Science

Mad science

2

Is the Bay Area’s experimental beat scene finally coming together? After a few years of lagging behind the explosion of beat conductor talent in Los Angeles, and suffering a steady exodus of potential down south, the Bay Area’s time for creating a forward leaning psychedelia — composed from the bass-infused backbone of instrumental hip-hop — might have arrived.

This week, San Francisco’s DJ veteran Mophono releases his debut full-length, Cut Form Crush, on his upstart CB Records. It’s a colossal experiment in deconstructed percussive patterns and warped synth keys, washed with distorted textures, panning effects, and field recordings. Since 2006, Mophono has hosted the weekly party Change the Beat, guided by only one principle: blow up the soundsystem with unlikely combinations of sounds.

Last week, Change the Beat resident and SF mainstay Salva also dropped his first full-length effort, Complex Housing (Friends of Friends), an excellent dance record that glides across an array of genres infatuated with the interplay of bass, groove, and melody: hip-hop, house, UK funky, Chicago juke, and ghetto-tech all get equal treatment.

Here’s the rub: Although Salva insists that the Bay is still home, especially through his SF-grounded imprint Frite Nite, which supports bubbling acts like Ana Sia and B.Bravo, he was practically unpacking boxes in his new L.A. crib when I spoke to him on the phone before writing this article. On the other hand, another L.A. force of sonic gravity, Low End Theory — Daddy Kev’s acclaimed weekly, which helped form the social fabric that pushed Flying Lotus, the Gaslamp Killer, and Daedalus, among many others, to international attention — has kicked off a monthly residence in San Francisco. Ultimately, both cities can benefit from creative exchange, so let’s just say that California’s got it going on.

Born Benji Illgen, Mophono has been rocking parties in the Bay Area for nearly 20 years as DJ Centipede. His early obsession with digging for records — one that’s amassed a vinyl vault of around 6,000 records — defied genre and era for a love of percussion in all its forms, including conspicuous absence. “I’m drawn to rhythm, both as a DJ and as this metronome-carrier-guy who maintains turntables,” Illgen tells me over the phone, as raucous noise and strange bangs reverberate in the background.

Cut Form Crush could be called a study of drums: percussive patterns unfold and disappear, giving rise to new formations set on their own uneasy path toward self-dissolution. While the drums, crunchy and multilayered, degenerate, a barrage of synth noise and warped textures dance frenetically around the pockets of space jarred open by the percussive momentum. This record alarms as much it disorients.

In many ways, Cut is the product of all the music Illgen has absorbed over the course of the past two decades. From closely following the development of hip-hop and U.K. electronic genres and digging into psychedelic rock, musique concrète, jazz-funk, Kosmische, and post-punk, Illgen became interested in the way imaginative music is made through improvisation. “Bands in the ’60s would get in these zones, really rhythmic areas, and they would tap into a minimal expression,” says Illgen. “I’m interested in those minimal, odd breakdowns, when these cats just jam out on some craziness.”

Rather than just sampling loops and bits from these sources, Illgen decided to reproduce the creative environments that shaped their genesis. “I’d get groups and musicians together in my little studio who aren’t necessarily band mates but are involved in the same sort of music community,” says Illgen. “Then we’d just vibe out. We’d create these recordings that later I’d access and reconfigure the sounds.”

One of the outcomes of this recording process is the dizzying song “Cut Form Crunch,” extracted from multiple sessions with Flying Lotus and later edited into a condensed can of musical psychosis. Thick-bodied synth keys vibrate over muddled bass thumps and compressed percussive claps as if dubstep’s basic components were thrown together into a washing machine, cycling in rotation. “Electric Kingdom” maneuvers through dubstep’s signature helicopter wobble, curdling an off-kilter rhythm with sequenced claps and blips. In “Cut Form Crush Groove,” Illgen reworks the early disco breaks that established the basic framework of hip-hop in circa-1980s South Bronx. A Vocoder-dissimulated MC channels the cosmic frequency of Afrika Bambaataa, calling us to respect the foundation. But even these more conventional drum patterns and familiar vocal refrains wisp away into static and gurgling fuzz.

What Illgen emphasizes in his recording technique is a preference for textural environment over the clarity and crispness often associated with quality. “I see experimentation as an open-minded direction to making music,” he says. “I don’t know what I’m going to find, but if I open my ears, I’ll find something. And I’ll let that dictate where the music goes.”

Paul Salva takes a similar improvisational approach to music production. “Without all the theory and formal training, I have to relish this time where I’m feeling out the instruments and learning what to do with them,” he says. “As amateurs, and coming from a place of ignorance, kids are doing amazing shit — by accident.”

Despite his Chicago upbringing, Salva initially gravitated to West Coast backpacker hip-hop and the East Coast stylings of the Diggin’ In The Crates (DITC) crew before taking an interest in his hometown-bred house and its ghetto-tech offspring. “Record store culture really helped solidify my eclecticism,” he says. “Through working at Gramaphone Records in Chicago and also in Miami, I got into IDM, drum ‘n’ bass, and whatever else caught my ears.” Recently, as genre allegiances have begun to dissolve among young musicians and listeners, Salva grew comfortable with the idea of consolidating his diverse tastes and producing a record on his own terms. Although Complex Housing takes influences from a flux of emerging ideas and sounds across the spectrum of today’s future bass and beat scene innovators, it finds an enduring coherence in being, very simply, a well-crafted dance record.

“Wake Ups” has Salva showing his chops on the synthesizer and the drum machine, layering lush boogie-funk chords over a skittering rhythmic grind. In “Keys Open Doors,” he anchors dirty disco arpeggios with poly-percussion pilfered from the odd-shuffle of UK funky and grime. In these songs, the gritty underside of club music — recalling its many places of origin and evolution in abandoned warehouses and neon-lit bars, juiced from electric outlets in public parks and now the outer zones of the Internet — emerges from layers of shimmering production. The record reaches toward its apex with “I’ll Be Your Friend,” a future-funk rendition of Robert Owens’ early ’90s house classic of the same title. Salva edits Owens’ longing hook into a repetitive chant, spliced around a minimal rhythmic knock and atmospheric washes of sound that delicately grow and just as softly decay.

What consistently stands out within the record is Salva’s ability for crafting effusive melodies over rolling bass lines. It’s an absolutely seductive combination that hinges on a resilient tension in the music: a mechanistic but unsteady beat underpins the expressive quality of the chord progressions. Salva owes this effect at least in part to his recording technique of combining live instrumentation on the keyboard with laptop robotics. “When I’m making music with live instruments, I have more of an open palette,” he says. “When I’m in the computer, in the sequencer — the options are nearly limitless — anything goes. And because of that, my creativity can be stifled if I don’t place restrictions on myself.”

Salva and Mophono both figure out surprising and compelling ways to tap into the elusive formula of creativity. In the end, the search for the future beat is more of a mad science than an exact one.

FIX UP PRESENTS: SALVA COMPLEX HOUSING RELEASE PARTY

With Shlomo, B.Bravo, Epcot, and more

Thurs./17, 9 p.m.; $8

222 Hyde

222 Hyde, SF

(415) 345-8222

www.222hyde.com


CB RECORDS PRESENTS: MOPHONO CUT FORM CRUSH RELEASE PARTY

With Gaslamp Killer and Citizen Ten

Sat./19, 10 p.m.; call for price

SOM

2925 16th St., SF

(415) 558-8521

www.som-bar.com

Noise Pop 2011 highlights

0

MUSIC The 2011 edition of Noise Pop finds the festival stretching the definition of noise pop ever further outward in order to swallow excellent sounds. Back in 1993, when Noise Pop originated, muted My Bloody Valentine-derivative bands with lowercase names evocative of junior-high lunch were the norm. This year, the fest taps into the recent, more sharp-edged shoegaze revival and the current California garage rock zeitgeist, while also making room for hip-hop, freak folk, and deep funk. It’s safe to say that, unlike the character assassinated in Steely Dan’s “Hey 19,” Noise Pop at 19 knows about the queen of soul. Here’s our guide to some of the event’s best lineups.

>>Read more of our Noise Pop 2011 picks here

 

PEANUT BUTTER WOLF AND DÂM-FUNK: THE DISCOVERERS

It’s the midnight hour on Valentine’s Day in Portugal when I reach Dâm-Funk, a.k.a. Damon Riddick, on the phone. He’s just outside of Lisbon, his surroundings are “phenomenal,” and he’s ready to wax enthusiastic about his longtime partner in funk Peanut Butter Wolf. “Me and Chris [Manak, a.k.a. Peanut Butter Wolf] connect on that sound because we remember and we revere,” he says, when I ask about their shared love of soul, hip-hop, and funk. “We knew what it was like before cable television and the Internet existed, we remember everything from those early VHS tapes to the way the sun set.”

As the sun is still rising on Valentine’s Day, in L.A., the man Dâm-Funk calls “Wolf” for short shows similar brotherly love. “When Dâm met me, we had a mutual respect,” says Manak. “He saw my record collection and vice-versa. When we discover songs, we’ll say, ‘Check this out.'” In turn, this shared enthusiasm, and the positive response to Dâm-Funk’s albums Toeachizown and Adolescent Funk — both released on Manak’s label, Stones Throw – has recharged funk sounds in Los Angeles and SF, and led to new discoveries of soulful and funky treasures from the recent past.

One such gem is Jeff Phelps’ 1985 Magnetic Eyes, a Tascam Portastudio 244 bedroom recording with sensational vocals by Antoinette Marie Pugh, who stars in a terrific no-budget video for the album’s “Hear My Heart” currently up on YouTube. “That album is something I’ve known about for a long time,” Dâm-Funk says, when I mention Magnetic Eyes and its hand-drawn yet futuristic cover art. “It’s a great project.”

Another great project is Tony Cook’s Back to Reality (Stones Throw), a collection of mid-1980s recordings by a musician who got his start as James Brown’s drummer. Taking on the role of executive producer, Manak has added some extra pop to the already formidable strut of Cook songs such as “Heartbreaker,” even drafting in Dâm-Funk to contribute new vocals to one track, “What’s On Your Mind.” “You’d think they were 24-track recordings, but he [Cook] only worked on an 8-track,” marvels Manak. “He was a good musician and producer – when you’re bouncing tracks, you have to know what you’re doing. In those days it was hard to achieve a full sound like that.”

These days, both Dâm-Funk and Peanut Butter Wolf know what they’re doing — and that’s a damn lot. Reflecting his Gemini nature, Dâm is planning to explore the dark side on an EP with that title before venturing into the light on his next LP. He’s also remixed Nite Jewel and is collaborating with her on a project, Nite Funk. He’s producing music by Steve Arrington for Stones Throw, and he wants to put out another chapter of his archival venture Adolescent Funk, with him choosing the tracks instead of Manak. As for the man Dâm calls “Wolf,” he’s got Stones Throw’s 15th anniversary on his hands, including a 7-inch box set, and a series of live-to-vinyl performances by the label’s artists in L.A. These guys are busy, but — fortunately for Noise Pop, and for SF — that doesn’t mean they don’t have time to throw a 45 party. (Johnny Ray Huston)

PEANUT BUTTER WOLF, DAM-FUNK

With Guillermo (Sweater Funk), Hakobo (Fresco)

Sat./26, 9 p.m., $15 (21+)

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

DOMINANT LEGS: LOST IN LOVE

Whether he’s raging in the streets alongside fellow Giants maniacs or musically lost between the sheets, Dominant Legs’ Ryan Lynch sounds like he’s sweet to the core—and even more. “I didn’t have anything to do with setting the mattress on fire, but I was there,” says the SF musician of SF’s impromptu World Series throw-downs. “But I wasn’t stopping anybody from celebrating.”

Lynch also rolls with the love when it comes to music. “I don’t really listen to much music that would be characterized as aggressive,” he continues, on one of those sunny Bay afternoons that make it easy to float away on blue skies and daydreams. “I listen to pop music and, honestly, mostly KISS FM.” His favorite song on this crisp, creamy day is R. Kelly’s “Lost in Your Love.” “It’s all about him wanting to bring love songs back to the radio,'” Lynch adds. “And that’s sort of what I also aspire to—not that we get any radio play!”

But, oh, a girl — or a boy who once was a Girl (until recently, Lynch was Girls’ touring guitarist) — can dream. And dreams have been coming true for Lynch, a longtime Giants follower who recently contributed “Finally Champions” to a digital-only benefit comp of Giants tribute songs released by True Panther. Meanwhile Dominant Legs continues to pick up steam—and members.

Once the repository of Ryan’s solo singer-songwriter imaginings away from longtime band Magic Bullets, Dominant Legs found favor when the Redwood City-bred musician was laid off from his job as mail clerk-receptionist at a law firm. He didn’t sink his sparse funds into job retraining classes or the like; instead he bought a cheap Casio keyboard and drum machine. “I shouldn’t have been spending any money,” he recalls now. “But the direction of the music really took off after acquiring those pieces of musical equipment.” Friend Hannah Hunt, who had just graduated from college, offered to help out at a 2009 show at Amnesia and ended up sticking around.

“She brought a softness, and delicacy, which made the songs more delicate since her voice is so different from mine,” he observes. “I think her voice is easier on the ear than mine.” For Noise Pop, the two have acquired a few more legs to help them on their way: drummer Rene Solomon, bassist Andrew Connors, and guitarist Garrett Godard, the latter once the drummer for Girls.

They’ll be filling out the already intoxicating pop bounding off Dominant Legs’ 2010 EP, Young at Love and Life (Lefse), which has inspired music bloggers to go wild, tossing out scattershot, albeit flattering allusions to Orange Juice and Belle and Sebastian, Kelley Polar and Arthur Russell—and even Dave Matthews. Feeling lost again? Just listen to the earnestly lovelorn, gently bopping, synth-popping tunes like the title track and “Clawing Out at the Walls,” with its curious admixture of sweetness and self-doubt. Kindred spirits and modern lovers such as Jeremy Jay and Camera Obscura, also given to such exquisitely anxious reveries, would understand. “The only thing I’ve heard is that [the EP] is too heavily influenced by the ’80s,” says Lynch. “But I don’t see that as a problem.” (Kimberly Chun)

DOMINANT LEGS

With How to Dress Well, Shlohmo, Chelsea Wolfe

Sat./26, 8 p.m., $12–$14

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

ADMIRAL RADLEY: LIFE AFTER GRANDADDY

Jason Lytle has never been shy in revealing the frustrations leading up to Grandaddy’s demise. Exhaustion from middling success, a love/hate relationship with his lifelong home of Modesto, and a diminished interest in making music with others resulted in a move to Montana to focus on a solo career in 2006. Enter Admiral Radley, a collaboration with members of indie-pop group Earlimart and Grandaddy drummer Aaron Burtch that has him not only playing in a band again, but touring Japan and singing about his former home on songs such as the sarcastic “I Heart California.” Lytle took some time out from a snowy day of magazine shopping at Borders in his new hometown of Bozeman to talk about the project.

SFBG Rumors of a collaboration between you and Earlimart date back to the Grandaddy days. What led to you guys finally working together?

Jason Lytle It was really an excuse to hang out at [Aaron Espinoza’s] studio and just have people coming in and playing parts. We set aside a week as a fun little project. Maybe somebody else had other plans for it, but at the time, I was convinced it was just gonna be a cool opportunity to make a record and be done with it.

SFBG Were you guys surprised by the amount of excitement surrounding the project?

JL Yeah. Then it turned into, alright, we gotta name this record something, and give the band a name, and pretty soon it was this real entity. The Japan thing started off as a joke, and then became more of, “Let’s give this a go, and if it winds up getting us to Japan, we can call it good” — and the whole thing was worth it.

SFBG And how were the Japan shows?

JL They were really scrappy. The places were just dumps. I kept joking with Aaron, saying, “If we weren’t in Japan right now, and if these weren’t exceptional circumstances, there’s no way I’d be putting up with this.”

SFBG You’d expressed some skepticism about playing in bands again after Grandaddy split. Has this experience changed your opinion?

JL My place in Admiral Radley is totally different from what my situation was with Grandaddy. I’m getting off easy. Aaron is a great organizer and knows that a big appeal for me joining the band was not dealing with a lot of the day-to-day crap I used to deal with. I feel like I’m a piece of a puzzle with this band, which after all these years is something I’ve never really experienced. So it’s been kind of neat.

SFBG Both you and Aaron like being hands-on with production in your work. How was the collaborative process on this album?

JL That part was pretty effortless. Aaron and I share a lot of the same philosophies on production and making albums sound a certain way. I definitely sat in on some of the mixing, but there was a lot of it where I was just able to trust what he was going to do, knowing that it probably wouldn’t be too far off from what I’d do myself.

SFBG Was it strange writing lyrics about California now that you’ve been gone for almost five years?

JL I’ve definitely had a renewed perspective. Every time I visit or I’m there doing some work, I’m thrust right into the shit. Like right into L.A. or SF, rather than adjusting or letting it sink in slowly. So, usually it’s pretty jarring for me just because the pace is a lot more relaxed and different here. Having a bit of that outside perspective now allows me to look at things a bit differently. (Landon Moblad)

ADMIRAL RADLEY

With Typhoon, Social Studies, Fake Your own Death

Wed./23, 8 p.m., $12 (21+)

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

GEOGRAPHER: EARTH PEOPLE

The dress code doesn’t include a finely-pressed lab coat, and the toolbox isn’t filled with fragile beakers, but a geographer is indeed a scientist, one who pours himself into the earth and bleeds across its surfaces to observe and categorize its residents. I haven’t asked the members of the San Francisco synth-pop trio Geographer if this occupation has had any inspiration on its sound, but there’s reason to believe the answer may be a humble yes.

Geographer has discovered new ground in the electronic realm. Its unique ménage a trois of music-making contraptions — drums, synth and cello — produces audible scenery that simultaneously calms and energizes the senses. Luscious forests of synth share habitats with rushing bass and guitar. The cello adds a sneaky-smooth layer that easily melts between or melds the more jagged sounds.

Behind the sweet scenery resides a less than pretty picture. Themes of loss and inevitable change creep through their sun-stained melodies, pulling at the roots of the band’s core. In 2005, Michael Deni fled his home in New Jersey, after the unexpected deaths of two family members. He landed in SF, and his instruments became a source of comfort and release while he wandered the new, unfamiliar territory. After a period of searching and surveying, Deni met and began collaborating with Nathan Blaz and Brian Ostreicher. In 2008, Geographer self-released its debut full-length, Innocent Ghosts, a far more relaxed collection that showcases Deni’s round, patient voice.

The landscapes on 2010’s Animal Shapes (Tricycle) are majestic, but far more celebratory. Things are tighter spun, beats kick harder and there’s a cohesive exploratory factor. Specifically fabulous: “Kites,” a track that strikes gold with a lustrous synth party. Deni’s sincere vocals float high above the mountainous bass vibrations, but mingle ever so courteously with the shrill, twinkling electronic additions. Enter the romantic cello and the song is a straight-up gem.

Now is a good time to button up your favorite white jacket and take some notes on the current environment in which you reside. Whether you’re into earth science or not, Geographer is a swell listen that goes well with salty pretzels and an adventure around your own neighborhood. Animal Shapes on repeat will keep you in step with eyes and ears open. And listen carefully: there’s good word on the street about these Geographer guys in the live form. (Amber Schadewald)

GEOGRAPHER

With Butterly Bones, K Flay, Funeral Party

Wed./23, 8 p.m., $13–$15

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

PSYCHIC FRIEND: PIANO POWER

Will Schwartz and the piano go way back, to when he was nine. “I’ve been attracted to the C chord and to A minor since I was a kid,” he says from L.A., where he’s living in Los Feliz. “I learned to play piano by ear, and it was always based on [starting with] a C major and going from there.”

You could say Schwartz played his first gigs on the instrument. “We had this two-story living room in our house in New Jersey with a little balcony, and the piano was up on the balcony,” he says with a laugh. “I would imagine I was playing for people down below. I would put on shows for the living room furniture.”

In his new band Psychic Friend, Schwartz updates California chamber or piano pop for today’s era, with contributions by Hole drummer Patty Schemel and instrumentalist-producer Bo Boddie. The result is a fresh chapter in Schwartz’s musical story, one that has ranged from the guitar-rock of Imperial Teen to the D.I.Y. choreographed pop of Hey Willpower, which involved contributions from videomaker Justin Kelly, DJ Chelsea Starr, and musician Tomo Yasuda.

Crisp and clean, in a way Psychic Friend sounds like the moment Schwartz has found his voice, or unknown heights or depths of it. The pounding “Once a Servant” revives the spirit of Jobriath. “Water Sign” has a Serge Gainsbourg undercurrent. “Shouldn’t Have Tried Again”‘s rendering of the repeat failure of a relationship matches the plaintive sunshine-y yearning of Harry Nilsson’s sublime covers of Randy Newman.

You could say Psychic Friend is new Californian pop. The piano-based melodic immediacy of the group’s sound has a kinship to Carole King’s solo work, or Burt Bacharach and some of his hits for psychic and other friends, yet both the sound and the lyrical content is very contemporary, not retro. It also isn’t Rufus Wainwright showboating — tracks like “We Do Not Belong” allow Schwartz’s voice a freedom and resonance it hasn’t had before, but he doesn’t run away with himself. “The nature of playing a piano and writing melodic songs, it almost brings you back to ’70s songwriting,” Schwartz observes.

“I just found this place in my voice that feels very connected, actually, that comes from playing the piano, and it feels good,” he adds, simply.

Schemel’s powerful drumming and Boddie’s hit-making skills have a role in this shift. “It’s like an Eddie and the Cruisers feeling,” Schwartz says, “where you start to play something, and by the end it sounds like a finished song.” (Huston)

PSYCHIC FRIEND

With The Concretes, Birds and Batteries, Magic Bullets

Fri./25, 8:30 p.m., $13–$15

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

San Franciscans show solidarity with Egyptians

0

“Yesterday we were all Tunisian. Today we are all Egyptian. Tomorrow we will all be Free,” read one sign on at last weekend’s protest in solidarity with the wave of uprisings across the Arab world, an event drew thousands of people into the streets of San Francisco.

The crowd was diverse, from a variety of cultures and age groups. Sabreen Abdelnahmen is an 11-year-old Egyptian American who said she is “very proud there are people of many cultures and many religions fighting for the same thing.”

The events in the Middle East reverberate in San Francisco as well as many major cities, with everyone watching Egypt teeter toward democracy. To understand more about the events in Egypt, we spoke with local activist Yasmeen Daifallah, who helped organize the solidarity events and has connections in Egypt, where she attended Cairo University for six years. She is an activist, a political science doctoral student at UC Berkeley, and a singer in the Arabic music ensemble, ASWAT.

SFBG: Why protest in San Francisco?

YD: Two things were important to us. The first was to express solidarity… when [images of protests here] are transmitted to Tahrir Square [the central square where thousands of Egyptians have been remaining against government orders for two weeks]… it is definitely very uplifting. The second is to spread awareness in San Francisco…and in the U.S, to express a message to the American public and the American government. There should be respect for the people’s rights of self-determination and a cutting back on a strict consideration of self or national interest.

SFBG: Tell us about Tahrir Square, which has been at the heart of the protests, and who is leading the protests.

YD: I am amazed at the intensity of the steadfastness because many protestors are struggling to make a living. They all strike you as struggling to make a living and would not do anything to jeopardize making a living and these same people come out and say ‘we are staying here, we don’t care about bread, we care about dignity, we are not moving from here until [President Mubarak’s] regime falls.’

One of the most interesting things about this protest—there is no particular organization or person or even a group of organizations leading. Actually, the organizations are trying to piggy bag on the people and the momentum that is created by the public. For the leaderless nature that is has, it is remarkably organized.

SFBG: Why did the people rise up? Tell me a little about Egypt under Mubarak.

YD: The economic condition was abysmal and this is because when Mubarak came to power, the country started structural adjustment policies, which gave way to mass privatization. These have particularly intensified in the past 5-10 years. What this has translated into is massive unemployment and having to do several jobs in order to survive. On the day-to-day basis life under Mubarak is a life of economic hardship and social immobility.

When we start talking about the middle class, about politics and the political concerns probably [what is important] are fraudulent elections, rigging elections after people have actually voted but also preventing people from opposition movements from entering the ballot box to begin with. So this a very flagrant political repression. It takes place across the board. The second thing is the repression of the right to freedom of expression, whether in writing and the detention of journalists or in demonstrating. There is a law preventing the right to assemble. Then there is the bureaucracy and inefficiency, which all citizens suffer from on a daily basis. Their energies are exhausted in… getting their daily life going whether on the economic level, the bureaucratic level, or just the transportation level.

SFBG: You were just in Egypt and left 10 days before protests erupted. Do you wish you were there still? How does you feel as an Egyptian at this moment?

YD: Yes, very much so. I wish I were there—we all have a sense that there is something historic happening. We never had this number of people protesting against the regime and putting out demands that are this vocal and this radical. I wish I was more a part of this moment, I am just part of this moment from afar. I feel proud to be an Egyptian, which is a feeling you don’t get often, unfortunately.

On the one hand it feels bad because I wanted to be there to actually be a part of it. On the other hand, I have been convincing myself that there is a role that maybe I was destined to play being out here instead of out there.

SFBG: What do you think about the fears and concerns that democratic elections will lead to the rise of an Islamic government in Egypt?

YD: The question itself is unacceptable in the sense that fear and Islamic government put together should not be an issue. The issue is that people should have the right to determine who they want to govern them and whoever comes out of this is a legitimate leader.

The second thing is, you can easily see…this uprising is not an Islamic uprising—there is no foundation for this concern. The Islamic opposition, which has been among the most powerful if not the most powerful opposition movement will play a role and has to play, rightly, because they have been [part of the opposition]. There is no reason for concern, whether we look at it from the perspective that this is not an Islamic uprising or from the perspective that the nature of the Islamic opposition in Egypt is moderate in the sense that it is not militant and not violent and buys into a lot of democratic rhetoric and human rights rhetoric that is around.

SFBG: The other concerns have been around the lack of stability.

YD: This is not such a bad thing. The state of affairs in this point in time in the region is stability with no justice which in turn is bound to create instability and we have seen the instability of the intifada, we have the instabilities with the war on Gaza. Whatever we think of as stability in the Middle East is a fake and frail notion of stability. One would hope that if a new regime comes in Egypt that is more democratic that it would try to address some of the injustices that have been taking place so far regarding the Middle East peace process, but even this is not a guarantee.

At this point what one should focus on is who are the people at Tahrir, what are they demanding, and how can the international community help them get what they demand because this is not a violent uprising. This is not even an organized uprising. This is not a single actor uprising. It’s a crosscutting uprising and it is legitimate, which calls for respect and support and solidarity and anything less than that is betrayal.

SFBG: Where can people get the best information on what is happening in Egypt?

YD: Al Jazeera-English has been doing a good job at covering the events. It has definitely been the prime source of information to the extent that there is a huge campaign now demanding that Al Jazeera be available through satellite and cable providers in the United States. [For now,] you go online and click on live broadcast.

SFBG: Daifallah incorporates music into her politics through the Arabic musical ensemble ASWAT. Here’s a clip of their performance on Saturday:

http://www.youtube.com/watch?v=6fjZ0XjaJU8&feature=player_embedded

 

 

“I guess I just want other people to solve the Rubik’s cube”

0

This much was clear. A conference room full of middle and high schoolers had been assembled and were now working out math problems. On a Sunday. To someone who wept through stats homework, it seemed like a game of Clue, who done this? At the lectern, a man shared formulas one might find useful in attempting a rapid solution of the Rubik’s cube. A series of x’s and y’s to the nth power flashed before the hushed underage audience.

Were these kids really into what was going on, or was this some well-orchestrated parent plot to shut down a perfectly good weekend? It was Mom in the living room with the bribes and threats about not getting into college! But board game detective I was not. This became apparent when the young man in a hoody sitting on my left picked up a cube offhandedly. Without fanfare, his hands began to blur. He lined up the colors in well under a minute and set the cube back down. Welcome to last weekend’s Julia Robinson Mathematics Festival, where math, it appeared, was not just a problem to be solved.

“If you want to put it in basketball terms.” Festival co-organizer Joshua Zucker is explaining to me the difference between kids doing math “exercises,” which he says comprise the majority of schoolwork these days, and “problem solving.” Please, I encourage him, put it in basketball terms. “Exercises are like dribbling down an empty court. Problem solving, that’s like dribbling down a court with a defender on you. Computers do exercises – we want kids to learn how to think.” To further illustrate his point, he proposes I perform a simple mental game involving twisting my wrists together. Blinded by my fear of math, I fail miserably, and he patiently reiterates what I must do to free myself.

Round tables fill the Pauley Ballroom in UC Berkeley’s Martin Luther King, Jr. student union, at which are seated young students, math professionals, and various UC Berkeley faculty. They do not appear to be worried a whit by the prospect of the boxes and equations before them. Each table houses a few kinds of math challenges: here, kids are constructing a massive fractal cube made from folded bits of paper. There, scholars puzzle over math “magic” tricks and geometry formulas, aided by a female NASA scientist. There’s no clear stop and start time – participants circulate around the room at their own pace, parents in tow or mercifully mingling in the seating area at the room’s fringes.

The festival’s format is constructed to encourage kids to think about why we do math — and we’re not talking about that scholarship to Cal here but instead that little thing about how math helps us figure out the world around us (which I concede, if grudgingly). Accordingly, an instruction sheet written by Zucker greets table leaders at the event’s entrance cautioning them that “you’re welcome to encourage group work when you see good opportunities, or encourage individual work, but don’t encourage too strongly: mostly let the kids decide whether they want to work on their own or with their neighbors.” This looseness is a deliberate departure from the other form of extra-curricular activity for the numbers set (ha!): the math competition, and has much to do with the festival’s namesake, female math pioneer and UC Berkeley professor Julia Robinson, who tackled complex theories in the days before people were fully keen on the concept of female mathematicians.

“We think the non-contest atmosphere is more conducive to girls,” says Zucker, who used to teach math at the girls-only Castilleja School in Palo Alto, comparing the festival’s roughly 60-40 boy-girl ratio with the typical 70-30 that one sees at the higher-pressure math contests. Girls, the assumption goes, aren’t into parading their smarts all over the place.

It’s a theory that’s borne out by what I witness at the festival. For the most part, the boys are quick to acknowledge when they perform a particularly astute calculation. The girls seem more content to listen and work through equations on their own steam, though it must be said that a few are far from retiring. 

California College Preparatory Academy ninth grader Breanna Alleyne drags family friend Aaron Johnson over to the table where I sit, puzzling with the mathemagic tricks. The two plow their way through problems along with the help of Eleanor Long, a San Francisco charter school math teacher who came to observe at the festival but wound up working though problems with the students at her table – a kneejerk reaction, it would seem, of a committed educator encountering the academically earnest. 

“We’ve developed a tradition around the event,” says Breanna’s mom Fatima Alleyne, who I catch up with at her welcome table post, where she is checking in festival attendees. Breanna, I note, approaches the subject lightheartedly at the problem-solving tables, and Fatima, a materials scientist at UC Berkeley who works with resonated devices, says their three years of attendance at the festival has to do with framing math in a light that she feels is missing from traditional classrooms these days. “I don’t think you have to have a developed appreciation of math to really enjoy it in this setting. I just want her to see math in a different way than how she gets it in school.”

I ask Alleyne about how times have changed between her years coming up in school and those of Breanna’s. She remembers her scientific curiosity being sparked by her participation in science fairs and other “enrichment activities” outside of school hours. Alleyne just doesn’t see those same diverse opportunities for learning these days. “The activities that encouraged you to participate in math and science – they’re just no longer in existence.”

This relative dearth in chances outside the classroom to connect with like-minded scholars may be one reason why some kids at Julia Robinson clearly benefit from being around the old pros that help out at the festival. Take sixth grader Kyle Asano, who watched the Rubik’s cube lecture sitting on the other side of Scott Okamura, the Rubik’s whiz who had shocked me in the first place and who turned out to be a freshman at Cal who helps facilitate a free speedcubing course. I ask Okamura why he spends his precious free hours away from his math major instructing others in the art of square. “I guess I just want other people to know how to solve the Rubik’s cube,” he smiles. 

Asano, who estimates his best cube-solving time at a minute and 18 seconds, tells us that he, along with a few school friends at Cupertino Middle School, is really into the cubes. “The center cube decides which color the side’s going to be,” he gracefully informs us before pumping Okamura for more info on his particular cube-solving techniques. Later I spot the two at another table, whizzing through 3-D puzzles that would stump an unseasoned hand (mine). Proof in the Pythagorean, it would seem, that the Julia Robinson Festival does indeed provide a thought provoking math experience – in or out of the box.

Photo, above right: Scott Okamura and Kyle Asano, math aficionados squared. Photo by Caitlin Donohue

 

Getting free

3

rebeccab@sfbg.com

Shane Bauer and Josh Fattal have been held captive in Evin Prison in Tehran for more than 540 days, and their friends and supporters in the Bay Area have been mounting an extraordinary campaign pushing for their release.

On July 31, 2009, Bauer and Fattal were hiking with Sarah Shourd, who is Bauer’s fiancée, through green mountains in Iraqi Kurdistan. The three UC Berkeley graduates had traveled from Damascus for a recreational visit. They were wandering nearby Ahmed Awa, a popular tourist destination where hundreds of people had flocked to camp, to visit a waterfall and enjoy the peace and quiet of the mountains.

They say they didn’t realize how close they were to Iran, which has no diplomatic ties to the United States.

Shourd told the Guardian she’s not sure whether they accidentally traversed the Iranian border, because it was unmarked. “We had no intention of being anywhere near Iran,” she said. “And if we were, we’re very sorry.”

Iranian officials surrounded them, speaking in Farsi, which they couldn’t understand. They were arrested on suspicion of spying and taken into custody. Before being taken to prison, one phoned a friend, Shon MeckFessel — who had been traveling with them but opted not to go on the hike because he wasn’t feeling well — to alert him that something had gone wrong. That would be the last communication any of them would have with close friends or family members for months.

Shourd was finally released on bail Sept. 14, 2010 on humanitarian grounds after spending 410 days in solitary confinement. She was reunited with family and friends — but Bauer and Fattal have remained in detainment ever since.

Since returning to the United States, Shourd has thrown her energy into advocating for their release — and she’s not alone. “Everyone in the family has been working tirelessly for all 18 months,” she said, “which is far, far longer than we ever imagined in our worst nightmares.”

 

FIGHTING FOR FREEDOM

While Shourd was still in prison, her mother, Nora, gave up her home and job to move in with Bauer’s mother, Cindy Hickey, and work for their release full-time. Fattal’s older brother, Alex, suspended his graduate studies at Harvard to dedicate himself to the campaign. His mother, Laura Fattal, stopped working to devote herself to the campaign.

“That’s just family alone,” Shourd noted. “If you start to look to how many people have contributed to our campaign and how many ways, it just blows your mind.” Soon after her release, Shourd put out a call for people to hang banners proclaiming the innocence of Bauer and Fattal and calling for their release. In response, nearly 60 banners were unfurled in 25 different countries.

Shourd has made countless media appearances since her release, and even put out an MP3 of a song she composed while in solitary confinement, which can be downloaded as a way to support the Free the Hikers campaign. Their story has drawn the interest of prominent figures. On Jan. 19, Noam Chomsky released a video offering to testify on their behalf if a trial is held, saying Bauer and Fattal “have dedicated themselves to advocating for social and environmental justice in Africa and elsewhere, and they truly embody the spirit of humanitarianism.”

Others who have publicly defended the trio include President Barack Obama, who issued a statement in July saying none of the hikers ever worked for the U.S. government, addressing Iranian accusations that they were there to commit espionage. United Nations Secretary General Ban Ki-Moon and the Archbishop Desmond Tutu have called for their release. A documentary has been produced about their plight, and a second one is in the works.

In San Francisco, artists and musicians have responded in droves to a call for support. An art auction that will benefit the campaign is planned for Jan. 29, featuring the work of more than 80 artists, plus live musical performances. As a nod toward Bauer’s work in photojournalism, the event will emphasize photography, and notables such as Mimi Chakrova, Taj Forer, Roberto Bear Guerra, Ken Light, the LUCEO Photo Collective, Susan Meiselas, Lianne Milton, Mark Murrmann, Alec Soth, and others have donated work. Among the artists who donated pieces are Marianne Bland, Mark Brecke, Teresa Camozzi, Andreina Davila, Eric Drooker, and former Board of Supervisors President Matt Gonzalez.

In early February, a music benefit will be held at the Bottom of the Hill to benefit the campaign. Titled “They Sing These Songs In Prison,” the event will feature performances of The Nightwatchman — that’s Tom Morello of Rage Against the Machine — plus Jolie Holland, accordionist Jason Webley, and Ryan Harvey & Lia Rose.

“The funding is to support the campaign to free Shane and Josh, and it goes to a wide array of needs that we have, like translation into Farsi, travel for media, and meeting with some various embassies and governments that are involved in advocating for Shane and Josh’s release,” Shourd explained. “Also, some of the money will probably go toward legal fees, and website fees, and materials for the campaign from flyers to business cards to t-shirts.”

 

WHO ARE THE HIKERS?

The campaign to advocate for their release has been tagged Free the Hikers, but the identities of the three young people (Bauer and Fattal are both 28, Shourd is 32) go much deeper than that. They’re social-justice advocates, antiwar activists, writers, environmentalists, travelers, and creative thinkers with deep ties to the Bay Area.

Shourd, who lives in Oakland, was teaching English to Iraqi refugees when she was in Syria, as well as practicing some journalism. Fattal, who taught at Aprovecho — an education center in Oregon focused on sustainability and permaculture — had been traveling to India, South Africa, and other places through the International Honors Program to lead workshops on health and sustainable technology before visiting his friends in Syria.

“Josh is an environmentalist, he’s a teacher, he’s an incredible, incredible, generous and selfless man,” Shourd said. “As soon as you meet him, you feel what an extraordinary and unique human being he is. I was friends with him for years before he came to visit us in Damascus, and he decided to travel with us to Northern Iraq to Iraqi Kurdistan to learn about Kurdish culture, to see another diverse aspect of the Middle East.”

Bauer wrote for publications such as The Nation, Mother Jones, and the Christian Science Monitor. A photojournalist who has won multiple awards and had his work published internationally, Bauer has documented everything from tenant conditions in San Francisco SROs to conflict-ridden regions in Africa and the Middle East. Bauer also wrote an article for the Guardian about an Oakland residence that is famous among East Bay anarchists (See “Hellarity burns,” May 27, 2008).

“Shane has an incredible passion for pursuing truth and complicating our ideas about other parts of the world, about conflicts around the world and at home,” Shourd noted. She added that many of his stories serve to highlight “some of the very specific ways that the U.S. presence in Iraq has taken a toll on innocent people.”

Before their ill-fated excursion, Shourd said she’d heard from multiple westerners and her Arabic tutor that Iraqi Kurdistan was a safe and enjoyable place to visit. “It’s often referred to as ‘the other Iraq’ because it’s a semiautonomous region designated as a no-fly zone by the U.S. government,” she explained. “It’s actually a part of the Middle East that has a very positive fingerprint from the U.S. government because they helped protect the Kurdish people from Saddam Hussein. So Northern Iraq is not a dangerous place for Americans or westerners to go, and no American has ever been killed in Northern Iraq, which is just phenomenal after a decade of war and occupation.”

She said Bauer, Fattal, and MeckFessel were all enthusiastic about the trip, and after researching it online, the four felt they had enough information to travel there. “We ordered a special Lonely Planet guide of Northern Iraq, and a friend of ours who went a month before we did borrowed it and lost it, so we didn’t have the Lonely Planet guide,” she noted. “But we still felt we had enough information about it to travel there and really believed we had nothing to fear.”

 

SOLITARY

Shourd credits her fiancé and her friend with helping her through “every minute of prison,” even though she was alone in her cell for 23 hours a day. At first she wasn’t allowed to see them at all, but after some time had passed, guards allowed her to visit with them in an outdoor courtyard for 30 minutes a day. Later, that brief time together was increased to an hour.

“There’s no way I could have maintained hope and maintained my own sanity and the strength that it took to get through every day of isolation and depravity and uncertainty and fear,” she said. “The emotional strength that that took, and the discipline that it took, really Shane and Josh and I all created together in the little time that we had, through the unconditional support and love we had for each other.”

Since they didn’t speak Farsi and the guards spoke very little English, it was difficult to communicate basic needs, and Shourd described the experience as being surrounded by hostility.

“Whenever I just started to slip away mentally, Shane and Josh would bring me back, and the knowledge that they were going to be there for me was the only thing that got me through 410 days of solitary confinement,” she said. The three thought up activities to give themselves something to look forward to, like marking time with small courtyard celebrations and special food they saved to share together or discussing topics in an organized format. “We had almost like a curriculum that we followed of study, and sort of intellectual exploration,” she explained.

They were only allowed to have pens for one month — that was the easiest month, Shourd said. But the rest of the time, even though they weren’t permitted to write things down, they were allowed to read. “Books were our lifeline. We read the same books in concert, we took turns reading books and passed them back and forth when we saw each other in the courtyard. And we would memorize dates and memorize poetry and recite poetry to each other and test each other on dates,” Shourd said.

“Josh would give me math problems to do in my head because he knew I was trying to get better with algebra. We had a dictionary that we passed back and forth, and we would make stories from words in the dictionary and tell each other these really intricate fantastical stories that we came up with. Anything to keep your mind busy.”

Beginning in her second month in prison, Shourd also passed the time by composing songs. A month went by before she was able to share the first one with Bauer and Fattal, but when she did finally sing it for them, they learned the words and sang it with her. “When we were together in the outdoor courtyard, they would just tell me to sing louder,” Shourd said. “I know they’re singing those songs now.”

The intellectual drills, storytelling, math problems, and singing weren’t merely a remedy for boredom. “You have to really keep your mind strong and busy so that you don’t get sort of swallowed up by the abyss of fear and loneliness that encroaches on you day by day in that kind of situation,” she said.

 

LOOKING AHEAD

Despite the time, energy, and effort spent on the campaign to free all three, no one can say for sure just when Bauer and Fattal will finally be reunited with family and friends. In November, Iranian authorities said that a trial previously scheduled for that month had been postponed, but the Free the Hikers campaign is calling for them to be released without a trial.

“They don’t deserve to be there one minute longer than I was, and they never deserved to be there in the first place,” Shourd said. “They should be shown the same kind of humanitarianism that they have put into action in their lives, through their work.”

Amnesty International is among many of the groups that have called for the Iranian government to release the two young men. “One year after their arrest, the Iranian authorities’ failure to charge them with illegal entry into Iran or more serious charges, such as espionage, has fueled speculation that the Iranian authorities are holding them as a bargaining chip,” notes a statement released July 2010 by Amnesty International, an international human rights organization.

Meanwhile, Shourd has been contemplating what her experience would have been like if the U.S. and Iran actually maintained diplomatic ties, and she published an opinion piece on CNN International calling for greater communication between the governments.

“I think it’s their responsibility to their people to do that, and I think it’s a tragedy that there’s been 30 years of practically no relationship between Iran and the U.S.,” Shourd said. “It’s a tragedy for countless Iranian Americans in this country who have a hard time visiting their relatives in Iran, sending them money, even just getting information about them or visiting their homeland.”

She began her opinion piece by recounting the time that a prison guard brought her freshly picked roses, an uncommon gesture of kindness during her incarceration. “In the worst of circumstances, the most extraordinary acts of human kindness emerge,” she told the Guardian. “They were rare. The vast majority of my experience was empty and desolate. But the times that the guards were kind to me … will stay with me for the rest of my life.” *

ART AUCTION TO FREE ALL THREE

Saturday, Jan. 29, 7 p.m.

SomArts Cultural Center

934 Brannan, SF

Musical performances by The Ferocious Few, Devon McClive and Sons, Grant Hazard and Lorin Station

www.artforssj.tumblr.com/#about

THEY SING THESE SONGS IN PRISON

Featuring The Nighwatchman, Jolie Holland, Jason Webley, Ryan Harvey & Lia Rose

Thursday, Feb. 10, 8:30 p.m., $12–$18

Bottom of the Hill

1233 17 St., SF

www.bottomofthehill.com

To learn more, visit www.freethehikers.org, www.freeourfriends.eu

Our Weekly Picks: January 19-25

0

WEDNESDAY 19

EVENT

“20 Under 40: Stories from The New Yorker”

Leave it to The New Yorker to pull out a short story series of “young fiction writers who we will believe are, or will be, key to their generation” who makes good on the promise. The 20 Under 40 class of 1999 featured Junot Díaz, Jhumpa Lahiri, and Jonathan Franzen — before the three had soared to the forefront of modern literature. This year’s edition has now been anthologized after being run story by story in the magazine. This event at City Lights gives Left Coasters a chance to thrill to readings by the collection’s exciting West Coast names: Chris Adrian, Daniel Alarcón, and Yiyun Li. (Caitlin Donohue)

7 p.m., free

City Lights Bookstore

261 Columbus, SF

(415) 362-4921

www.citylights.com

 

EVENT

“Nerd Nite”

Last year’s megahit The Social Network proved that nerds are now totally mainstream (see also: Mark “Person of the Year” Zuckerberg’s face taking up the entire cover of Time magazine). Geeks are golden (literally — Zuck’s worth like $7 billion), so there’s no shame in hitting up “Nerd Nite,” the monthly gathering for those who enjoy celebrating the cerebral (also, drinking; it’s at a bar, after all). As you might suspect, January’s edition goes way beyond center parts and suspenders; featured smarty-pants include an engineer heading up an open-source team competing for a $30 mil prize offered by Google to anyone who can fund, build, and land a robot on the Moon (what, like it’s hard?) and an actual (necro)neuroscientist speaking on “Scanning the Zombie Brain.” Brains: trendy, and delicious! (Cheryl Eddy)

7:30 p.m., $8

Rickshaw Stop

155 Fell, SF

www.rickshawstop.com

 

THURSDAY 20

MUSIC

Tobacco

Dusting off the confetti and party debris that usually accompanies Black Moth Super Rainbow’s performances, Tobacco breaks from his so-called side project to take matters into his own smokin’ hot meat hooks and show off last year’s Maniac Meat and his freshest slab of sound, La Uti EP. It’s all bewitching stuff, even without the motor-mouthed rap by Aesop Rock that graced Tobacco’s debut Fucked Up Friends. These days matters are less manic though plenty witchy (“Fresh Hex,” featuring Beck) with beats that land as heavily as heck (“Sweatmother”). Hex, if the Butthole Surfers can luck into a hit, who’s to say that the Pittsburgh music meister won’t have the kids singing along to “Motorlicker” or “Lamborghini Meltdown” sometime soon? (Kimberly Chun)

With Seventeen Evergreen and Odd Nosdam

10 p.m., $13–$16

New Parish

579 18th St., Oakl.

www.thenewparish.com

 

PERFORMANCE

Raw-Dios

Sing it, Roots (from the group’s song “Rising Up”): “Yesterday I saw a B-girl crying/ She told me that the radio’s been playing the same song all day long.” Clear Channel now owns 10 percent of all radio stations in this country, 776,000 advertising displays, and 200 major concert venues. Small wonder the truth is hard to come by. But this stage production, starring veterans of the Teatro Campesino activist theater and the spoken word scene, finds hope: the based-on-truth story of a raunchy morning show DJ that flips the corporate script when the U.S. starts bombing Iraq in 2003. A play to hope to … (Donohue)

Thurs/20-Sat/22, 8 p.m., $16

Mission Cultural Center for Latino Arts

2868 Mission, SF

(415) 643-2785

www.missionculturalcenter.org

 

THEATER

Bone to Pick and Diadem

Cutting Ball Theater presents a reimagining of the myth of Ariadne, Theseus, and the Minotaur. Bone to Pick premiered in 2008 to critical acclaim, and now returns with its sequel, Diadem. Bone to Pick begins with Ariadne as a waitress in a diner — 3,000 years after being left on the island of Naxos, which now happens to be a deserted U.S. Army base. Diadem flashes back to the day Ariadne was left on Naxos by Theseus. Written by Eugenie Chan and directed by Rob Melrose, Greek mythology takes a new twist in this postmodern explanation of love, war, and complicity. (Emmaly Wiederholt)

Through Feb. 13

Thurs.–Sat., 8 p.m.; Sun., 5 p.m., $15–$50

Exit on Taylor

277 Taylor, SF

(415) 419-3584

www.cuttingball.com

 

FILM/COMEDY

“RiffTrax Presents Night of the Shorts”

In the tradition of Mystery Science Theater 3000, RiffTrax can help turn even the lamest piece of cinematic garbage into worthwhile viewing. Selling audio commentaries through its website meant to be played in sync with various current or justifiably forgotten films, the RiffTrax team wastes no opportunity to exploit plot holes or bash lame special effects and embarrassingly awful acting. As part of the SF Sketchfest, Kevin Murphy and Bill Corbett, two of the company’s founding members and former MST3000 writers, will be ripping apart PSAs and training and safety shorts alongside comedians such as Maria Bamford, Paul F. Tomkins, and Adam Savage. (Landon Moblad)

9:30 p.m., $25

Castro Theatre

429 Castro, SF

www.sfsketchfest.com

 

FRIDAY 21

MUSIC

Witchburn

Jamie Nova’s voice takes no prisoners. Bluesy and deep, gritty and unfaltering — think, “Black Velvet, If You Please” but without all the drama. It makes sense considering her years of practice in her other endeavor, the AC/DC tribute band Hells Belles, as Bon Scott-Brian Johnson. In the Seattle-based Witchburn, Nova’s strong vocals are a quintessential match for straightforward rock. Guitarist Mischa Kianne, who’s been hammering away metal riffs since junior high, is her six-string equivalent. With a debut album produced by Jack Endino, the man behind seemingly every good band from Nirvana to High on Fire, Witchburn is rock incarnate. (Kat Renz)

With Sassy!!! and Diemond

9 p.m., $5

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com FILM

 

FILM

Two in the Wave and “Bringing Up Léaud: The Antoine Doinel Cycle”

Emmanuel Laurent chronicles the hugely influential French nouvelle vague through the lives of its flagship auteurs in Two in the Wave. Raised in hardscrabble poverty, Francois Truffaut made films that reflected an increasingly sentimental yearning for the middle class. Jean-Luc Godard was raised in Swiss bourgeois comfort — yet he gravitated toward a Marxist proletarianism perversely avant-garde in the extreme. Both shared (and fought over) onscreen muse Jean-Pierre Léaud, plucked from Parisian streets to star in Truffaut’s 1959 The 400 Blows. One might reasonably conclude from evidence here that Truffaut, dead from a brain tumor in 1984, was the greater artist — or at least humanitarian. Yet coldly intellectual, ever-more-bilious Godard continues into his 80s, last year’s abstract Film Socialisme restoring him to rarefied critical if not popular favor. This dual portrait reaches an ingratiating zenith toward its end, when we see surviving interviewee Léaud growing up onscreen, anxious to please twin mentors. The Roxie’s weeklong showcase is double-billed with all five films in which the actor played Truffaut alter ego Antoine Doinel, from Blows to 1979’s Love on the Run. (Dennis Harvey)

Jan. 21–27, $5–$9.75

Roxie

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

SATURDAY 22

MUSIC

“Jersey Score”

It’s not enough that the Situation, Ronnie, and Vinny graced a certain New York alt weekly’s 2010 Queer Issue cover. It’s not enough that Snooki’s novel, A Shore Thing, could be read as an homage to Truman Capote’s Answered Prayers. (Sample line: “She could pour a shot of tequila down his belly and slurp it out of his navel without getting splashed in the face.”) Nor is it sufficient that the gay community has enough G.T.L. freaks — call them gaydos — to fill a million grenade-filled hot tubs. No, now we must celebrate Jersey Shore‘s beachy meatballs with a one-off party dedicated to “tanned-up muscle boys and fist-pumping homos that are D.T.F.” Exuberant promoter Joshua J.’s shindigs are equal parts irony and earnestness, which in this case basically equals frickle bombs no matter how you slice it. With creepin’ DJs Robert Jeffrey and Juan Garcia playing Pauly D classics. (Marke B.)

9 p.m., $5

UndergroundSF

424 Haight, SF

www.joshuajpresents.com

 

MUSIC

Juan MacLean DJ set

“The” Juan MacLean, club cornerstone of heralded New York City dance punk label DFA: that affiliation goes back to Six Finger Satellite, the band in which MacLean (at that time John) played guitar and future LCD Soundsystem mastermind James Murphy produced material and ear-drum destroying live setups. Since then MacLean has transitioned to creating steady dance grooves, where drums hit hard and fast atop a background of melancholy melodies, uncompressed and rarely distorted. His recent !K7 release, DJ-Kicks, is a straightforward ode to house music and was labeled the best compilation of last year by DJ Mag. (Ryan Prendiville)

With Conor and Vin Sol, and Jason Kendig

10 p.m., call for price

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

MUSIC

Fu Manchu

Sometimes, when I can’t get warm to save my life, I’ll bundle up, find a south-facing hillside full of sage and agave, and listen to Fu Manchu. I’ll forget I’m in San Francisco where I haven’t had tan legs in more than four years, reveling instead in that consummate blend of 1970s classic rock, 1980s SoCal punk, 1990s stoner metal, and skate-movie soundtrack sunshine. This is the band’s 20th anniversary tour, it’s playing two sets: one of its third album, “In Search of …” from an unprecedented start to finish, and the other with songs off its first two records. Opening band Santa Cruz’s Dusted Angel is worth being on time. (Renz)

With Dusted Angel

10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

MONDAY 24

EVENT

“Porchlight”

This month at Porchlight, San Francisco’s “premiere storytelling series,” hosts Arline Klatte and Beth Lisick present “Giving It Up! Stories about Quitting, Stopping, Letting Go, and Never Coming.” Featured anecdotalists this month include up-and-coming comedian and “Lazy Sunday” counter clerk Emily Heller, and working-class weirdo Scott “Meatman” Vermiere, a self-admitted expert in hiding places whose nickname is absolutely not ironic. With an ever-changing cast of yarn-spinners, there’s no way of knowing where the 10-minute tales will go. But that’s the point. (Prendiville)

8 p.m., $15

Verdi Club

2424 Mariposa, SF

www.porchlightsf.com

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Music Listings

0

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

WEDNESDAY 19

ROCK/BLUES/HIP-HOP

Atlantic/Pacific, Ash Reiter, Sonny Pete, DJs Bagel Ted and Julie T Milk Bar. 8pm, $5.

Tia Carroll and Hard Work Biscuits and Blues. 8 and 10pm, $15.

Dead Westerns, Mosshead, Street Pyramids Hemlock Tavern. 9pm, $6.

Zoe Keating, Inu feat. Zoe Keating, Tycho Independent. 8pm, $17.

Bryan McPherson, Mick Leonardi, Graham Patzner Hotel Utah. 8pm, $7.

Third Victim of Abigail Rutledge, SuperfinosVTO, Young Lovers Kimo’s. 9pm.

White Manna, Greg Ashley, Outlaw, Rachel Fannan Elbo Room. 9pm, $7.

Young Prisms, Melted Toys Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Cat’s Corner with Christine and Nathan Savanna Jazz. 9pm, $10.

Congress, Conspiracy of Venus, Mindi Hadan Café Du Nord. 8:30pm, $10.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

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

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $16-22.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $35.

FOLK/WORLD/COUNTRY

Triskela Koret Auditorium, San Francisco Public Library, 100 Larkin, SF; (510) 548-3326. 6pm, free.

DANCE CLUBS

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

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

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

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

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

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 20

ROCK/BLUES/HIP-HOP

Jonathan Coulton, Paul and Storm Great American Music Hall. 7:30pm, $25.

Inferno of Joy, White Barons, Bite, Last Internationale Thee Parkside. 9pm, $6-7.

Mac Miller Slim’s. 9pm, $16.

Nectarine Pie, These Hills of Gold, Memory’s Mystic Band Hemlock Tavern. 9pm, $7.

Peter Wolf Crier, Retribution Gospel Choir, Cannons and Clouds Bottom of the Hill. 9pm, $10.

Johnny Vernazza and the Knockouts Biscuits and Blues. 8 and 10pm, $15.

Wailers, Tomorrows Bad Seeds, Duane Stephenson Independent. 9pm, $25.

Worker Bee, Sleeptalks, Nick Reinhart, Sunbeam Rd. Café Du Nord. 8pm, $10.

JAZZ/NEW MUSIC

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

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $16-22.

Savanna Jazz Trio and jam session Savanna Jazz. 7:30pm, $5.

Stompy Jones Top of the Mark. 7:30pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $40.

FOLK/WORLD/COUNTRY

Adam Traum Atlas Café. 8pm, free.

DANCE CLUBS

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

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

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

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

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

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

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.

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

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

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

Popscene Rickshaw Stop. 9pm, $10. With Royal Bangs and Foster the People.

Two Thousand a LOVE-in Kimo’s. 9pm. With SF Block Party, Seapora, and Gypsy Love.

FRIDAY 21

ROCK/BLUES/HIP-HOP

Bayonics, Skins and Needles Elbo Room. 10pm, $10-13.

Jay Brannan, Dave Smallen, Jhameel Bottom of the Hill. 9:30pm, $14.

Shane Dwight Biscuits and Blues. 8 and 10pm, $20.

Guster Fillmore. 8pm, $27.50.

Man/Miracle, Butterfly Bones, Elephant and Castle Hemlock Tavern. 9:30pm, $7.

Mission Players Coda. 10pm, $10.

Papa Grows Funk, Allofasudden Slim’s. 9pm, $25.

Passenger and Poilot, Black Swan, Hypnotist Collectors Red Devil Lounge. 8pm, $8.

Pimps of Joytime, Staxx Brothers Independent. 9pm, $25.

Planet Booty, Super Adventure Club, Greenhorse, MC Ladyfinger Café Du Nord. 9pm, $12.

Ra Ra Riot, Givers Great American Music Hall. 9pm, $18.

Sassy!!!, Witchburn, Diemond El Rio. 9pm, $5.

Harley White Jr. Studio Gracia, 19 Heron, SF; www.beyondblues.com. 8pm, $15.

JAZZ/NEW MUSIC

Benn Bacot Savanna Jazz. 7:30pm, $5.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Emily Anne’s Delight Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $20-26.

Scott Amendola Quartet Red Poppy Art House. 8pm, $12-20.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $45.

DANCE CLUBS

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.

DJ Meat Hookz Thee Parkside. 8pm, free. Funk, soul, and hip-hop.

DJ Momentum Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

DJ What’s His Fuck Riptide Tavern. 9pm, free. Old school punk rock and other gems.

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

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

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

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

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

House of Voodoo Blue Macaw, 2565 Mission, SF; www.houseofvoodoo.com. 9pm, free ($5 after 10pm).

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

Radioactivity 222 Hyde, 222 Hyde, SF; www.222hyde.com. 6-9:30pm. Kraut-minimal wave-cosmic-Italo standards with Cole Palme, Tristes Tropiques, and Robots.In.Heat.

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.

Singapore 60s Happy Hour Knockout. 5:30pm, free. DJ Sid Presley spins rare pop, garage, and freakbeat from SE Asia, circa 1964-72.

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

Trannyshack: Star Search DNA Lounge. 9:30pm, $15. Heklina and Peaches Christ host this drag-tastic talent show.

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

SATURDAY 22

ROCK/BLUES/HIP-HOP

Justin Ancheta, Con Brio, Titan Ups Amnesia. 9pm.

Asylum Street Spankers Great American Music Hall. 8pm, $30.

David Berkeley. Bhi Bhiman Swedish American Hall (upstairs from Café Du Nord). 8pm, $22.

Family Crest, Moanin’ Dove, Welcome Matt Café Du Nord. 9pm, $12.

Fu Manchu, Dusted Angel Bottom of the Hill. 10pm, $12.

Hate Crime, Grandma’s Boyfriend, Symbolick Jews, Dinner With the Kids Li-Po Lounge. 9pm, $5.

Josh Klipp, Joe Stephens, Alex Davis, Storm Florez, Eli Conley El Rio. 6pm, free.

Lecherous Gaze, Ripper Bender’s, 800 S. Van Ness, SF; www.bendersbar.com. 10pm, $5.

Meris, High Horse, Super Proxy Thee Parkside. 3pm, free.

Old 97s Fillmore. 9pm, $26.50.

Pigs, Outdoorsmen, Dead Meat, Dadfag Hemlock Tavern. 9:30pm, $7.

Pimps of Joytime, J Boogie’s Dubtronic Science Independent. 9pm, $25.

Rubber Souldiers, Moonlight Rodeo Slim’s. 9pm, $15.

Sioux City Kid and the Revolutionary Ramblers, That Ghost, Hanalei, Thee Landlords Thee Parkside. 9pm, $7.

Sugaray and CK All Stars Biscuits and Blues. 8 and 10pm, $20.

Wonderbread 5, Foreverland Bimbo’s 365 Club. 9pm, $20.

JAZZ/NEW MUSIC

Gina Harris and Torbie Phillips Savanna Jazz. 7:30pm, $8.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $26.

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

Thingamajigs Performance Group Meridian Gallery, 535 Powell, SF; (510) 444-1322. 8pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $45.

FOLK/WORLD/COUNTRY

Kafana Balkan, Brass Menazeri, DJ Zeljko Rickshaw Stop. 9pm, $10.

Genghis Blues Review Kaleidoscope Free Speech Zone, 3109 24th St, SF; www.kaleidoscopefreespeechzone.com. 8:30pm, $10. With Kongar-ol Ondar and more.

Pickpocket Ensemble Red Poppy Art House. 8pm, $12-15.

“Suonare e Passeggiare: Extravagant Music from 17th Century Italy and Spain” Most Holy Redeemer Church, 100 Diamond, SF; www.musicsources.org. 2pm, $20.

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

DANCE CLUBS

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

Barracuda 111 Minna. 9pm, $10. Eclectic 80s music with DJs Damon and Phillie Ocean plus 80s cult video projections, a laser light show, prom balloons, and 80s inspired fashion.

Bootie: Boston in SF with DJ BC DNA Lounge. 9pm, $6-12. Mash-ups from the East Coast.

Debaser Knockout. 9pm, $5. DJ Jamie Jams, Emdee, and Stab Master Arson spin 90s hip-hop.

DJ Duserock Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

4 Years: One Funktion Elbo Room. 10pm, $5-10. 4OneFunktion hip-hop party four-year anniversary with sets by B. Cause and Mista B, F.A.M.E., Light Up the Darkness, and more.

Go Bang! Deco Lounge, 510 Turk, SF; www.decosf.com. 9pm, free ($5 after 10pm). Atomic dancefloor disco action with Eddy Bauer, DJ FreshStep, and DJ Flight.

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.

Jersey Score Underground SF. 9pm, free ($5 after 10pm). Jersey Shore-themed gay dance party with DJs Robert Jeffrey and Juan Garcia.

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

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

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

SUNDAY 23

ROCK/BLUES/HIP-HOP

Angels on Acid, Cystem Cex, NPMN DNA Lounge. 8pm, $10.

Beep!, Dinosaur Feathers, Careerers Hemlock Tavern. 9pm, $6.

Black Swans, Will Sprott, Pancho-San Knockout. 9pm, $5.

Bryan Greenberg Café Du Nord. 8pm, $14.

Madball, Cruel Hand, Crucified, Boundaries Thee Parkside. 7:30pm, $15.

Jake Mann and the Upper Hand, Grand Lake, Il Gato Bottom of the Hill. 8:30pm, $8.

Sour Mash Hug Band, Crux Amnesia. 9pm, $7-10.

Symbolick Jews, Grandma’s Boyfriend, Stowaways, Subfobias Kimo’s. 8pm, $7.

La Veda, Epiphany Castro, Eric De Arantahna El Rio. 6pm, $8.

JAZZ/NEW MUSIC

Los Boleros Savanna Jazz. 7:30pm, $5.

Christy and the Lowdowns Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Lua Hadar, Jason Martineau, Dan Feiszli Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 7pm, $40.

FOLK/WORLD/COUNTRY

Blue Diamond Fillups Thee Parkside. 4pm, free.

Kat Parra Latin/World Ensemble Red Poppy Art House. 7pm, $12-20.

DANCE CLUBS

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

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, J Boogie, and guest Kentyah.

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

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

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

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

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

MONDAY 24

ROCK/BLUES/HIP-HOP

Midnite, Jah Yzer Independent. 9pm, $28.

War Yoshi’s San Francisco. 8pm, $40.

JAZZ/NEW MUSIC

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

DANCE CLUBS

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

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

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

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

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

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

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

Smile! Knockout. 9pm, $7. DJ Neil Martinson spins psych, soul, glam, bubblegum, and more.

TUESDAY 25

ROCK/BLUES/HIP-HOP

Paul Banks and the Carousels Elbo Room. 9pm.

Barn Owl, Phil Manley Life Coach, Diego Andres Gonzalez Hemlock Tavern. 9pm, $6.

Sonya Cotton, Honeycomb, Ever Isles Rickshaw Stop. 8pm, $10.

Eli Wise Band, Evon, Steel Hotcakes El Rio. 7pm, free.

Ghost of a Saber Tooth Tiger, Laura Gibson Café Du Nord. 8pm, $17. Amos Lee, Vusi Mahlasela Fillmore. 8pm, $25. Midnite, Jah Yzer Independent. 9pm, $28. Sandwitches, Art Museums, Soft Bombs, Rachel Fannan Slim’s. 8pm, $5. War Yoshi’s San Francisco. 8pm, $40. Wovenhand, Git Some, Common Eider King Eider Bottom of the Hill. 9pm, $13. FOLK/WORLD/COUNTRY Graham Connah Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. JAZZ/NEW MUSIC Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Stump the Wizard Argus Lounge. 9pm, free. Interactive DJ game with What’s His Fuck and the Wizard.

On the Cheap Listings

0

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

WEDNESDAY 19

Tom Rachman Bookshop West Portal, 80 West Portal, SF; (415) 564-8080. 7p.m., free. Like books on tape, only better — Tom Rachman reads from his highly acclaimed debut novel The Imperfectionist, a collection of short stories set in and around an Italian English language newspaper for travelers and ex-pats. A journalist himself, Rachman’s writing has been described as alternately hilarious and heart-wrenching. Come see what all the hullabaloo is about.

THURSDAY 20

Pitchapalooza: American Idol for Books Booksmith, 1644 Haight, SF; (415) 863-8688, www.booksmith.com. 7:30pm, free. This American Idol-like event for writers unfortunately doesn’t feature a drunk and effed-up-on-pills Paula Abdul, but it could take you one step closer to becoming a published author. Pitch your book in one minute or less to an all star cast of publishing experts — the most convincing scribe gets an introduction to an agent that can help them realize their book dreams. Anyone who buys a book in the store that day gets a free consultation, making this a must-do for all you struggling artistes.Bay Area

Wild World of Frogs Randall Museum, 199 Museum Way, SF; (415)554-9600, www.randallmuseum.org. 7:30pm, free (donations encouraged). Dr. Jerry Kreiger, Save the Frogs! founder and director, will tell you everything you didn’t know you wanted to learn about frogs — from the interesting and funny to the downright sad (200 species of our skin breathing homies have become extinct over the last 30 years). Support the first and only public charity dedicated to amphibian conservation.

FRIDAY 21

Birds and Bees Collide Space Gallery, 1141 Polk, SF; (415)377-3325, www.birdlovesbee.com. 8pm, free. Celebrate the release of Birdlovesbee: Artists in Collaboration with writer Camille Ikalina Robles– founder of One Red Delicious Press — and a bevy of emerging artists. For Birdlovesbee, Robles passes her writing off to an artist who, in turn, creates a reaction in their chosen medium, resulting in beautiful, handmade zines. Collaborators include photographer Marie Dewitt and film artist Dennis Maxwell. Special musical performance by Silian Rail and DJ set by DJ Shortround.

SATURDAY 22

The Uncomfortable Zones of Fun Temescal Arts Center, 511 48th St., Oakl.; (510) 526-7858, www.temescalartscenter.org. 8pm, donations suggested. Prepare to get … uncomfortable. Frank Moore, shaman, disabled performance artist, and 2008 presidential candidate, merges music, dance, erotica, religion and improv to create an experience few people have an easy time describing.

Jewelry-making class The Bead Store, 417 Castro, SF; (415) 861-7332, www.thebeadstoresf.com. 11am-noon and 3-4pm, free (plus materials purchase). Tucked away on Castro Street amidst the countless bear bars and penis-shaped pasta peddlers lies a cozy little shop for all of your jewelry-making needs, including monthly classes. Perhaps you would like to recreate a piece of jewelry you once owned but lost after a night of too many Racer 5’s? You’ll want to attend the 11am “Bring Your Project” class. Stick around for the 3pm “Made with Love” class and make your sweetheart a heart-shaped pendant or earrings with materials provided by the shop. Call to reserve a spot because spaces are limited.

ChicaChic opening reception California Institute of Integral Studies, 1453 Mission, SF; (415) 575-6242, www.ciis.edu. 6-8 pm, free. Five leading chicana visual artists show their greatly varying work, which honors the themes and iconography of the Chicano civil rights movement of the 1960s and ’70s, yet at the same time provides new imagery for a newer and faster paced media-saturated society. Reception includes a panel discussion featuring the exhibition artists and curator.

SUNDAY 23

Cal Science and Engineering Festival UC Berkeley Sutardja Hall, Berk., (510) 642-0352, www.scienceatcal.berkeley.edu/festival. 11 am-3 pm, free. Cal drops the science from astronomy to zoology. Join the search for extraterrestrial intelligence, witness unicycle basketball, touch a real human brain, excavate fossils, make an earthquake, play silly animal games, and yes, there will be liquid nitrogen! Honorary UC Berkeley science degree not included.

TUESDAY 25

Delectable Delights: Tales of Food and Disaster Space Gallery, 1141 Polk, SF; (415) 377-3325, www.litupwriters.com. 7:30-9pm, free. LitUp Writers’ Humor Storytelling Series combines everyone’s favorite defense mechanism: humor, with everyone’s favorite coping mechanism: food. Sounds like a win-win right? Local writers perform, sharing funny stories about their obsessions with, or disgust for, the things we eat.

Life within sound

0

arts@sfbg.com

MUSIC Peer carefully at the expansive gatefold cover art of Barn Owl’s Ancestral Star (Thrill Jockey), and what at first glance looks like two interstellar vessels cruising through the night sky coalesces into something much more grounded, tethered to the spectral shadow of the image’s photographer, Barn Owl guitarist-vocalist Jon Porras, holding his hands over the light source in the foreground.

Porras took the three-minute exposure of the moon over a campfire at SF’s Ocean Beach on a cold, clear April night. “If you look closely, you can see the waves crashing,” he says. “All the light becomes saturated on film — that’s why it’s so luminescent. I actually had to go up to the fire to warm my hands, and you can see a ghostly image of me warming my hands over the fire.

“It’s become a funny joke between my friends.”

It’s also an unlikely, mysterious footnote perfectly in sync with the majestic sounds pouring from Ancestral Star, one of 2010’s best albums, and one that continues to surface new pleasures — from “Sundown”‘s opening overture of distorted guitars to the title track’s incremental, tonal tectonic shifts to “Cavern Hymn”‘s glimmering, deeply echoed fingerpicking. The enigmatic, unexpectedly earthbound image parallels the long tone and drone listening experience as well. “It requires a certain patience,” Porras, 25, muses. “I think long tone music can open up aspects of reality you may not have otherwise have seen.”

Meditative drone, black metal, Tibetan throat-singing, gliding meditations on bowed guitar, and celestial compositions sprinkled with synth, gongs, bells, and singing bowls seamlessly ebb and flow, seemingly of one mesmerizing piece, in a work that feels like the lost, alternative soundtrack to Paris, Texas, or the score to a lost Alejandro Jodorowsky western — a sound that was part of the thinking when Porras and fellow guitarist-vocalist Evan Caminiti went into the studio with friend the Norma Conquest in 2009. It was their first opportunity to record over the course of several months, refining their sound and bringing in musicians such as violinist Marielle Jakobsons (Darwinsbitch) in a professional studio setting.

“We were going for a metaphysical cinematic western,” Porras explains. “We like to have these Americana-influenced guitar passages in combination with more experimental elements to create this overall narrative. I guess the desert at night is an image we like to invoke — fog-shrouded hillsides, the awestruck feelings you get from a landscape.” The sweeping, wonder-inducing American spaces of Cormac McCarthy and Porras’ favorite, Zane Gray, were an inspiration for the two musicians, who first met each other in an American Indian science class at San Francisco State University in 2005.

Metal, as well as the long-tone compositions of Lamont Young and the American primitive fingerpicking of John Fahey, also provided common ground. “We had similar ideas,” Caminiti recalls. “I just remember wanting to combine things that hadn’t necessarily been combined before — heavy music and blues with more folk-influenced music — so we’d work on a piece that had heavy drones and do blues-influenced fingerpicking over it. There was a lot of exploration that had to be done, and we just distilled the sound over the years.”

Those sonic journeys have manifested recently in a collaboration with Headlands Center for the Arts resident Ellen Fullman — who installed her room-sized long-string instrument in her old army building of a studio — out on the Important imprint. And Caminiti and Porras, who also hold down the musical projects Higuma and Elm respectively, are currently working on a new Barn Owl album with Trans Am’s Phil Manley at Lucky Cat Studio, on music sparked by Popul Vuh’s “interlocking chiming guitar passages,” according to Porras.

Now, with performances in the group’s past at such disparate spots as Grace Cathedral (“Great in particular because there’s six seconds of natural reverb, which is perfect for resonant sound,” Porras says), sometime label Root Strata’s On Land gathering, the Museum of Anthropology at the University of British Columbia in Vancouver, and the Supersonic Festival in the United Kingdom, the Barn Owl experience might be characterized as more metaphysical than visceral.

“We aim to create an enveloping atmosphere where everyone is sucked away into an alternate dimension for 30 minutes,” Caminiti observes. “Everything around you is just put on pause, and you’re just living within the sound in the moment. You become engulfed in the sound. The sound becomes a living organism, which is also why there’s a lot of room for improvisation in our set. For us, it leaves us centered and at peace — it’s a meditative device in a way.” 

BARN OWL

With Phil Manley Life Coach and Diego Andres Gonzalez

Tues/25, 9 p.m., $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

SF’s new political era

31

news@sfbg.com

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

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

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

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

But the realignment goes deeper.

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

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

 

A PROGRESSIVE MAJORITY?

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

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

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

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

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

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

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

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

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

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

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

 

IDENTITY POLITICS?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

GETTING THINGS DONE?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

CUTS WILL BE CENTER STAGE

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

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

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

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

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

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

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

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

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

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

 

THE IDEOLOGY ARGUMENT

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

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

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

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

Faces of debt

0

caitlin@sfbg.com

CAREERS AND ED In this weeks’ issue, Rebecca Bowe examines rising tuition and its effect on this generation of Californian students. Here, we profile three scholars that are dealing with very real repercussions from their student debt load.

 

BEN GLEASON, 31

Mills College, teaching credential

Oberlin College, American literature major

Total debt: $25,000

Ben Gleason remembers the day that he applied for his $10,000 student loan from Citibank to finance his teaching credential tuition. “I got it done online within a half hour. I didn’t have to talk to anybody or write an essay — easy money with severe consequences.” The consequences of such a serious financial decision — sans the aid of any counseling from either his school or bank? Gleason’s eventual decision to leave classroom teaching.

It’s not an uncommon story for this generation of teaching school graduates, in a state where teaching salaries are hardly keeping pace with rising tuition. Gleason started working as an ESL teacher in Richmond’s underfunded West Contra Costa Unified School District right after graduating from Mills College. His student loans were overwhelming — a problem that was exacerbated when he took a trip to Guatemala to work and improve his ability to communicate with his Spanish-speaking pupils. To remain afloat financially, Gleason applied for a forbearance on his loans and was surprised to return home after two years to a loan that had gone up by 25 percent due to interest. “I was really, really screwed,” he recalls.

Gleason didn’t feel like there was any way he could go back to his teaching salary, so to support his new wife (the two met in Guatemala) and daughter, he decided to start his own business with the help of an old boss — a private firm that helps reeducate state government workers on sustainability issues.

That means one less qualified teacher for low-income Californian children. And Gleason still has 15 to 20 years left of debt payments. “I wish that there was a more systemic way to solve this problem,” says the former public educator.

 

ANNE MOSTAD-JENSEN, 28

Santa Clara University, law degree

College of St. Catherine St. Paul, library sciences

Concordia University St. Paul, international studies and history major

Total debt (estimated at graduation): $120,000

Anne Mostad-Jensen and her twin sister grew up in a small Minnesota town. They attended the same college, Concordia St. Paul, where they both majored in history and international studies. After that, they went on to College of St. Catherine (also in St. Paul) to get their master’s degrees in library science. But then their paths diverged. Her sister traveled to Denmark in pursuit of her Danish citizenship — their father is Danish — and was able to complete her master’s in a country where the government pays for most of its citizens’ educations. Mostad-Jensen remained in Minnesota, to continue on in the American university system.

What kind of difference has the move made in these women’s lives? Try $65,000 of student debt. That’s because Mostad-Jensen’s sister, even after completing her master’s and attending one of the Icelandic languages programs she’s currently applying for, will only owe roughly $55,000 worth of loans — all from her time at American schools. Mostad-Jensen, who is now attending law school at Santa Clara University, will owe $120,000 by the time she graduates. “I’ve never had any consumer debt, but I’ve always told myself not to pass up educational opportunities just because I didn’t have the cash on hand,” she says.

Mostad-Jensen wants to work at the intersection of international copyright and technology law, possibly in a law library, a specialty career that benefits from degrees in multiple areas of study. She counts herself lucky that homeownership and a family aren’t her immediate goals. “Having a family — I just don’t understand how people do it with debt these days.” Her Midwestern community values come to the fore when she talks about the U.S. government’s inability to provide Americans with affordable education. “Isn’t the government an extension of the community? Europeans, the lack of stress they have by not having to pay out of pocket for health care and education — I mean they can actually live their lives.”

 

RAMON QUINTERO, 32

UC Berkeley, geography major

Total debt: $25,000

Ramon Quintero is a UC Berkeley student activist, but he wasn’t always radicalized around debt issues. “I didn’t come to Berkeley because of its activist reputation. I became an activist because of my situation,” he says. Quintero could no longer pay for his student housing and wound up living in his 1979 Toyota truck with camper shell on the streets of Berkeley, sending his baby daughter home to live with her grandmother.

Quintero came to Berkeley via Southern California, where his family landed after immigrating from Sinaloa, Mexico, when he was 11. He attended community college to get his core credits before coming to Berkeley, where rapidly rising tuition fees are putting a strain on the student community. Although he is a legal resident, Quintero was especially concerned about the effect that the rising cost of education was having on undocumented students.

And, of course, on his leaky camper shell roof. He sprang into action, driving a truck that he calls Santa Rita, to all nine UC campuses, encouraging fellow students to paint art on it that spoke to their concerns for the future of public education. Quintero was arrested twice for his roles in campus protests and he and Santa Rita were profiled in The New York Times and several California newspapers. Suddenly, the university found space for him in student housing.

“I saw the hypocrisy in the system,” says Quintero, who has fulfilled all his UC coursework for graduation but has convinced a professor to hold credit for one of his courses for another semester so he could go on a research fellowship to Madrid. The fellowship, he says, is crucial for his application to grad schools — another step toward fulfilling life goals he doesn’t think would be possible if he has to begin assuming the burden of his student debt. 

 

Hot sexy events: January 12-18

0

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

 

“A Penis Show”

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

Through Jan. 31 

Magnet 

4122 18th St., SF

(415) 581-1600

www.magnetsf.org


Bawdy Storytelling: Sex Wonk

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

Weds/12 8 p.m., $10

The Blue Macaw

2565 Mission, SF

www.bawdystorytelling.com


Invasion: A Queer Takeover of the Citadel

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

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

SF Citadel 

1277 Mission, SF

(415) 626-2746

www.sfcitadel.org


SF Spanking Society Munch

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

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

The Thirsty Bear 

661 Howard, SF

www.soj.org/calendar


Heavy Petting Zoo

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

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

Mission Control 

2519 Mission, SF

www.missioncontrolsf.org


Bedroom Body Moves

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

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

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com

 

Appetite: Mixology times two

0

BERETTA MIXOLOGY CLASSES — Class is equal parts learning and pleasure at Beretta during their monthly Monday educational cocktail classes led by Bar Manager Ryan Fitzgerald. Ryan is one of our city’s great bartenders and he shares his ability to showcase the essence of a drink with you. Set up with your own station of bar utensils and ingredients, you’ll experience an interactive two hours with a small group in Beretta’s basement. Shake and stir — learning when it’s appropriate to do each — as you sample your creations. Whether you study whiskey on January 24, tequila (Ryan’s particular passion) on February 21, or gin on March 21, you’ll come away with recipes both classic and modern, artisan but not so complicated that you can’t recreate them easily at home. And it’s all in the name of education.

$85 per person for class, cocktails, and nibbles of food (includes tax and gratuity)

$55 + tax for tools used during the class (optional)
*Class does NOT include tools, they must be purchased separately.

Beretta, 1199 Valencia Street
415-695-1199
Whiskey – January 24, 7-9pm
Tequila – February 21, 7-9pm
Gin – March 21, 7-9pm

Doug Williams makes liquid nitrogen cocktails at last year’s Science of Cocktails. Photo by Virginia Miller.

SCIENCE OF COCKTAILS — Science of Cocktails returns for its second year at the Exploratorium. The inaugural year impressed me despite the dozens of cocktail events I attend in any given year. Scientific displays turn drink-making into scientific art exhibit (for example, watch a shell-less egg being ‘cooked’ with alcohol). Sip your way through one interactive display after another. You may witness a liquid nitrogen cocktail being prepared or learn Japanese hard-shake techniques while sampling cocktails like last year’s layered SF Pousse Cafe from The Alembic or 83 Proof’s use of ingredients from jalapeno skin and toasted peppercorn to Darjeeling simple syrup. Price of admission includes unlimited hors d’oeuvres, demos, a number of cocktails, live entertainment and full reign over the Exploratorium. Bartenders (from 15 Romolo to Rye) and spirit sponsors (from Campo de Encanto Pisco to St. George Spirits/Hangar One) are top notch. Science exhibits were never quite this fun when you were a kid.
$120
January 26, 7:30-11pm
Exploratorium, 3601 Lyon Street
415-561-0360
visit.exploratorium.edu/events/science-of-cocktails

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

On the Cheap Listings

0

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

WEDNESDAY 5

Concierto de Reyes Mission Cultural Center for Latino Arts, 2868 Mission, SF; (415) 643-5001, www.missioncultural.org. 2pm, free. The Coro Hispano of San Francisco, a chorus comprised of Spanish-speaking community members, has been celebrating Latin America through song since 1975. Join ’em for their annual kids holiday concert, which will cover turf as varied as renaissance motets and aguinaldos (Christmas folk music) from Peru, Venezuela, Puerto Rico, and more.

Glen Canyon habitat restoration Glen Park Recreation Center, 70 Elk, SF; (415) 337-4705, www.sfrecpark.org. 9am-noon, free. Sure, you’ve made “that” resolution for the millionth time. But how about you snap out of that pudgy pity party and truck out to a little exercise that benefits more than just your waist line? SF parks are in need of TLC if they want to fend off invasive species and you can join in on the action at this morning of weeding, planting, and pruning. Dress to get muddy and active – and indulge in the free snacks provided free of your Christmas cookie guilt.

FRIDAY 7

Jaime Cortez: “Universal Remote” Southern Exposure, 3030 20th St., SF; (415) 863-2141, www.soex.org Through Feb. 19. Opening reception 7-9pm, free. It’s been months, but we still have a big in our hearts the size of a glittery glove. Thankfully, here comes visual artist Jaime Cortez’s solo exhibition, which calls out the tragic, tremendous pop culture whorl that was MJ – and highlights the King of Pop’s fluid moves through race, sexuality, and zombie-human relations.

Oakland Art Murmur Telegraph and 23rd St., Oakl.; www.oaklandartmurmur.com. 6-10 p.m., free. Rediscover what downtown Oakland’s got going on art-wise with this monthly show-and-tell by the neighborhood’s best and brightest art galleries. This week, catch Jennie Ottinger’s book art at Johansson Projects (excerpt from her truncated version of As I Lay Dying: “Holy shit, this family is cursed! Very National Lampoon’s Vacation.“)

SATURDAY 8

Parent-child snow globe class Randall Museum, 199 Museum Way, SF; (415) 554-9600, www.randallmuseum.org. 1-4pm, $6 for children; $10 for parent-child duos. The holidays are over, and yeah it’s still cold and rainy. But take heart! Winter can be time for good cheer even after Santa’s packed up the sleigh and gone north. Make a shakable wonder with your wee one and enjoy the rest of Randall Museum’s “Saturdays are Special” event (10am-4pm), which includes railroad exhibits, live animal feedings, and the rest of the science-y wonders present throughout the rest of this always-free museum.

Vintage Paper Expo Hall of Flowers, Golden Gate Park, Lincoln and Ninth Ave., SF; (328) 883-1702, www.vintagepaperfair.com. 10am-6pm, free. (Also Sun/9, 10am-4pm) Postcards, photos, brochures, stereoviews, and so much more! What’s a stereoview, you ask? Why, nothing less than an antique 3D image – something you can acquaint yourself with at this fair of all things printed and retro. The Vintage Paper Expo’s got over 100 vendors this year, all primed to sell you affordable scraps of history.

Writers With Drinks The Make Out Room, 3225 22nd St., SF; (415) 647-2888, www.writerswithdrinks.com. 7:30-9:30pm, $5-10 sliding scale. Writers? Drink? Well, I guess there’s a first time for everything! This long-standing lit night series pairs local scribes (this month’s are girl group Gogos founder Jane Wiedlin and socio-writer Ethan Watters) with a crowd that’s anything but stiff for readings, skits, and stand-up.

MONDAY 10

Cinema Drafthouse: Machete The Independent, 628 Divisadero, SF; (415) 771-1421, www.theindependentsf.com. 9pm, free. A deliberately silly revenge plot that’s both spot-on vintage homage and semi-serious commentary on America’s ongoing immigration debate gets the Indy’s free movie night treatment. Watch the film with a beer in hand (or two) – and feel free to shout advice to the characters on-screen. You’re in a music venue, for chrissakes.

TUESDAY 11

Pecha Kucha 330 Ritch, 330 Ritch, SF; www.pecha-kucha.org. 7pm, $5 donation suggested. Embarking as we are on month number one of year two-thousand-and-one-one, the theme of this month’s installation of this cross-discipline art night series is, yes, “one.” Not the most specific theme, sure – but that’s the way artists like it, and when you’ve assembled a passel of them from fields as varied as industrial design, animation, and fashion, sometimes it’s best just to step back and watch them unify.

2010 Offies!

0

tredmond@sfbg.com

When a major conservative political movement starts using a name that typically refers to the act of scrotal fellatio, you know it’s morning again in America. In 2010, the teabaggers came home. They nominated candidates who think masturbation is selfish and wonder why monkeys aren’t still evolving into humans. They held rallies urging the government to “get out of my Medicare,” which happens to be a government program. Their leaders praised dictators and urged women who had been raped to look at the bright side of things.

And those were just the headlines.

It’s hard to imagine a year that could be worse than 2010 — but it was a great vintage for the Offies.

Presenting the Off Guard awards for the silliest, most insane, and absolute worst of the year that was.

AND SHE FIGURES IF WE ARREST EVERYONE WITH BROWN SKIN, WE CAN FINALLY GET THIS SORT OF BEHAVIOR UNDER CONTROL

Arizona Governor Jan Brewer told reporters that illegal immigration resulted in beheadings in the desert.

BUT AS LONG AS YOU DON’T TOUCH YOURSELF WHEN YOU THINK OF THE DEVIL, IT’S GOING TO BE OKAY

Christine O’Donnell, the Republican candidate for Senate in Delaware who decried masturbation as a “selfish act,” said she only dabbled in witchcraft and had just one date on a satanic altar.

EXCEPT THAT WE ALREADY ARE, AND WE ALREADY ARE

Jerry Brown said he opposed the state’s marijuana legalization measure because “we can’t compete with China if we’re all stoned.”

LOOK BUSY

A Pew Research Center poll showed that 41 percent of Americans think Jesus will return in the next 40 years.

HEY, IF WE’D JUST CREATED THE WORST ENVIRONMENTAL DISASTER OF THE DECADE, WE’D WANT A LITTLE BREAK, TOO

A few days after the worst oil spill in U.S. history, BP Chief Executive Tony Hayward complained that he wanted his life back.

BUT HE SWEARS HE’LL STOP AT BEHEADINGS

Insurance Commissioner Steve Poizner said if he were governor he’d give the National Guard live ammunition to shoot at immigrants on the border.

AFTER ALL, IF THEY’RE NOT IN AN AIRPLANE, THEY CAN’T DO ANY DAMAGE

GOP Senate candidate Carly Fiorina said that people on the federal no-fly list should have the right to own guns.

OOH, WHEN YOU TALK TOUGH LIKE THAT YOU ALMOST SOUND LIKE SOMEONE WHO COULD STAND UP TO THE REPUBLICANS. OR MAYBE NOT

President Obama asked whose ass he should kick at BP.

IT’S OKAY, THOUGH, AS LONG AS THEY WEREN’T ENGAGING IN ANY SELFISH ACTS

Staffers at the Securities and Exchange Commission got caught spending as much as eight hours a day downloading porn at the office.

AND SOMETIMES GOP CANDIDATES ARE NITWITS

Nevada GOP Senate candidate Sharron Angle praised Chilean dictator Augusto Pinochet for his efforts to privatize that country’s retirement system, saying “sometimes dictators have good ideas.”

YEAH, COME ON, WHY CAN’T YOU LOOK AT THE BRIGHT SIDE OF THINGS?

Sharron Angle said that women who have become pregnant as the result of rape or incest should “turn lemons into lemonade.”

DAMN GUMMINT TRYING TO INTERFERE WITH PRIVATE BIDNESS

GOP Congressman Joe Barton of Texas apologized to BP for a White House “shakedown.”

YES, AS A MATTER OF FACT I DO OWN THE WHOLE GODDAM SCHOOL

Meg Whitman’s son threw softball equipment over a fence to kick a group of computer science and physics students off the Princeton rugby field.

NICE, SINCE THOSE GROUPS ALL GOT ALONG SO WELL

GOP Senate candidate Chuck DeVore compared Palestinian activists to Nazis, Fascists, and Communists.

AND OF COURSE, THAT WORKS SO WELL WITH MODERN MANAGED CARE

Nevada banned chicken costumes from the polls after Nevada Senate candidate Sue Lowden said that people should barter with doctors for health care the way “our grandparents would bring a chicken to the doctor.”

ANOTHER GREAT MOMENT IN THEOLOGY FROM THE MAN WHO BROUGHT YOU THE PEDOPHILE PRIEST COVER UP

Pope Benedict said it was okay for male prostitutes to wear condoms.

SO HE’S GOT THAT GOING FOR HIM. WHICH IS NICE

Formerly classified State Department cables revealed that the premier of Korea is still an excellent drinker.

ACTUALLY, THEY TOOK ONE LOOK AT THE TEA PARTY AND DECIDED THEY WERE BETTER OFF AS THEY ARE

Senate candidate Christine O’Donnell said that evolution was a myth; after all, she wondered, “why aren’t monkeys still evolving into humans?”

THE CHURCH HAS ALWAYS BEEN KNOWN FOR ITS SENSE OF PERSPECTIVE

The Vatican announced that the ordination of women and the abuse of children were both “grave crimes.”

THAT’S OKAY, IT WILL LOOK GOOD ON HIS RESUME

Gavin Newsom decided to run for lieutenant governor after saying he didn’t know what the job was.

YOUR TAX DOLLARS AT WORK, CIA EDITION

The United States held high-level negotiations with a supposedly senior Taliban operative who turned out to be a Pakistani shopkeeper.

BUT WAIT — HOW WILL WE KNOW IF WE’RE SUPPOSED TO WORRY OR NOT?

The Department of Homeland Security abandoned color-coded safety alerts.

THE INTELLIGENCE AND CULTURAL TASTE OF THE AMERICAN PEOPLE IS SIMPLY STAGGERING

Sarah Palin’s daughter, Bristol, made it to the final round of Dancing with the Stars.

WHICH MAKES HIM ENTIRELY QUALIFIED TO SERVE AS A REPUBLICAN POLITICIAN

Dan Quayle’s son ran for Congress in Arizona and admitted that he had been posting on “dirty Scottsdale” under the name of Brock Landers, a sidekick to porn star Dirk Diggler.

IS HE ONE OF THE NAZI FASCIST COMMUNISTS, TOO?

Rand Paul said Obama’s criticism of BP was “un-American.”

WAIT — WAS THAT A BROWN ALERT?

The California Highway Patrol shut down its South Lake Tahoe office after officers found an anal vibrator and thought it was a bomb.

HONESTY IS JUST PART OF THE PROCESS OF RECOVERY

Tiger Woods admitted that he sucked.

EXCEPT THAT IT MOSTLY BENEFITS THE INSURANCE INDUSTRY

Vice President Joe Biden called the health reform bill “a big fucking deal.”

IT’S THOSE CUTE WOODEN SHOES, YOU SEE

NATO Commander John Sheehan said Dutch soldiers were too gay.

DAMN, AND HE’S SUCH AN ATTRACTIVE MAN. I’M SURE THE TSA FOLKS WERE REALLY LOOKING FORWARD TO IT

John Tyner told Transportation Security Administration officials in San Diego that if “you touch my junk, I’ll have you arrested.”

AND HE WASN’T EVEN TALKING ABOUT HER

Sarah Palin demanded that Rahm Emanuel apologize for using the term “fucking retarded.”

 

SINCE WE ALL KNOW THOSE PEOPLE DON’T KNOW HOW TO SPEAK IN PUBLIC

MSNBC Host Chris Matthews was so excited by an Obama speech that he said he “forgot he was black.”

THE CUSTOMER IS ALWAYS RIGHT

Pacific Gas & Electric Co. spent $50 million on a ballot initiative to stop public power, and lost after getting soundly defeated in every county where the utility has customers.

YOU MAY BE PART OF THE FAMILY, BUT WHEN IT COMES TO MY POLITICAL CAREER, HONEY, YOU’RE OUT THE DOOR

Meg Whitman fired her housekeeper when she found out she was in the country illegally.

BUT THEY’RE ALIKE ANYWAY, RIGHT?

Sharron Angle defended a campaign ad depicting menacing-looking Hispanic men by telling members of the Hispanic Student Union at the University of Nevada, Las Vegas that many of the members looked Asian.

OF COURSE, SHE SKIPPED THE FIRST FEW AMENDMENTS — BOOORING!

Christine O’Donnell said she couldn’t find anything about the separation of church and state in the Constitution.

BECAUSE IN A FIREFIGHT, THE FIRST THING ANYONE WOULD BE THINKING ABOUT IS HIS SERGEANT’S CUTE ASS

Sen. John McCain said he opposed ending “don’t ask, don’t tell,” talked about all the soldiers and Marines who lost limbs, and said that “when your life is on the line, you don’t want anything distracting.”

SINCE WE ALL KNOW THAT HEALTH INSURANCE MAKES YOUR PEE SMELL FUNNY

Federal judge Henry Hudson asked Obama administration officials whether the new health care plan was similar to forcing all Americans to eat asparagus.

SO IT’S JUST AS WELL THOSE PEOPLE ON THE NO-FLY LIST HAVE THE RIGHT TO KEEP AND BEAR ARMS

Sharron Angle said that the Obama administration’s policies might require “Second Amendment solutions.”

IT’S PERFECTLY FINE FOR HOMOSEXUALS TO ATTEND MARRIAGE CEREMONIES, AS LONG AS THEY’RE JUST THE HIRED HELP

Sir Elton John played at Rush Limbaugh’s wedding.

SURE, GREAT FUN. JUST LIKE SHOOTING YOUR FRIENDS WITH A HUNTING RIFLE

Dick Cheney said he had been a “big supporter of water boarding.”

DAMN, SUPERVISOR, THE OFFIES WILL MISS YOU

Chris Daly vowed to say “fuck” at every single board meeting in 2010.

Social inequality makes you fat

23

This is one of my favorite bits of social science research of the past year: The kind of gross inequality that we see in the United States not only harms productivity, damages the economy and is unsustainable — it makes you fat. From the NYTimes:


For example, macaque monkeys are also highly social animals, and scientists put them in cages and taught them how to push a lever so that they could get cocaine. Those at the bottom of the monkey hierarchy took much more cocaine than high-status monkeys.


Other experiments found that low-status monkeys suffered physical problems, including atherosclerosis in their arteries and an increase in abdominal fat. And as with monkeys, so with humans. Researchers have found that when people become unemployed or suffer economic setbacks, they gain weight. One 12-year study of American men found that when their income slipped, they gained an average of 5.5 pounds.


So:


Among rich countries, those that are more unequal appear to have more mental illness, infant mortality, obesity, high school dropouts, teenage births, homicides, and so on.


My conclusion: tax the rich and we’ll all be a lot healthier. Happy new year.

Stage Listings

0

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

THEATER

ONGOING

*Candid Dance Mission Theater, 3316 24th St; 273-4633, www.sweetcanproductions.com. $15-60. Call for dates and times. Through Jan 9. Sweet Can’s cosy pocket-circus at Dance Mission holds plenty of big-tent talent in its five-person cast (Jamie Coventry, Natasha Kaluza, Kerri Kresinski, Nobutaka Mochimaru, Matt White), backed by the ample multi-instrumental musicianship of Eric “EO” Oberthaler. This fleet 60-minute charmer (directed with strong ensemble choreography by Zaccho Dance Theatre’s Joanna Haigood) finds opportunities for creative expression and dazzling feats with whatever comes to hand (including using hands as feet). Performers dance around in trashcans, make hay with newspaper, or get seriously Fred Astaire with a broom (in White’s wowing solo). Goofy, family appropriate, but widely appealing and frequently eye-popping (Kaluza rocking 20 hula hoops, for inst, or Kresinski’s powerful aerial dance), Candid is can-do entertainment. (Avila)

Cavalia: A Magical Encounter Between Horse and Human White Big Top, 4th St at China Basin; 9866) 999-8111, www.cavalia.net. $69-144. Call for dates and times. Through Tues/4. A show with horses, aerial performers, actobats, and more.

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

*Forever Tango Marines’ Memorial Theatre, 609 Sutter; 771-6900; www.marinesmemorialtheatre.com. $45-100. Call for dates and times. Through Jan 12. Luis Bravo’s atmospheric showcase is a slick, showy mélange of music and dancing whose fluid precision and assemblage of talent make it hard to resist. Cheryl Burke heads up an amazing 13-member ensemble of very stylishly draped dancers (exquisite costuming by Argemira Affonso) who singularly, all together, and of course in dramatic couplings, blend supreme control and dramatic restraint with unabashed sexual allure and volcanic energy. The orchestra, meanwhile, under direction of Eduardo Miceli, creates the intoxicating ether that sets everything in motion. (Avila)

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

The Lion in Winter Actors Theatre, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Wed-Sat, 8pm. Through Jan 15. Actors Theatre of SF presents James Goldman’s play of palace intrigue.

Mr. YooWho’s Holiday NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $10-18. Fri-Sat, 8pm; Sun, 2pm. Through Sun/2. European clown Moshe Cohen returns to SF for a third run at NOHspace.

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

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

Santaland Diaries Eureka Theatre, 215 Jackson; (800) 838-3006, www.brownpapertickets.com. $20-30. Nightly, 8pm. Through Thurs/30. David Sinaiko returns as Crumpet in Combined Artform’s ninth annual production of the David Sedaris play.

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

Siddhartha, the Bright Path The Marsh Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through Jan 9. Marsh Youth Theater presents a holiday celebration, directed by Lisa Quoresimo.

BAY AREA

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

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

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Feb 13. Don Reed’s one-man show continues its extended run.

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

Naughty and Nice: A Meg and Billy Christmas Aurora Theatre Company, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $23-25. Call for dates and times. Through Thurs/30. Bay Area husband and wife cabaret duo Meg Mackay and Billy Philadelphia return with a holiday show.

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

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

PERFORMANCE/DANCE

Cheapest and Greatest New Year’s Eve Stand-Up Show Phoenix Theatre, 414 Mason; (800) 838-3006, www.brownpapertickets.com. Thurs/30, 7pm; Fri/31, 7 and 9:30pm. Stand-up comedy by W. Kamau Bell, Janine Brito, and Dwayne Kennedy.

Clown Cabaret TJT The Jewish Theatre, 470 Florida; 522-0786, www.climatetheater.org. Mon/3, 7 and 9pm. $15. The Clown Conservatory and others gather to perform.

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

Frisco Fred’s Magic and More New Year’s Eve Show Actors Theater, 855 Bush; 646-0776, www.comedyonthesquare.com. Fri/31, 7:30pm. $40. The comedian-juggler presents a New Year’s show.

Mr. Nifty’s News Year’s Eve Vaudeville Extravaganza USF Presentation Theater, 2350 Turk; (800) 838-3006, www.brownpapertickets.com. Fri/31, 9pm. $25. Trainwreck Riders, Dr. Science, and others ring in 2011.

New Year’s Eve Mayhem with Michael Meehan and His Merrymakers Actors Theater, 855 Bush; 646-0776, www.comedyonthesquare.com. Fri/31, 10pm. $40. The stand-up comedian leads the countdown to midnight.

Not Your Normal New Year’s Eve Herbst Theatre, 401 Van Ness; 392-4400, www.NYNYE.com. Fri/31, 8-10pm. Stand-up comedy from Brent Weinbach, Moshe Kasher, and others.

Romane Event Comedy Show Make Out Room, 3225 22nd St; 647-2888, www.pacoromane.com. Wed/29, 8pm. $7. The comedian hosts Joe Tobin and others.

BAY AREA

Big Fat Year End Kiss Off Comedy Show XVII Rhythmix Cultural Works, 2513 Blanding, Alameda; (510) 865-5060, www.rhythmix.org. Fri/31, 7 and 10pm. $25-35. Will Durst, Johnny Steele, and others perform.

Striking 12 TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Call for dates and times (through Fri/31). $56-75. Indie pop group GrooveLily ushers in the new year a rewired version of Hans Christian Andersen’s The Little Match Girl.

Our Weekly Picks: December 8-14, 2010

0

WEDNESDAY 8

MUSIC

Holy Grail

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

With Blind Guardian and Seven Kingdoms

8 p.m., $32

Regency Ballroom

1300 Van Ness, SF

1-800-745-3000

www.theregencyballroom.com

PERFORMANCE

 

David Liebe Hart

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

With Hot Panda, Chris Thayer, and Donny Divanian

9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

FILM

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

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

8 p.m., $15

Victoria Theatre

2961 16th St., SF

(415) 863-7576

www.sfcinematheque.org

 

PERFORMANCE

Legacy, A One Ho Show

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

Wed/8–Thurs/9, 8 p.m., $10–$20

Garage

975 Howard, SF

(415) 518-1517

www.975howard.com

 

THURSDAY 9

PERFORMANCE

Adam Carolla

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

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

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

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

 

FRIDAY 10

VISUAL ART

 

“Boom”

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

Through Dec. 18

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

Southern Exposure

3030 20th St., SF

(415) 863-2141

www.soex.org

 

EVENT

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

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

With Trixxie Carr, Horror X, and DJ Omar

8 p.m.-3 a.m., $12–$15

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

 

SATURDAY 11

MUSIC

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

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

9 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

THEATER

Siddhartha, The Bright Path

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

Through Jan. 9

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

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

Marsh Youth Theater

1062 Valencia, SF

www.themarsh.org

 

MUSIC

Gama Bomb

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

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

2:30 p.m., $20

DNA Lounge

375 11th St., SF

(415) 626-2532

www.dnalounge.com

 

SUNDAY 12

EVENT

Jeff Hoke

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

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

Exploratorium

3601 Lyon, SF

(415) 561-0360

www.exploratorium.edu

 

MONDAY 13

MUSIC

Tame Impala

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

With Stardeath and White Dwarfs

8 p.m., $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

TUESDAY 14

FILM

The Triplets of Belleville

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

Dec. 14–15, 7:15 and 9:15 p.m.;

Also Dec. 15, 2 p.m., $6–$9

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

 

* The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Sound and silence

0

arts@sfbg.com

MUSIC/FILM In the latest chapter of the San Francisco Film Society’s ongoing efforts to present silent-era films with live musical accompaniment, John Darnielle — head honcho of the Mountain Goats — will be scoring the 1919 Mauritz Stiller film, Sir Arne’s Treasure. The beauty of this particular series, which has yielded original scores from Yo La Tengo (Science is Fiction: The Films of Jean Painleve), Stephin Merritt (20,000 Leagues Under the Sea), and Superchunk (A Page of Madness) among others, lies not only in the conceptual simplicity of marrying music and film, but in the freedom of approach given to each film’s handpicked composer. In Darnielle’s case, scoring a film meant digging up some relics of his own past.

“I don’t generally revisit stuff of mine that’s old,” he says. “But then I realized, soundtracking a silent movie is revisiting stuff that’s old.”

Digging through old notebooks full of unused songs and lyrics, Darnielle stumbled on the blueprints for an unfinished and unreleased collection of songs he’d written in the mid-1990s. The songs were originally to be used as a sequel of sorts to the Mountain Goats’ 1995 album, Sweden. But after rediscovering them, Darnielle realized that the songs’ moods and lyrics meshed well with the themes of the film.

Set in the 16th century, Sir Arne’s Treasure‘s story begins with the murder of a clergyman at the hands of three escaped mercenaries who are after his treasure. Eventually finding themselves trapped in the town — and among its vengeful inhabitants — one of the men becomes drawn to a survivor of their own killing spree, and the lines between justice and love blur.

After a few minor adjustments to his newly unearthed songs, Darnielle knew he’d found the material that would make up the bulk of his film score.

“It’s pretty exciting to dig up these old notebooks, very much like watching an old movie and seeing people dressing and doing things in a different manner,” he says. “Digging through those things for me at this point is like combing through public records or something. I tweaked them a little because I’m a better writer now than I was then. But yeah, I’m expanding this whole album I’d made about loss and catastrophe and incorporating it into the movie which is about loss and catastrophe [laughs].”

Darnielle will be pulling some other songs from the Mountain Goats catalog to use during the film, but he hopes his fans will understand that his approach to this project is different.

“I hope people don’t come expecting a sort of huge, surging Mountain Goats show type thing,” he says. “That’s my biggest fear, because it’s much more contemplative and patient in the presentation. I’ll be singing, but I won’t be stomping around or talking between songs.”

Darnielle’s got a couple tricks up his sleeve as well, only one of which he would reveal during our conversation. He’ll start the score solo on piano, but around the halfway mark he’ll switch to guitar as John Vanderslice joins him onstage for the remainder of the film. The two have worked together in the past, and Darnielle hopes Vanderslice and the two musicians he’s bringing along with him will help amp up the intensity in the latter stages of the film and bring it all to a nice “crescendo.”

His biggest challenge has been in finding that perfect balance between when a score should directly and forcefully impact the film, and when it should take more of a quieter backseat.

“Hopefully there will be sound almost the entire time, just because it’s hard for me to imagine dropping in and out of a silent movie completely,” he says. “When a soundtrack drops out of a current film, it’s fine because there’s dialogue. If the sound drops out of a silent movie, there’s dead silence.”

Whatever the result, Darnielle says this is a one-and-done type deal and has no plans to do anything with the score after this one live performance.

“I like things that exist and then stop,” he says. “So yeah, this will be it.”

SIR ARNE’S TREASURE, WITH THE MOUNTAIN GOATS IN SOLO PERFORMANCE

Tues/14, 8 p.m.; $17–$22.50

Castro Theatre

429 Castro, SF

(415) 561-5000

www.sffs.org

Shroomin’ at the Fungus Fair

2

All photos by Erik Anderson

“See, it’s starting to smell.” It’s day two of the Mycological Society of San Francisco‘s winter Fungus Fair at Berkeley’s Lawrence Hall of Science this weekend and the ‘shrooms are getting a little funky. MSSF member Peter Wegner is showing us around the caps and stems and he sounds a little apologetic for the earthy musk that has descended on us as we enter the fair’s specimen room. 

But he needn’t be – the sight of the room’s fungi, collected by society volunteers in the Bay Area over the past few days from 25 forage sites, more than makes up for any scent it emits. Not to mention the fair’s culinary offerings, educational bonanza, and the ‘shroom gnome hats so delicately worn by gung-ho clan members – this is the cardinal event of the country’s largest amateur mushroom society. 

Fungus Fair, I think I love you.

Wegner himself has been a MSSF member for eight years. His mushroom mania began on a trip to Italy, incensed by the delectable array of edible fungi that lined dinner tables in the area. He is now  happy to tell Fungus Fair newbies that his favorite mushroom is the black chanterelle (“they’re mysterious,” he says). 

Delicious meals are but one type of draw to the study of mycology – other members we spoke with yesterday expressed interest in the taxonomy of the fungi kingdom, in dyeing clothes from the mushroom’s natural pigment, and in the sheer camaraderie that’s inherent in finding roughly 800 others with an atypical attraction to fine fungal growth. 

“There’s a lot of mentoring that goes on,” says Norm Andresen, MSSF member and conductor of the society’s beginner’s forays into the wilds of McLaren Park and other damp corners of the Bay. A Brobdingnagian, white-haired man, Andresen towers above the tables of the specimen room, keeping his distance from a particularly pungent stand of growths as he answers questions on their providence, properties, and shelf life (“you probably wouldn’t want to eat any of these display ones, they’ve been getting touched by little kids all weekend.”)

In a lecture room a few halls down from Andresen’s post, a man introduced as “the best mushroom photographer in the world” by fair chair person J.R. Blair is playing the music video to his self-penned ode to the fungus among us, “Mushroom Fever.” On repeat. “Hopefully we don’t scare anybody away!” he announces blithely into his microphone as he readies his presentation on his recent mushroom-finding jaunt around the Americas.

Such is the intro to the glory that is Taylor Lockwood, who has achieved a near-godlike status in my eyes by having cobbled together a living off of traveling, digging around in the dirt, and hoisting himself up tree-supported ladders to get the best shot of aerially-inclined mysterious mushrooms. The man flips through a Power Point presentation of some of his best clips, which include squishy mushrooms (“good for the kids!”), fungi resembling tropical purple coral (“probably just convergent evolution”), and Brazilian ‘shrooms he captured on illicit night-time jaunts through a nature preserve.

Lockwood’s pitch for his calendars and assorted publications concluded, we wander past the sold-out mushroom soup kitchen and into the realm of Pat George, the society’s culinary chair. George, set up at at a table kitty-corner from an impressive display of psilocybin, is distributing recipes and information on the group’s regular potluck dinners. She explains that the events feature a carefully planned barrage of  the mushroom’s power to sate — mushroom ragus, mushroom desserts flavored by candy cap mushrooms (“cheesecake, biscotti, there’s all kinds of stuff you can make with a candy cap,” she ventures), even the rare bottle of mushroom beer. 

It’s all very tasty, as is the prospect of the MSSF’s other fare for the nascent mycological enthusiast. Beginners are welcome also to the group’s regular forays into the not-quite-wild for ‘shrooms, many of which are located here in the city for extreme accessibility. For the lazy, Far West Fungi has set up a stand in the vendor hall that stocks the farm’s “mini-farms” in oyster and shiitake — simply uncover the germinated logs and let the fungal growth loose in a shady corner of your bedroom. 

Why so much mushroom mania here in the Bay? The answer, says SF State mycology lecturer Thomas Jenkinson, who is stationed at the fair’s “Introduction to Mushrooms” booth, lies in the ubiquity of fungi throughout the year in our fair glens and dales. “The Bay Area’s a real center of mycology,” he tells me. San Francisco State is the site of the West Coast’s longest study of mycology, as well as what he calls “the most prolific mycology professors.”

And mushrooms lend themselves to a real community notion of life in our natural world. “Fungus is a whole other kingdom – we don’t think about it that much because it’s underground, but microscopic threads of it are just everywhere,” says Jenkinson. The ‘shrooms are getting real neighborly down there, due to these interconnected systems. “The concept of individuality that we have – they just don’t have that underground.” Lack of individuality: a trait hardly shared by the mycological aficionados of Fungus Fair.

 

Rites of nude math professors and Berkeley

0

“Frankly, I’m a bit baffled by all this,” Frenkel told us in an email follow-up to a phone interview conducted later this week. The UC Berkeley math professor was referring to the fact that the Mathematical Sciences Research Institute, who had announced they would sponsor today (Wed/1)’s US premiere of his sensual math film, Rites of Love and Math, decided to pull their support earlier this week.

They had us at “sensual math film.”

“I don’t look at it as an erotic film, but there are some erotic elements,” says Frenkel. After meeting with some filmmakers in Paris, where he was on a research trip, Frenkel teamed up with Reine Graves to produce a 26-minute short that is shot on a Japanese kabuki set in a vivid palette of reds, whites, and blacks. He and co-star Kayshonne Insixieng May appear naked on a bed throughout most of the piece.

The film was inspired by a Japanese writer, Yukio Mishima, whose movie Yukoku (its English title: Rites of Love and Death, get it?) follows an army lieutenant faced with his friends’ planned coup ‘d état against their emperor. The lieutenant makes love to his wife for the last time before they ritually disembowl themselves. Years later, Mishima committed a similar suicide.

Frenkel’s version, though it borrows heavily from the aesthetics of Yukoku, has been called slightly more “Dan Brown.” In his film, a mathematician finds the formula of love, precious information he realizes might be harnessed by the powers of evil. Sensing impending doom, the brave calculator arrives at his lover’s house to etch the formula onto her stomach – preserving it. It is meant to be commentary on the dilemmas that scientists face when they discover life-changing findings – think Robert Oppenheimer of the Manhattan Project.

We asked Frenkel whether he expected that his nude scenes the movie would change his students’ view of math (and their professor) and he replied “to me, the ideas expressed in this film aren’t far from what I teach [students] in my class. Although, when I do it in the classroom, I do it in a much more conventional way.” Missionary? We kid. He expects the film to make the connection between math and the humanities, math and the world around us.

Frenkel also wrote the script in an effort to combat the strident negative stereotyping of mathematicians in the media as anti-social mad scientists. “A formula could be beautiful, like a piece of music, or a poem, or a painting,” he says.

Which seems like something the Mathematical Sciences Research Institute would be on board with. The organization’s stated mission is “to foster the genuine interest in mathematics held by people of all ages.” What better than a temperature-raising ode to the power of plus, minus, and divide? (For the record, the short’s unrated, though Frenkel somewhat optimistically estimates it would be deemed PG-13.)

Robert Bryant, the MSRI’s director, did have this to say in a letter published on the group’s website: “Early in the week of November 22, I began to get emails from distressed and upset colleagues who had viewed the trailer and found it disturbing, offensive, and/or insulting to women.” Though Bryant himself has seen both Frenkel’s version and the Mishima original, and found a screening of the two together “at first glance, to be a natural fit for MSRI,” he eventually caved to pressure from those for which Frenkel’s trailer “was revealing deep-seated gender issues in the mathematics community.” Another of MSRI’s stated goals are the advancement of women in all levels of the study of math.

Frenkel, who grew up in a small town near Moscow is surprised at the response to his film in his adopted community, home of such a storied free speech movement. 

“It appears that the criticism came mostly from people who have not seen the film!” he says in his email response. “I think one shouldn’t jump to conclusions about any film after watching a two-minute trailer. I think some will view this as a form of prior censorship, because those who have criticized the film and put enormous pressure on MSRI to pull out have in effect tried to suppress the film before it was shown.” 

He adds that his co-director Graves is “herself a woman director in a male dominated field,” and that the film has been screened on three different continents and featured positively in a number of publications including Science magazine. “The film is not a commentary of gender issues in science, and it should not be interpreted this way.”

At any rate, it all should make for a thrilling Q and A at the end of the free screening, which will be attended by Frenkel himself.

Marginalizing women? Or celebrating their role in truth and integers?

Rites of Love and Math and Rites of Love and Death (Yukoku)

Wed/1 7 p.m.; 

Free with tickets available at East Bay Media Center (1939 Addison, Berk.)

Landmark Shattuck Cinemas

2230 Shattuck, Berk.

(510) 464-5980

www.ritesofloveandmath.com