SF

The park bond battle

17

yael@sfbg.com

Recreation and Parks clubhouses are privatized and cut off from public access. Public spaces like the Botanical Gardens and the Arboretum in Golden Gate Park are closed to people who can’t pay the price of admission. Event fees and permit processes have become so onerous that they’ve squeezed out grassroots and free events.

It’s been enough to infuriate a long list of neighborhood groups who have been complaining about the San Francisco Recreation and Park  Department for years.

And now those complaints have led to a highly unusual coalition of individuals and groups across the political spectrum coming together to do what in progressive circles was once considered unthinkable: They’re opposing a park bond.

From environmentalists, tenant advocates, labor leaders, and Green Party members to West Side Republicans and fiscal conservatives,  activists are campaigning to try to defeat Proposition B, the Clean and Safe Neighborhood Parks Bond. 

The bond would allow the city to borrow $195 million for capital projects in several parks around the city. It comes five years after the voters passed a $185 million park bond. 

Environmental groups like San Francisco Tomorrow and SF Ocean Edge oppose the bond, and even the Sierra Club doesn’t support it because “In recent years, we have had many concerns with management of the city’s natural places,” as Michelle Meyers, director of the Sierra Club’s Bay Chapter, told us.  

Matt Gonzalez, the only Green Party member ever to serve as Board of Supervisors president, is part of the opposition, as is progressive leader Aaron Peskin.  Joining them is retired Judge Quentin Kopp, darling of the city’s fiscal conservatives.

The San Francisco Tenants Union wrote a ballot argument opposing Prop. B. The left-leaning Haight Ashbury Neighborhood Council and the more centrist Coalition of San Francisco Neighborhoods both want the bond defeated.

Many of the people opposing Prop. B have never before opposed a city bond act. “This is very difficult for me,” said labor activist Denis Mosgofian. “Some of us always support public infrastructure spending.”

When we called Phil Ginsburg, the director of Rec-Park, for comment, his office referred us to Maggie Muir, who’s running the campaign for Yes on B. She sent a statement saying: “Unfortunately, a small group of individuals are opposing Proposition B because they disapprove of Recreation and Park Department efforts to improve our parks and better serve San Francisco’s diverse communities.” The statement refers to Prop B’s opponents as “single issue activists”

 So who are these activists, and why have they come together to oppose the parks bond?

 Many started with, as Muir put it, a single issue.  Journalist Rasa Gustaitis  didn’t want to see fees to enter the Botanical Gardens and Arboretum in Golden Gate Park.  West of Twin Peaks resident George Wooding was upset that Rec-Park has been leasing public clubhouses to private interests. Landscape Architect Kathy Howard took issue with a plan to renovate Beach Chalet soccer fields, complete with artificial turf and stadium lighting.

After a few years of fighting these small battles, people like Gustaitis, Wooding, and Howard started to see a pattern.  Park property was being privatized.

THE ENTERPRISE

Some city departments, like the airport and the port, are so-called enterprise agencies. They don’t receive allocations from the city’s general fund, and operate entirely on money they charge users. In the case of the airport, most of the money comes from landing fees paid by airlines. The port charges ships that dock here, and takes in rent from its real-estate holdings.

Other departments, like Recreation and Parks, provide free services, funded by taxpayer money. In theory, the department creates and maintains open spaces for public use. The recreation side offers services like classes and after-school activities, many of which are centered in recreation centers and clubhouses in parks throughout the city. 

These have been staffed in the past by recreation directors, adults who coordinated and supervised play, in many cases becoming beloved community figures.

But some city officials want that mission to change. In a time of tight budgets (and facing significant cuts to its operating funds), Rec-Park has been looking for ways to increase revenue by charging fees for what was once free.

In fact, in a 2010 Rec-Park Commission meeting, interim General Manager Jared Rosenfeld said, “the sooner we become an enterprise agency, the better off we will be.”

In August 2010, the department fired 48 recreation directors.  In their place, Rec-Park hired part-time workers who were paid to put on programs but not to staff neighborhood rec centers. The department also hired six more employees in the Property Management Division, tasked with leasing out and renting parks property.

In 2010, the commission also approved a plan to impose a fee for non-residents and require residents to show ID to enter the Arboretum. The once-free public garden was on its way to becoming a cash cow (operated in part by the private San Francisco Botanical Society).

A fledgling group formed to fight the fees – and its members soon connected People from SF Ocean Edge, the Parks Alliance and SPEAK who were not pleased with a proposal to install artificial turf and floodlights at the Beach Chalet soccer field and people who opposed the leasing of clubhouses.

 Mosgofian, a member of the Labor Council and worker with Graphic Communications International Union Local 4-N, helped bring together many disparate groups who, they realized, have a common goal in halting the privatization of the parks system.

“It started with a number of different people who were involved in a number of different efforts to get the Rec and Park Department to do the right thing running into each other and eventually getting together,” said Mosgofian “People from these groups found themselves listening to each other’s efforts and got together.”

Subhed: The empty clubhouse

One of the turning points was the fight over J.P. Murphy Clubhouse in the Sunset.

 In July 2010, Rec-Park quietly began taking clubhouses, previously free and open to anyone in the neighborhood, and putting them up for lease. Nonprofits, some of them offering expensive programs,  took exclusive control of public facilities.

For Rec-Park, it was more money. For neighborhood residents, it was a sign they were being cut off from the resources their tax dollars built and funded.

“They would put a notice on the clubhouse door for a hearing, they would have four or five concerned mothers show up, and they would lease the facility,” said George Wooding, then-president of the West of Twin Peaks neighborhood group that got involved in opposing the clubhouse privatization.

The J.P. Murphy clubhouse in the inner sunset had benefitted from the 2008 bond. The building was renovated at a cost of $3.8 million. But when the shiny new rec center was finished, Rec-Park tried to put it up for lease.

Wooding helped organize strong opposition to the lease. They had already paid for the clubhouse through taxes and bond money, the opposition figured—why shouldn’t it be kept open to the public, free? 

 “I’d had enough. We felt, this is our park,  they just spent a ton of money. They fired the rec director. When Rec-Park came to rent out the facility, we just said no way,” Said Wooding.

The department gave up, and J.P. Murphy wasn’t leased. But without a lessee, the department simply closed the center. It’s empty and dark – although it’s available for $90 an hour rent.

Other similarly frustrating battles were going on around the city. 

Muir called the opposition “short-sighted.” 

“This opposition is punishing the people who use the facilities across the city, children who need safe parks to play in, seniors, and those who are disabled who need ADA compliance,” said Muir.

But Friends of Ethics, another group opposing the bond, argues that Rec-Park shouldn’t get another cent until the agency cleans up its act. In a paid ballot argument against Prop B, the group brought up the controversial process of leasing out the Stowe Lake Boathouse last year. The move to put Bruce McLellan, longtime operator of the family business that sold snacks and rented paddle boats, on a month-to-month lease before auctioning a new lease to the highest bidder created a serious backlash.

 On top of that, commission officials were accused of bias when they recommended a lobbyist, Alex Tourk, to one of the companies vying for the contract. 

 “It’s unseemly and it clouds public trust,” said No on Prop B proponent Larry Bush,  who publishes Citireport. 

The boathouse isn’t the only much-beloved tradition ended under the current Rec-Park administration’s reign. The Power the Peaceful festival, which brought big name musicians and thousands of attendants, all for free, has been priced out due to dramatic increases in fees. So has the Anarchist Book Festival. 

 Bob Planthold, a disability rights advocate who is also a member of Friends of Ethics, says that there are issues in the ADA compliance plans for the Parks Bond as well. Planthold says that money from the last bond measure in 2008 was misspent in terms of disability access.

 “Trails weren’t graded properly. There was no attention to whether there were tree roots that might be rising above the level of the trail that could trip somebody,” said Planthold. “They didn’t do a good, proper, fair job on making trails accessible.”

 The bond got unanimous support from the Board of Supervisors. That’s because it earmarks money for parks that desperately need it throughout the city. 

 But that doesn’t mean all the supervisors are pleased with the way Rec- is being run, either. In July 2010, Sup.  David Campos and then-Sup.  Ross Mirkarimi tried to pass a Charter Amendment to split the appointments to the commission among the mayor and the supervisors. 

 But they couldn’t get the measure through, and the commission remains entirely composed of mayoral appointees.  

So now the voters have a choice: Give more money to what  many say is a badly managed department moving toward the privatization of public property – or shoot down what almost everyone agrees is badly needed maintenance money. Of course, the critics say, Rec-Park can always change its direction then come back and try again in a year or two – but once public facilities become pay-per-use private operations, they tend to never come back. 

Tasty reads

2

virginia@sfbg.com

LIT A harvest of cookbooks, some set for release in the fall, some ready for your shelf, cupboard, or bar hot off the press.

THE BLUE BOTTLE CRAFT OF COFFEE: GROWING, ROASTING, AND DRINKING, WITH RECIPES

By James Freeman, Caitlin Freeman, and Tara Duggan

Ten Speed Press

240 pp, paper $24.95

Since its first kiosk opened in January 2005, Blue Bottle has been my first choice in coffee, from ethos (served immediately, individually brewed, beans sold fresh after roasting) to taste. Musician James Freeman dove into coffee after being laid off from a corporate job post-9/11: the inspiring story of how he began is detailed in this book. Written with his wife, Caitlin, and James Beard-nominated food writer Tara Duggan, with photography by Clay McLachlan, Craft contains sections on global growing regions, roasting, cupping, pour-over, siphon, espresso machines, and multiple techniques. Caitlin, resident Blue Bottle pastry chef and former owner of Miette, contributes more than 75 pages of recipes — not so much utilizing coffee itself, but including breakfast recipes to go with morning coffee from Blue Bottle cafés, desserts and treats for dunking, and recipes from chef friends like Stuart Brioza of State Bird Provisions’ tuna melt with piquillo peppers. Although Blue Bottle has now gone nationwide with New York locations, these pages allow one to wax nostalgic over this Bay Area success story bringing us all better coffee. To be released October 9.

DESTINATION COCKTAILS: THE TRAVELER’S GUIDE TO SUPERIOR LIBATIONS

By James Teitelbaum

Santa Monica Press

408 pp, paper $19.99

Chicago resident James Teitelbaum wrote the kind of book I would happily pen, the first I’ve seen to detail the world’s best craft cocktail bars. Destination Cocktails (www.destinationcocktails.com) is a cocktail aficionado’s trusty guide to destinations both obvious (NYC and SF) and overlooked (Reno and Cleveland). As for the international scene, the book runs the gamut from Wellington to Edinburgh. While there are a few missing great drinks and bartenders — and info can change so quickly, even since Destination‘s September 1 release date — Teitelbaum’s book offers a comprehensive collection that would set any budding or well-traveled cocktailian on the right path. From London (Worship St. Whistling Shop, 69 Colebrooke Row) to Denver (Williams & Graham), many of my global tops are highlighted, alongside cities and bars I’ve been hankering visit (ah, Tokyo!)

SPQR: MODERN ITALIAN FOOD AND WINE

By Shelley Lindgren and Matthew Accarrino with Kate Leahy

Ten Speed Press

304 pp, hardcover $35

A beautiful, visual tribute to Italy, local restaurant SPQR releases a book by its wine director, Shelley Lindgren (also of A16), and executive chef Matthew Accarrino with Kate Leahy. The book features eight regions of Italy, each influencing creative recipes from SPQR’s kitchen and from which Lindgren chooses wines. Her essays explore lesser-known producers and varietals succinctly but with depth. Accarrino’s artful skill with Italian cuisine may not appear easy for most of us, but there are tips and photo breakdowns of recipes, small animal butchery, and pasta-making. Photos by Sara Remington inspire with a romantic eye tempered by realism. To be released October 16.

FORAGED FLAVOR: FINDING FABULOUS INGREDIENTS IN YOUR BACKYARD OR FARMER’S MARKET

By Tama Matsuoka Wong with Eddy Leroux

Clarkson Potter

224 pp, hardcover $25

At a recent intimate gathering at Coi, I was privileged to spend time with Tama Matsuoka Wong, forager for Daniel restaurant in NYC (Daniel Boulud wrote this book’s forward), sampling bites made with ingredients she’d foraged with Coi staff while visiting the Bay Area. We celebrated Foraged Flavor, released earlier this summer. I learned of her career change from lawyer to forager in New Jersey (my former stomping grounds), where her three daughters are involved in her foraging and cooking lifestyle. The book’s clean, classic layout includes botany-style plant diagrams, seasonal groupings, and approachable gourmet recipes like dandelion leaves with poached eggs and bacon. There are foraging and growth tips and info on key characteristics of each wild plant.

COOKING OFF THE CLOCK: RECIPES FROM MY DOWNTIME

By Elizabeth Falkner

Ten Speed Press

224 pp, hardcover $29.99

Longtime local favorite and Top Chef Master star Elizabeth Falkner recently moved to NYC and released her second book August 28. As a James Beard-nominated pastry chef, her first book, Demolition Desserts, focused on the sweet side, while new Cooking Off the Clock is a volume of everyday, accessible recipe favorites. There are sections on condiments (kimchee, tahini sauce), flavorful salads, playful snacks (three types of hot wings: Moroccan, Tabasco-honey, black bean-sesame-ginger), a few of her beloved desserts (two versions of cherry pie), and pizzas, including her amazing pastrami version — like a Reuben pie, with Russian dressing, shredded cabbage, and thinly-sliced pastrami — which I never forgot from her restaurant Orson.

DAILY DECADENCE: THE ART OF SENSUAL LIVING

By Sherri Dobay

Flying Archer Press

231 pp, paper $14.99

Sherri Dobay feels like a kindred spirit… although young, her romantic, sensual verbiage communicates that “old soul,” the kind of view with which I’ve seen the world since girlhood. Food, wine, art, nature, horses (she’s a rider) are her subject, and she is as inspiring as she is comforting. More memoir than cookbook — and published in a format that’s hard to open while working in the kitchen — the book’s draw is its tone, not its recipes. Sections are grouped around themes of decadence (Divine Decadence, Decadent Simplicity, Decadence of the Seasons, Decadence of Letting Go), and wine recommendations are explored from a right-brain perspective rather than thorough analytical tasting notes. Reading bits of the book at a time is like a sip of crisp, refreshing wine.

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

Pagoda madness

18

culture@sfbg.com

LIT Either I’m terrible at parking or Philip P. Choy was exactly the right person to author his recently-released San Francisco Chinatown: A Guide to Its History and Architecture (City Lights Publishers, 184pp, $15.95). We find a spot for my car in a well-hidden lot, tucked into an alleyway behind the Chinese Historical Society of America. It’s the first sign of the day that Choy’s knowledge of the area goes beyond tea shops and Peking duck.

“Chinatown…” Choy pauses as we stand outside a sidewalk stall whose owner angrily mutters at us (we’re blocking pedestrian traffic by hovering over his dried sea cucumber display.) “Chinatown is real. There are people here living, relying on Chinatown.”

Choy’s newest publication is not just a faithful retelling of the enclave’s social and architectural history. The book goes out of its way to dispel the stereotypes and fanciful constructions of the neighborhood that the outside world maintains. Choy was born in Chinatown, and as a co-professor of the first collegiate level class in Chinese American history at San Francisco State, he’s well-qualified to tell its story.

With apologies to our embattled shopkeeper, we continue to examine the cukes, first brought to the neighborhood via 1800s trade routes between China and the US. We move past other stalls while Choy points out the historical importance of their wares.

He shows me sandalwood, traditionally burned in Chinese temples, and ginseng root, which had been harvested by Native Americans but became a staple Chinese delicacy.

Choy tells me that the Chinese — who were not-so-charmingly called “mongols” around about 1840 — have suffered alongside Native Americans and other people of color throughout our country’s history, enduring ghettoized living situations and sub-par educational offerings.

As Choy and I wander Grant in search of the infamous pagodas that were built after the 1906 earthquake, we take a small detour up the hill to peek at Gordon J. Lau Elementary School. In the late 1800s a Chinatown father sued the city when his daughter was barred from attending other schools. Though the Supreme Court ruled in his favor, the school district opened the originally-named Chinese Primary School rather than integrate. 

We pass quickly by an East West bank, which was once the home of the first San Francisco paper, the Star. Around the corner stands a cheap retail center, originally the Mandarin Theater, a cultural and artistic mecca for neighborhood residents. Its once-lavish stage now serves as a platform for garish home decorations, its grand balconies now providing seating only to building debris.

Our whirlwind tour ends at the pagoda building Sing Fat, nestled at the corner of Grant Avenue and California Street. It was erected by the San Francisco Chinese Chamber of Commerce and prominent merchants in a post- 1906 earthquake attempt to repackage the once-funky Chinatown as an ornate, prosperous “oriental city.”

But Sing Fat’s pagodas are actually what Choy (an architect himself) calls a “Disneyland approach” to Chinese architecture: unstudied, inauthentic. The only legitimately Chinese quality of the structure is its green, yellow, and red color motif.

“Does any truly, authentically Chinese institution or edifice exist in Chinatown?” I ask, sidestepping tourists to keep up with Choy, who navigates Stockton Street with shocking deftness.

Choy reaches a hand out to avoid my death-by-delivery-truck and laughs. “Doesn’t exist.”

That’s because Chinatown is first and foremost a Chinese American town. And for all its perceived exoticism, the neighborhood has been around since almost the beginning of San Francisco.

Such is the beauty of Choy’s book. It retells a neighborhood’s story that’s too often render mythic by rumors money-hungry tour guides and ignorant outsiders. San Francisco Chinatown illuminates the untold history of the enclave, urging readers to consider its quiet alleyways and SROs housing six people just above the busy streets. The book wants you to consider the political, historical, and cultural implications of Chinatown’s very existence.

Says Choy of the generations who lived in this neighborhood, “they were pioneers of the city. They did more than just open laundries.”

PHILIP CHOY: SAN FRANCISCO CHINATOWN

Oct. 7, 1pm, free

California Historical Society

378 Mission, SF

www.litquake.org

 

Oct. 27, 11am, free

San Francisco Public Library

100 Larkin, SF

(415) 437-4844

www.sfpl.org

Dixie

1

virginia@sfbg.com

APPETITE A fledgling new restaurant is a work in progress, evolving. Often I’ll visit restaurants in their opening week, then return three to four weeks later, noticing a marked improvement in rhythm and flow, if not a dramatic change in food (often first food impressions prove to be consistent).

Returning a few months into a restaurant’s life, if things are heading the right direction, a distinct voice emerges, reflected in service and menus. Other times, one still searches for a point of view, a compelling enough reason to return. Opening in May with big vision and standouts on the plate, Dixie in the Presidio struggles to find cohesion after three months of visits.

The Southern intention of chef Joseph Humphrey (a Florida native) is just the sort of thing I get excited about: California-fresh with a New Southern ethos, not dissimilar to some of the Southern-influenced mashups I find at the likes of Maverick, the new St. Vincent, or in the best food cities of the South. Humphrey cooked at Michelin-starred Meadowood and Murray Circle, and in New Orleans with none other than Dickie Brennan & Co. South truly meets West in Dixie.

In the former Pres a Vi, Dixie hints at Southern plantation feel on the roomy veranda — ideal for the just-launched brunch — clearly the best area in the roomy restaurant. Though dreamily set in the Presidio, surrounded by trees, the Palace of Fine Arts standing majestically across the lawn, the inside remodel hasn’t quite covered up the space’s corporate feel. Rich wood grains and musical instrument art installations warm slightly, but neutral tones and a subdued air communicate “bland.”

Nearly condescending, cold service on my first visit had me actually dreading a return. Dread should never be on the menu, especially at this price. In another visit, I dined in the back space where at 7:30pm on a Saturday night more than half the tables were filled with thankfully well-behaved children. Here service improved: sweet if unsure.

Humphrey’s skill shines in chicken-fried quail on garlic waffles ($15), a twist on my soul food favorite, with cabbage and kale slaw and a subtle kick from Thai chilies in the syrup. Another excellent dish is chicken and dumplings ($24). “Dumplings” are melting-soft ricotta gnudi surrounding tender cuts of chicken draped with baby carrots. This reinterpretation does what it should: it makes you rethink, but still thoroughly enjoy, a classic.

Red miso black cod ($23), silky in apple and bourbon-tinged foam, was so good it was the one dish I reordered. Accompanied by lobster mushrooms, only a mound of farro was flavorless and forlorn. I couldn’t help but long for 4505 Meats and Ryan Farr’s unparalleled, dissolve-in-your-mouth chicharrones when chomping on the harder, overly-salty version ($6) with nori salt here. Abalone and pickled jalapeno peek out of creamy corn soup ($14), while horseradish deviled eggs ($7) are smartly topped with fried chicken liver. Despite the promise of shaved tasso ham (I adore tasso), a Dixie chopped salad ($12) is almost banal, the ham more like two big slices of deli meat draped across an otherwise unadorned salad (merely lettuce in creamy shallot dressing with a smattering of radishes), rather than sliced up and in the mix.

Wine or a pour of whiskey were the more gratifying drink choices. On the cocktail front, a pricey Terroir Fizz ($14) utilizes amazing, local St. George Terroir gin with lemon, lime, Cointreau, lemon verbena, and egg white for froth. Though I commend the move away from sweet, it was so sour (and I’ve been to known suck on lemons, that’s how much I crave sour), balance was lost in what could have been a beautiful aperitif — a bigger blow when this town is packed with excellent cocktails in the $8–$12 range. Dixie Triple S ($12) fared better in balance of sweet-smoky-spicy (the triple “S”) with Espolon silver tequila, lime, watermelon-jalapeno puree, and a hickory-smoked salt rim. 2 Bens is a playful tribute to “what dad and granddad drank” — a pint of Guinness and shot of Jack Daniels — but I cannot fathom paying $16 for a pour of such basic brands.

Dixie’s musical, New Southern vision is among my dream restaurant concepts but in actuality feels incongruent and out-of-sync despite supreme moments of taste. After the bill arrives at well over $100 for two, walking out into misty Presidio air before a green expanse leading to the Bay, our first thought is where to go next to fill up.

DIXIE

One Letterman Dr., SF

(415) 829-3363

www.sfdixie.com

 

The darn thing’s got wings

0

marke@sfbg.com

SUPER EGO And thus the epic saga of the Eagle Tavern, legendary drunken gay leather biker den of iniquity (which secretly boasted one of the best DJs in the city, Don Baird, on Sundays), closed for a year and a half, ravenously beset upon by upscale restaurant developers, canonized by the Sisters of Perpetual Indulgence, radicalized by queer activists desperate to preserve the scared space around which were scattered the ashes of some of our ancestors, transformed into a symbol of contemporary gentrification, gutted by real estate agents, tossed around by the Board of Supervisors like a hot potato, has finally entered another stage.

Please welcome new gay proprietors Mike Leon and Alex Montiel, who told me they hope to open the SF Eagle (www.sf-eagle.com) by Halloween, they’ll still hold charitable events, they’re looking forward to hosting live music nights again, and they’ll be doing their best to preserve that precious Eagle ambiance. You can read the whole story here, but little patent leather caps off to Glendon Anna Conda Hyde, David Campos, Jane Kim, El Rio (which hosted the Eagle’s wonderfully pervy Sunday beer busts in exile), and everyone else who pushed for the preservation of queer nightlife space in SoMa.

Says Glendon, who really led the push, “People thought we couldn’t preserve queer nightlife in this city — but that’s just a lazy excuse for gentrification. we should all be proud of what happens when we come together. Our nightlife history is a powerful force.”

That’s great. Now if we could only get the EndUp back on track, I could do my old Sunday bar (literally) crawl: Eagle, Lone Star, EndUp. Except for those times when I simply curled up beneath a parked car on Harrison. She was hella classy in the ’00s.

 

SF ELECTRONIC MUSIC FESTIVAL

There’s a lot going on at this annual feast of nifty experimentation — Negativwobblyland, William Basinski, Dieter Moebius, Cheryl E. Leonard, Guillermo Galindo, soddering trio Loud Objects, Machine Shop’s amplified gongs — kind of freaking out about it, ready for scary beautiful.

Wed/5-Sun/9, various times, prices, and locations. www.sfemf.org

 

NEW WAVE CITY 20TH ANNIVERSARY

Holy Echo and the Bunnymen! San Francisco’s longest-running party is celebrating two decades? Somebody call Square Pegs. I adore DJs Skip and Shindog — they started being retro about the ’80s almost before the ’80s were over. And their selections (Bauhaus, New Order, the Cure, Depeche Mode) somehow transcend the casket of ubiquity, possibly because of the lively and actually old-school cool crowd still riding the brave new waves of aural devotion. Here’s to 20 more years of Tears for Fears, at which point it will be like listening to Elvis in the ’90s. Or something. Prefab Sprout had a song about it. Just go.

Fri/7, 9pm-3am, $12. DNA Lounge, 375 11th St., SF. www.newwavecity.com

 

PUSH THE FEELING: LES SINS

Underground indie impresario Kevin Meenan’s monthly Push the Feeling parties are a hot ticket already — but add in Les Sins and we’re entering another dimension? Who are Les Sins? Oh, just chillwave-plus genius Toro Y Moi dropping a DJ set. For an intimate crowd in Lower Haight. For $5. And you’re one of the only people who know about it.

Fri/7, 9pm, $5. Underground SF, 424 Haight, SF. www.epicsauce.com

 

DARK ENTRIES THIRD ANNIVERSARY

Speaking of New Wave Cities — Josh Cheon’s Dark Entries label has kept the Bay Area at the forefront of the minimal and dark wave movement, which mines overlooked bands of the synth music past and reverential present acts that are direct descendents of those slightly sinister new waves. (Recent signee Linea Aspera is to die for.) This dark celebration features a live performance by Max + Mara plus a glowering set by Cheon himself, with Nihar, Jason P, and Dreamweapon.

Sat/8, 10pm, $5. SubMission, 2183 Mission, SF. www.darkentriesrecords.com

 

SOUL CLAP AND DANCE OFF

Considering the garage powerhouse that is Oakland, it’s weird to me that we don’t have a huge dirty-funk, pervy girl group, kooky Hairspray 1960s dance-party scene here. (Hard French and any concert by Shannon and the Clams come close.) NYC DJ Jonathan Toubin was set to bring his great Night Train party here last year, but he was almost killed by a freak accident in Portland that made national headlines (a car drove into his hotel room and ran over him in bed). Well, he’s recovered enough now to get the party going again, and this groovy dance-off will also be an all-ages celebration of life. Celebrity judges and the cream of our underground garage crop will be in attendance.

Sun/9, 7pm, $13, all ages. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

 

OPERA IN THE PARK

Dearest drama queens, have you had a hard night out on the town? Do you need your over-the-top batteries recharged? How about just a lovely day on the lawn to check out other cute arts enthusiasts — like me! — swooning along to our hometown opera company’s overwhelming melodiousness? Bring a little (secret) wine, and let’s sing along.

Sun/9, 1:30pm, free. Sharon Meadow, Golden Gate Park, SF. www.sfopera.org

 

Evil genius

2

arts@sfbg.com

MUSIC Mark Mothersbaugh wants to devolve. “I would love to be 20 right now. Kids now have cell phones that have more power than the Beatles had when they recorded their first album. You don’t have to go through the whole gauntlet of getting on a record company.” We’re looking back since Mothersbaugh’s band Devo is currently touring again with Blondie. The two bands haven’t played shows together since 1977, when Devo — on the East Coast for the first time, at Max’s Kansas City and CBGB’s — was an unsigned, pop avant-garde band fresh out of Akron, Ohio.

“As a kid, I’d wondered, how do you get on the other side of the moat? How do you get to be on the side with the castle that has the recording studio? It seemed so impossible when i was a kid and now it’s a non issue.” Mothersbaugh is speaking from his own “castle,” his Mutato Muzika production company on the Sunset Strip.

A multimedia artist, Mothersbaugh has made a solo career in soundtracks. Pee-wee’s Playhouse started the trajectory, and his work on Rugrats and most Wes Anderson films cemented a reputation as a go-to-guy for quirky, slightly off-center scores. (Rivaled only by Danny Elfman.) It’s a different lifestyle, being in the studio, chasing a lot of deadlines for film companies. His recent work includes 21 Jump Street, Safe, and Hotel Transylvania. Evaluating the success of a project, he seems to look to the box office. “What to Expect When You’re Expecting,” he says, “was Lionsgate’s follow-up to The Hunger Games, so it wasn’t as big as their other one.”

If Mothersbaugh looks at the industry shrewdly, it’s for good reason. For much of the last two decades — while still performing at cherry picked festivals and events — Devo was on a recording hiatus. “Dealing with record companies, quite honestly, just became a burn out and made it not fun to be an artist,” Mothersbaugh says.

“At the time cassettes came out, I went to Wexler, the President of Warner Brothers and said, ‘I read something in Variety, it costs you guys more to make an audio cassette than to make an LP, but you deduct 35 percent of my royalties when you make a cassette instead of an LP, instead of letting me share the profit. Why is that?’ He just smiled and said ‘Because that’s the way it is.'”

It’s fairly telling about how labels treated musicians that this is coming from Mothersbaugh. Formed in the aftermath of the Kent State shooting — where the idealism of the ’60s suddenly devolved — Devo took a decidedly anti-punk approach, trying to change the system from within. Mothersbaugh recalls seeing Pachelbel’s Canon turned into a Burger King jingle and being inspired. “I just remember thinking that was evil genius at work. Rebellion isn’t how you change things. It’s through subversion in this country. And who did it best? Madison Avenue.” (Devo would in turn appropriate the BK jingle as lyrics to “Too Much Paranoia.”)

A band that wanted to be a brand, part of Devo’s strategy has been embracing commercialism and infecting it. “For us every time one of our songs got in a commercial we thought there was a chance that some kid would hear the song later on somewhere else and think, what is that song actually about?” An early plan (taking cues from Andy Warhol’s factory) was to send out groups of kids to perform. It actually came about in 2006, as Devo 2.0 on Walt Disney Records, but in the pre-MTV era, it just puzzled execs. “It was hard enough to talk them into letting us make our short films,” Mothersbaugh says.

Today Devo is re-energized. In addition to finding time to tour, it picked up where it left off with 2010’s return to formula, Something for Everybody, a candy-coated pop album with a cynical filling. The timing was right and everybody — the two sets of brothers that make up the band — wanted to make another record. “And probably more than anything, it was Alzheimer’s,” Mothersbaugh says. “We forgot what it was that made us stop.”

DEVO

With Blondie

Mon/10, 8pm, $39.50–$92.50

Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com

PR problems

0

caitlin@sfbg.com

HERBWISE Though I’ll admit the waves of federally-mandated dispensary closures that have washed over the Bay in recent months make it hard to keep in mind, I can’t shake the feeling that the key to legalization is not burning effigies of US Attorney Melinda Haag and harassing Barack Obama when he comes to town. Though those things can be fun.

These nonsensical days of the government blocking our access to cannabis will only stop when regular old citizens realize that the War on Drugs is not making them any safer.

Which is why I’m talking to Kristina Barnes about her porch rowdies. The mother of two, who is a project manager for an energy conservation company, moved to the Mission a year and a half ago. Along some of her neighbors and an agent from the Mission Miracle Mile Business Improvement District, Barnes wrote a letter in protest of property owner Gus Murad’s plan to put a weed dispensary into part of the Mission Street building that until recently housed his restaurant Medjool.

The letters were sent to the city’s Planning Commission, but also to Haag, causing East Bay Express reporter David Downs to call Barnes and her crew “snitches,” and “clueless, craven, money-hungry carpetbaggers,” whose primary goal was to gentrify the Mission. One of the letters, he reported, even used what I like to call “the g-word,” as a positive term, calling into question the protesters’ basic grasp of SF’s social climate.

Fine, I chortled a little at the snitches part.

But I live really close to Morado Collective’s proposed site. It troubled me that my neighbors thought that “this shop will invite loads more undesirable people to our neighborhood,” as Barnes’ letter put it.

The perception of the pot clubs as a dangerous, disruptive place is sadly, common — Haag has used it as justification for her crusade, even though a UCLA study published in the July issue of the Journal of Studies on Alcohol and Drugs found zero evidence that dispensaries raise crime rates.

I needed to know where the negative image was coming from. So I called Barnes up to find out why she didn’t want high-quality nuggets near her family.

Turns out, Barnes does not support medical marijuana. “There’s a lot of misleading legality about it,” she said. “If I were to guess, 80 percent of the people [who frequent dispensaries] have no reason to be there.” In other neighborhoods, she told me, she’s seen people exit clubs and give joints to friends.

She thinks the Morado Collective will adversely affect her block. “My primary concern is that it’s really selfish,” she told me. “We moved into a neighborhood that has the promise of getting a little cleaner and better.” More saliently, she was concerned that her porch would look like an attractive place to smoke that newly-purchased bud. People use it as a smoke spot already, she said.

Of course, there was no reason to base this conversation on conjecture. Until it was shuttered by the feds earlier this summer, Shambhala Healing Center welcomed patients at 2441 Mission — across the street from the Morado Collective’s future home. (The dispensary is now delivery-only.) Had Barnes’ porch been inundated by Shambhala’s patrons? Had such disruptions diminished in the months since the club closed its doors?

Actually, she was unaware that she’d been living around the corner from a dispensary since she moved to the neighborhood. Granted, Shambhala looked like a yoga studio from the outside. “I can’t believe I didn’t know the other one was there,” Barnes said. It was unclear if this fact was enough to affect her views on disruptive dispensaries, but one hopes it was food for thought.

 

ALSO, LOGIC PROBLEMS

While researching this column, I also spoke with Philip Lesser of the MMMBID, who told me his neighborhood group was firmly in favor of medical marijuana, likening pot clubs to medical centers. But, he said, the Morado Collective’s spot between fancy restaurants Foreign Cinema and Lolinda “just doesn’t seem like the appropriate place to have a doctor’s office.”

What would be appropriate? “I’m thinking that anything that could better promote the arts and entertainment,” he ventured, adding that Alamo Draft House is set to open a five-screen movie theater in another Murad property across the street.

But — what makes you want to go to the movies more than weed?

 

The latest insurance scam

0

steve@sfbg.com

Mercury Insurance and its billionaire founder George Joseph are trying, for the second time in two years, to charge infrequent drivers more for car insurance.

Only this time, the measure has the surprising support of a progressive advocacy group that represents low-income communities of color — and that recently received a substantial donation from Mercury.

Proposition 33 — which so far has received fairly little news media attention in an election dominated by talk of taxes — is a reprise of a similar measure, Prop. 17, that went down to defeat in 2010.

The measure seeks to allow insurance companies to set premiums based in part on whether consumers have had continuous coverage. In other words, Mercury wants to raise rates on people who take a break from driving for economic, environmental, or other reasons.

The new measure contains a few exemptions targeted at sympathetic groups singled out by opponents in the last campaign, including active-duty soldiers and those unemployed due to layoffs.

And Prop. 33 also has a significant new backer, the Berkeley-based Greenlining Institute.

That alliance has drawn the ire of Consumer Watchdog, the nonprofit group that created California’s regulated car insurance system with Prop. 103 in 1988 and has been fighting to defend it ever since.

“It raises rates on the people that Greenlining claims to represent,” Consumer Watchdog President Jamie Court told us.

GOLDEN STATE GOLD

Mercury got its start in the 1960s, selling insurance to car owners who had spotty records, charging high rates — and aggressively challenging claims. About 80 percent of its business is in California.

And Mercury has been trying for some time to challenge the landmark Prop. 103, the 1988 ballot measure that set tight regulations on what car-insurance companies can charge — and what they can use to set rates.

Under that law, insurance companies can only use three basic rating factors: how long someone has been driving, vehicle miles traveled per year, and a driver’s safety record. There are 16 more factors that the state has allowed to have a smaller impact on rates, including the “persistency discount” that rewards drivers for staying with a single company.

Court said there are good reasons for that discount, noting that it costs companies more to market to and administer new customers than to serve existing ones.

Prop. 33 would allow consumers to shop around and still keep that discount — something that Court said only makes sense if you want to give insurance companies the power to divide customers by class and punish people who choose to give up driving for a while.

“It’s sleight of hand,” Court said. “Some drivers get a discount, everybody else is going to get a surcharge.”

Two years ago, every single legitimate consumer group in the state opposed Mercury’s efforts. So why is the prominent Greenlining Institute changing its tune?

Greenlining says the new measure is better. But the group’s staffers also acknowledge that Mercury is now a significant donor to Greenlining. Joseph appeared as a panelist at Greenlining’s 19th Annual Economic Summit in April, and the company donated $25,000 at that time.

Greenlining General Counsel Sam Kang, who pushed for the new position and is the designated point person in defending the stance, told us the new exemptions make the measure worth supporting. “The protections are what really distinguish Prop. 17 from Prop. 33,” Kang said. “It’s better than what we’ve got now.”

Kang argues that the increased competition it could foster among insurance companies might lower premiums for everyone. “If customers are willing to walk away” from their current insurance provider and still keep their continuous coverage discount, Kang told us, “that’s how it will drive down rates.”

Court called it “ridiculous” to claim this corporate-sponsored measure — Joseph has personally given almost $8.3 million to the Yes on 33 campaign, the lion’s share of its total funding — would drive down premiums through increased competition for customers.

“There’s no dispute on that and Greenlining is using tactics that are really reprehensible, and it’s a shame because they are likely to be the centerpiece of Mercury’s campaign,” he said. “George Joseph is trying to get cover from a group that has no business doing this.”

Greenlining Executive Director Orson Aguilar acknowledged the organization was divided on this measure, and that is still open to being convinced it made the wrong call. “This was hotly debated. This was not an easy issue for us,” Aguilar told us. “Frankly, if we’re wrong, we’re happy to be convinced.”

GREENLINING’S CAMPAIGN ROLE

Yet it may be too late for that: The state voter handbook has already been printed, and the Yes on 33 campaign has been touting the group’s support. “The Greenlining Institute — a consumer group founded to fight unfair business practices — supports Proposition 33 because it protects consumers and allows this discount to everyone who has followed the law,” says a ballot argument that signed by Kang and CDF Firefighters President Robert T. Wolf and California Hispanic Chamber of Commerce President Julian Canete.

“As you know, we opposed Prop. 17 and we opposed it quite vigilantly,” Kang told us. And the main reason was the organization didn’t buy Mercury’s spin that it would simply lower rates for those with continuous coverage. “If someone is going to get a discount, someone else is going to pay more,” Kang acknowledges.

Yet he is now parroting the Yes on 33 campaign’s rhetoric that the measure simply rewards drivers who “followed the law” and maintained continuous insurance coverage, saying the exemptions that Mercury wrote into the new measure actually give those groups — soldiers and the unemployed, which he notes are disproportionately poor people of color — more protections than they now enjoy.

“If you have continuous coverage for five years, you are eligible for a persistency discount,” Kang said, casting the measure as simple and straightforward.

Court and his group strongly object to that simplistic approach, asking why an insurance company would sponsor a measure that lowers premiums. The reality, consumer advocates say, is that this is a duplicitous measure that relies on a flawed premise and is really about giving insurance companies a new tool to capture certain customers and bilk those who can least afford it.

“These exemptions are bullshit, and they are written to be very narrow. It’s lipstick on a pig,” Court said. “It exposes how it raises rates for all low-income people who don’t meet these very narrow exemptions.”

In fact, the official summary by the Attorney General’s Office makes it clear that prop. 33 “Will allow insurance companies to increase cost of insurance to drivers who have not maintained continuous coverage.”

Kang disputes that objective analysis, telling us, “The ballot title and summary is up for discussion as far as what it meant.”

Kang admitted that Mercury is supporting Greenlining. “They gave us $25,000 in anticipation of the summit, and we anticipate they they’ll help us out in the advocacy of this measure,” Kang said. “Corporations regularly contribute to us, and it has never guaranteed our consent or dissent on anything.”

He defended the approach, telling us, “Sometimes working with corporations is the only way to make monumental changes,” citing their successful efforts to improve the billing practices of PG&E, which regularly makes six-figure donations to Greenlining.

Aguilar also strongly defended the organization’s integrity. “To say that just because we got a stipend from Mercury Insurance” that bought their support, Aguilar said, is simply wrong. “Money comes from somewhere.”

Greenlining’s allies in various campaigns to protect low-income communities say they’re willing to give the group the benefit of the doubt. Joshua Arce, executive director of the SF-based Brightline Defense Project, doesn’t think donations from Mercury Insurance influenced the group’s position, noting that it has also received contributions from PG&E and AT&T then subsequently joined campaigns that opposed those companies’ practices.

Instead, he said Greenlining was probably just offering support to the measure because Mercury had addressed Greenlining’s criticism of Prop. 17 two years ago. “That’s one of the things about Greenlining,” Arce told us, “they say, ‘If you fix all the things we laid out, if you address them, then we’ll support it.” Yet Court said the minor changes made between Props. 17 and 33 shouldn’t have won over such a potentially influential ally. “I’m told they’re going to use Greenlining in the commercial. It’s clearly a transactional relationship,” Court said. “When the billionaire behind Mercury Insurance says it, it’s hard to believe, but it’s easier to believe coming from an organization called Greenlining.”

Approve clean power SF

20

EDITORIAL The clean energy plan for San Francisco isn’t perfect. It’s going to cost residents a bit extra to join a sustainable, city-run electricity system. Officials at the San Francisco Public Utilities Commission figure that only about 100,000 residential customers will pay the premium to buy renewable energy — fewer if Pacific Gas and Electric Company launches a huge marketing effort to drive potential customers away. And PG&E will still control the distribution lines, the billing, the meters — and will make most of the profit.

It is, in other words, a long way short of a city-owned public-power system.

But it’s an important step in that direction, and the supervisors should approve the plan.

San Francisco has been talking about community choice aggregation for almost a decade, since the state approved legislation allowing cities and counties to form the equivalent of co-ops to buy electric power. The idea is that the city can purchase power in bulk — either at low rates or with a cleaner generation portfolio — and resell it to local customers. CCA programs don’t displace private utilities, which still own the power lines and charge a fee to deliver the electricity to customers.

But they do offer consumers choice: Right now, PG&E can’t even meet the weak, limited state standards for renewable energy, so San Franciscans are buying power from fossil-fuel and nuclear plants. Clean Power SF, as the city program is called, would offer as much as 100 percent renewable electricity — purchased through Shell Energy — at what at first will be a higher price.

But the goal of the program — and after years of wrangling, the SFPUC is now entirely on board with it — is to use the revenue stream from the early stages of electricity sales to build local renewable-energy facilities that can be brought on line to replace the power from Shell. Eventually, although it may be a decade or more down the road, San Francisco can probably generate enough power from solar, wind, and its existing hydroelectric dam to meet around 40 percent of the total power needs. If part of the program involves aggressive demand reduction, that number could go higher.

The locally produced energy would be cheap and green — and would bring down the price of the city alternative. If the city can build, operate, and make money from renewable energy plants, it will also demonstrate that running a municipal utility is entirely feasible. And the initial work of creating a full public power system will be in place.

It’s a modest experiment. Anyone who doesn’t want to pay extra for green power can opt out, and the city won’t even be trying to take on major commercial customers yet. But as the price of renewables comes down, and San Francisco commences its own build-out, it’s almost certain that Clean Power SF will be offering not only cleaner power but better rates.

For all its flaws, this is a program that community activists and city officials have spent years working out — and both sides are, for once, happy it. It needs strong support at the board, to send a message to the mayor that this is something San Franciscans want.

Rep Clock

0

Schedules are for Wed/5-Tue/11 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARBOR 4210 Telegraph, Oakl; www.shapeshifterscinema.com. Free. "Shapeshifters Cinema:" expanded cinema works by Kerry Laitala with John Davis and Neal Johnson, Thu, 8.

BRIDGE 3010 Geary, SF; www.landmarktheatres.com. $8-10.50. "Studio Ghibli Animation Retrospective:" Spirited Away (Miyazaki, 2001), Fri, 1:47, 7; Nausicaä of the Valley of the Wind (Miyazaki, 1984), Fri, 4:30, 9:40; My Neighbor Totoro (Miyazaki, 1988), English language version Sat, 3. 7; Japanese with English subtitles, Sat, 5, 9; Princess Mononoke (Miyazaki, 1997), Sun, 1:40, 7; Kiki’s Delivery Service (Miyazaki, 1989), Sun, 4:30, 9:50; Porco Rosso (Miyazaki, 1992), Mon, 2, 7; Only Yesterday (Takahata, 1991), Mon, 4:20, 9:10; Castle in the Sky (Miyazaki, 1986), Tue, 1:40, 4:20, 7, 9:40. All films in Japanese with English subtitles, except where noted with My Neighbor Totoro.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •Fast Times at Ridgemont High (Heckerling, 1982), Wed, 7, and Back to School (Metter, 1986), Wed, 8:45. •The Harder They Come (Henzell, 1972), Thurs, 7, and Marley (Macdonald, 2012), Thurs, 9. "QT & PT:" Reservoir Dogs (Tarantino, 1992), Fri, 7:30, and Sidney (Hard Eight) (Anderson, 1996), Fri, 9:30; •Pulp Fiction (Tarantino, 1994), Sat, 1, 7, and Boogie Nights (Anderson, 1997), Sat, 3:55, 9:55; •Magnolia (Anderson, 1999), Sun, 2:30, 8:50, and Jackie Brown (Tarantino, 1997), Sun, 6. Magic Mike (Soderbergh, 2012), Tue, 2, 4:30, 7, 9:20.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. Ai Weiwei: Never Sorry (Klayman, 2012), call for dates and times. Beasts of the Southern Wild (Zeitlin, 2012), call for dates and times. Little White Lies (Canet, 2010), call for dates and times. The Queen of Versailles (Greenfield, 2012), call for dates and times. 2 Days in New York (Delpy, 2012), call for dates and times. California Forever (Vassar, 2012), Sun, 7. With filmmakers David Vassar and Sally Kaplan in person; this event, $12.

"FILM NIGHT IN THE PARK" This week: Old Mill Park, 300 block of Throckmorton, Mill Valley; www.filmnight.org. Donations accepted. Mamma Mia! (Lloyd, 2008), Fri, 8. China Camp, San Rafael. The Adventures of Tintin (Spielberg, 2011), Sat, 8.

GOETHE-INSTITUT SAN FRANCISCO 530 Bush, SF; (415) 263-8760. $5 suggested donation. "Homage to Romy Schneider:" Sissi (Marischka, 1955), Wed, 7:30.

GRAND LAKE 3200 Grand, Oakl; www.sf911truth.org. $7-10. 9/11 Truth Film Festival, a benefit for the Northern California 9/11 Truth Alliance, Tue, 2-11.

JACK LONDON SQUARE First Street at Broadway, Oakl; www.jacklondonsquare.com. Free. Fatal Attraction (Lyne, 1987), Thu, sundown.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. "Alternative Visions:" "The Nervous Films of Janie Geiser" (2002-12), Wed, 7. "LA Rebellion: Creating a New Black Cinema:" Daughters of the Dust (Dash, 1991), Thu, 7. "Life is Short: Nikkatsu Studios at 100:" Capricious Young Man (Itami, 1936), Fri, 7; The Warped Ones (Kurahara, 1960), Fri, 7; Season of the Sun (Furukawa, 1956), Sat, 6:30. "A Theater Near You:" The Graduate (Nichols, 1967), Sat, 8:20.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. San Francisco United Film Festival, local and global docs, features, and more, Wed-Thu. Tickets ($10) and more info at www.theunitedfest.com. The Ambassador (Brügger, 2012), Wed-Thu, 7, 9. Kumaré (Gandhi, 2011), Sept 7-13, 6:45, 8:45 (also Sat-Sun, 3, 4:45).

SAN FRANCISCO ART INSTITUTE 800 Chestnut, SF; www.iranianfilmfestival.org. $8-10 (festival pass, $80-100). Iranian Film Festival, short and feature films made by or about Iranians, with a tribute to composer Esfandiar Monfaredzade, Sat-Sun, 11am.

TANNERY 708 Gilman, Berk; berkeleyundergroundfilms.blogspot.com. Donations accepted. "Berkeley Underground Film Society:" The Last Picture Show (Bogdanovich, 1971), Sun, 7:30. *

Our Weekly Picks: August 29-September 4

0

WEDNESDAY 5

Daughn Gibson

James Blake goes country? Nicolas Jaar with a bolo tie? Daughn Gibson’s All Hell is one of the most unexpected, quietly subversive records of the year so far, treating lovelorn trucker anthems with the chopped and screwed mentality of the 21st century laptop scene. Though it might not make sense on paper, Gibson’s Scott Walker-meets-Johnny Cash croon meshes intuitively with his loop-based backing productions. Just a week ago, upon signing to Seattle’s Sub Pop Records, he Soundclouded a new track, featuring samples lifted from the label’s own Shabazz Palaces and Tiny Vipers, that somehow remains as country-esque as any of his previous output. A true maverick in a scene overflowing with uninspired, rehashed ideas. (Taylor Kaplan)

With the Reckless Kind, the Emily Anne Band

9pm, $10

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

Fucked Up

If you’re looking for some blood and possibly a little nudity on a Wednesday night (who isn’t?) Fucked Up has got you covered. Famous for bizarre and unpredictable onstage antics, these Toronto-based punk rockers are all about pushing the boundaries. Whether it’s choosing an unprintable band name, getting moshing banned from MTV Live (Canada) after causing thousands of dollars in damage to the set, or releasing a sprawling rock opera that SPIN Magazine named as the best album of 2011, Fucked Up have proven their fearlessness and artistic ambition with every move they’ve made since they’re formation in 2001. Legendary live shows, intelligent and inventive lyric content, and notable contributions to women’s shelters are just a few of the elements that make Fucked Up one of the most exciting and deeply respected bands on the scene today. (Haley Zaremba)

With Ceremony

9pm, $19

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com


THURSDAY 6

“MADison Avenue Party”

Celebrating the diamond anniversary of the iconic humor publication, the Cartoon Art Museum has been hosting the “What, Me Worry?: 60 Years of MAD Magazine” exhibit this summer, featuring a variety of original, hilarious artwork. Help say goodbye to Alfred E. Neuman and cohorts at a special swingin’ sixties style event tonight, “MADison Avenue Party: Cocktails, Cartoons and Tunes,” which invites fans to dress up in their “Dapper Don” best, sip some “MADhattans,” listen to live music, and pose for a sketch from a local cartoonist. Don’t be a schmuck! This is your chance to join “the usual gang of idiots!” (Sean McCourt)

7-9pm; $5–$500

Cartoon Art Museum

655 Mission, SF

(415) 227-8666

www.cartoonart.org

 

Tallest Man on Earth

Kristian Matsson, a.k.a the Tallest Man on Earth, is not particularly tall, but the name takes on greater meaning when the Swedish folk singer takes the stage. Matsson’s incredible presence and charisma transform him into something larger when he begins to play. Shallow Grave, his debut album, was praised by Pitchfork and featured on NPR. And he continued to garner stateside attention when fellow indie-folker Bon Iver brought him on tour. In his albums, which are both unassuming and enchanting, the influence of Bob Dylan, one of Matsson’s earliest heroes, is clear. His recordings — created in whatever home Matsson is currently living in — possess a warmth and charm so often lacking in the current era of overproduction. (Zaremba)

With Strand of Oaks

8pm, $30

Fox Theater

1807 Telegraph, Oakl.

(510) 302-2250

www.thefoxoakland.com


FRIDAY 7

“Studio Ghibli Animation Retrospective”

It’s a fantasy — filled with forest spirits, girl power, talking animals, imagination, magic charms, enchanted trees, and budding witches — come true: a 14-film restrospective showcasing the visually luscious, thematically complex works of Japan’s Studio Ghibli. Spanning the years 1984-2008, the kid-friendly-but-also-adult-worthy series is heavy on the works of Ghibli co-founder and most-prominent director Hayao Miyazaki, including Princess Mononoke (1997), Kiki’s Delivery Service (1989), My Neighbor Totoro (1988), and the Oscar-winning Spirited Away (2001). Even better, each film screens in new, 35mm print form, and all are shown in original Japanese with English subtitles, with a few screenings of Totoro‘s English-dubbed version thrown in for good measure. (Cheryl Eddy)

Through Sept. 13, $8–$10.50

Bridge Theatre

3010 Geary, SF

Sept. 14-26, $8–$10.50

California Theatre

2113 Kittredge, Berk.

www.landmarktheatres.com

 

Port Out, Starboard Home

Slap a bottle of champagne on its ass, it’s done! Four years in the making, the new play collaboratively wrought by acclaimed New York playwright Sheila Callaghan (That Pretty Pretty; or, The Rape Play) and SF-based foolsFURY finally launches its cruise ship, Crown of the Seas, packed with an oddball set of seekers in sneakers whose spiritual enlightenment comes anchored in a decadent, vaguely sinister bed of ritual. The very brief Bay Area run takes place at co-producers Z Space, before transfer to New York’s La Mama in November for the second half of a bicoastal world premiere. Set a course for adventurous ensemble-driven physical theater. (Robert Avila)

Through Sept. 23, 8pm, $12–$30

Z Space (at Theater Artaud)

450 Florida, SF

www.zspace.org

www.foolsfury.org

 

Defeater

Massachusetts hardcore band Defeater has a way of creating thoughtful, dynamic albums in a genre that often feel formulaic and stagnant. They have ambitiously committed themselves not just to a concept album, but to a concept career, with each record picking up the story arc where the previous one left off. Defeater’s music is set in the broken home of a WWII-era family living on the Jersey Shore. Continuity is only one of the band’s tenets — Defeater is dedicated to an environmentally-friendly lifestyle and music career. It prints all of its merchandise on recycled materials and tours in a Greenvan, a vehicle that runs on vegetable oil and bio-diesel. (Zaremba)

With Rotting Out, Hundredth, Silver Snakes, Broken Ties, Troubled Coast

6:30pm, $12

924 Gilman, Berkeley

(510) 525-9926

www.924gilman.org


SATURDAY 8

Anané and Louie Vega

Anané is a singer hailing from West Africa Cape Verde whose musical style blends dance, reggae, and Caribbean influences. She found her way to New York and teamed up with “Little” Louie Vega, one of New York’s premier DJs and one half of legendary house music production team Masters At Work. Now wife-and-husband, the Vegas make up a dance music power couple and collaborated together on 2010’s ANANÉSWORLD , which clearly displays the vocal and musical range of Anané. They’ve since been trotting the globe, making stops in club-heavy Ibiza in Spain and Miami’s prominent Winter Music Conference. During live sets, the Vegas tag team the decks, switching from soulful, groovy tracks to percussion and horns-heavy Latin house to full on Afro-jack cuts. (Kevin Lee)

With David Harness

10pm, $15–$20

Mighty

119 Utah

(415) 762-0151

www.mighty119.com


SUNDAY 9

KUSF’s Rock-n-Swap

Is there one movie, album (vinyl or CD), poster, or book that you have been looking to buy everywhere, but just haven’t yet had that stroke of luck? KUSF’s Rock-n-Swap may be the place for you — known as a Giant Music Lover’s Fair, the event features vendors selling rare music-related gems. Admission is free for USF students, otherwise $3, which you can feel good about because the money benefits KUSF (who has been undergoing a battle for the airwaves and campus support). This is one of the biggest music swaps in California, going strong for more than 20 years. So hunt for that one rare record you’ve been yearning for, while supporting local, independent broadcasting. (Shauna C. Keddy)

10am-3pm, $3 (free for students)

McLaren Hall at USF

2130 Fulton, SF

(415) 386-KUSF(5873)

kusf.org/rocknswap


MONDAY 10

Swans

Swans, led by Michael Gira, announced their return after a 14-year absence in 2010 with the bleak yet forceful My Father Will Guide Me A Rope To The Sky. Gira and co. use an expansive, cinematic approach with their latest album The Seer, a two-hour long assemblage that flips between meditative drizzle and crashing thunderstorm. Penultimate cut “A Piece of the Sky” blends the spiritual pop feel of the Polyphonic Spree with the studious, methodical post-rock of Tortoise. Following up is “The Apostate,” where Swans build a dreadful and disorderly tone and turn primal with noise and curses and yelping. In a good way. San Jose’s Xiu Xiu, out with new album Always, opens. (Lee)

With Xiu Xiu

8pm,$30–$34

Regency Ballroom

1290 Sutter

(888) 929-7849

www.theregencyballroom.com


TUESDAY 11

Michael Chabon

Though Chabon was born in DC, the award-winning author found his way to Berkeley in the mid-’90s and has remained in the Bay Area since. The East Bay acts as both setting and muse in his latest work. Telegraph Avenue: A Novel delves into the lives of both a black family and a white family and their relationships within and between each other in modern Oakland. While Chabon typically constructs fantastic fictional worlds, he grounds his novels in social and political realities. Tonight, the author talks with witty special effects designer Adam Savage of Mythbusters fame, with proceeds going toward college scholarships administered through Dave Eggers’ writing school 826 Valencia. (Lee).

With Adam Savage

7:30pm, $22–$27

Herbst Theatre

401 Van Ness

(415) 392-4400

www.sfwmpac.org

 

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.

THEATER

OPENING

Asteroids: Live! Dark Room Theater, 2263 Mission, SF; (415) 401-7987. $20. Opens Fri/7, 8pm. Runs Fri-Sat, 8pm. Through Sept 29. Interstellar comedy “based very, very loosely on the arcade game.”

Kiss of the Spider Woman Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-35. Opens Fri/7, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Sept 29. Second Wind presents Manuel Puig’s acclaimed drama about cellmates in a Buenos Aires jail.

Placas Lorraine Hansberry Theater, 450 Post, SF; www.sfiaf.org. $13-35. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm; Sun, 3pm. Through Sept 16. San Francisco International Arts Festival, Central American Resource Center, and the Mission Cultural Center for Latino Arts present Paul S. Flores’ world premiere drama, starring Ric Salinas as a former gang member who tries to mend fences with his family when he gets out of prison.

Port Out, Starboard Home Z Space, 450 Florida, SF; www.foolsfury.org. $12-35. Previews Fri/7-Sat/8, 8pm. Opens Mon/10, 8pm. Runs Thu-Sat and Sept 19, 8pm; Sept 23, 2pm. Through Sept 23. foolsFURY performs the world premiere of Sheila Callaghan’s black comedy.

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $25-50. Opens Fri/7, 8pm. Runs Fri, 8pm; Sat, 8:30pm. Through Sept 29. Dan Hoyle’s hit show about his trip across America returns.

“San Francisco Fringe Festival” Exit Theatreplex, 156 Eddy, SF; www.sffringe.org. Most shows $10 or less (five-show pass, $40; ten-show pass, $75). Sept 5-16. The 21st annual fest of unconventional, raw theater presents over 200 performances of 42 shows in 12 days.

Strange Travel Suggestions MainStage, Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-50. Opens Sat/8, 8:30pm. Runs Sat, 8:30pm. Through Sept 29. Author and Ethical Traveler founder Jeff Greenwald (Shopping for Buddhas, Snake Lake) has done his solo show Strange Travel Suggestions dozens if not hundreds of times and still has no idea where it’s going. No wonder he and his audience keep coming back for more. The unknown, an aphrodisiac to the traveler, also makes great catnip for the storyteller. Still, there are consistent elements. There is no need to reinvent the wheel — or the impressive Wheel of Fortune that sits just off center stage, painted with a map of the globe and ringed with symbols abstract and evocative enough to conjure up myriad adventures, peak experiences, and humbling encounters from the vivid grab-bag memory of an accomplished travel writer and inveterate globetrotter. There’s also a real grab bag, just in case, and an oversize tarot card, a sort of visual aid cum talisman sporting a classic image of the Fool, patron saint of the traveler’s heedless leaps of faith. Greenwald’s stories possess a fine sense of humor and a knack for the shrewd detail and telling observation. They also contain a Zen-inflected homespun wisdom no doubt born of leaving home on a regular basis. If slightly self-conscious at times, these tales are always genuine and appealing. In the end, Greenwald’s show, as reliable as it is unpredictable, mimics a genie-from-a-bottle experience: What you get is three spins, three stories, and a lot of unexpected truth. Note: capsule condensed from 2008 feature review of this production. (Avila)

Tripping on the Tipping Point Stagewerx, 446 Valencia, SF; (707) 322-5731. $15-20. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm. Through Sept 29. Human Nature performs a new comedy about global warming.

ONGOING

Henry V Presidio of San Francisco, Main Post Parade Ground Lawn, SF; www.sfshakes.org. Free. Sat-Sun, 2pm. Through Sept 23. The San Francisco Shakespeare Festival celebrates the 30th anniversary of Free Shakespeare in the Park with this history play.

My Fair Lady SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $30-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Sept 29. SF Playhouse and artistic director Bill English (who helms) offer a swift, agreeable production of the Alan Jay Lerner and Frederick Loewe musical, based on George Bernard Shaw’s Pygmalion. The iconic class-conscious storyline revolves around a cocky linguist named Higgins (Johnny Moreno) who bets colleague Colonel Pickering (Richard Frederick) he can transform an irritable flower girl, Eliza Doolittle (Monique Hafen), into a “lady” and pass her off in high society. A battle of wills and wits ensues — interlarded with the “tragedy” of Alfred Doolittle (a shrewd and gleaming Charles Dean) and his reluctant upward fall into respectability — and love (at least in the musical version) triumphs. The songs (“Wouldn’t It Be Loverly,” “I Could Have Danced All Night,” “Get Me to the Church on Time,” and the rest) remain evergreen in the cast’s spirited performances, supported by two offstage pianos (brought to life by David Dobrusky and musical director Greg Mason) and nimble choreography from Kimberly Richards. Hafen’s Eliza is especially admirable, projecting in dialogue and song a winning combination of childlike innocence and feminine potency. Moreno’s Higgins is also good, unusually virile yet heady too, a convincingly flawed if charming egotist. And Frederick, who adds a passing hint of homoerotic energy to his portrayal of the devoted Pickering, is gently funny and wholly sympathetic. (Avila)

Rights of Passage New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Sept 16. New Conservatory Theatre Center presents the world premiere of Ed Decker and Robert Leone’s multimedia play, inspired by global human rights laws in relation to sexual orientation.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sun, 7pm. Extended through Sept 16. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Opens Fri/7, 5:30pm. Runs Fri-Sun, 5:30pm (also Sat-Sun, noon; matinee only Sept 22; no performances Sept 29; evening performances only Oct 6-7). Through Oct 7. We Players board the Balclutha and the Eureka for this jazzy take on Shakespeare’s romance.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 5pm. Extended through Sept 29. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

War Horse Curran Theatre, 445 Geary, SF; www.shnsf.com. $31-300. Wed/5-Sat/8, 8pm (also Wed/5 and Sat/8, 2pm); Sun/9, 2pm. The juggernaut from the National Theatre of Great Britain, via Broadway and the Tony Awards, has pulled into the Curran for its Bay Area bow. The life-sized puppets are indeed all they’re cracked up to be; and the story of a 16-year-old English farm boy (Andrew Veenstra) who searches for his beloved horse through the trenches of the Somme Valley during World War I, while peppered with much elementary humor too, is a good cry for those so inclined. The claim to being an antiwar play is only true to the extent that any war-is-hell backdrop and a plea for tolerance count a melodrama as “antiwar,” but this is not Mother Courage and no serious attempt is made to investigate the subject. Closer to say it’s Lassie Come Home where Lassie is a horse — very ably brought to life by Handspring Puppet Company’s ingenious puppeteers and designers, and amid a transporting and generally riveting mise-en-scène (complete with pointedly stirring live and recorded music). But the simplistic storyline and its obvious, somewhat ham-fisted resolution (adapted by Nick Stafford from Michael Morpurgo’s novel) are too formulaic to be taken that seriously. And at two-and-a-half-hours, it’s a long time coming. A shorter war, the Falklands say, would have done just as well and gotten people out before the ride began to chafe. (Avila)

BAY AREA

Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show Oct 5; no 2pm show Sat/8; additional 2pm shows Thu/6 and Oct 4); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 7. Berkeley Rep presents the West Coast premiere of David Henry Hwang’s Broadway comedy.

The Death of the Novel San Jose Rep, 101 Paseo de San Antonio, San Jose; www.sjrep.com. $23-69. Opens Wed/5, 7:30pm. Check web site for schedule. Through Sept 23. Vincent Kartheiser (a.k.a. Pete Campbell from Mad Men) stars in Jonathan Marc Feldman’s drama about creativity in post-9/11 America at San Jose Rep.

The Elaborate Entrance of Chad Deity Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $32-60. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 30. Playwright Kristoffer Diaz, a self-professed fan of the aggressively-theatrical spectacle that is professional wrestling, delivers much more than a “wrestling 101” primer for the uninitiated with The Elaborate Entrance of Chad Deity. Beneath the razzle-dazzle of the arena lighting (Kurt Landisman), the gaudy costuming (Maggie Whitaker) and the giant televised image of a hot bikini babe (Elizabeth Cadd, video by Jim Gross) lies the trampled luster of an American Dream. The dreamer, Macedonio “The Mace” Guerra (Tony Sancho), a wiry fall guy for THE Wrestling, wrestles not for money or glory (he is rarely privy to either), but for his love of the strange ballet that occurs in the ring. Guerra’s job is to make his opponents look good, including the pec-flexing, bling-booted Chad Deity (Beethovan Oden), leaving him to wrestle alone with the identity politics of being a marginalized but fully capable warrior battling perennially stacked odds. Willing suspension of disbelief does get stretched pretty thin when the character Vigneshwar Paduar, a smooth-talking hustler chance-met on the basketball courts of Brooklyn, rises to championship levels in record-breaking time as the truly cringe-worthy persona known as “The Fundamentalist,” but Nasser Khan’s skillfully self-possessed performance as Paduar makes it impossible not to root for him all the way. Rod Gnapp as foul-mouthed bossman “EKO” and fight director Dave Maier as a whole squadron of hapless B-list wrestlers round out the excellent cast. (Gluckstern)

The Fisherman’s Wife La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through Sept 29. The latest from playwright Steve Yockey (Bellwether, Skin) is an exercise in pure pleasure, not least for the devious sea creatures preying lustily and unashamedly on the hapless human flesh of a small coastal town. There, in cracked fairytale fashion, an unsuccessful fisherman named Cooper Minnow (an endearingly nerdy but passionate Maro Guevara) is preparing to set out to sea, leaving at home frustrated wife Vanessa (a wonderfully, volcanically bitchy yet complex Eliza Leoni) and their sinking marriage, when he meets an oddly brazen pair of sexy, sassy bathers in old-fashioned beach attire (the swimmingly synchronized duo of Sarah Coykendall and Roy Landaverde). At more or less the same moment, a devilishly dashing yet prim traveling salesman (poised, nicely offbeat Adrian Anchondo) is offering a clearly aroused Vanessa an erotic woodcut featuring monstrous tentacles groping human victims at a very familiar-looking dock. Will she take the woodcut? Will she ever! And later she’ll defend her husband’s honor and swap places with him too, much to the commercial advantage of the ever-accommodating salesman who — like Yockey’s smart and sure sex farce — has a little something for everyone. Directed with smooth precision by Ben Randle for Berkeley’s Impact Theatre, The Fisherman’s Wife again finds Yockey playing productively with the fine fuzzy line separating human nature from nature at large (as in Large Animal Games, the winning 2009 co-production from Impact and Dad’s Garage). The animals come through for playwright and company once more, with a thoroughly enjoyable comedy whose borrowed maritime mythos has just enough metaphorical pull to lead those so inclined out beyond the shallow waters. (Avila)

Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sept 13, 20, and 27, 8pm. Mike Berry workshops his new musical, featuring ten classic Who songs performed with a live band.

The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through Oct 14. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

A Midsummer Night’s Dream Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Check website for schedule. Through Sept 30. Marin Shakespeare Company performs the Bard’s classic, transported to the shores of Hawaii.

Our Country’s Good Redwood Amphiteatre, Marin Art and Garden Center, 30 Sir Francis Drake, Ross; www.porchlight.net. $15-30. Thu/6-Sat/8, 7:30pm. Porchlight Theatre Company presents an outdoor performance of Timberlake Wertenbaker’s play about Royal Marines and prisoners in an 18th century New South Wales prison colony.

Precious Little Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $18-25. Wed-Thu, 7pm; Fri-Sat, 8pm (also Sat/8, 3pm); Sun, 5pm. Through Sept 16. Shotgun Players presents Madeleine George’s new play about an expectant mother who studies near-dead languages and befriends a “talking” gorilla.

Time Stands Still TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, SF; www.theatreworks.org. $23-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 16. TheatreWorks performs Donald Marguelis’ drama about a couple — one a photojournalist, one a war correspondent — struggling with their recent experiences covering a war.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, B350 Fort Mason Center, Marina at Laguna, SF; www.improv.org. Thu-Sat, 8pm. $10-25. This week: “An Improv Team Named Desire and Flux Capacitor” (Thu/6); “25th Annual Gala and Fundraiser” (Fri/7); “BATS Improv SF vs. Impro Theatre LA” (Sat/8).

“Comedy Returns to El Rio!” El Rio, 3158 Mission, SF; www.koshercomedy.com. Mon/10, 8pm. $7-20. Stand-up with Diane Amos, Malcolm Grissom, Jill Bourque, Kevin Young, and host Lisa Geduldig.

“Dancing Poetry Festival” Florence Gould Theater, California Palace of the Legion of Honor, Lincoln Park, SF; www.dancingpoetry.com. Sat/8, noon-4pm. $4-15. The 19th annual fest celebrates poetry and dance as a unified art form.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

“A Funny Night for Comedy” Actors Theater of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/9, 7pm. $10. Natasha Muse and Ryan Cronin host this comedy show, presented in talk-show format, with guests Caitlin Gill, Kaseem Bentley, and Jesse Fernandez.

“Mary Mack Comedy Show” Gallery and Bar 4N5, 863 Mission, SF; www.brownpapertickets.com. Tue/11, 7:30pm. $15. Mandolin-infused folk comedy with Mary Mack.

“A Pinoy Midsummer” Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. Thu-Sat, 8pm (also Sat, 2pm). Through Sept 15. $10-20. A re-imagining of Shakespeare with Philippine folklore, shadow puppets, and other Pinoy elements.

“10 Acrobats in an Amazing Leap of Faith” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/7-Sat/8, 8pm; Sun/9, 2pm. Yuseff El Guindi’s comedy is about a conflicted Muslim family during the month of Ramadan in post-9/11 America.

On the Cheap Listings

0

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

WEDNESDAY 5

Humpday happy hour Good Vibrations, 2504 San Pablo, Berk.; 1620 Polk, SF. www.goodvibes.com. 6:30-7:30pm, free. The strap-on: a necessity to many, mind-boggling to others, both to some. In Berkeley, tool over to your local Good Vibes for this guided shopping event where experts will talk to you about what you need to look for in a falsie friend. At the chain’s Polk Street location, GV employees will demystify the 50 Shades of Grey phenomenon. What will it take for you to recreate a scene with your own Christian Grey? Chances are, you’ll find the tools you need here.

THURSDAY 6

"Captured: Specimens in Contemporary Art" Bedford Gallery, Lesher Center for the Arts, 1601 Civic Dr., Walnut Creek. (925) 295-1417, www.bedfordgallery.org. Through Nov. 18. Opening reception 6-8pm, $5. Trend watch! Throughout our history, humans have appropriated the natural world as raw material for our bizarre artistic impulses. Nowhere is this more true than in Walnut Creek, where a new exhibit opens showcasing reassembled taxidermy, curiosity cabinets, and specimen boxes.

Geoff Manaugh talks applied topology Banatao Auditorium, Sutardja Dai Hall, UC Berkeley. (510) 495-3505, bcnm.berkeley.edu. 5-7pm, free. Things we know: Manaugh used to be a senior editor at Dwell Magazine, and a contributing editor at Wired UK. Currently, he runs a think tank for the Columbia University architecture department. Today’s UC Berkeley talked will be, according to the press release, about "burglary, tunneling, and urban perforation." In other news, UC Berkeley can sometimes create really confusing press releases.

Fillmore Fashion Night

MADison Avenue party Cartoon Art Museum, 655 Mission, SF. www.cartoonart.org. 7-9pm, $5-500. Celebrate the closing of "What, Me Worry?: 60 Years of Mad Magazine" at this little downtown shrine to the drawn and funny. Early 1960s attire is encouraged – in fact, you’ll get your date in for free if you’re both wearing Mad Men-style flair.

FRIDAY 7

Paralympics viewing party LightHouse for the Blind, 214 Van Ness, SF. (415) 694-7350, www.lighthouse-sf.org. 6-8pm, free. RSVP recommended. This center for the visually-impaired is celebrating its brand-new entertainment center with this party for the London 2012 Paralympic Games. Yes, there will be pizza.

"Party Like It’s 1906" One City One Book launch party The Green Arcade, 1687 Market, SF. www.sfpl.org. 7pm, free. It’s always a good idea to celebrate author-sociologist Rebecca Solnit, and no day better than today, when the SF Public Library launches a citywide reading of her community-forged-in-disaster book A Paradise Built in Hell. It’s the eighth time the library’s encouraged the city to read together, and today Solnit will be on hand, and snacks they were noshing around the time of the 1906 SF earthquake will be available like oysters, sourdough bread, and beer.

Night Market Public Works, 161 Erie, SF. www.publicsf.com. 5-9:30pm, $5. "Bacon Crack" chocolates, vegan soul food, and champagne funnel cakes go fabulously with a ukulele chanteuse — as any attendee of Forage SF’s upcoming Night Market will be able to attest. The organization dedicated to promoting ultra-local nourishment has been striking gold with this recurring nightlife-snack event, at which local small vendors rub elbows with the Bay’s musicos, DJs, and of course, party-hard foodies. Check out Uni and Her Ukulele, the 29th Street Swingtet, and Izzy*Wise.

KALX 50th anniversary art exhibit opening Rock Paper Scissors Collective, 2278 Telegraph, Berk. kalx.berkeley.edu. 6-9pm, free. For a half-century, UC Berkeley’s been home to 90.7 FM, a.k.a. KALX, where John Lennon talked People’s Park riots and Green Day crashed when they came to town. Come tonight to check out a collection of KALX paraphernalia, flyers, and historic photos.

SATURDAY 8

All You Can Dance Alonzo King Lines Dance Center, 26 Seventh St., SF. dancecenter.linesballet.org. 1-5pm, $5. Don’t know jack about dancing? Take a four-hour crash course today, with a sampling of mini-courses on ballet, flamenco, Chinese movement, hip-hop, modern, and more. Teachers will be on hand to possibly turn you on to a whole new beat of your heart.

Babylon Salon Cantina, 580 Sutter, SF. www.babylonsalon.com. 7pm, free. Explore the Bay at this evening of readings – you’ll hear tales from a special education classroom, from assassinated journalist Chauncey Bailey’s finals days and ensuing trial, plus words from the "refreshingly off-kilter" (according to the NY Times Book Review) Lysley Tenorio. Cash bar on-site.

SUNDAY 9

The Last Picture Show free screening Berkeley Underground Film Society, The Tannery, 708 Gillman, Berk. berkeleyundergroundfilms.blogspot.com. 7:30, donations suggested. Small town life examined, in this film about Anarene, Texas, and a bunch of kids just trying to get along. High school honey Jacey is the babe every one wants, but will the perfect sweetheart be enough to counteract the slow death of the town she calls home?

TUESDAY 11

Jefferson Graham’s "Video Nation: A DIY Guide to Planning, Shooting, and Sharing Great Video" The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30pm, free. These days, it’s all about video. Author Graham knows it – that’s why he compiled this book on how to create the best footage for bloggers, web show hosts, and small business owners. The USA Today columnist and tech video host shares how to get your clip to go viral.

Women’s comedy night The Layover, 1517 Franklin, Oakl. www.feelmore510.com. 7pm, free. Sponsored by downtown Oakland’s sex-positive community shop Feelmore510 (a Best of the Bay 2012 winner!), this evening is for female-focused yucksters. Grab a drink, peruse the art that covers the Layover’s walls, and ready yourself for quips.

Alerts

0

WEDNESDAY 29

Bernal Heights outdoor cinema Roccapulco Supper Club, 3140 Mission, SF; www.bhoutdoorcine.org. 7pm, $10 suggested donation. The first of five nights of film screenings in Bernal Heights. At this kickoff party, enjoy drinks, food and music from the Bernal Jazz Quintet before a lineup of short films celebrating community and organizing in the Bay Area. Films include Berkeley High School students on heritage and identity, "Occupy the Auctions Dance Party!" in which Occupy Bernal and ACCE stop evictions on the steps of City Hall, and a tour of Alemany Farm (also the beneficiary of the event’s ticket price), among others. The event also includes the announcement of winners of the Best of Bernal and Spirit of Bernal Awards and the first-year recipients of the Mauricio Vela Youth Film Scholarship.

Occupy, the state of the movement Mediterranean Café, 2475 Telegraph, Berk; www.occupyoakland.org. 7-10pm, free. Einar Stensson, a sociologist at Stockholm University and activist at Occupy Stockholm during the fall of 2011, studied Occupy Oakland for two months. Why did the movement start and spread so quickly around the globe? How is Occupy organized? Who matters in the movement and why? What is the future of Occupy? Come hear his perspectives on where Occupy is, locally and internationally.

FRIDAY 31

Occupy the Bay The 25th Street Collective, 477 25th St., Oakl; www.occupyoakland.org. 6pm, $25. "This week in Oakland, California will go down as a watershed moment. People across America were disgusted by what they saw here. Average Americans trying to stand up and peacefully assemble, to be brutally savaged and attacked by the police department that they pay for." So said Michael Moore to a fired up crowd in the wake of the Oct. 26 Occupy Oakland eviction that rained tear gas and rubber bullets on demonstrators. This is just one of the many historic events caught on tape by filmmakers Jonathan Riley and Kevin Pina, whose documentary Occupy the Bay is screening around the Bay Area before it starts showing in film festivals. On Friday, stick around for special musical performances from Jabari Shaw, Shareef Ali and Super Natural.

Enemies of the state: In their own words Station 40, 3030B 16th St., SF; station40events.wordpress.com. 7pm, free. After a year of Occupy and years more of struggle by people who are not down with the state, there are a lot of people in jail and prison. At this event, organizers will read writing from those locked up. Poems and statements from Truth and Kali of Occupy Oakland and a statement from Jesse Nesbitt, the May Day brick-thrower we profiled ("Who is the Brick Thrower?" 5/8/12). As the event description says, "Any effort at anti-repression in the face of lengthy prison terms must be aimed at bringing down separation at all costs." Come fight the separation and connect.

Original Plumbing birthday celebration Elbo Room, 647 Valencia, SF; www.originalplumbing.com. 10pm, $3-6. Original Plumbing, the trans male quarterly magazine, is throwing a party celebrating its third year on this planet. It now lives in the Brooklyn part of the planet, but it all started in San Francisco, and they’re coming back here to party. "We feel that there is no single way to sum up what it means to be a trans man because we each have different beliefs, life experiences, and relationships to our own bodies," say the organizers, and they started the magazine to document this diversity of experiences. Celebrate with the editors Amos Mac and Rocco Katastrophe, and performances by Rocco Katastrophe with special guests Billie Elizabeth, Nicky Click & Jenna Riot. Birthday cupcakes available!

TUESDAY 4

Rally to save City College City Hall steps, 1 Polk, SF; ProtectOurCityCollege@gmail.com. 12pm, free. A rally in support of Prop A, the local ballot measure that would create a parcel tax for revenue to City College of San Francisco. "If City College is to survive and maintain accessibility, educational quality and the mission of serving low-income and underrepresented students with the best educators and staff, we must pass Prop A," say organizers of the rally, which include students, teachers, staff and supporters.

Is it hot in here, or is that just Maru? Uniqlo brings techy wonderclothes, cult cat to SF

0

It was a foggy, sloppy evening in Golden Gate Park, and I was activating my gloom-whine during our walk to Pasquale’s but then: HEATTECH. Thanks Uniqlo! Your Union Square pop-up, and impending West Coast flagship store opening, half-translated catch phrases, mega-cheap Hiroshima-born line of basic clothing, and all, saved my dinner date.

Though, the pop-up shop that is now open isn’t the dreamland of cheap basics and jewel tones I’d been promised — stock is mainly limited to HEATTECH, cashmere sweaters, puffy jackets and the zipper-free “easy legging pants” I am now living in. (I prefer to refer to them as “future pants,” but believe the layperson terminology would be “jeggings.”) The day we visited, it was staffed about three times as heavily as it needed to be — hyper-training sessions for the future staff of its store at 111 Powell set to open on October 5.

Clothes that make you warmer

Why should you care about another affordable shop for solid t-shirts when that neighborhood already hosts a passel of H&Ms, Forever 21s, and other number-initial combos? I don’t see those chains featuring Maru in any of their opening-day promos, firstly.

Secondly, the fog monster. I was a little skeptical of some of Uniqlo’s HEATTECH line of clothing claims (the unnamed anti-perspiration chemicals in its men’s clothes gave me pause, and the fact that the women’s line eschews these for an “extra-soft” fabric feel is not that cute.) But gender-neutrality aside, those “hollow fiber threads” that Uniqlo uses to make its patterned and plain-colored line of turtlenecks, tank tops, and long-and-short-sleeved HEATTECH shirts are on the money, when it comes to depression-producing SF freeze. Time will tell how many washes the effect will withstand, but my boatneck long-sleeve was magic on aforementioned Golden Gate hike. 

I’m hoping to learn more about this miracle of wardrobe at the brand’s upcoming fashion-tech panel discussion, where Yasunobu Kyogoku, Uniqlo’s chief operating officer will chat with Refinery29 editor Katie Hintz-Zambrano, director of merchandising for the Academy of Art’s fashion school Keanan Duffty, and Brit + Co.‘s Brit Moran. They’re covering clothing technology, which includes how its marketed on ye olde social networks. 

“Making Life a Little Better” Uniqlo fashion-tech panel discussion

Thu/6 6-9pm (panel at 7pm), free with RSVP

Uniqlo pop-up

117 Post, SF

www.uniqlo.com/us

Heads Up: 7 must-see concerts this week

0

Your prime concert options this week – Lightning Bolt, Les Sins, Roach Gigz, Doe Eye – are about as varied as the shows I attended this past government-sanctioned holiday weekend.

If that sounds like the start of a bad joke, it’s not. The shows really were incredibly diverse. My Friday night stop at Oakland Metro was so damn hardcore, a crust punk made fun of me in the bathroom for worrying about the TP attached to her shoe. Sheesh.

Then the tender Americana-folk Saturday show at the Independent was punctuated by croaking vocals and men in hats hooking arms to casually swing dance with smartly dressed ladies. All smiles and ciders. By Monday, I was packed in tightly at Slim’s, dutifully banging my head along with all the other post-hardcore pleasure seekers.

My point? Enjoy variety, celebrate the smorgasbord of life, throw all your live music choices in a bingo spinner and follow whatever balls shoot out of the wire chute. Here are your must-see Bay Area concerts this week/end:

Lightning Bolt
I used to say that Rhode Island noise two-piece Lightning Bolt was like a hippopotamus in a pink tutu, twirling high in a pirouette then landing with a clattering crash into the ground, cracking the asphalt below in a jagged pattern, and leaping right back up again into the sky. I stand by that.
Tues/4, 8pm, $12-$14
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=8JpHoAnaPK0

Big Business
Another (former) dude duo, LA-via-Seattle’s Big Business was long the vanguard of stoner metal twosomes – this one made up of Karp’s Jared Warren and drummer Coady Willis of Murder City Devils. It also forever has the best promo shots in the um, business. In 2010, BB added Scott Martin of 400 Blows, and became the hard-hitting power trio that stands before you today. Note: Warren and Willis also freelance as half of the Melvins.
With Federation X, Pins of Light
Tue/4, 9pm, $12
Bottom of the Hill
1233 17th St., SF
(415) 621-4455
www.bottomofthehill.com
https://www.youtube.com/watch?v=w92aMkbYFRI

Fucked Up
“Famous for bizarre and unpredictable onstage antics, these Toronto-based punk rockers are all about pushing the boundaries. Whether it’s choosing an unprintable band name, getting moshing banned from MTV Live after causing thousands of dollars in damage to the set, or releasing a sprawling rock opera that SPIN Magazine named as the best album of 2011, Fucked Up have proven their fearlessness and artistic ambition with every move they’ve made since they’re formation in 2001” — Haley Zaremba
With Ceremony
Wed/5, 9pm, $19
Slim’s
333 11th St., SF
(415) 255-0333
www.slimspresents.com
http://www.youtube.com/watch?v=mW0-jrDeSgQ

Les Sins
Chazwick Bundick a.k.a. Toro Y Moi has yet another moniker: Les Sins, his EDM side project. This week, Bundwick takes that dancefloor-worthy project (again, Les Sins – keep up, please) to the tables for a DJ set at incessantly affordable club night, Push the Feeling. It’s just $5 with RSVP, so go for it.
Fri/7, 9pm, $5 with RSVP
Underground SF
424 Haight, SF
(415) 864-7386
Facebook: Push the Feeling
http://www.youtube.com/watch?v=NM1d49qrUnw

Roach Gigz
At Kreayshawn’s headlining Slim’s show last winter, there was a notable opening act: Roach Gigz, a fellow Bay Area rapper, who bound onto the stage with endless energy, amusingly down-to-earth rhymes, and an effortless flow. He just released his official debut LP (after many EPs and mixtapes) Bugged Out, and tonight returns to the venue to take his proper slot as headliner.
With Main Attrakionz, A-1, Baby E
Fri/7, 9pm, $24
Slim’s
333 11th St., SF
(415) 255-0333
www.slimspresents.com
http://www.youtube.com/watch?v=208zbUoQcas

Doe Eye
Golden-throated chanteuse Doe Eye (21-year-old Maryam Qudus) is a singer-songwriter-guitarist known for doing it all; she wrote her debut EP, Run Run Run, solo and took a minimalist approach. For her followup, she took her early oeuvre and added luxuriant layers. Tonight, she celebrates the release of her sophomore EP, Hotel Fire, – produced by John Vanderslice at Tiny Telephone studios – with the Magik*Magik Orchestra, which gave the record those lush string arrangements. To wit: Doe Eye is giving away a free copy of the record to the first 50 people who purchase advance tickets to the show.
With Churches, Eazy Tiger
Sat/8, 9:30pm, $12
Bottom of the Hill
1233 17th St., SF
(415) 621-4455
www.bottomofthehill.com
http://www.youtube.com/watch?v=QB2vEprFOGc&feature=plcp

New York Night Train Soul Clap and Dance Off
“Considering the garage powerhouse that is Oakland, it’s weird to me that we don’t have a huge dirty-funk, pervy girl group, kooky Hairspray 1960s dance-party scene here. (Hard French and any concert by Shannon and the Clams come close.) NYC DJ Jonathan Toubin was set to bring his great Night Train party here last year, but he was almost killed by a freak accident in Portland that made national headlines (a car drove into his hotel room and ran over him in bed). Well, he’s recovered enough now to get the party going again, and this groovy dance-off will also be an all-ages celebration of life.” — Marke B.
With performances by Shannon and the Clams, Mikal Cronin, DJs Jonathasn Toubin and Primo
Local dance contest judges include Ty Segall, Jesus Angel Garcia/Sam Prestianni, Todd Cote, Dema Grim, Adesina Dowers, Kim Murphy
Sun/9, 8pm, $13
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.slimspresents.com
http://www.youtube.com/watch?v=1JeOQJcQVNE
http://www.youtube.com/watch?v=nQaaCFbKnj0

The SFPUC’s cool new building

12

I finallly got a tour of the San Francisco Public Utilities Commission’s cool new building at 525 Golden Gate. It’s about as green as an urban building can be, with solar panels, wind turbines, a wastewater recycling system using the underground root structure of street gardens to clean sewage … the energy use is about 30 percent below a typical building that size, and water use is even lower; the PUC projects about a 60 percent savings, which is a good thing for a water agency that wants to promote conservation. So far, it’s gotten pretty good press.

For a 13-story office building done in a very modern style (not my favorite type of structure), it looks pretty cool, too, with polycarbonate panels that wave in the wind and light up at night. Inside, it’s open and full of light. There’s lots of space for bicycles and an on-site child-care center.

There’s also $4 million worth of public art — most of it purchased or commissioned from local artists. I love the painting and photos, and the cafe on the first floor has a pretty wild giant computerized display that shows the entire water and power system, with interactive popups as you approach different areas.

Nice.

I was a little disappointed that Ed Harrington, the SFPUC general manager, and Barbara Hale, the assistant general manager for power enterprise, had no idea why the power lines from the city’s hydroelectric facilities in the Sierra end in Fremont, where the city’s power gets plugged into the Pacific Gas and Electric system. “I’ve never heard that story,” Hale said. You’d think that I’d written enough about that tale; you’d think P&E’s role in denying the city its legal right to public power would be part of the official history of the Hetch Hetchy system.

But I forgive them; the story is long and complicated, and very rarely told or taught in San Francisco, which has been scrambling for more than 80 years to duck the Congressional mandate that should force us to kick out PG&E. Because here’s the thing: As he heads for retirement, I think Harrington now gets it.

We sat and talked on the top floor of his new building, in an oddly-shaped conference room with a stunning view, and I got the distinct impression that Harrington and Hale want to move the city toward public ownership of the local electrical system. They’re pushing Clean Power SF, which is a critical step down the path to energy independence; Harrington wants this to be part of his legacy. He’s careful not to say anything that sounds like he wants to fully replace PG&E and create a fully municipalized electric utility in San Francisco, but he can’t ignore the facts: The only way this city is going to get to a sustainable energy future is if we own the infrastructure.

Of course, even if we started today, that would happen long after Harrington’s tenure is over.

But when we talked about the city’s water system, he noted that there are all sorts of important policy decisions that we have only been able to make becuase we own the entire system, soup to nuts, water storage, pipes, delivery. And he didn’t try to argue with me when I said that the same clearly applies to power.

Harrington has made his peace with the energy activists who want to make sure that part of the Clean Power SF program involves buidling our own generation facilities. Even with a full build-out of solar and wind on all the land the city has access to, and with the Hetchy Hetchy hydro system, a municipal utility could probably only generate about 40 percent of the city’s current needs. But knock the current needs down by 20 percent (through better efficiency and conservation) and get every homeowner and commercial building to put solar on the roof, and look at wave energy down the road … and it’s not hard to imagine that 25 years from now San Francisco would have no need to buy electricity from PG&E, Shell Energy, or anyone else.

I know, I know, that’s a long time from now. But I wrote my first story about PG&E in 1982. If we’d started back then, we’d be well on our way by now.

So here’s to hoping that this slick $200 million building is the start of a new era for SF’s PUC, which in the past has been openly hostile to public power. Let’s hope that when I’m 80 years old I can write my last PG&E/Raker Act story and move on to something else.

 

The Vaselines move beyond ‘Kurt Cobain’s favorite band’

6

Hailing from Scotland in the late 1980s, The Vaselines released just a couple of EPs and one full album before originally calling it quits after two short years together. However, thanks to fans like Kurt Cobain, who covered three of their tunes with Nirvana, and exposed the band to larger audiences around the world, new generations have fallen in love with them in the ensuing years.
 
Eugene Kelly and Frances McKee — the duo behind the Vaselines — reformed the group for a series of outstanding shows in 2008, including their first ever concerts in the United States.

“We didn’t really know what to expect, we didn’t know if anybody would be at the shows, or if they’d be interested, because it had been 20 years, and we had never been to America,” says Eugene Kelly over the phone from his home in Glasgow, Scotland.

In addition to performing at Sub Pop Records’ 20th anniversary festival — the Seattle label re-issued their collected works back in 1992 — the Vaselines played several other shows in the US, including New York and San Francisco, where they were inspired by the devoted fan base that came out to see them.
“It’s a great thing to be able to play songs that were written 20 years ago, and there’s an audience for them, and people want to see us play,” says Kelly.

It was this enthusiastic response that prompted the band to come back together to later write and record a new album, Sex With An X (Sub Pop), which came out in 2010, and perfectly captured the unique and infectious spirit of their earlier work.

“When we started doing a few shows, and then started getting more offers, we thought, ‘we can play the same 19 songs that we’ve got forever, or we write some new songs to make it interesting for us, and try to say something new,’ so we just got down to work doing that.”

Although it had been more than two decades since they recorded together, and the group had a far bigger audience than ever before — one that had been listening to the same small output for a long time — Kelly says that there wasn’t any conscious effort to try to sound the same.

“I think it was a natural thing once we got together and started writing — we decided to not try to be beholden to what the sound was like in the past — they’re different recordings 20 years later, so obviously something is going to be different. We just thought, ‘let’s try to just make a record and hopefully it will turn out to be a good one,’ and not work slavishly to try to copy what we had done [before].”

The resulting album was warmly received by fans, as it contained the same signature ingredients as their earlier work, and the band found that they were also able to move beyond simply being labeled ‘Kurt Cobain’s favorite band’— but that doesn’t mean that they don’t appreciate what Nirvana covering “Son of A Gun,” “Molly’s Lips,” and “Jesus Wants Me For A Sunbeam” did for their career.

“We’re quite happy with the association; we wouldn’t really be able to do any of this now if wasn’t for them putting our name into the world, we’re totally grateful. But with the new record, it gave us something else to talk about, and we don’t have to talk about the past — we’re happy with our history, but we’re also looking forward,” says Kelly.

Although the Vaselines won’t be playing any new material at the four shows they’ve currently got booked here in the US, they are always working on new ideas when not on the road.

“I’m writing songs all the time, sometimes it will work for the Vaselines, sometimes it will work for something else at some point— I’d like to do other stuff as well, I’ve always wanted to do a musical, but that’s probably further down the line — I think maybe I’ll do that once I get the punk rock out of my system.”

For now, however, Kelly is happy to continue building on the legacy of the Vaselines, and is encouraged when he meets fans at shows or runs across younger musicians from bands at festivals who tell him what his band has meant to them over the years.

“We only released a couple of records, and the fact that they actually got to the other side of the world, and anybody had the chance to listen to them is amazing. It does make you feel old though when you see these very young people come up to you and say they’ve been listening to you since they were in high school — but if we made anyone pick up a guitar, or bass, or drums, that’s just a great feeling to know that you might have inspired somebody.”

The Vaselines
With Mister Loveless
Fri/31, 9pm, $22
Independent
628 Divisadero, SF.
(415) 771-1421
www.independentsf.com

Dick Meister: Labor Day began in San Francisco in 1886

2

By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

By some reckoning, this is the 118th Labor Day, since it was first observed as a national holiday in 1894. But the observation actually began a quarter-century earlier in San Francisco.

It was on Feb. 21, 1868. Brass bands blared, flags, banners and torch lights waved high as more than 3000 union members marched proudly through the city’s downtown streets, led by shipyard workers and carpenters and men from dozens of other construction trades.

“A jollification,” the marchers called their parade – the climax of a three-year campaign of strikes and other pressures that had culminated in the establishment of the eight-hour workday as a legal right in California.

New York unionists staged a similar parade in 1882 that is often erroneously cited as the first Labor Day parade, even though it occurred 14 years after the march in San Francisco.

Honors for holding the first official Labor Day are usually granted the state of Oregon, which proclaimed a Labor Day holiday in 1887 – seven years before the Federal Government got around to proclaiming the holiday that is now observed nationwide.

But Oregon’s move came nearly a year after Gov. George Stoneman of California issued a proclamation setting aside May 11, 1886, as a legal holiday to honor a new organization of California unions – the year-old Iron Trades Council.

That, said renowned labor historian Ira. B. Cross of the University of California, was “the first legalized Labor Day in the United States

San Francisco also played a major role in that celebration of 1886. The city was the scene of the chief event – a march down Market Street by more than 10,000 men and women from some 40 unions, led by the uniformed rank-and-file of the Coast Seamen’s Union. Gov. Stoneman and his entire staff marched right along with them

The process was seven miles long, took more than two hours to pass any given point, and generated enthusiasm that the San Francisco Examiner said was “entirely unprecedented – even in political campaigns.”

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

 

Jellyfish, oxtail, and more from the Street Food Festival

0

The annual Street Food Festival enlivens blocks of the Mission every year with many of our great food trucks, booths manned by the kitchen staff of our favorite SF restaurants, and a few visiting guests — which at this year’s fest on August 18 included my favorite Portland food cart Eurotrash, and the adorable Linda Green of Ms Linda’s Catering from New Orleans. The most significant addition to the Street Food lineup this year wasn’t a cart at all,  but rather an entire event — the Friday night before the main festival, the Night Market took over the Alemany Farmers Market. In the whipping winds of South San Francisco we sampled unforgettable bites that were not available at the Street Food Fest. The festive, Chinese lantern-laced outdoor space made the Night Market a stand-out. I hope it becomes a yearly feature.

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

Full captions: 
1. The star of the Night Market was The Boss Hog, the debut of a new project from the Bone & Gristle Boys (SF’s Ryan Farr  of 4505 Meats and Rhode Island’s Matt Jennings of Farmstead). 
 2. One of the best sandwiches I’ve ever had, The Boss Hog is slow-roasted pork, cornmeal-fried pork cutlet, Vermont cheddar, smoked pickles, red onion, greens, jalapeno ranch dressing, Farr’s chicharrones
3. One of my favorite Portland food carts Eurotrash showed off fresh grilled prawns loaded in a baguette with spicy curry slaw
4. At the Night Market, Fifth Floor chef David Bazirgan’s delicious fava bean falafel wrap 
5. Ken Ken Ramen served jellyfish at Friday’s Night Market
6. Vada Pav (spicy potato puff sandwich) from Juhu Beach Club
7. Friday’s festive Night Market — a tradition I hope continues each year
8. State Bird Stuart – State Bird Provisions’ Chef Stuart Brioza assembles burrata and fried garlic bread
9. The top taste of Saturday’s festival was State Bird Provisions’ (Bon Appetit’s 2012 # 1 New US Restaurant) hand-pulled burrata atop addictive fried garlic bread
10. A Korean favorite from the Inner Richmond, To Hyang’s braised oxtail with daikons, carrots, dates, hard-boiled egg

 

King Khan shares his spiritual side, hosts tarot reading contest

1

After talking to Arish “King” Khan over the phone last Friday, I got a sense of a more spiritual and sympathetic side as opposed to the notorious showman he’s become over the years. Along with his band — the Shrines, he’ll bring his traveling stage show to the Great American Music Hall on Tuesday. He spoke to me from Berlin, his residence for more than a decade, where he raises his family (yes, the man we’ve seen prance around on stage in sequined undies and flashy, feathery costume is also a father) in what continues to become a rapidly “hipster-fied” artists’ mecca.

Khan touched on his musical roots in Montréal where he was a 17-year-old-punk doing interviews with the likes of Napalm Death and the equally teenaged and “obnoxious” Jay Reatard  for a magazine known in the late 1990s as “Voice of Montréal.” It would later be renamed Vice. In fact one of his earlier bands, the Spaceshits (featuring Mark Sultan, a.k.a. BBQ) had a guitarist who designed the magazine’s current logo.

But it was this environment that would also serve as his training ground, where he’d learn his craft; absorb his antics and prepare to launch his own ritualistic rock and soul experience.

“When I was a kid, I’d be like 10 and watching infomercials for oldies music collections and saw Otis Redding, James Brown, Chuck Berry, and Bo Diddley. That’s really something essential to rock and roll — people who are characters.”

Character is one thing the ostentatious one isn’t short on, but his backing musicians in the Shrines are nothing to scoff at either. One of them, Ron Streeter, is a veteran percussionist who previously worked for Curtis Mayfield and Stevie Wonder.

Khan told some of Streeter’s story, how he became somewhat estranged from his family; not having seen his brother, a Vietnam vet, for over 25 years. He mentions Streeter had a stroke a few years before joining the band and lost power in half of his body. Khan said he’s always upbeat and that in the beginning, when they were touring, sleeping on floors, doing it “punk style,” that the elder was always fine with it.

“It was like he was reliving his past. Ron has been with us for 12 years. He’s like the grandpa of the band,” Khan said. “I found him when he started playing with people [because he wasn’t doing much anymore] and so I invited him to join. I think the Shrines thing is a big family.”

And for Streeter it would be a family reunion when lo and behold his family finally saw him in Texas on Current TV performing with the Shrines. Khan called it a miracle.

He said while every religion has something to offer, music is his salvation.

“It’s a pretty simple formula. You’re giving off a ritual. A lot of bands forget to do that.” He said some concertgoers revel in what he called an orgiastic, orgasmic experience of uncontainable energy. And he loves that younger people come out to his shows. “It’s great that kids aren’t hypnotized by bullshit,” he said.

While it’s not exactly hypnotism, Khan does partake in reading tarot cards. He learned about this after meeting surrealist filmmaker Alejandro Jodorowsky in Paris a few years back. The maker of Holy Mountain, a film Khan considers one of the most psychedelic ever made, gave him a pack of cards and he considers it an honor (he took it to heart and wrote a tarot column for a French fashion magazine).

Are you a big fan of King Khan & The Shrines and tarot cards? Want King Khan to read your tarot? If so, please email info@gamh.com describing why you want King Khan to do your personal reading. It’ll take place on Tuesday, Sept. 4 before their Great American Music Hall show in SF. All entries must be received by noon this Friday, Aug. 31.

King Khan and the Shrines
With Apache
Tues/4, 8pm, $16
Great American Music Hall
859 O’Farrell, SF
www.slimspresents.com

SF Shorts: Come watch films rub up against one another

0

The annual international film festival mixes genres, subjects, styles, and cultures to reveal larger themes. Films include drama, documentary, experimental, music video, and animation – while many span multiple of these.

The 2012 films explore secrets, music, immigration, death, drugs, dance, orgasms, youth, trains, drunken grandmas, mental patients, wrestling, and smell. 

The short films hail from all parts of the globe, representing over 20 countries, including Norway, Switzerland, Austria, USA, UK, Canada, Philippines, Australia, Ireland, Belgium, Poland, Estonia, Japan, Kyrgyzstan, Spain, Indonesia, Argentina, Ecuador, and Thailand. For more information and tickets, visit this link.

Thursday, September 6 at 7pm and 9pm | Friday, September at 7pm and 9pm | Saturday, September 8th at 3pm, 5pm, 7pm, and 9pm @ Roxie Theater, 3117 16th St., SF