasha Cuttler And Mary Magee
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Election 2010: Theresa Sparks supporters await results

District 6 candidate Theresa Sparks showed up fashionably late for her own election night gathering at Don Ramon’s Mexican restaurant in the South of Market neighborhood. Election results are still coming in, and she told the crowd, “We’ll just watch it together and see what happens.” Early results show Jane Kim as the favored candidate in the district so far, but as everyone here seems to be telling one another, “it’s going to be a long night.”

Rob Black of the San Francisco Chamber of Commerce was in attendance, as well as Francis Tsang, who works in Mayor Gavin Newsom’s press office. 

Katra Briel said she had known Sparks for years, and was one of the first to volunteer for her campaign. Being out on the streets and talking to voters about the election was “really enlightening,” she said, but “sometimes the things reminded me of the 7th grade — it seemed like more of a popularity contest than being about the issues.” Briel said she sees Sparks as “the kind of person we need in government.”

John Zowine, another campaign volunteer, said he was inspired to do phone banking for Sparks after a five-year stretch without being involved in any campaigns. “I was really impressed with her,” he said. Asked how he was feeling about the outcome of the race, Zowine said, “I would think that with all those endorsements, and Gavin’s support, she should do really well.”

 

 

 

Election 2010: The Jackson party

Zelda Bronstein
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By Shawn Gaynor

Surrounded by a youthful, diverse, and dedicated volunteer campaign staff, Chris Jackson enthusiastically awaits election results in San Francisco’s district 10.

Nobody here has slept in 24 hours as the campaign pushed for a final get out the vote drive. “Whatever happens, we’ve changed the discussion of this district’s selection, from the focus on middle class issues to a focus on working class issues,” Jackson said. “Our industry is being replaced in District 10 with parking lots and condos. The city needs land trusts to keep foreclosures from destroying neighborhoods.”

He added: “You can’t have high employment in your community if your community reads at a 7th grade level. Win or lose, we are here to stay in the neighborhood and build community. I hope after this election we figure out how to have a united progressive family again, that’s what we need to move forward.”

Election 2010: The Lacy party

Zelda Bronstein
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Outside of Bloom’s Saloon, there’s a silver taco truck with a black and orange Dewitt Lacy sign stuck on the back. “Eat It” by Weird Al is blasting from inside the Saloon and as I timidly follow the noise Lacy himself turns around and gives me a wave.

I instantly feel right at home sipping my ice water while Lacy tells me about his campaign team and their accomplishments. “A lot of us put a lot of hard work into the campaign,” Lacy says.

We talked about the day he met President Obama and how his abilty to keep his cool completely vanished upon shaking the president’s hand. But personal anecdotes aside, Lacy is definitely serious about representing his district.

 “Some people have pegged this race as the Heart and Soul of San Francisco,” Lacy explained. “For far too long this district has been left out or overlooked and it’s time for that to stop.”

And while this particular race may not produce all results immediately — it will be decided by ranked-choice votes later in the week —  Lacy seems relaxed and relieved to be enjoying tacos, tequila, and cherry delight with friends, family and supporters.

When asked if most election parties are this chill, Lacy simply replies, “We are the people man.”

GOLDIES 2010: Christopher Kuckenbaker

Jesse Hawthorne Ficks
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GOLDIES 2010: Christopher Kuckenbaker

In September, the San Francisco Fringe Festival offered patrons an off-Beat gem, The Burroughs and Kookie Show. A deftly performed blend of homage and intimate psychic excavation, the play imagines William S. Burroughs (actor-playwright Christopher Kuckenbaker) as talk show host, opposite a deadpan, laconic musician named Loubis the Pubis (Louis Libert), and a missing cohost, “Kookie,” symbolized in absentia by a small, empty chair. Tonight’s guest? An unsuspecting actor named Chris Baker (Christopher Kuckenbaker again). At once mood-alteringly dreamy and piquant, shrewdly funny and unexpectedly poignant, the show deservedly scampered off with “Best of Fringe” honors.

Kuckenbaker is a sharp, versatile actor who’s plied the more vibrant fringes of Bay Area theater since the 1990s. He and his now ex-wife moved away in 2001 to pursue professional careers as actors in Chicago and Boulder, but Kuckenbaker returned in 2007. The timing was auspicious. A month later, he was memorably cast as real mama’s monster Grendel in Banana Bag & Bodice’s bicoastal hit, Beowulf: A Thousand Years of Baggage. Next up, Kuckenbaker appears at Z Space opposite 2009 Goldie winner Beth Wilmurt in The Companion Piece, directed by Mark Jackson.

Kuckenbacker came to acting while at Santa Barbara City College. This followed a scattered upbringing in California towns like Hollister and Salinas, and far-flung lands like Australia. He credits all the moving around with seeding his actor’s outgoing personality. “It maybe forced me to be a little more gregarious than other people,” he suggests.

Arriving in San Francisco in 1993, Kuckenbaker received a degree from San Francisco State’s prolific theater department in 1997. Since then, his graceful work and alternately intense and quirky looks have made him a unique presence onstage. He’s also an astute and generous ensemble player who’s worked repeatedly with leading smaller companies like Art Street and the Shotgun Players; been part of a now defunct sketch comedy troupe called Old Man McGinty; and appeared repeatedly in Playground’s popular stagings of contest-generated short plays.

His own shift to playwriting, meanwhile, is more than a lark. He and Burroughs go way back. They first met in the Interzone of the imagination around the time Kuckenbaker left Santa Barbara with some Beat-obsessed cohorts for Bellingham, Wash., in the early 1990s. He stayed only a year in the Pacific Northwest rain, but something had happened to him up there, some inter-era nod, some afflatus. A mind-meld with old Bill.

“When I first moved to Bellingham, I’d go to the grocery store and pick up CDs of him reading his own works. That turned me on. There was something about his voice that triggered something in my brain, released some kind of new chemical in my head, and it just made sense.”

After gestating for nearly two decades, that initial inspiration has become a Möbius strip seamlessly joining in one actor two complex identities: Burroughs and the actor alter ego called on to process the painful end of a marriage. In giving a compelling dramatic shape to the voices in his head, Kuckenbaker says he’s found new definition in a still-unfolding career.

“When I look back, it seems to me I was just going from one show to the next, never really seeing myself any further along than the next show. Now, after giving birth to something in a very personal way, I want with all my power for it to grow and be seen, to spread itself out across the world. I have some big ideas about where I want to take the next iteration of The Burroughs and Kookie Show, making it a much larger and richer piece.” 

www.kuckenbakery.com

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GOLDIES 2010 LIFETIME ACHIEVEMENT: Marc Huestis

Jesse Hawthorne Ficks
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GOLDIES 2010 LIFETIME ACHIEVEMENT: Marc Huestis

“What a swimmer is Dracula’s daughter!,” exclaims John “the Cool Ghoul” Zacherle, as “Dinner With Drac” blares from the speakers in Marc Huestis’ Redstone Labor Temple office. ‘Tis the season for Huestis’ tribute to Poltergeist‘s Jobeth Williams, and the activist, filmmaker, and camp impresario is in the final stretches of preparing for the big night.

What hasn’t Marc Huestis done? As a youngster, he arrived in San Francisco from Long Island, New York, unafraid to recite poetry while sporting a pompadour that would make any Elvis impersonator feel size envy. Soon you could see him singing in drag or writhing around on stage in a dirty diaper in Angels of Light productions. But from the very beginning, film was at the heart of Huestis’s life. His father was an editor who worked on the ’60s teen music TV show Hullabaloo, while his mother was a showgirl. “I have a little bit of both in me,” he jokes, and it’s the truth — a Marc Huestis extravaganza involves informed editing and explosive creative freedom.

One of Huestis’ first notable celebrations was the San Francisco Gay Film Festival, now known as the Frameline fest, which he and his non-biological twin-of-sorts Daniel Nicoletta (born just three days apart from him) began with other like minds in 1976. “It was fun, a bunch of kooky hippie kids who wanted to get their movies shown,” he remembers. “There was no pretense, and the group of us were able to get together to do it. It’s great to see what it has evolved into, and feel a bit like a patron saint. Some people will always hate you, but at this age” — Huestis is 55 — “you get to the point where some people respect you. And you respect yourself.”

In 1982, after making some short films, Huestis wrote and directed Whatever Happened to Susan Jane?, his distinctly San Francisco answer to the kinds of antic comedies John Waters was making on the East Coast. In recent years, the movie has found a new audience amongst music lovers devoted to San Francisco’s new wave heyday — one of its strongest aspects is its documentation of wild performances from Tuxedo Moon and other groups of the day. “It was a great combination of gay culture and punk culture,” Huestis says of the era. “There’s a kindness to it, and it was very smart.”

Huestis’s next feature-length movie, 1993’s Sex Is… is very much a film of its time. A direct look at and discussion of the experience of gay sex and intimacy amid the AIDS crisis, it was also a do-it-yourself, many-year labor of love, with DIY aesthetics one common thread throughout Huestis’s creative life. “It’s very heartfelt,” he says of the film. “It was an important film when it came out because no one was talking about sex, and if they were, it was really hypocritically. The high point of my life was to be at the Berlin Film Festival for the world premiere, and then several days later, be at the awards presentation with Billy Wilder sitting nearby. For me, having HIV, and not thinking I was going to live, that moment was a gift.”

One year later, Huestis moved into his office in the Labor Temple, a treasure trove of film memorabilia where the walls are lined with autographed photos, and VHS tapes, DVDs, VCRs and DVD players are stacked on top of each other — in a well-organized fashion. The site is his base for the celebrity events that he puts on at the Castro Theatre, theatrical and cinematic programs that have blazed a trail for another generation of movie mayhem purveyors such as Jesse Hawthorne Ficks and this year’s Goldie winner Joshua Grannell, a.k.a. Peaches Christ.

Old media surrounds us as we talk, but there is little doubt that Huestis, experienced at putting together political and community fundraisers, is always focused on the present and future as well. “I love new media,” he says. “I could not do what I do if I didn’t have knowledge. I design the posters, I do the clip reels, I get the music together, I do the PR. I would sell the popcorn if I could. I love it. I never get tired of movies.”

It’s fitting, then, that Huestis gets to call one of this country’s oldest and most beautiful movie palaces, the Castro Theatre, home. “One of the first shows I put on there was when the Republicans took control of Congress, so everything comes around,” he says. “The best thing is seeing someone go there for the first time. To me it’s like the town barn, but it’s an amazing, beautiful place.”

If star power can me measured in size, some of the players that Huestis has brought to the Castro over the years — Debbie Reynolds, Jane Russell, Tony Curtis, Piper Laurie, Patty Duke — rival the size of the fabled venue. He’s also given eccentric talents such as Sylvia Miles and Karen Black the type of spotlight they deserve. In the end, it’s about gratitude, on his part, on behalf of the audience, and hopefully, from the subjects of his tributes. Huestis’ night for Tony Curtis resulted in him being hired by the actor to create a clip retrospective that ultimately wound up being shown at Curtis’s funeral. “I had a great fondness for and connection with him,” he says. “I love it when they’re thankful, because no one shows gratitude, the world is so entitled. After the [Castro] show, he [Curtis] held my hand really hard, looked me straight in the eyes, and said, ‘Thank you.'”

Thank you, Marc Huestis.

www.myspace.com/marchuestispro  www.youtube.com/user/hostesshue

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GOLDIES 2010: Jesse Hewit/Strong Behavior

Jesse Hawthorne Ficks
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GOLDIES 2010: Jesse Hewit/Strong Behavior

Most shows start with a request to turn off your cell phones. Tell Them That You Saw Me begins with an implicit request to leave your virtual mind outside. As the lights come up in this latest work from Jesse Hewit/Strong Behavior (which premiered after a residency at CounterPULSE in August), five utterly gobsmacked women, sprawled in enervated postures on floor and furniture, stare back at the audience for a very long time. The audience is still, but maybe still not seeing everything in front of them, as a micro-choreography of breath and saliva and eyelash unfolds amid a glacial volley of questions and answers. The real seeing takes time and patience and something like courage, things that feel in short supply these days — unless you attend this piece, which requires as well as rewards “attending.”

“It’s a study in focus,” says Hewit, “and it’s a study in what we’re looking at and why, and how we deal with each other for long periods of time.” The piece, he says, made him conscious of a concern he’s had with duration as a condition of social life and a strategy for art. Like an aikido master, Hewit uses the sheer weight of time to unsettle our usual, predictable, and tyrannical rhythms. In doing so he advances an invigorating and revelatory body of work exploring our myriad personal and social identities.

For his part, the 30-year-old choreographer and theater maker is both a unique artist and part of a tight-knit milieu making serious waves across the Bay Area’s performance scene. Much of this network of young, bold, savvy, and mostly queer artists gathers under the banner of The Off Center, an ongoing artist-run performance initiative originally formed around recently-shuttered queer performance incubator Mama Calizo’s Voice Factory. (The group includes close colleague Laura Arrington, the other CounterPULSE summer residency artist, whose Hot Wings shared the bill with Tell Them.)

From ages 8 to 13, Hewit studied ballet in Montreal. But dance went by the wayside as his family kept pulling up stakes and moving, since in most places “it wasn’t cool to be a boy who was a dancer.” He got back into dance while at New York University in Tisch’s Experimental Theater Wing. Then, unexpectedly, he headed to a psychology program in central Florida: “I don’t know what the deal was, but something didn’t agree with me in New York anymore.” After a year-and-a-half, Hewit found San Francisco State’s graduate program in sexuality studies. “I thought I was going to be a sociologist,” he admits. “[But] my mode of expression while in graduate school kept coming back to mounting performances or looking at bodies and posturings, so I realized, ‘Oh, okay, I have to go back and do dance stuff.'”

The theoretical rigor explicitly informs Hewit’s work, but he’s also inspired by an international discourse among dance/theater makers. He recently trained with choreographer Meg Stuart and names among other significant influences New York–based choreographer Miguel Gutierrez, Bulgarian-born physical theater artist Ivo Dimchev, North Carolina–raised feminist choreographer-provocateur Ann Liv Young, and New York’s Big Art Group. Locally Hewit cites people like Erika Chong Shuch, Jess Curtis/Gravity, and Sara Kraft.

Hewit particularly credits Keith Hennessy, a friend and mentor, with drawing his work into an international context. He brings up Hennessy’s balancing of two boards on his head in his Bessie Award–winning show Crotch. “It’s really relentless and impossible and it takes way too long,” he recounts with satisfaction. “It’s nice. It’s always these little sites of resistance — just how quickly do we think things are supposed to happen?” 

www.jessehewit.com

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GOLDIES 2010: Joshua Grannell

Jesse Hawthorne Ficks
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GOLDIES 2010: Joshua Grannell

Whether he’s all dolled up as Peaches Christ or wearing his everyday attire, Joshua Grannell is a cinematic force to be reckoned with. He turned a love of cult film into a modest empire, with a memorable drag character, a popular midnight movie series, and All About Evil, his first full-length feature film.

But back in 1998 when Grannell was working for Landmark Theatres, Midnight Mass was a tough sell. “Midnight movies had really died in San Francisco,” he recalls. “It was sort of a thing that was considered passé and relegated to the suburbs.”

To Landmark’s credit, Grannell did get the go-ahead to create Midnight Mass, which he hosted as his alter ego Peaches Christ. He screened camp classics like Showgirls (1995), Female Trouble (1974), and Beyond the Valley of the Dolls (1970). The stage show was led by Peaches, who Grannell describes as “a character born out of the world of cult movies.”

“I’m not just programming a movie,” he explains. “I’m also creating an entire environment and a whole show to go along with it.”

While Grannell still produces Midnight Mass sporadically, he no longer maintains it as a regular series. And who can blame him? He has plenty on his plate as a filmmaker, the role he’s wanted to play since childhood.

“I went through a period where I started to freak out and think, oh my God, what have I done?” he admits. “I’m best known for being a clown named after Jesus. And I was proud of that … but I really did start to think that no one was ever going to invest any money in me or my filmmaking.”

But it was his Peaches Christ fame and the popularity of Midnight Mass that gave Grannell an audience who understood and appreciated his vision. He was able to use that when he wrote and directed All About Evil, in which he also cameos — as Peaches, natch.

The film is Grannell’s ode to his idols, an homage to the schlocky gore of Herschell Gordon Lewis and the charming perversity of John Waters. It’s also an impressive achievement, the work of a filmmaker who is accomplished in his own right.

But he hasn’t let the success go to his head. As Peaches, Grannell remains a snarky fan, noting that part of her appeal is her unwavering silliness.

“Peaches is a bit of a goofball, and I certainly don’t take Peaches too seriously,” he notes. “The minute I do, go ahead and put a bullet in my head, because that would ruin everything.”

To Grannell, the fannish aspect is essential to the Peaches Christ brand. In a way, it mirrors his own passion — he’s just as excited to share the stage with his cult heroes as we are to see them.

“I’ve built a whole career centered around worshiping my idols,” Grannell says. “I’ve gotten to meet them and I’ve gotten to work with them. But even though I would say that I consider John Waters to be a friend, I don’t know that he’s a friend to me without my obsession still being there and being a fan.”

Grannell’s humility isn’t an affectation. Despite his considerable successes, he’s still driven by simple goals.

“I make crowd-pleasers,” he says. “I’m an entertainer. There’s a sort of art to what we do, certainly, and an aesthetic, but first and foremost, I get off on making people laugh or puke or scream. That’s always been the thing I’m most interested in.”

www.allaboutevilthemovie.com; www.peacheschrist.com

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GOLDIES 2010: Amanda Curreri

Jesse Hawthorne Ficks
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GOLDIES 2010: Amanda Curreri

Five minutes into talking with Amanda Curreri over a slice and coffee at Mission Pie, I’ve agreed to take part in a piece she’s working on as part of Shadowshop, the in-gallery artists’ marketplace Stephanie Syjuco is organizing for SFMOMA’s upcoming survey of work made in the past decade.

“It’s called Afghanistan Insert,” Curreri explains, speaking in the measured fashion of someone who carefully considers her words. “I’m trying to insert Afghanistan into SFMOMA and into San Francisco’s art community.”

Curreri’s commitment to getting the local arts scene to engage with what has become commonly dubbed by the mainstream news media as “the forgotten war” is not just politically motivated. It’s also personal. Her husband has been working in Afghanistan for the past five months as a security contractor, during which he has sent her snapshots of local graffiti. They are documents of his ground truth.

Curreri plans on physically inserting herself and her husband’s images into Shadowshop, much in the same way she holds one of his pictures in the portrait accompanying this feature. Indeed, the photo, this profile, Curreri’s new status within the local arts community as a Goldie winner, and the conversations this increased attention might encourage will all become part of the discourse surrounding Insert Afghanistan and contributing to its impact.

All this is consonant with Curreri’s view of herself as more of an instigator than an artist. “I’m trying to make art that crosses out of the art world,” she says, echoing Joseph Beuys’ notion of social sculpture. Her projects thrive on participation, using the exhibition space as a kind of social laboratory in which she arranges shared cultural touchstones and institutions — campfire songs, the judicial process, family recipes — as prompts for personal reflection and shared conversation on the “big subjects” that undergird them: history, politics, memory, and in the case of Afghanistan Insert, their intersection within a seemingly endless and fruitless foreign occupation thousands of miles away.

Engaging with Curreri’s art often entails an extended encounter with the artist herself (given how unexpectedly my interview at Mission Pie has turned out, the reverse seems true as well). The last conversation I had with Curreri was this past July, when she videotaped my extemporaneous responses to her off-camera questioning about the topic of last words. My interview was to be incorporated into her concurrent exhibit “Occupy the Empty,” for which she transformed Ping Pong Gallery via hand-sculpted “props” into a courtroom in which various associates, friends, and strangers, such as myself, volunteered their time and testimony.

As with Insert Afghanistan, the inspiration for “Occupy the Empty” was also personal: after participating in a court hearing concerning her late father, Curreri found out it had been held in the same Massachusetts courthouse in which Italian-American anarchists Sacco and Vanzetti were sentenced to death in the early 20th century. Curreri, also of Italian-American descent, saw the coincidence as a chance to connect to that history and, in the process, build a community around a larger discussion of remembrance. Curreri recalls one participant for whom the show served an almost therapeutic function.

“I want to create art that has an interpersonal function, in real-time,” she says. “I want my work to set a specific frame around our inherent connectivity.” 

www.amandacurreri.com

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GOLDIES 2010: DJ Bus Station John

Jesse Hawthorne Ficks
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GOLDIES 2010: DJ Bus Station John

“Listening to records is really the closest thing we have to a time machine,” says DJ Bus Station John. “Rest the needle in the groove, close your eyes, and the sensory experience can take you right back to 1979 — if you’re lucky enough to be that old, ha ha!”

Perhaps the most important DJ on the San Francisco gay scene in the past decade, Bus Station John has been the musical conduit for a huge cultural reawakening among younger homos. Called “the godfather of bathhouse disco,” he’s revered throughout the dance music world for his fastidious attention to party detail and his inimitable blend of extremely rare 1970s and early ’80s soul, boogie, garage, funk, Italo disco, Hi-NRG, and NYC no-wave.

But his influence goes far beyond helping to inspire the underground disco revival that has displaced techno as the music of choice on many of the world’s sophisticated dance floors. Believe it or not, disco and Hi-NRG used to be verboten in most gay clubs in the ’90s and early ’00s, sonic reminders of the early AIDS crisis that were trampled beneath pounding circuit music beats and generic diva screams. Imagine queers being ashamed of disco!

The arrival of life-extending protease inhibitors for HIV-positive men in the late ’90s opened the door for a not-so-painful appreciation of the recent gay past, and the time was ripe for a DJ to reprise the fantastic sounds of a generation tragically swallowed by disease — sounds that San Francisco had a huge hand in creating through the likes of producer Patrick Cowley, singer Sylvester, and dozens of other integral analog musicmakers.

Enter DJ Bus Station John in 2000, tastefully flaunting his dedication to the hot and heavy bathhouse and backroom days of yore. (The city, still gripped by AIDS panic, continues to outlaw these queer sexual venues.) Although the music is central to his mission, his parties are a complete package. From Xeroxed flyers of hand-made Gluesticked collages featuring Grace Jones or Joan Crawford in a spiky forest of exaggerated phalluses to his notorious “no cell phone” policy on the dance floor, he conjures the heady lust of gay history before social networking and the Internet replaced genuine human contact. “I work without a net, as it were,” he says. “There’s still a sense of discovery when you walk into my parties — no pretedermined list of ‘friends’ who are going. It’s a fresh and spontaneous mix.”

Bus Station John parties have also fostered the discovery of new spaces for homos to get down — past gigs have brought Deco Lounge, the Gangway, and the old Transfer to light as viable venues. His current regular parties include the disco-drenched Tubesteak Connection (Thursdays, 10 p.m., $4. Aunt Charlie’s Lounge, 133 Turk, SF. www.auntcharlieslounge.com) and the wonderfully named Le Perle Degli Squallor (first Saturdays of the month, 10 p.m., $5. The Hotspot, 1414 Market, SF.).

Musically, Bus Station John’s most meaty contribution to clubs, besides fostering the rediscovery of past genius, may be the renewal of classic disco song structure. His selections bring back the notion of dancing as erotic hold-release, an embarkment on a series of expertly crafted journeys. As a DJ, it’s OK (heroic, even) to let people’s attentions wander when a new track is abruptly introduced, then have them relax into an ultra-melodic verse-chorus-verse format as they freshen their drinks and eye a hottie or two. Because when the hypnotic extended outro hits and the red lights kick in, everything falls into place and it’s pure sexytime on the dance floor.

For more information, contact Bus Station John at djbusstationjohn@gmail.com.

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GOLDIES 2010: Said Adelekan

Jesse Hawthorne Ficks
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GOLDIES 2010: Said Adelekan

One of the joys of house music in this century is that it doesn’t exist. Or rather, its influence is so ubiquitous, its borders so gleamingly porous, that to call a dance track (or indie song, or laptop experiment, or even symphonic composition) “house” is to engage in the laughably vague. And while the expansion of the genre has produced its fair share of unlistenable clutter, it’s also given rise to exciting new standards of quality and adventurousness. Many of the new house standard bearers are located in the Bay Area, and among the most invigorating is Said Adelekan, known as DJ Said.

A Nigerian native who discovered his love for music through his family’s record collection, Said became a young disciple of Fela Kuti, the outspoken legend who shared his political message through Afrobeat, which combined a plethora of African styles into popping, hypnotic grooves featuring chiming guitars and swelling brass and organ chords. After promoting one of Kuti’s clubs in Lagos, Said moved to England to study and absorb the underground London club scene. Soon after, he found himself drawn to “the beautiful and very open” Bay Area in the 1990s, hosting parties like the wonderful, storied Atmosfere, which combined soulful house grooves with live instrumentation and Afrobeat spirit.

As his party reputation grew, Said felt the need to expand and launched the topnotch Fatsouls record label in 2007. “After a decade of successful event production, I realized that throwing parties isn’t all there is, and that creating music is equally important,” he says. “Dance music at the time had gotten so dark and aggressive, I wanted to counter that with something organic, refreshing. Something that celebrated the soul — the soul of the Bay Area, the soul of Africa, the soul of dance music — to bring that to the world.”

With his parties, Said had already attracted global attention to the Bay’s burgeoning Afrohouse scene, and his Fatsouls releases — featuring sparkling live instrumentation, heavy bass-driven grooves, and collaborations with soulful house giants like Alton Miller, Jerome Sydenham, Hideo Kobayashi, and Mr. Raoul K. — repped the Bay abroad as well. (The world dance music community also has been rediscovering house music’s black and African roots, celebrating complex rhythms and Chicago-style funkiness.) “The vast majority of people that download and buy Fatsouls vinyl are from Europe, Japan, South Africa, and Canada.” Said says. “I wanted to create and bring music to the very same people that had been attending my parties and keeping the spirit alive.”

Fatsouls’ first release, “Bad Belle (Remix),” a sublime, slow-burning slice of Afrohouse by Said overlaid with a ethno-ecological spoken word lament by Nigerian poet Ikwunga, was one of the best dance music releases of the past decade, and the seven Fatsouls releases since have shown an astonishing devotion to quality production and expanding scope. (Said plans to release a Fatsouls compilation soon.)

Said hasn’t stopped throwing parties either. “We & the Music” (first Fridays of the month, 9 p.m., $10. 222 Hyde, SF. www.222hyde.com ) is a fantastic and necessary monthly get-down in San Francisco that showcases the deep and lovely grooves being produced here — especially those coming from Oakland’s thriving soulful and Afro-influenced house scenes. East Bay players like Stephen Ringmaiden, Aybee and the Deepblak crew, and parties like The People, Top Ten Social, and Ra Rah are also contributing to the Bay’s liveliness, and Said is an invaluable supporter of their efforts.

“With the everchanging demographic of new partygoers here and so many promoters willing to cash in on faceless trends, I feel there’s a danger of the true San Francisco nightlife essence — diverse in its range but consistent in its dedication to soulfulness and intimacy — being compromised,” Said says. “With my parties and releases, I strongly wish to preserve that here and transmit it to the world.” 

www.fatsouls.com

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Election 2010: Newsom in, Harris trailing

Zelda Bronstein
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That’s based on very early results. But with Boxer’s numbers creeping up, and Newsom comfortably ahead, it looks as if San Francisco will be getting a new mayor in January. The very early results have Harris pretty far behind, but those numbers will change. Since the early returns are always conservative, thought, the news for Gav is very good.

Epic Bush crawl, part 2

Jesse Hawthorne Ficks
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Epic Bush crawl, part 2

ruggy@yelp.com

SUPER EGO Marke B. is off getting hitched to Hunky Beau (finally!) so we asked scruffy lad-about-town Ruggy Joesten, senior community manager at Yelp.com, to fill in as nightlife correspondent. This is the second part of his SF Bush Corridor bar blitz. You can read all about part one here.

Summer Place Cocktail Lounge (801 Bush): Once we adjusted to the optical shock of entering this dark bar, we were treated to red accents throughout, Festivus lights along the low ceiling, and a new-school jukebox flashing every color of the rainbow and begging for our hard-earned dollars. We were clearly no regulars, but if looks could kill, we’d have all been assassinated by the three locals bellied up to the bar. I get it, though. Here we were, a bunch of young knuckleheads on an ironic bar crawl, interrupting their usually quiet evening with jovial intrigue and obnoxious requests for shots that should only be consumed on 21st birthdays. Clearly we deserved the hesitated acceptance. The standoff between us and the barflies became so contentious that when I asked the bartender for a flyer to help spread the good word about the joint’s 12-year anniversary party, one of the seasoned veterans retorted, “How about this for a flyer: use your fucking mouth and tell people yourself.”

I actually appreciated his candor and offered him a shot. As expected, tequila helped bury the hatchet. Then I learned that every alcoholic beverage purchased comes complete with a free bowl of Doritos! I don’t know if that’s usual policy, since I also noticed a rice cooker and a bottle of mustard on the counter behind the bar. Meanwhile, with cheese-stained fingers and a solid buzz, my posse fixated on a young couple engaging in some serious heavy petting in the corner of the room. And by heavy petting, I mean, I’m almost certain we collectively became pregnant just by watching them. (I named my newly formed zygote Darius, since I’ve always wanted a boy.) Were we slugging moonshine in the Tenderloin, or watching a live sex show with Roman Polanski in Amsterdam? After bidding adieu to the two lovebirds, I thanked my lucky stars that I’d opted for denim instead of sweatpants, and we hightailed it to our next stop.

21 Club (98 Turk): Five warm PBRs for $12.50. Faint smell of Brylcreem, urine, and failure. Esquire magazine’s proclamation that this bar was one of the country’s finest in 2008, proudly framed on the far corner of the facade. Good times for all.

Yong San (895 Bush): Yet another Bush hole-in-the-wall with extremely good-looking Korean women at the helm, and yet another bar where smoking was not only tolerated, but also borderline encouraged. I’m not a smoker, but when in Rome and you find yourself with a lit match in your grill and wandering brown eyes anticipating a long, fiery drag, it almost makes you wish you had a Virginia Slim at the ready. Sadly in this instance, I didn’t have a fag within arm’s reach, but I’ll be better equipped the next time.

Minutes after indulging in complimentary Doritos at Summer Place, I was just as impressed with the honorary eats Yong San had to offer: Cheetos Puffs! I would have been just fine with an ashtray full of Snyder’s or some Beer Nuts. But it’s that kind of outside-the-box thinking that keeps me intrigued. From there, and with another round of shots consumed and more High Life entering my bloodstream than runoff after a winter storm, we sadly waved farewell to Bush Corridor … but I did hold onto a few bullet-pointed observations.

BUSH CRAWL BY THE NUMBERS

7: number of bars visited in one evening

13: number of drinks consumed (belch)

5: hours in which this was accomplished

6: number of sext messages sent with much regret the following morning

8: number of miles walked

16: number of hours needed to fight the herculean hangover.

(415) 674-1821: number for the San Francisco chapter of Alcoholics Anonymous

Up, up, down, down, left, right, left, right, B, A: Konami Code. How this is relevant is beyond me, but somehow, it just seems appropriate.

alt.sex.column: Waiting for ….

Jesse Hawthorne Ficks
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alt.sex.column: Waiting for ….

andrea@altsexcolumn.com

Dear Readers:

I was at the San Francisco Sex Information conference recently, where once again there wasn’t enough time to cover the intriguing (and frustratingly unavailable) new methods of male contraception lurking, not unlike unejaculated spermatozoa, in the great urethra of scientific research and development.

I’d run out of space myself with the “If we can put a man on the moon, why can’t we … ?” argument, but in brief, yes, scientific understanding of male fertility in general lags its female counterpart. The other explanation for the paucity of male contraceptives is that men’s reproductive systems are just too, I dunno, male, to tame. It sounds reasonable enough to say it’s far easier to aim at one target — an ovum — than it is at 100 million new squirmy little targets a day. But the NIH’s repro-health branch, the National Institutes of Child Health and Human Development, blames “social and economic/commercial restraints,” and I’m always up for blaming those too.

If we somehow cleared those pesky socials and economics out of our path (Big Pharma has to step up; there’s only so much university researchers can do), would we see an explosion of safe and acceptable male birth control options? Pretty soon, probably, yes. And study after study suggests that men are ready and even eager to take over some of the hassle and responsibility. Women might just be ready for that too.

Despite the many “Whither the male pill?” articles you see, the new products and procedures likely won’t come in pill form: shots, implants, and even nasal sprays are the front-runners so far. On the kind-of-freaky front, there’s a “dry orgasm” nostrum, a so-far-nonexistent combination of a well-known blood pressure med with a discontinued antipsychotic that has unexpected effects on smooth muscle tissue.

RISUG, for reversible inhibition of sperm under guidance, is far better studied and far more promising. It’s a long-lasting injection of a sludgy compound that both blocks the vasa deferentia and messes with the enzymes a sperm needs to penetrate the egg.

Other researchers are looking into chemically blocking necessary tubage. A couple new male versions currently under study, though, are at least somewhat reversible, if not as instantly (and cheaply!) so as the RESUG, with its bi-carb and tingly massage.

Possibly my favorite unorthodox method is so low-tech and un-patentable that it’s hard to see where any major research money is ever going to come from. It’s plain old heat, applied via very-tighty-whities (called suspensories, these undies mimic undescended testicles by nearly pushing your balls — painlessly! — back up the inquinal canal) or hot bath.

As for the tech-ier and more expensive methods, remember those “social and economic/commercial restraints? That means the big money isn’t getting thrown at male contraception because the big money people don’t believe there’s a huge and eager market. If you beg to differ, you can go to MaleContraceptives.org and fill out their survey, which goes out quarterly to policy makers and pharmaceutical bigwigs. Put your mouth where the money is!

Love,

Andrea

 

Calls for justice

Jesse Hawthorne Ficks
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Calls for justice

rebeccab@sfbg.com

Since the fatal shooting of Oscar Grant III on New Year’s Day in 2009, a photograph of the 22-year-old African American man from Hayward has become iconic. The picture shows Grant’s smiling face, and the black ski cap and a hooded sweatshirt he was wearing the day it was taken.

It has been copied onto posters and displayed like wallpaper in downtown Oakland cafes and along city blocks, manipulated with different hues and accents to produce scores of flyers, banners, hip-hop album jackets, T-shirts, and even masks. An expansive mural in Oakland displays Grant’s image on a larger-than-life scale, framed with roses.

The ubiquitous pictures of Grant, the victim of a shooting by police, are a constant reminder that his life was taken suddenly when BART cop Johannes Mehserle shot him in the back on the Fruitvale train platform. At the time, Grant was unarmed and physically restrained, having been arrested following reports of a fight.

Cell phone camera footage of the shooting went viral, and the case drew national attention. The defense argued that it was all a tragic accident, saying Mehserle had mistakenly drawn his firearm when he meant to draw his Taser.

Mehserle was convicted of involuntary manslaughter and his sentencing is expected Nov. 5. With all the attention surrounding the case, this final determination has taken on the proportions of a moment of truth.

Mehserle could be sent to prison for as long as 14 years, or merely be placed on probation. For many Grant supporters, it’s a question of whether the justice system will incarcerate a police officer for killing a young person of color, after so many other youths have been slain in police shootings that never went to trial. For Mehserle’s supporters, the outcome will signify something else entirely.

 

RIVAL NARRATIVES

Mehserle, a white Napa native in his late 20s who resigned from BART after the shooting, was tried on a murder charge. But a jury in Los Angeles (where the trial was moved because of the publicity here) found him guilty of involuntary manslaughter on July 8. Protesters, decrying the verdict as too lenient, converged in downtown Oakland for a street rally directly afterward that later gave way to bursts of rioting and looting.

The grassroots community leaders who urged supporters into the streets aren’t the only people now mobilizing around the sentencing. In the months following the verdict, the law enforcement community rallied in support of Mehserle, whose conviction for on-duty police conduct stood out as a rarity.

The former cop’s supporters have set up websites, hosted vigils, and arranged media interviews for Mehserle and his allies. A website called Justice4Johannes.com decries his conviction, denouncing the justice system as biased against police. “Do not let our officers fall victim to a spineless system,” the website urges, “who would rather protect criminals than protect our law enforcement officers who daily put their lives on the line for you!”

As the date of the sentencing approaches, each side has demonstrated that they are as active as ever. When the Giants played in AT&T Park in October, Mehserle’s father, Todd, made an appearance in McCovey Cove on a stately sailboat with “Free Johannes Mehserle” banners ruffling on its tall masts. But a smaller wooden ketch with activist Jared Aldrich at the helm, hoisted banners that read “Justice for Oscar Grant” and, on another occasion, “Jail Killer Cops.”

On Oct. 23, the International Longshore and Warehouse Union (ILWU) Local 10 shut down Bay Area ports, using a stop-work day to hold a rally at the Port of Oakland calling for the maximum sentence for Mehserle.

“The litany of police killings of innocent young black and Latino men has evoked a public outcry in California,” Jack Heyman, a co-organizer of the rally, wrote in an article in CounterPunch. “Yet when it comes to killer cops, especially around election time, with both the Democratic and Republican parties espousing law and order, the mainstream media either expunges or whitewashes the issue.”

Heyman told the Guardian that he had visited Oakland high school classes to speak about the issue and found that in some classes, every single student raised a hand when asked if they knew the name Oscar Grant. “They happen to be sensitive to the issue of police brutality,” he noted. “A number of them had had problems with police.”

 

PRISON OR PROBATION?

On Oct. 26, opposing briefs on the sentencing were filed in Los Angeles County Superior Court. Defense Attorney Michael Rains submitted a 126-page memo urging the judge to drop the gun-enhancement charge and place Mehserle on probation, which would keep him out of prison. Meanwhile, prosecutors with the Alameda County District Attorney filed a 20-page memo indicating that Mehserle should be sent to prison, but stopped short of advocating for the maximum sentence.

Rains’ motion goes into great detail, quoting from letters sent to the court in Mehserle’s defense, in which the former transit officer is said to be “a gentle giant.” It even goes so far as to suggest that Mehserle’s infant son (born New Year’s Day, 2009) could suffer psychological difficulties later in life if he is separated from his father.

Grant, too, was a father — his daughter, Tatiana, is six — but the prosecution’s motion doesn’t mention how she may be psychologically affected later in life by her loss. Grant supporters sent some 2,000 letters to the judge, according to a posting on civil rights attorney John Burris’ website, but none were referenced in the briefing.

The DA argues that Mehserle intentionally shot Grant, implying that the Taser argument was a fabrication. In the moments following the shooting, the document notes, Mehserle told his fellow officer that he thought Grant was going for a gun. “If the sentence in this case is to serve any purpose whatsoever,” it notes, “it must serve as punishment.”

 

INSIDE THE POLICE LOBBY

The Peace Officers Research Association of California (PORAC) covered the cost of Mehserle’s defense. The 85,000-member, politically powerful police organization maintains a legal defense fund for officers facing legal troubles.

Technically, Mehserle wasn’t entitled to the financial assistance. According to PORAC’s website, an officer who voluntarily resigns may be ineligible for benefits, and Mehserle quit shortly after the shooting. Still, PORAC stepped up and put itself on the hook for millions in legal fees to ensure he had the best possible defense. PORAC was a driver behind the Peace Officers’ Bill of Rights, which established a unique set of protections for law enforcement officers under investigation for misconduct.

PORAC president Ron Cottingham acknowledged that its decision to fund Mehserle’s defense was discretionary, but declined to say more. It’s possible that PORAC was interested in preventing Mehserle’s trial from setting a precedent for other cases involving officers who use deadly force against unarmed suspects.

PORAC also played a role in the BART civilian oversight structure that was ultimately approved by the California Legislature. The transit agency’s lack of civilian oversight became a flashpoint in the wake of the shooting, prompting Assemblymember Tom Ammiano to draft legislation that would have created an Office of Citizen Complaints (OCC) for BART patterned after the system in place in San Francisco. PORAC fought it and the effort was stymied.

“PORAC … will actively oppose your bill as it is written,” Jesse Sekhon, president of the BART Police Officers’ Association, wrote in a letter to Ammiano’s office. “They also said that they will have every law enforcement agency in the state oppose the bill.” Ammiano’s bill would have prevented police officers from serving in oversight roles and would have granted more power to the OCC.

The bill that went forward instead, Assembly Bill 1586, was crafted by BART, supported by PORAC, and introduced by Assemblymember Sandre Swanson (D-Oakland). Under this system, the oversight process begins with a police auditor selected by the BART Board of Directors, and a citizen board — which may include police officers.

According to Lynette Sweet, a member of the BART Board who spoke about the bill during a community meeting in Oakland in August 2009, PORAC opposed Ammiano’s bill because it would have allowed the state to direct municipalities throughout California to create civilian-oversight offices. “PORAC doesn’t want to see that happen. So we’ve now become the lesser of two evils for them,” she said.

On Oct. 29, BART held a dedication ceremony for the new police auditor office and honored Swanson for bringing the legislation forward. The transit agency has initiated a search to fill the civilian-oversight positions. But the rifts in the community over this shooting are far from healed.

On one side, a politically powerful and financially robust police lobby is actively influencing civilian-oversight legislation and spending top dollar trying to keep Mehserle out of prison. On the other, a grassroots community movement furious about police brutality against black and Latino youth is gaining momentum.

Only Judge Robert Perry knows what his own personal interpretation of justice is, and he alone will determine if or for how long Mehserle will spend time behind bars. If he is spared from prison, the community will be outraged. If he is incarcerated, Mehserle supporters will be outraged. But regardless of the decision, Mehserle’s life will go on.

Train tangle

Jesse Hawthorne Ficks
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Train tangle

The California High-Speed Rail Authority Board of Directors is scheduled to meet Nov. 4 in Sacramento to approve criteria for selecting which of four sections of track will be built first — but the federal government appeared to predetermine that outcome Oct. 28 by awarding the project $715 million in economic stimulus funds that can only be used in the Central Valley.

A classic north-south political battle has been brewing for months as advocates for the San Francisco-to-San Jose section and those for the Anaheim-to-Los Angeles section each sought to get their project going first. But with both sections mired in political and design problems, the feds decided that only the Merced-to-Fresno or Fresno-to-Bakersfield sections could break ground quickly enough to qualify for the funds.

However, San Francisco will still see $16 million of that money, which was allocated to the current Caltrain Station at Fourth and King streets, a station that will also serve the high-speed rail project and the proposed Transbay Terminal downtown.

CHSRA board member Quentin Kopp, who helped create the project as a San Francisco-based state legislator back in the 1990s, had been engaged in a behind-the-scenes conflict with current chairman Curt Pringle, the outgoing mayor of Anaheim, whose dual roles seem to violate state conflict-of-interest rules. But Attorney General Jerry Brown has been dragging his feet on issuing an opinion in the matter while running for governor.

The southern California section is more expensive that the Bay Area one, and there are significant right-of-way issues in Los Angeles County, as well as problems with choosing a site for the station in Anaheim. By contrast, the Bay Area line would use the existing right-of-way for Caltrain, which has been pursuing electrification of its track to improve service and mesh with high-speed rail.

“This is the only section in which the right-of-way is owned by a public entity,” Kopp told the Guardian, although he was careful not to state a preference to avoid improperly predetermining his vote.

But the Bay Area section is also the target of a lawsuit by the cities of Palo Alto, Atherton, Brisbane, Menlo Park, and other jurisdictions that have complained about the fast-moving trains and challenged the project’s environmental impact report. There are also looming issues in San Francisco, where the impending release of this section’s EIR is also raising controversial design issues.

For example, city officials have complained about plans that call for the intersection of 16th and Seventh streets and other streets along the current Caltrain corridor to be grade-separated from the rail line, essentially lowering the streets into sunken culverts. “It seems like that issue is going to come to a head at some point,” Joshua Switzky, a city planner who has worked on it, told the Guardian.

CHSRA spokesperson Rachel Wall called the Central Valley earmark “a game changer. They have predetermined that it could only be used in the Central Valley.” But she also said the allocation was just the beginning of the $17–$19 billion the project hopes to get in federal funding.

“That’s what the private investors are looking for — is the federal government committed?” Wall said, noting that California voters stepped up last year by approving a $10 billion bond measure that will go toward the $40 billion project.

Plans call for the entire Anaheim to San Francisco project to be completed by 2020, with trains traveling at up to 220 mph and making the SF-to-L.A. trip in two hours and 40 minutes.

Kopp said he wasn’t too disappointed that the feds restricted the initial funds to the Central Valley. “It wouldn’t offend me if that is our ultimate decision,” Kopp said. “The Central Valley loves high-speed rail.”

The attack on Latinos

Jesse Hawthorne Ficks
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The attack on Latinos

OPINION The San Francisco-based Ninth Circuit Court of Appeals heard oral arguments on Monday for United States v. State of Arizona. Latinos in California were watching closely.

The case addresses the constitutionality of Arizona’s SB1070 law. SB1070 is one of the broadest and strictest immigration enforcement measures ever enacted by any state in the nation. The court’s decision will send a strong signal not just to Arizona, but to the 13 other states considering similar laws. As an immigration lawyer and a first-generation Mexican American from Orange County, laws like SB1070 remind me of how much history repeats itself.

Every day I see families face deportation due to minor encounters with the law. When a broken tail light is used as a reason to stop, overcharge, and deport an individual, then something is seriously wrong with our law enforcement priorities, our laws, and even our morals.

After the Great Depression, Operation Wetback, a strategy enforced by the INS, expedited the deportation of 80,000 “Mexican-looking” Americans, including many Mexicans and Latinos born in the United States — and some Native Americans.

The movement by states to enact immigration laws and scapegoat Latinos started in California with Proposition 187. Passed in November 1994, Prop. 187 sought, among other things, to require police, health care professionals, and teachers to verify and report the immigration status of all individuals, including children. Well-funded anti-immigrant groups like FAIR created a blueprint for states and cities to become immigration law enforcement agents. In light of the discrimination that ensued — even though Prop. 187 was ultimately found unconstitutional — many view this period as one of the worst moments for Latinos in recent California history.

In the wake of SB1070, other states are attempting to pass similar or more extreme laws at an alarming rate. Republican state legislator Randy Terrill, who coauthored Oklahoma’s strict 2007 immigration bill (HB1804), has promised to pursue an even stricter second-generation version of the bill that he has called an “Arizona-plus” law. He is undeterred by the fact that key provisions of HB1804 were ruled unconstitutional by the U.S. Tenth Circuit Court of Appeals.

Arizona’s Republican state Sen. Russell Pearce recently announced that state legislators will propose a bill to deny U.S. citizenship to children born of undocumented immigrants. Even though many, if not all, of these bills will be struck down as unconstitutional, they testify to the current anti-immigrant — and anti-Latino — climate.

There is little political will for immigration reform. Both the Democratic and Republican parties see Latinos largely as a source of votes, but show scant interest in ensuring that the law treats our community fairly. Even President Obama, who during his race for the presidency promised to bring change we can believe in and co-opted the United Farm Workers’ slogan “Yes We Can!,” has turned his back on us. Obama has earned the label “deportation czar.” Under his watch, more immigrants have been deported than at any time since Operation Wetback.

As long as the nation lacks comprehensive immigration reform, laws similar to SB1070 will continue to be introduced in states across the country. Right now it is up to our judicial branch to uphold the Constitution. We, Latinos who are able to vote, must vote for those candidates whose track records show a commitment to fairness for our community — regardless of party affiliation.

Laura Sanchez is staff attorney for the Central American Resource Center (CARECEN) in San Francisco.

Locals for hire

Jesse Hawthorne Ficks
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Locals for hire

sarah@sfbg.com

It’s no secret that San Francisco’s construction industry is going through hard times, a situation that translates into lost opportunities for working class San Franciscans. But that bad situation is being made worse by contractors on local projects hiring workers from outside the city.

Recent studies reveal that under the city’s First Source program, which requires contractors to make “good faith efforts” to reach the goal of hiring 50 percent of their workers from within the city, San Francisco has failed to meet its goals on publicly funded projects.

Sup. John Avalos has introduced legislation that seeks to address this shortfall by requiring contractors to meet the city’s hiring goals or face fines. But some union leaders whose members don’t live in San Francisco are grumbling that the proposal is not workable.

Local unemployed workers are expressing support for the Avalos legislation, as they step up efforts to get UC San Francisco to commit to local hiring plans at its $1.5 billon Mission Bay hospital construction site, which lies a Muni T-Third ride away from some of the city’s most economically distressed neighborhoods.

And now everyone is anxiously wondering where Mayor Gavin Newsom will land on the legislation and on UCSF’s hiring goals in what may be his last weeks as chief executive of San Francisco.

As of press time, Newsom was running neck-to-neck with Abel Maldonaldo in the lieutenant governor’s race, leaving voters uncertain whether Newsom will be mayor in January or second-in-command statewide — a promotion that would land him a seat on the UC Board of Regents but shift his primary allegiance from the City and County of San Francisco to the entire state of California.

When Avalos stood outside City Hall last month and announced his proposal to mandate local hiring on publicly-funded construction projects, he was joined by Sups. Sophie Maxwell and David Campos, Board President David Chiu, community advocates, construction contractors, neighborhood leaders, and union members.

“My legislation will ensure that San Franciscans have a guaranteed shot to work on the city’s public works projects and that the local dollars invested in public infrastructure will be recycled back into San Francisco’s economy and local communities,” Avalos said.

Avalos’ legislation came in the wake of two reports confirming that local construction workers were having a hard time getting work. A report that Chinese Affirmative Action and Brightline Defense released in August estimated that only 24 percent of workers on publicly funded sites are local residents.

And a report released by L. Luster and Associates in mid-October, at the behest of the Redevelopment Agency and Office of Economic and Workforce Development, found that only 20 percent of workers hired at 29 publicly funded construction projects in the past year were local residents.

Avalos’ legislation would mandate assessment of liquidated damages against contractors and subcontractors who fail to meet minimum local hiring requirements and establish monitoring, enforcement, and administrative procedures in support of this policy. It would phase in these requirements over three years, starting at 30 percent the first year.

Avalos noted that his legislation was developed through a series of meetings with city agencies, the Mayor’s Office, labor and building trade unions, the environmental community, neighborhood advocates, contractors, local hiring advocates, and unemployed workers. And he vowed to keep the roundtable approach.

Patrick Mulligan, financial secretary of Carpenters Local 22, told the Guardian that his union, whose members are specific to San Francisco, generally supports local hiring. “But there are some general concerns with the legislation,” said Mulligan, who has lived his whole life in San Francisco and got his first job through a local hiring program. “We have standing contractual agreements with contractors, so whatever legislation gets passed, it will have to be meshed with the existing situation. If these were boom times, people might see it differently. But it’s hard times at the union hall.”

Mulligan also lamented the lack of process for the community to vet whether UC has a local hiring plan at construction projects that impact their neighborhood. “But contractors want the best workforce they can get. And in lean times, they can afford to be more selective and don’t necessarily want to include training time on the job,” he said. “But we feel that it’s inappropriate for contractors to bring their entire crew from outside of town.”

Michael Theriault, secretary-treasurer of the San Francisco Building and Construction Trades Council, told the Guardian that Avalos’ legislation was unworkable because construction workers cannot afford housing in San Francisco and too few qualified workers live in the city.

“We take workers from San Francisco into our apprenticeship program constantly, but they get to a certain point in their careers and find that the city builds well on the low-end and the high-end, but doesn’t build workforce housing. So they end up in Antioch, Vallejo, Fairfield, and Modesto, and commute back in,” Theriault said. “That problem has not been addressed by the city, and it’s at the root of why local hiring programs aren’t working.”

Newsom spokesperson Tony Winnicker said the mayor “supports stronger local hire requirements” even as he expressed concerns with Avalos’ proposal. “We’ll continue to work with the supervisors, the building trade unions and the community on legislation that achieves both realistic and legally enforceable local job guarantees for city projects,” he said.

Winnicker noted that the city already supports local hiring through CityBuild and the San Francisco Public Utilities Commission. “But we believe we can do better,” he added.

Avalos, whose legislation is scheduled for a Nov. 8 hearing of the board’s Land Use and Economic Development Committee, said he sees his proposal as a starting point. “We’ll see where it ends up,” Avalos told the Guardian. “We could pass legislation that wants 50 percent local hiring next year, and it would probably get vetoed and it wouldn’t be realistic. So we have to phase it in and make sure we are creating a system that is going to push the trades to be more inclusive of local residents.”

Meanwhile, unemployed workers — some in unions, others not — continue to protest the lack of a local hire plan at UCSF’s $1.5 billion Mission Bay hospital project, which is funded through debt financing, philanthropic gifts, and university reserves.

“We want to make sure folks get trained and everything that’s necessary, so there is no dispute,” Aboriginal Blacks United member Alex Prince said at an Oct. 27 protest at the Mission Bay site. The protest came one month after Newsom wrote to UCSF Chancellor Susan Desmond-Hellmann noting that the hospital was breaking ground “just as continuing high unemployment rates were devastating the city’s most distressed communities,including neighborhoods impacted by the Mission Bay expansion.”

“There are estimates that up to 40 percent of the members of our local construction trade unions are currently out-of-work,” Newsom wrote. “It would be helpful if you could share the commitments that UCSF has made on the issue of local hiring, particularly around employing residents of San Francisco’s most distressed communities in southeast San Francisco, and the results of those efforts to date.” Winnicker said UCSF has not yet responded.

Barbara French, UCSF’s vice chancellor for university relations, told the Guardian that UCSF is working to evaluate hiring needs for phase of the project, talking to the unions, and intends to make its findings public in December.

“We have had a voluntary local hiring policy since 1993,” French said, confirming that in the past 17 years, the university has reached a 12 percent local hire rate on average. “Sometimes it was 7 percent, sometimes it was 24 percent … Our [goal] is to reach a number that is beyond what we reached before but which is realistic.”

Recently French told community-based organizations that UCSF hadn’t signed a contract with the contractor at its Mission Bay hospital project, didn’t have the permits yet, and that the recent community celebrations didn’t mark the start of active construction at the site.

French said general hiring at Mission Bay will begin in December. “We don’t get any city funds at this site, so our commitment is voluntary. But we feel very strongly that we have to reach out,” she said.

Avalos acknowledged that UC is not under San Francisco’s jurisdiction and can’t be compelled to do more local hiring. “But we know that they are doing a critical amount of building and investing taxpayer dollars, and that this land use impacts the surrounding community. So it makes sense that we have local hire legislation and access to serious end-use jobs at the hospital.”

SF needs a local hire law

Jesse Hawthorne Ficks
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SF needs a local hire law

EDITORIAL A billion-dollar hospital project, built by a public agency using taxpayer dollars, just broke ground on the edge of District 10, the corner of the San Francisco with the highest unemployment rate and some of the city’s worst economic problems. That’s something job-hungry residents ought to be celebrating — more than 1,000 construction workers will be earning steady paychecks over the next few years.

And yet, when dignitaries including Rep. Nancy Pelosi showed up for the groundbreaking ceremony, they were met with protests. Bayview residents showed up to complain that very few of those jobs are going to the people who live in the project’s neighborhood. In fact, not that many jobs are likely to go to San Francisco residents. That’s because the University of California, San Francisco, which is building the hospital at Mission Bay, has no policy whatsoever requiring its contractors to hire local residents. As Sarah Phelan reports on page 11, San Francisco residents may turn out to make up fewer than 20 percent of the people who work on the project.

That’s a problem for a significant number of local construction projects financed and managed by government agencies. A recent study released by the San Francisco Redevelopment Agency Office of Economic and Workforce Development found that only 20 percent of the workers on public works job sites in the city were San Francisco residents.

Obviously, private construction companies can hire anyone they want — but when San Francisco tax dollars and San Francisco public land are involved, local residents ought to get a fair share of the work. That’s not just a political argument; it’s solid economics. Just as money spent at a locally owned independent business stays in town and does more for the local economy than money sent at big chains, local workers are more likely to spend their paychecks here in town.

Sup. John Avalos has introduced a bill that would set a 50 percent requirement for local hiring on projects paid for by the city. It’s a great idea, and needs strong support. There’s resistance from the building trade unions, which is no surprise — the unions want to keep the seniority system in place and give jobs to the members who have been unemployed the longest, no matter where they live. And a significant percentage of the membership of the building trade unions live out of town.

May of the residents of low-income areas like Bayview lack the specific skills for unionized trade jobs. But with so many longtime members out of work, the unions don’t want to add apprenticeship programs to train new workers for jobs that don’t exist.

But there has to be room for compromise here. The building trades leaders need to understand that San Francisco taxpayers have every right to demand that when they finance public works projects, some of that money will stay in town. And Avalos isn’t pushing for 100 percent local hire — nor is he trying to undermine the time-honored tradition of the union hiring hall.

The UC project is trickier. As a state agency, UC is exempt from local laws — and has a long history of defying San Francisco’s efforts to hold it accountable. The Bayview activists aren’t asking for 50 percent local hire — but they are demanding that the university adopt some sort of enforceable rules to ensure that some percentage of the jobs at the new hospital go to city residents. That’s more than reasonable.

San Francisco’s state legislative delegation ought to be in touch with the UCSF chancellor and send a clear message: This is a problem that needs to be resolved, now — and if it’s not, legislation setting local hire goals for all UC projects ought to be on next year’s agenda.

Alerts

Jesse Hawthorne Ficks
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news@sfbg.com

WEDNESDAY, NOV. 3

 

SPUR’s Election Wrap-up

The San Francisco Planning and Urban Research Association’s post-election discussion and analysis session is popular with political junkies of all ideological stripes. Although it’s hosted by a knowledgeable duo — Barbary Coast Consulting founder Alex Clemens and political consultant David Latterman — a wide variety of political analysts always show up to create a lively, insightful discussion. Bring a bag lunch and your two cents.

12:30 p.m., $5 or free for members

SPUR office

654 Mission, SF

381-8726

 

Revolution is not a Tea Party

As the dust begins to settle on the midterm elections battlefield, come discuss how the country’s political fervor affected the national discourse on issues like immigration and civil rights. Was the Tea Party an actual grass roots revolution or merely a large angry mob? How long will the virulent xenophobia and nativism continue, and what can be done to counter it?

7-9 p.m., free

Revolution Books

2425 Channing Way

Berkeley

revolutionbooks@sbcglobal.net

THURSDAY NOV. 5

 

“Tranny Fest: San Francisco Transgender Film Festival”

Come one, come all: ladies and gentlemen, transgender, and gender queer. Now in its 12th season, Tranny Fest will open Thursday, with performances by Landa Lakes, Butch Tap, Thisway Thataway, and Psychobabble, among others. The festival continues Friday and Saturday with short films and videos by transgender and gender variant artists. Advance tickets will be available for the event.

Thurs.–Sat., 8–10 p.m.

$12–$15 sliding scale

CounterPULSE, SF

1310 Mission, SF

www.freshmeatproduction.com

 

Evening with our poet laureate

In addition to California poet laureate emeritus Al Young, Revolution Books will also host jazz/blues music, guitarist Trevor Michaels, and other poems and song.

7 p.m.–9 p.m., free

Revolution Books

2425 Channing Way, Berk.

510-848-1196

SATURDAY NOV. 6

 

Green Festival San Francisco

Here’s more proof that green is the new black. One of the largest sustainability events in the country will be held at the San Francisco Concourse. The eco-confab includes lectures from Bill McKibben, Daniel Pinchbeck, Amy Goodman, and others. Vendors, workshops, music and an array of organic beer, wine, and vegetarian cuisine will also be on hand. Admission discounts are also available to students, seniors, cyclists and public transit riders.

Sat.–Sun., 10 a.m.–7 p.m.

$10–$25

Concourse Exhibition Center

635 Eighth St., SF

www.greenfestivals.org/sf

Election Night Parties

Sasha Cuttler
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7

These are heady days to live in San Francisco, what with the Giants’ World Series victory last night, Halloween festivities the night before, and today’s Dia de los Muertos, which I believe is Spanish for Election Night (okay, we know they’re different, but given this year’s electoral slate, we couldn’t resist). It’s also a big election for The City, with our own Gavin Newsom and Kamala Harris seeking statewide office, a pivotal Board of Supervisors election, and some controversial propositions.

As usual, we’ll be covering and blogging all the election action live on this site. But if you’d like to get out there and mix and mingle with the politicos yourself, here’s the list of parties, which will be updating as we learn about more of them:

Board of Supervisors

D2

Janet Reilly – La Barca Restaurant, 2036 Lombard St. @ Fillmore

D6

Debra Walker- 8-10pm Outsider (894 Geary) and 10-12:30am, Great American Music Hall, 859 O’Farrell

Jane Kim: Public Works, 161 Erie Street @ Mission

Jim Meko- Campaign HQ, 364 10th Street

James Keys- Amsterdam Cafe (937 Geary, between Larkin and Polk)

Theresa Sparks: Don Ramon’s, 225 11th Street

Glendon “Anna Conda” Hyde: Eagle Tavern, 12th and Harrison

D8

Rafael Mandelman – Pilsner Inn, 225 Church St., @ Market

Scott Weiner: Harvey’s. 500 Castro @ 18th

Rebecca Prozan: Noe Valley Tavern, 4054 24th St., between Noe and Castro

D10

Lynette Sweet: Campaign HQ, 1 Rhode Island

Chris Jackson: Campaign HQ, 93 Leland Ave.

Dewitt Lacy: Bloom’s Saloon, 1918 18th @ Missouri

Steve Moss: Goat Hill Pizza, 300 Connecticut

Tony Kelly, Potrero Hill Neighborhood House, 953 DeHaro,

Malia Cohen: Poquito’s, 2368 3rd Street

SF School Board

Kim-Shree Maufas – Circulating with stops at Walker Democratic Party parties.

Hydra Mendoza: Mercury Lounge, 1582 Folsom St., @ 11th St.

Margaret Brodkin: home, 45 Graystone Terrace

Emily Murase: 6-9pm 142 Clearfield Drive (Between Ocean and Eucalyptus

Interest Groups

SF Labor Council/Democratic Party: Great American Music Hall, 859 O’Farrell St.

League of Pissed Off Voters: El Rio, 3158 Mission

Conservatives/Tea Party California Council: Pirro’s Restaurant, 2244 Taraval

SF Propositions

No on B – Great American Music Hall, with Dems/Labor

Yes on Prop B/Adachi: Lava Lounge, 527 Bryant Street

Yes on D, Mercury Lounge, 1582 Folsom @ 12th

No on L: Great American Music Hall, with Dems/Labor

Yes on L: Hobson’s Choice, 1601 Haight

State and Federal Races

John Dennis for Congress: Nectar Wine lounge, 3330 Steiner (off Lombard)

Jerry Brown for Governor: Fox Theater, 1807 Telegraph Ave, Oakland

Gavin Newsom for Lt. Gov: Tres Agaves – La Plaza De Agave Room, 130 Townsend @ 2nd

Kamala Harris for Attorney General, Delancey Street Foundation, 600 Embarcadero

 

Rebecca Kaplan for Oakland Mayor: Everett & Jones BBQ, 126 Broadway, Oakland

GOTV volunteers needed at 1261 Howard

Zelda Bronstein
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GOTV volunteers needed at 1261 Howard

Although the statewide picture is looking okay, here in San Francisco big money is making a major push to take over the Board of Supervisors, with hundreds of thousands coming in to support Steve Moss in D10, Scott Wiener in D8 and Theresa Sparks in D6. But there’s still hope for progressive victories; I’m told that polls show Rafael Mandelman within striking distance of victory in 8 and although I don’t think anyone has polls in D6, Debra Walker has plenty of momentum. D10 will amost certainly come down to turnout and ranked-choice voting.


The bottom line: You can make a huge difference by volunteering to help the last-minute progressive GOTV efforts. Volunteeers are needed, right now; head on down to 1261 Howard and ask for Gabriel.  

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