Technology

Hot sexy events: April 13-19

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Where better to talk dirty than on the techno-verse? Nowhere, that’s where. Our fave SF sex blogger – c’mon, besides ourselves — Fleur De Lis SF makes an appearance at this used-to-be (before it expanded it occasional East Bay nights) monthly storytelling event, as does Reid Mihalko, a sexpert who has made appearances on Tyra Banks’ TV show, in addition to other seemingly unlikely places for a perv like him. Hot tip: Fleur De Lis just wrote about how Mihalko ahem, enjoyed meeting her the other day at Monika Thomas’ Sex Geek Potluck – knowing these two, could a round two be far behind? 

Bawdy Storytelling: Taking Dirty and Technology

It’s shocking how often people use the Internet these days for things that don’t involve sex. Well, not these folks. This month’s Bawdy has assembled a top shelf lineup of pervs, including Allison Moon, creator of Burning Man’s home for queer women, Camp Beaverton, and as-of-recently author of a new lesbian werewolf novel. Everyone will be talking about how they’ve used technology to get super viral. Sexting during the event encouraged.  

Weds/13 8 p.m., $10

The Blue Macaw

2565 Mission, SF

www.bawdystorytelling.com


“Advanced CBT: Ready for the Ride?”

EMS/TENS-type electrical stimulation, cock and ball bondage, how to torture and tease your partner – who is ready for a walk on the wild side? Surely, that would be the attendees of this workshop, led by Gabriele Hoff, who has interviewed over 1200 couples and individuals for her research into the topic. 

Weds/13 6-8 p.m., $20-25

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com 


Eddie Dane memorial

Good night, sweet clown. Eddie Dane was a lot of things to a lot of people in the burlesque community, but a bummer to mourn – never! Help the tassel-twirlers say goodbye to one of the country’s great Burly Q troupe leaders at this free memorial burlesque revue, why don’t you?

Thurs/14 8 p.m., free

DNA Lounge

375 11th St., SF

(415) 626-1409

www.hubbahubbarevue.com


International Ms. Leather 25th Anniversary weekend

So very much for leatherwomen going on this weekend! The International Ms. Leather celebration hits town on Thursday, and if speed tricking, uniform parties, and of course, the yearly competitions for Ms. Leather and Ms. Bootblack are up your alley, you’d be best served by getting down that of this weekend-long celebration of women in hides. 

Thurs/14-Sun/17, $25-155

www.imsl.org


Kinky Salon: Prohibition

You know what wasn’t outlawed during Prohibition? That’s right, ukuleles. So dance I say, to the organic pluckings of Five Cent Coffee, just one of the live music and performances acts that will be going on at Kinky Salon – while a building full of new friends have sex all around you. Kazoo orgy? 

Sat/16 10 p.m.-late, $25-35 members only

Mission Control 

www.missioncontrolsf.org


“Let’s Talk About Sex”

Lee Harrington thinks you – yes you! – deserve to live the sex life of your dreams. To that end, he’s holding this frank discussion about what turns us all on when no one is looking. It’s all about airing your dirty laundry, and feeling good about it. Are you in?

Tues/19 7:30 p.m., $15-25 sliding scale

Center for Sex and Culture

1349 Mission, SF

(415) 552-7399

www.sexandculture.org

 

New school

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CAREERS AND ED You don’t need a degree, or even the patience to sift through US Census Bureau reports on educational attainment, to know that each year this nation graduates more students from institutions of higher ed — public and private universities, colleges, junior colleges, and professional schools — than it did the year before. San Francisco is second only to Seattle in the number of papered persons running around, and statistics say that they, in turn, are more likely to raise little educational overachievers of their own. With this glut of matriculation on the horizon, it’s hard not to ponder the degree programs of the future: an associate’s in astrotourism? A bachelor’s of biosynthetic anatomy? A PhD of P4TA? (That’s “preparing for the apocalypse” for the cyber-stupid.) Hard to say. But before we get carried away, here’s a sampling of programs fit for a brave new world that can be found in the here and now.

 

SOLAR PHOTOVOLTAIC DESIGN AND INSTALLATION

California South Bay University sits smack-dab in the center of Silicon Valley, so it’s no surprise that the offerings are high-tech. The larger California zeitgeist seems to be rolling in on the San Francisco fog, though, and interesting patterns — like a master’s of science in green energy technology — have emerged. But the university really takes advantage of the Santa Clara Valley sunshine (and billowing demand for sustainable energy) with its Interstate Renewable Energy Council-accredited certificate program in solar photovoltaics, the science of connecting the two. If a full-fledged degree isn’t in your forecast, the school offers two 40-hour courses that might be a perfect fit.

California South Bay University, 1107 North Fair Oaks, Sunnyvale. (408) 400-9008, www.csbu.us

 

INTERACTION DESIGN

Degrees in video-game design and Web programming are old hat, but California College of the Arts takes the idea of the user interface beyond the screen, and plugs it back into real life. The school’s focus on design that users can interact with includes classes on platforms from cell phone to sculpture, game console to gallery, preparing students to “create meaningful and innovative designed experiences in the realms of work, lifestyle, and play.” Vague? Yes. Useful? Possibly. That three-dimensional holographic surround-sound computer interface that Tom Cruise uses in Minority Report? Get your virtual-reality gloves out ’cause it’s on its way …

California College of the Arts, 1111 Eighth St., SF. 1-800-477-1278, www.cca.edu

 

LANDSCAPE HORTICULTURE

Horticulture goes high-tech at Merritt College. The school claims to have all the most up-to-date equipment in the field, and with 5,000 square feet of computerized greenhouses, a 5,000-square-foot lath house, a floral and drafting lab, and disciplines such as “turf management,” we doubt anyone would argue. And to think, we were still relying on dirt, sun, and water to do our growing.

Merritt College, 12500 Campus Drive, Oakl. (510) 531-4911, www.merritt.edu

 

BOOK ART AND CREATIVE WRITING

This master’s program allows students to develop as writers and visual artists simultaneously, and encourages a “deep exploration of the book form in both content and materiality.” The interplay of form and content is not a new academic trope, but given that physical codices may soon be obsolete, taking a moment to ponder the book as object might not be a bad idea — lest future generations wonder why we wrote all over our toilet paper. Literary artifacts? Worth checking out!

Mills College, 5000 MacArthur Blvd., Oakl. (510) 430-2255, www.mills.edu

 

GREEN AND SUSTAINABLE TRAVEL

Tourists looking for a tequila sunrise and a tan may not realize that the pool they’re baking beside used to be a jungle. Each year, sensitive wildlife areas the world over are steamrolled under hotel strips. At the same time, environmentally-conscious tourism has become a booming industry. Given the facts, a student could do worse than this City College Business School program. The quickie certificate takes just a year — not a bad thing, considering ecotourism’s popularity and the rapidly decreasing availability of stuff left to tour.

City College of San Francisco, Ocean Campus, 50 Phelan, SF. (415) 239-300, www.ccsf.edu

 

HIV/STI PREVENTION

With a focus on risk reduction counseling, data collection, and outreach strategies, this one-year certificate in HIV/STI prevention studies from City College’s health education department just seems like a really good plan to bring a brighter future to all.

City College of San Francisco, Ocean Campus, 50 Phelan, SF. (415) 239-3000, www.ccsf.edu

 

FOLKLORE

Preparing for the future is all about remembering the past … or so might say a folklorist with a master’s or doctorate from UC Berkeley. An interdisciplinary degree from the department of anthropology, folkloristics (that’s the term) provide a new spin on the studies of ethnicity, nationality, gender, and sexuality, as well as the chance to revive vernacular tales, customs, beliefs, and plain ol’ stories from days gone by.

UC Berkeley, 318 Sproul Hall No. 5900, Berk. (510) 642-7405, www.berkeley.edu

 

RAZA STUDIES

That “melting pot” we all learned about in grade school is on the boil — bubbling with a range of issues both sweet and spicy, and some we haven’t even tasted yet. As our country continues to diversify, equity, social justice, and community empowerment will only become more important. San Francisco State University’s B.A. in raza studies seeks to offer future leaders the knowledge, skills, and social consciousness necessary to navigate an increasingly complex social landscape.

San Francisco State University, 1600 Holloway Ave., SF. (415) 338-1111, www.sfsu.edu

 

TAXATION

If everything else on this list is just a bit too futuristic and far out, Golden Gate University offers one of the country’s oldest and best-respected graduate programs in taxation. Looking for the ultimate in job security? This is your best bet since the San Francisco College of Mortuary Sciences closed in 2002. Death … and taxes. Golden Gate University School of Taxation, 536 Mission, SF. (415) 442-7880, www.ggu.edu

Stage Listings

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

THEATER

OPENING

Cordelia NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $18-20. Previews Tues/19, 7pm. Opens April 20, 7pm. Wed-Thurs, 7pm; Fri-Sat, 8pm. Through May 7. Theatre of Yugen presents world premiere of an abstraction of Shakespeare’s King Lear.

ONGOING

The Busy World is Hushed New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf,org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through May 1. New Conservatory Theatre Center presents the world premiere of a play by Keith Bunin.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Teatro Zinzanni presents a new production conceived in San Francisco.

Collected Stories Stage Werx, 533 Sutter; Z(800) 838-3006, www.brownpapertickets.com. $20-25. Fri-Sat, 8pm (alos April 24 2pm). Through May 7. Stage Werx presents David Margulies’ drama about art, ethics, and betrayal.

*40 Pounds in 12 Weeks The Marsh, Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through April 30. Pidge Meade’s one-woman show extends its successful run.

Free Theater Community Room, Notre Dame Senior Plaza, 347 Dolores; 864-4467. Free. Fri, 7:30pm; Sat-Sun, 3pm. Through April 17. The 16th Street Players present four comic plays.

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

Into the Clear Blue Sky Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. $15-17. Thurs-Sat, 8pm. Through April 30. Sleepwalkers Theatre presents the second production in a three-part apocalypse series.

KML Reboots Traveling Jewish Theater, 470 Floriad; www.killingmylobster.com. $10-20. Thurs-fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through April 24. The sketch comedians present a new show about the pleasures and pains of technology.

Loveland The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-35. Fri, 8pm; Sat, 8:30pm (also May 1 and 8, 7pm). Through May 8. Ann Rudolph’s one-woman show continues its successful run.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm. Through April 30. Custom Made Theatre presents David Henry Hwang’s award-winning play.

*Obscura: A Magic Play Exit Studio, 156 Eddy; 673-3847, www.sffringe.org. $20-25. Fri-Sat, 8pm. Through Sat/16. Christian Cagigal is back with the magical. Over the last several years, the popular Bay Area writer/performer has developed a series of dramatically structured magic shows (the most recent being the autobiographical Now and at the Hour), each a different attempt at blending expert prestidigitation with elements of narrative theater. Tightly focused and deliberately small-scale, Obscura is in some ways his most successful foray yet. In the Exit Theater’s new studio space, Cagigal (with occasional help from his audience) unfolds a series of sly Gothic stories combined with extremely clever, sometimes dementedly playful card and coin tricks—the majority a collection of favorite pieces from other magicians—all played out on a delicately managed little table augmented by overhead projection (a set-up that offers various visual opportunities, including use of title cards). Rapid-fire narration (occasionally indistinct but generally articulate) and a laid back, slightly mischievous demeanor combine here with consummate skill in an intimate and very enjoyable evening of crafty little tales. If there’s an overarching theme, it probably has something to do with human folly, the persistence of mystery, and the devil, but then any good fable involving a deck of cards probably should. (Avila)

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

The Real Americans The Marsh MainStage, 1062 Valencia; 282-3055, www.themarsh.org. $25-35. Fri, 8pm; Sat, 8:30pm. Through April 30. Dan Hoyle’s hit show returns for another engagement.

Sea Turtles Exit Theater, 156 Eddy; www.generationtheatre.com. $15-25. Fri-Sat, 8pm; Sun, 3pm (also April 28, 8pm). Through April 30. GenerationTheatre presents an original play by David Valayre.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm (no show may 7). Through May 14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

*Songs of the Dragons Flying to Heaven The Thick House, 1695 18th St; 255-8746, www.asianamericantheatre.org, www.crowdedfire.org. $15-25. Call for dates and times. Through Sat/16. “They have no idea what the fuck we’re doing,” observes one of the nameless “Korean” characters in Young Jean Lee’s Songs of the Dragons Flying to Heaven. In rapid succession the audience has witnessed a video clip of the playwright being slapped repeatedly in the face, a westernized Korean woman (Cindy Im) ranting about her “retarded monkey” parents and minority rage yet promising her Grandmother that she’ll give Jesus a whirl, bafflingly banal interactions between two “white” people (Alexis Papedo and Josh Schell) struggling with their floundering romance, and cartoonish interludes of exaggerated sex, consumerism, and violence enacted by three gaudily-dressed Korean women (Mimu Tsujimura, Lily Tung Crystal, Katie Chan)—none of whom are actually played by Koreans. It’s a play you have to surrender yourself to, a roller-coaster ride of sharp curves and nausea-inducing plunges (especially twisted is the gross-out contest of suicide methods in which each character takes a turn at dying in an unimaginably gruesome yet hilarious manner). Oddly, the piece ends on a rather lackluster note, with the two “white” people exploring the mutual contempt they pretend is love, which might be the playwright’s method of showing that white people can ruin anything without half trying, but the ride before their dead end is a thrilling one. (Gluckstern)

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 4. Actors Theatre of San Francisco presents the Tennessee Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through May 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

Tape The Dark room, 2263 Mission; www.darkroomsf.com. $10-20. Fri-Sat, 8pm (also Sat/16, 10pm). Through April 23. The 4th Mirror presents a production of the play by Stephen Belber.

Twelfth Night African American Art & Culture Complex, 762 Fulton; (800) 838-3006, www.African-AmericanShakes.org. $15-35. Sat, 8pm; Sun, 3pm (no performance April 24). Through May 1. African-American Shakespeare Company presents a jazzy interpretation of the Bard.

*Wirehead SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3and 8pm. Through April 23. Perfectionism’s ruthless class dimensions come to the fore in SF Playhouse’s smart, fun, and sharply staged Bay Area premiere about the super-smart posthumans of the near future, and the rest of us. A shady China-based conglomerate with a name that sounds like Sin-Tell sells a scintillating if dangerous procedure for those already well connected: a hardwire boost to the neural circuitry that gives the recipient more than an edge on the competition and something just shy of godlike powers. Two friends and colleagues in a banking firm (Craig Marker and Gabriel Marin) and their variously class-marked but equally ambitious girlfriends (Lauren Grace and Madeleine H.D. Brown) are all drawn into this cyborgian gold rush, and it gets sticky in more ways than one, as meanwhile a brash local DJ named RIP (Scott Coopwood) raps sardonically over the airwaves about this latest twist in an old game. SF Playhouse’s Susi Damilano directs a charismatic cast (including a terrific Cole Alexander Smith in a related series of frenetic roles) in Matt Benjamin and Logan Brown’s culture-jamming riposte to tech-mad humanist hogwash about Progress. It gets you thinking. (Avila)

BAY AREA

*Beardo Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $17-26. Thurs-Sat, 8pm; Sun, 5pm. Through April 24. Shotgun Players present a an original songplay about Rasputin.

East 14th – True Tale of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 8pm; Sun, 7pm. Through May 8. Don Reed’s one-man show continues.

Eccentricities of a Nightingale Aurora Theatre, 2081 Addison; (510) 843-4822, www.auroratheatre.org. $34-45. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through May 8. Aurora Theatre Company presents a Tennessee Williams drama.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through May 5. Brian Copeland’s one-man show continues.

Out of Sight The Marsh Berkeley, Theaterstage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 5pm (no show Sat/9); Sun, 3pm. Through May 8. Sara Felder’s one-woman show returns.

Quidam The Cow Palace 2600 Geneva, Daly City; (415) 404-4100; www.cowpalace.com, www.cirquedusoleil.com. $32-115. Call for dates and times. Through Sun/17. In Albert Lamorisse’s 1956 short film The Red Balloon, a child’s love affair with a mischievous toy takes place on the streets of Paris, a rough gray place that weirdly foreshadows the subterranean world inhabited by the mysterious creatures of Quidam. Here the silent child toting a giant red balloon is Zoe (Alessandra Gonzalez), who’s been spirited away to their underworld from her neglectful, oblivious parents. Her participation in their antics basically amounts to her looking on as acrobats, contortionists, and clowns strut their stuff, in the uninviting, under-populated confines of the Cow Palace, a far from ideal venue for a show that relies so much on audience participation and intimacy. In general the acts involving more performers work better in the cavernous space—an inventive diabolo juggling act, a complicated twenty-person jump rope exhibition, a five-person aerial Spanish Webs ensemble, and a highly-acrobatic fifteen-person Banquine act: synchronized, rapid-fire flinging of bodies to, fro, high, and low without missing a beat or (thankfully) a catch. There is much to admire in Cirque du Soleil’s dedication to legitimizing the Circus as a higher art form, but this presentation of Quidam aims unfortunately low. (Gluckstern)

Singing at the Edge of the World The Cabaret at The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.brownpapertickets.com. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through Sat/16. The Marsh presents a one-man show by Randy Rutherford.

Slices 2011 pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Sat, 8pm; Sun, 2pm. Through April 24. Pear Avenue Theatre presents its annual festival of short plays.

Snow Falling on Cedars TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through April 24. TheatreWorks presents a stage adaptation of the David Guterson novel.

Three Sisters Berkeley Reperory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Dates and times vary. Through May 22. The creators of Eurydice and In the Next Room present a new take on Chekhov.

The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The bubbles keep flowing.

 

Green days

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news@sfbg.com

1892: The Sierra Club is established by John Muir and a group of professors from UC Berkeley and Stanford in San Francisco. In its first conservation campaign, the club leads efforts to defeat a proposed reduction in the boundaries of Yosemite National Park.

1902: After two years of intense lobbying and fundraising, the Sempervirens Club, the first land conservation organization on the west coast, is successful in establishing Big Basin Redwoods State Park — the first park established in California under the new state park system.

1910: The first municipally owned and operated street car service commences in San Francisco.

1918: Save the Redwoods League is established in San Francisco. A leader in proactive land conservation, SRL would go on to assist in the purchase of nearly 190,000 acres to protect redwoods and help develop more than 60 redwood parks and reserves that old these ancient trees in California.

1934: The East Bay Regional Park is established as the first regional park district in the nation. This radical Depression-era idea would much set the tone as the Bay Area land conservation vision expanded.

1934: The Marin Conservation League is founded by wealthy Republican women. Three years later, at the league’s behest, the Marin County Board of Supervisors adopts the first county zoning ordinance in the state in 1937. Over the next 10 years, the league helps create State Parks at Stinson Beach, Tomales Bay, Samuel P. Taylor, Angel Island, and expand Mt Tamalpais State Park.

1956: San Francisco activists, led in party by Sue Bierman, launch a campaign to stop a freeway that would have run through Golden Gate Park. It marks the first time city residents successfully block a freeway project and launches the urban environmental movement in America.

1958: Citizens for Regional Recreation and Parks is founded. It becomes People for Open Space in 1969 and morphs in 1987 into the Greenbelt Alliance. Their efforts lead to the creation of the Mid-Peninsula Open Space District in 1972 and Suisun Marsh in 1974.

1960: Sierra Club Executive Director David Brower launches a brand new organizing and educational concept, the exhibit format “coffee table” book series, with This Is the American Earth, featuring photos by Ansel Adams and Nancy Newhalland. These elegant coffee-table books introduced the Sierra Club to a wide audience. Fifty thousand copies are sold in the first four years, and by 1960 sales exceed $10 million. The environmental coffee table book emerged as part of a campaign to persuade Congress to enact the Wilderness Bill, legislation that would guarantee the permanence of the nation’s wild places.

1961: Save San Francisco Bay Association is founded by Sylvia McLaughlin, Kay Kerr and Ester Gulick to end unregulated filling of San Francisco Bay and to open up the Bay shoreline to public access.

1961: Pacific Gas and Electric Co. announces plans to build a nuclear power plant at Bodega Bay. Rancher Rose Gaffney, UC Berkeley professor Joe Neilands and others mount what will become the first citizen movement in the country to stop a nuclear plant. The Bodega Bay campaign marks the birth of the antinuclear movement.

1965: Responding to Bay Area citizens’ demands for protection of the bay’s natural environment, the California state legislature passes the McAteer-Petris Act, which establishes the San Francisco Bay Conservation and Development Commission (BCDC) and charges it with preparing a plan for the long-term use and protection of the Bay and with regulating development in and around it.

1965: Fred Rohe opens New Age Natural Foods on Stanyan Street in San Francisco. He goes on to open the first natural foods restaurant in 1967, Good Karma Cafe on Valencia Street. Rohe would go on to open the first natural foods distribution company in Northern California, New Age Distributing in San Jose in 1970 and found Organic Merchants (OM), the first natural foods retailer trade group.

1967: The Human Be-in is held Jan. 14 in Golden Gate Park (as a prelude to the Summer of Love) with as a major theme higher consciousness, ecological awareness, personal empowerment, cultural and political decentralization.

1967: Alan Chadwick comes to UC Santa Cruz and establishes the Student Garden Project and training program, which would train hundreds of today’s organic farmers.

1968: The Whole Earth Catalogue, published by the Point Foundation and edited by Stewart Brand out of Gate 5 Road in Sausalito is introduced, providing tools, philosophy, and reviews to the growing back-to-the-land movement, helping promote ecological living and culture alternative sustainable culture decades before those words became mainstream.

1969: Brower, after losing his job at the Sierra Club in part because of his opposition to the Diablo Canyon nuclear power plant, founds Friends of the Earth, the cutting edge activist group that would eventually have affiliates in 77 nations around the globe and become the world’s largest grassroots environmental network.

1970: Peninsula resident Neil Young writes and sings the lyrics “Look at Mother Nature on the Run in the 1970s.”

1970: Berkeley Ecology Center opens.

1971: Sierra Club Legal Defense Fund is established, marking the beginning of an explosion in environmental law.

1971: Alice Waters opens Chez Panisse, serving up California Cuisine and altering the Bay Area diet helping to create a market for local fresh organic fruits and vegetables. 1971: Berkeley resident Francis Moore Lappé publishes her best-selling book Diet for a Small Planet. Two million copies are sold and as the first book to expose the enormous waste built into U.S. grain-fed meat production, for her a symbol of a global food system creating hunger out of plenty; her effort alters millions of diets.

1971: San Francisco dressmaker Alvin Duskin launches a campaign to limit high-rise office development in San Francisco, creating new allies and a new coalition for urban environmentalism.

1972: The Trust for Public Land, a national, nonprofit land conservation organization that conserves land for people to enjoy as parks, gardens, historic sites, and rural lands, is founded by Huey Johnson, Doug Ferguson and Marty Rosen in San Francisco. TPL would go on to protect 2.8 million acres of land and is key in getting land trusts started in Napa, Sonoma, Marin, Big Sur, and around the state.

1972: The Don Edwards San Francisco Bay National Wildlife Refuge, first urban wildlife refuge in the United States, is established, encompassing 30,000 acres of open bay, salt pond, salt marsh, mudflat, upland and vernal pool habitats located in South Bay.

1972: The Save Our Shores campaign, developed in part by Bay Area residents, results in a state initiative, the Coastal Act of 1972, which is passed by the voters and establishes the first comprehensive coastal watershed policy in the nation.

1974: Berkeley Ecology Center starts the first curbside recycling approach in California, one of first such programs in the nation.

1974: The Farallones Institute in Berkeley begins building the first urban demonstration of an ecological living center with the Integral Urban House, a converted Victorian using solar and wind technologies, a composting toilet, extensive gardens, and energy and resource conservation features. It serves as an early model for the emerging Appropriate Technology Movement.

1975: Berkeley resident Ernest Callenbach self publishes Ecotopia after a round of rejections from New York publishers; it ultimately sells more than a million copies and becomes an environmental classic.

1975: San Francisco’s first community gardens are established at Fort Mason and elsewhere.

1975: The Marine Mammal Center, a nonprofit veterinary research hospital and educational center dedicated to the rescue and rehabilitation of ill and injured marine mammals, primarily elephant seals, harbor seals, and California sea lions, is established in the Marin Headlands.

1978: Raymond Dasmann and Peter Berg coin the term Bioregionalism in the publication of Reinhabiting a Separate Country, published by Berg’s Planet Drum Foundation in San Francisco. It represents a fresh, comprehensive way of defining and understanding the places where we live, and of living there sustainably and respectfully through ecological design.

1979 Greens Restaurant opens at Fort Mason in San Francisco and quickly establishes itself as a pioneer in promoting vegetarian cuisine in the United States.

1980: The Marin Agricultural Land Trust is established by Wetland Biologist Phyllis Faber and diary farmer Ellen Straus.

1980: Berkeley resident Richard Register coins the term “depave” — to undo the act of paving, to remove pavement so as to restore land to a more natural state. Depaving begins to spread to create many inner city urban gardening projects.

1981-82: Register and other activists, bring about the first urban day lighting of a creek in Berkeley’s Strawberry Creek Park where a 200-foot section of the creek is removed from a culvert beneath an empty lot and transformed into the centerpiece of a park.

1982: Earth First, a radical environmental group founded by Dave Foreman and Mike Roselle, sponsors the first demonstration against Burger King in San Francisco for using beef grown on land hacked out of rain forests. The demonstrations spread, turn in to a boycott, and after sales drop 12 percent, Burger King cancels $35 million worth of beef contracts in Central America and announces it will stop importing rainforest beef.

1983: Local residents Randy Hayes and Toby Mcleod release the documentary film The Four Corners, A National Sacrifice Area? , which conveys the cultural and ecological impacts of coal strip-mining, uranium mining, and oil shale development in Utah, Colorado, New Mexico, and Arizona — homeland of the Hopi and Navajo. The film wins an Academy Award and illustrates serious environmental justice issues 10 years before that term is coined.

1985: The Rainforest Action Network, established in San Francisco, emerges from the Burger King action.

1986: Fifteen years after Duskin’s first anti-high-rise initiative efforts, San Francisco finally passes Prop. M, the nation’s most important sustainable growth law.

1988: Register invents a stencil to be used next to street storm drains that says “don’t dump — drains to bay.” The wastewater pollution mitigation education concept spreads around the region and nation and then becomes an international volunteer effort to lessen pollution in urban runoff, which generally flows untreated into creeks and saltwater.

1989: Carl Anthony, Karl Linn, and Brower establish the Urban Habitat Program in San Francisco, one of the first environmental justice organizations in the country.

1989: Laurie Mott of the National Resource Defense Council’s SF office rattles the apple industry by engineering a suspension of the use of the pesticide Alar by the Environmental Protection Agency. A national debate ensues.

1992: Berkeley writer Theodore Roszak coins both the term and field of ecopsychology in his book The Voice of the Earth. The movement he helps found asks if the planetary and the personal are pointing the way forward to some new basis for a sustainable economic and emotional life.

1992: The first Critical Mass bike ride (initially called a “Commute Clot”) is held in San Francisco. Similar rides, typically held on the last Friday of every month, began to take place in more than in over 300 cities around the world.

1993: The U.S. Green Building Council is founded by David Gottfriend in Oakland. The council becomes the most important environmental trade organization in the world. In 1998, the council develops the LEED (Leadership in Energy and Environmental Design) Green Building Rating System, which provides a suite of standards for environmentally sustainable construction and design.

1995: The Edible Schoolyard is established by Chez Panisse Foundation at Martin Luther King Jr. Middle School in Berkeley. It serves as a model for similar programs in New Orleans and Brooklyn, and inspires garden programs at other schools across the country.

1999: The Green Resource Center starts as a joint project of the City of Berkeley, the Northern California Chapter of Architects, Designers and Planners for Social Responsibility (ADPSR), and the Sustainable Business Alliance.

2000: Wendy Kallins, working with the Marin Bicycle Coalition, begins a Safe Route to Schools program in Marin to encourage students to walk or bicycle to school. The program is so successful that Congress allocates more than $600 million for similar efforts across the country.

2001: The first Green Festival is held in San Francisco.

2001: Berkeley becomes first city in nation with curbside recycling trucks powered by recycled vegetable oil, thanks to a campaign by the Berkeley Ecology Center.

2002: San Francisco adopts a greenhouse gas reduction initiative that aims to reduce the city’s greenhouse gas emissions to 20 percent below 1990 levels by 2012.

2003: Bay Area Build It Green is formed by a number of local and regionally focused public agencies, building industry professionals, manufactures, and suppliers. Its activities are focused on increasing the supply of green homes, raising consumer awareness about the benefits of building green, and providing Bay Area consumers and residential building industry professionals a trusted source of information.

2005: San Francisco passes the Precautionary Principle Purchasing Ordinance, which requires the city to weigh the environmental and health costs of its $600 million in annual purchases — for everything from cleaning

supplies to computers.

2006: Bay Localize is launched in the East Bay with the aim to work to build a cooperative, inclusive movement toward regional self-reliance and increase community livability and local resilience for all while decreasing fossil fuel use.

2007: In an effort to meet the challenges of global warming, carbon pollution and job creation, East Bay activist Van Jones declares that the nation is going to have to weatherize millions of homes and install millions of solar panels. His best-selling book, The Green Collar Economy, stimulates a national movement and a new organization, Green For All.

2007: San Francisco begins collecting fats, oils and grease from residential and commercial kitchens, for free, to recycle into biofuel for the city’s municipal vehicles, the largest biofuel-powered municipal fleet in the United States.

2008: San Francisco becomes the first U.S. city to establish green building standards.

2010: The Green Building Opportunity Index names San Francisco and Oakland the top two cities in the nation for green buildings.

2010: San Francisco becomes home to the Sunset Reservoir Solar Project, the largest solar-powered municipal installation in California.

 

Remembering Peter L. Petrakis, the pioneering Guardian investigative reporter who exposed the biggest urban scandal in U.S. history

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Peter L. “Pete” Petrakis was the Guardian investigative reporter who developed the stories in the mid-1970s that became known to Guardian readers as the PG&E/Raker Act scandal.

Pete died Feb. 28 in Everett, Washington.

In story after story, Pete laid out the scandal that the local media had buried for generations: how PG&E had in effect stolen San Francisco’s electrical power supply from the Hetch Hetchy dam in violation of the public power mandates of the federal Raker Act of 1913. The act allowed the city an unprecedented concession, to build a dam in a national park (Yosemite), on condition that the city have a public water and public power system. Pete detailed how PG&E used its corporate and political muscle to keep the cheap, green, hydro power from city residents and businesses and instead forced them to buy PG&E’s expensive private power, at a cost through the years of billions of dollars.

Pete learned of the scandal in the mid-1960s as a student of Prof. J. B. Neilands, a biochemistry professor and citizen activist at the University of California-Berkeley.

Joe Neilands had in the late 1950s started the campaign in his living room in the Berkeley Hills that ended up stopping PG&E from building a nuclear power plant upwind of San Francisco at Bodega Bay.

This was a truly historic victory of citizens fighting the local private utility, as recent events have demonstrated with the nuclear disaster in Japan.

In the process of researching the Bodega Bay story, Joe came upon an even bigger scandal: the PG&E/Raker Act scandal. After winning at Bodega Bay, Joe did the research into the scandal and then brought it to me shortly after the Guardian began publication in 1966.

This was a huge story and I remember saying, “Joe, why are you bringing a big story like this to me?” He replied, “Nobody else will print it, because of PG&E. You’re my only hope. If you don’t print the story, nobody will.”

I was happy to publish Joe’s story and it appeared in our March 27, 1969 edition, pretty much as Joe wrote it. The story was solid, and created ripples, but it was only a start because PG&E had successfully managed to bury the scandal over the years, and had used its political muscle to keep San Francisco’s City Hall  as a virtual PG&E subsidiary. The story needed much more research and development on several levels.

A few weeks after Joe’s story appeared, Pete came to me at the Guardian with the big new angle. He had figured out that the city’s charter revision committee was about to gut quietly the provision in the 1932 charter that updated the Raker Act and mandated the city to “gradually acquire” and “ultimately own” its own power system.  Pete swung into action with a three page story on Sept. 30, 1969,  that detailed the capitulation to PG@E  under the headline: “The Charter Board–afraid to enforce the Raker Act and bring cheap public power to San Francisco.”

He added a timeline: “How to Hetch Hetchy the city charter.” And he explained that “to Hetch Hetchy” meant to “confuse and confound the public by adroit acts and deceptive words in order to turn to private corporate profit a trust set up for the people” This was a quote used by U.S. Interior Secretary Harold Ickes in a speech to the Commonwealth Club in 1941 in support of a bond issue to buy out PG&E. PG&E Hetch Hetchyed the bond campaign to death and it lost.

In short, Pete dug into the scandal  with gusto and research skill and wicked wit. He  produced several major stories over a five year period  with shocking new information on how  PG&E was systematically screwing the city by stealing its Hetch Hetchy power. Each year, we would turn Pete’s  stories over to the civil grand jury, with his documentation, and formally ask  the grand jury to investigate the Hetch Hetchy scandal and make a report and recommendation.

Finally, in 1974, the grand jury to our great surprise came out with a report that corroborated Pete’s reporting. As our editorial put it in our Jan. 17, 1974 edition, “In short, the grand jury has corroborated almost everything the Guardian has been saying about the Hetch Hetchy scandal for the past five years…
What the grand jury did was to independently review the history of the Raker Act and the performance of the city in fulfilling its conditions. The jury retraced our steps, read documentation we have read and some we haven’t, never once quoted us or cited us and still came to the same conclusion–that San Francisco is forbidden to transfer Hetch Hetchy power to private utilities.but is nonetheless doing so, and that PG&E must be replaced in San Francisco by a municipal power and light department.”

As it had for years, City Hall and the local media promptly buried the story. And PG&E quietly put its surrogates into succeeding grand juries to bury the report and see that it would never again see the light of day.

As Pete noted wryly, “Are San Franciscans too dumb to run their own electricity system? As the grand jury pointed out in the relevant point of comparison, our water bills are lower today than they were 40 years ago before the city acquired the Spring Valley Water Company. How high are our utility bills after seven PG&E rate increases just this last year?”

Pete was an editor’s dream, using his science training to be thorough, accurate, fair, and on point.  Not once did a story “bounce” and never did anyone catch him in a factual mistake. He put legs and muscle on the the PG&E/Raker Act story that helped inspire three public power campaigns and a  strong public power movement in the city with a passion to enforce the Raker Act, kick PG&E out of City Hall, and bring our own Hetch Hetchy power to our citizens and businesses in San Francisco.

Pete was born on July 9, 1928, in Sioux Falls, South Dakota, the second son of first generation Greek immigrants. Pete served in the U.S. Air Force during the Korean War at the military hospital in Rantoul, Illinois. He received a Bachelor of Science degree in Zoology from the University of South Dakota, a Master of Science in Biochemistry from the University of Oklahoma, a PHD in Biochemistry from the University of California, San Francisco Medical Center, and an MPH from the UC Berkeley School of Public Health. He taught biochemistry at San Francisco State University.

Pete married Lorraine (Mardie) Tecklenberg in 1953. They moved to San Francisco in l959 where they raised two daughters.

Pete left the Guardian in the mid-1970s and went to Washington, D.C. to use his new journalistic skills to start a new career as a technical writer and editor.

He worked first as the editor of AMINCO (American Instrument Company) News and later as a writer-editor for many U.S. government agencies. He was an award-winning science writer for the National Institutes of Health. Pete met and married his second wife, Julia, in 1982, and the couple lived in Annapolis, Maryland, before relocating to Camano, Island, Washington where they lived for 20 years. Using online technology, Pete continued the editorial work of his one-man company, Life Sciences Editorial Services. Earlier, Pete had purchased one of the first home computers a VectoGraphic, taught himself programming and in the 1990s wrote and distributed commercially a DOS software program, TimeSet.

Pete was something of a renaissance man. His formal education was in the sciences, but he was an enthusiastic self-learner and student of American culture, politics, and history. Most recently, he was researching climate change. He enjoyed taking his family traveling and camping throughout the U.S., working to ensure his daughters had outdoor survival skills and and an appreciation of national parks. He loved jazz and bluegrass music. With no formal musical training, he taught himself to play banjo, guitar, fiddle and mandolin, and he designed and hand-crafted 5-string banjos.

He was also an avid astronomer and built several reflecting telescopes and enjoyed participating in neighborhood “star” parties. In 1973, he took his family to Africa to witness and record on film one of the longest total solar eclipses of modern times.

Pete is survived by his wife Julia of Camano Island; daughters Sonya Lee Petrakis and her husband Bruce Couch of Lake Oswego, Oregon; Tina Petrakis and her son, Lorenzo of Pacifica; brother Nicholas and his wife Patricia of San Francisco; step-daughter, Elizabeth Stam, her husband, Randy Kinnunen, and their two daughters, Julia and Caitlin, all of Camano Island; step-son, Allan Stam, his wife Eileen, and their three sons of Saline, Michigan.

At Pete’s request, a Celebration of Life service was held privately at the family home on March 13. Pete requested memorial contributions be made to the American Red Cross. Condolences can be sent to Julia Petrakis at petrakisjw@yahoo.com.

So long, Pete, you left the Guardian and San Francisco with one helluva story. B3


Early Peter Petrakis articles, from 1969 to 1973

The Charter Board–afraid to enforce the Raker Act and bring cheap public power to San Francisco

Sept. 30, 1969

SF power — in the great tradition of Abe Ruef and Candlestick

Feb. 28, 1970

PG&E keeps public power out of UC-Berkeley

April 17, 1970

PG&E, staunch defender of private enterprise, is the biggest welfare recipient

Oct. 26, 1970

The great 1965 James K. Carr public power disaster

Dec. 23, 1970

PG&E steals $40 million a year from San Francisco

June 7, 1971

If they ration our gas and our heat, why not ration PG&E and Standar Oil Profits?

Nov. 28, 1973

 

 

 

Books, borders, and official ridiculousness

10

In the pantheon of ridiculousness going on in this country, this may not rate highly, but it seems telling enough to share anyway. For the last two months, I’ve been selling my new book, The Tribes of Burning Man, through my website: taking payments through PayPal, signing the books, and mailing through out through the Post Office, which is cheaper than FedEx or UPS for one-pound books.

It’s gone pretty well so far, with the exception of a couple empty envelopes being delivered and the books never found, which I’ve had to replace out of my pocket. But then today, I got one of the books I tried to send to a customer in Colorado (only one of the two I sent that day, mind you) back from USPS, with two stickers on it.

One says “Surface Transportation Only” and has a picture of a plane crossed out, and the other reads, “We regret that your mail was not collected or is being returned to you due to heightened security requirements. All mail that bears postage stamps and weighs more than 13 ounces MUST be taken by the customer to a retail service associate at the Post Office.”

I already have to go to the Post Office when I send my book to other countries and fill out a silly little US Customs form, and I’m told by customers that the books sometimes get hung up in Customs holds for weeks. Now, they can’t even send a book to Colorado without freaking out that I may be a terrorist sending bombs? It’s a six-by-nice-inch softcover book, you idiots, do you really lack the technology to figure that one out? And will it really make a difference if I drop it at the Post Office myself considering that they don’t ask for ID or provide any other security anyway?

WTF?!?! OK, readers, thanks for indulging my little rant. Now back to your regularly scheduled news coverage.

Alerts

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alert@sfbg.com

WEDNESDAY, MARCH 23

 

Margaret Randall gets radical

Author, activist, and poet Margaret Randall talks with historian Roxanne Dunbar-Ortiz and reads from her book To Change the World: My Years in Cuba. Randall will discuss her life in Cuba during the 1970s and the relationship between women’s liberation and other revolutionary movements. No need to get a sitter for this event — childcare is provided by request.

7–9 p.m., $15

La Pena Cultural Center

3105 Shattuck, Berk.

www.lapena.org

THURSDAY, MARCH 24

 

An evening with Michael Pollan

Journalist Michael Pollan, best-selling author of The Omnivore’s Dilemma, explains how food policy is a cornerstone of the three major crises facing our society: energy, climate, and healthcare. He proposes a “Sun Food Agenda” that involves change at the level of the farm, marketplace, and culture to improve our health, reduce dependence on fossil fuels, and help redirect climate change. The event benefits Marin Organic.

7–8 p.m., $20–$75

Marin Center

10 Avenue of the Flags, San Rafael

www.marincenter.org

(415) 499-6800

 

Government surveillance in a digital world

Explore law and technology of digital surveillance in the United States with the Electronic Frontier Foundation, whose representatives explain how digital technology is changing the way we communicate and interact, often resulting in the unprecedented exposure of our personal details.

7 p.m., $5–$10

Intersection 5M

925 Mission. SF

www.theintersection.org

www.surveillance.eventbrite.com

SUNDAY, MARCH 27

 

Benefit for Lyon Martin

Help raise money for Lyon Martin Health Services, the only community clinic in California that emphasizes queer women and transgender healthcare, at a fundraiser and party featuring an art auction, good music, friendly faces, and fun. Proceeds go straight to Lyon Martin.

1–3 p.m., $10–$100 donation

El Rio

3158 Mission, SF

www.lyon-martin.org

SATURDAY, MARCH 26

 

Fundraiser for Peace and Justice Center

Help raise money for the Mount Diablo Peace and Justice Center at this live, silent auction for art, fine jewelry, weekend getaways, and more. Help the center continue to offer cultural programs to the Bay Area for a 43rd year.

11 a.m.–3 p.m., $5–$10 suggested donation

St. Paul’s Episcopal Church

1924 Trinity, Walnut Creek

www.mtdpc.org

TUESDAY, MARCH 29

 

Cesar Chavez celebration

Enjoy a day of performances, spoken word, and live music to celebrate the legacy of Cesar Chavez and the United Farm Workers. On the bill are Nina Serrano, Makru, Capoiera UCA, Cuahtli Mitotiani Mexica, and much more. BAHIA, Just Food, and others will also be on hand to provide information about green living.

3:30–7 p.m., free

Berkeley farmer’s market

Derby Street at Martin Luther King, Berk.

www.ecologycenter.org 2

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

Smart meters, stupid company

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news@sfbg.com

Smart meters seemed like a good idea at first glance — a little wireless device that, unlike it’s dumb analogous predecessor, would track precise readings of household energy usage in real time, identifying wasteful activities and helping consumers make informed choices about conservation and consumption.

Considered a crucial first step in enabling a smart grid that would modernize the existing power grid for the information age, the technology was touted as offering potential benefits such as cheaper service, fewer new power plants and transmission lines, cleaner air, and more reliable services.

But Pacific Gas & Electric Co.’s $2.2 billion program for installing smart meters has now become the subject of caustic criticism by thousands of customers and activists as the culprit for skyrocketing rates, adverse health effects, and threats to privacy.

Since deployment began in California in 2009, consumers have mobilized to halt the spread of the devices, demanding further studies of the technology and options for those who don’t want to join the rush toward a wireless world. Thirty-three local governments have called for moratoriums on the installation of the devices.

The California Public Utilities Commission, which in 2006 authorized the state’s investor-owned utility companies to install more than 10 million meters in California, has done little to quell the storm of protests and concerns. But that began to change March 10 when CPUC President Michael Peevey announced that the agency would require PG&E to develop an opt-out proposal for consumers within two weeks.

Prefacing the decision with an observation that almost every speaker against smart meters the CPUC heard from was a PG&E customer, Peevey called out Northern California residents as the main opponents to the program.

“I am directing PG&E to prepare a proposal for our consideration that will allow some form of opt-out for customers who object to these devices, at a reasonable cost to be paid by the customers who choose to opt-out,” Peevey said at the hearing. “Obviously I cannot prejudge how this commission will evaluate any such proposal by PG&E, nor can I predict what PG&E itself will propose. But I think it’s clear the time has come for some kind of movement in the direction of customer opt-outs.”

But the announcement did little to quell the opposition by the scores of customers, local governments, health professionals, and advocacy groups that claim it undercuts the true concerns while simultaneously opening another avenue the utility behemoth could profit from.

“Admitting to the problem is the first step to resolving it,” says Joshua Hart, executive director of grassroots organization Stop Smart Meters!, which has been at the forefront of the rebellion. “But we obviously think a ton of things were left out of this.”

The makeup of the meter haters spans interests and ideals, from Tea Party conservatives to liberal environmentalists. Their unifying trenchant criticism of Peevey, who was president of Edison International and Southern California Edison Company until 1995, has only increased with each meter installed. PG&E has already replaced 74 percent of its analog electrical meters and 83 percent of its gas meters.

Resolutions critical of PG&E’s smart meter deployment have been passed by many Bay Area cities and the counties of Santa Cruz and San Luis Obispo. Assemblymember Jared Huffman (D-San Rafael) introduced a bill in December 2010 that would create a statewide system for opting out.

Although PG&E officials didn’t return repeated Guardian calls about the controversy, they have told other media outlets that the meters are completely safe and installation is continuing as scheduled, despite the growing furor.

 

BABY STEPS

A total of 670,000 meters are planned for San Francisco, and installation has already begun in the Marina and Richmond districts, much to the dismay of many residents. During a series of public meetings at the CPUC since 2010, dozens of people regularly line up to ask for alternative options and conclusive, third-party studies on the technology.

Speakers mainly consist of those claiming to suffer from exposure to electromagnetic fields, a condition known as electrohypersensitivity (EHS) that causes headaches, nausea, fatigue, and ringing in the ears. Sufferers liken themselves to canaries in coal mines and say smart meters are just one aspect of larger problem: understudied, overhyped wireless technology.

“The bottom line is it’s a debacle that been rolled out without any public input, without any long-term study,” Hart said. “This is the wireless technology industry being too greedy and going too far.”

Smart meters emit less powerful electromagnetic fields than many smart phones, but activists worry about the effects, both cumulative and on those with EHS, a condition recognized by the Swedish government. But here in the United States, few experts outside of holistic and alternative health circles take it seriously as a health threat.

Hart pointed to the recent publication of a study by the National Institutes of Health finding cell phone emissions affect brain activity, calling it the “smoking gun.” But most scientists found the report inconclusive about how that stimulation affects the brain.

Yet the activists have held regular protests lambasting PG&E for endangering their health and invading their privacy. “This is forced installation of untested devices on an unwilling public,” Carol Page of Marin County told us at a large Feb. 24 protest outside the CPUC meeting in San Francisco. “It’s time this commission stopped enabling and started regulating.”

CPUC officials have said there was no need for additional analysis of the program, arguing that the meters are safe and that installation is a routine procedure allowed under existing utility contracts.

But the venerable consumer watchdog The Utility Reform Network (TURN) has long-opposed the program, focusing primarily on its cost and privacy threats from the data that is being transmitted. Hundreds of customers have contacted TURN to complain about the meters, and the group says Peevey’s policy change misses the mark.

“It’s certainly a step in the right direction, but the devil is going to be in the details,” TURN spokesperson Mindy Spatt told us. “We would review any proposal to charge customers very carefully. We don’t want to see them have pay again.”

She said PG&E’s consumer outreach efforts have been “abysmal,” and TURN supports a moratorium on smart meter installation.

“We are not hearing from any people who are benefiting from it,” Spatt said. “We are hearing from people who are upset about it, and we remain unconvinced that these meters offer any benefits commensurate with their costs.”

TURN’s website offers a flyer that reads “Do Not Install,” which customers can print and place on their analog meter. Wellington Energy, the company performing installations, has respected the signs, Spatt said.

“The flyer is still getting tons and tons of play,” Spatt said. “PG&E has done nothing to address customers who say that the smart meter is unwanted and unwelcome. We are very anxious to see what sort of an opt-out they can offer.”

Although the flyer conveyed a direct message to utilities, some chose the more radical route of blocking installation physically. In January, two women, one a grandmother, were arrested in Rohnert Park for blocking a Wellington truck carrying a load of smart meters.

Sandi Maurer, founder of the EMF Safety Network, believes the movement from the CPUC falls short of taking real action addressing the threat of harmful electromagnetic frequencies to the environment and human health.

“We really need a moratorium while we study the health impacts and have evidentiary hearings where we could determine whether they are safe,” she said. In December 2010, the EMF Safety Network’s request for the CPUC to open an investigation into smart meters was denied.

 

CUSTOMER DISSERVICE

One smart meter claim the CPUC did investigate was the allegation that the new meters weren’t accurate, following up on more than 600 complaints from customers that their energy bills shot up after the new meters were installed.

The Structure Group, a Houston-based consulting company, tested 750 smart meters and 147 electromechanical meters and concluded that they worked fine. But the study also found that PG&E didn’t properly handle the complaints.

“PG&E’s process did not address the customer concerns associated with the new equipment and usage changes,” the report said. “Some customers interviewed during this assessment did not consider their complaint resolved, despite indications from PG&E and the CPUC that the customer agreed with the resolution.”

As a demonstration of how the program could have been rolled out differently, one needs only to look up the road to Sacramento. The publicly owned Sacramento Municipal Utilities District has installed 184,000 meters and encountered little opposition.

“I’ve seen what’s happening in the Bay Area and we haven’t seen anything like that whatsoever,” SMUD spokesperson Chris Capra said. “I’m amazed at the difference in our customers compared with customers around the country. “

Capra credits the relative embrace of the meters to the method SMUD used to mobilize them. Before installing any meters, SMUD build its wireless network. Then SMUD installed 78,000 trial meters in two separate areas — one in close-quartered downtown and one in suburban areas — to see how the meters behaved under topographical and proximity challenges. Then it led the meters through automated trials doubled with traditional manual reads and found that they were 99 percent accurate.

“We wanted to be certain before we began with full deployment,” Capra said. “We had estimated reads, manual reads, and made sure everything is functional. “

But some problems go beyond customer service. Along with health and safety concerns, critics remain unconvinced that the smart meters live up to their purported benefits to consumers, even though they’re the ones paying for the program.

“If I wanted to monitor my usage, I could go buy an in-home electricity monitor myself and just plug it in,” Maurer said. “For utilities to say we absolutely need this technology to reduce energy costs is false.”

Privacy advocates warn the meters could erode the privacy of daily life unless regulators limit data collection and disclosure. In a joint filing in March 2010, the Center for Democracy and Technology and the Electronic Frontier Foundation urged the CPUC to adopt rules to protect consumer’s energy usage information.

“Smart meters generate more information in formats easier to share and analyze, which is part of the future of energy utilization,” said Jim Dempsey, vice president of public policy at CDT. “That being said, some significant questions remain.”

Smart meters collect 750 to 3,000 data points a month per household. This detailed energy usage data can indicate whether someone is at home or out, how many people are in the house, and if they are using particular appliances. In effort to stave off data mining by marketers or hackers, CDT and EFF urged the CPUC to adopt comprehensive privacy standards for the collection, retention, use and disclosure of consumers’ household energy data.

Smart meters represent a worst case scenario in terms of security, Dempsey warned. Not only do they lack sufficient power to execute strong security software, they are easily accessible and installed in numbers large enough that a few may not be missed if they are stolen. The safest way to protect cyber security is to assume from the outset that they will be attacked.

“You are not going to stop technology and the benefits,” said Dempsey. “It’s hard to say we should not take advantage of something that gives us more information, but you need corresponding security. It’s not too late to adopt the privacy rules, and we certainly hope that the commission will do that soon.”

CDT and EFF say that utilities collecting the data from smart meters must set rules specifying in advance how data will be used. Disclosing information to marketers and government agencies should be restricted.

“Smart meters really do penetrate into the ways we live in ways that no other technology is doing now,” said Lee Tien, senior staff attorney at EFF. “It’s a special circumstance because there isn’t anything else like this that is in everyone’s home.”

 

STUDYING METERS

As opposition increased along with the installations, further requests for investigation into the program were filed. In July 2010, Huffman asked the California Center for Science and Technology to analyze whether the federal safety standards were sufficiently protective of public health, a move that was supported by fellow Assemblymember Bill Monning (D-Carmel) and the City of Mill Valley.

In December, Huffman also introduced Assembly Bill 37, directing the CPUC to offer an opt out alternative to customers who did not want smart meters and to disclose important information to the public. However, like the ordinances passed throughout the state, the move was largely symbolic and wouldn’t be implemented until the time most installations would have been completed in 2012.

The report released by the CCST in January analyzed the threat posed by smart meters, concluding that additional research was needed to accurately gauge the potential threat and had found “no clear evidence that additional standards were needed to protect the public from smart meters or other common household devices.”

The report has since served as a reference point for both PG&E and the CPUC as evidence of safety of the meters. Nevertheless, consumer groups dispute the findings.

“We need investigations from a truly independent third party, not an industry-promoting group hired by PG&E,” Maurer said. “We need evidentiary hearings on the health impacts of microwave facilities. Every time someone buys a new wireless router on a cell phone, it’s a drop in the bucket of more wireless technology. But [with smart meters] we’re talking about a massive increase of the density of these wireless emissions.”

The CPUC’s Division of Ratepayer Advocates was also unconvinced by the CCST’s conclusion. It noticed that the report did not fully explore issues related to cumulative exposure or from multiple co-located meters, as would be the case on apartment buildings and close quarters typical in San Francisco.

A California Senate bill imposing restrictions and revisions on utilities regarding their handling of smart meter information passed in February 2010, and in June the CPUC announced it had adopted a framework requiring utilities to modernize security standards, but details on upgrades have not appeared.

For now, protesters remain focused on pressuring regulators to stop the installation and they plan to keep up the fight for as long as needed.

“It is shock and awe to get the meters installed before people figure out that they are being scammed,” Hart said. “Until there is a moratorium called, we are urging people to resist. Stopping smart meters is just one part of the battle against the telecommunications companies.”

Our weekly Picks: March 23-29, 2011

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THURSDAY 24

MUSIC

Music For Animals

The catchy tunes of the self-proclaimed “cult” Music For Animals — San Francisco quartet Nick Bray (guitar), Jay Martinovich (vocals), Eli Meyskens (bass guitar), and Ryan Malley (drums) — evoke 1980s classic pop rock while simultaneously embodying the twee music of the here-and-now. While comparisons have been drawn to other electropop acts like the Killers and Kaiser Chiefs, Music for Animals’ neon-retro fans have embraced the band as its own indie rock entity. Its high-energy shows can include wacky antics, making for a perfect opportunity to bust a move. Join the cult! (Jen Verzosa)

With Foreign Resort and Matinees

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

www.hemlocktavern.com

 

FILM

Disposable Film Festival

Hollywood churns out a huge number of what you might call disposable films (Drive Angry 3D: use once and destroy). San Francisco’s Disposable Film Festival applies the adjective instead to the technology used to create each of its entries: readily available and often handheld devices like cell phones, point-and-shoot cameras, webcams, and so on. Celebrate the all-access-ness of 21st century filmmaking by checking out tonight’s always-popular competitive shorts program; weekend events include an industry panel entitled “How to Become A Disposable De Palma,” a spotlight on filmmaker Christopher McManus, a concert and workshop with YouTube music-video darlings Pomplamoose, and more. (Cheryl Eddy)

Through Sun/27

Competitive shorts night tonight, 8 p.m., $12

Castro Theatre

429 Castro, SF

www.disposablefilmfest.com

 

EVENT

Neil Strauss

I’m not sure what I like most about Neil Strauss. A six-time New York Times best-selling author and contributing editor at Rolling Stone, he coauthored memoirs with Jenna Jameson and Mötley Crüe. He lived with Dave Navarro for a year and went undercover in the “seduction community” to write about pick-up artists. He was in Beck’s gloriously goofy “Sexx Laws” video. His new book of celebrity chatter, Everyone Loves You When You’re Dead: Journeys Into Fame and Madness, features pop culture personalities from Britney Spears to Stephen Colbert. But his 227 “moments of truth” aren’t in-depth, traditional Q&A pieces. Instead, Strauss wove together the most intriguing few minutes of each interview. Huh? How? Ask him yourself. (Kat Renz)

7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com

 

MUSIC

Phantom Kicks

Taking after the Grizzly Bear-meets-Radiohead, now-disbanded Raised By Robots, the San Francisco-based trio of Tanner Pikop (guitar-vocals-keyboard), Phil Pristia (guitar-vocals), and Mike Rieger (drums) — better known as Phantom Kicks — is experimental, ethereal post-punk born of white space à la the xx. Even without an album, Phantom Kicks’ eerie electro pop has garnered notoriety throughout the Bay Area after gigs at numerous local venues and festivals, sharing the bill with other local indie greats like My First Earthquake, the Dont’s, Skeletal System, and Sunbeam Rd. And its days as a live-only entity are soon to end: Phantom Kicks’ debut EP, Tectonics, is due in April. (Verzosa)

With Adventure and Exray’s

8 p.m., $6

Milk Bar

1840 Haight, SF

www.milksf.com

 

FILM

San Francisco Dance Film Festival

Now in its second year, the San Francisco Dance Film Festival, presented by Motion Pictures and the Ninth Street Independent Film Center, features three evenings of screenings as well as workshops on shooting and editing dance footage. In addition to selections of work by local and international dance filmmakers, Friday night’s lineup includes the San Francisco premiere of NY Export: Opus Jazz, a reimagining of Jerome Robbins’ 1958 “ballet in sneakers” danced by members of the New York City Ballet. This is the first return of Robbins’ choreography to the streets of New York City since the 1961 movie version of West Side Story. (Julie Potter)

Through Sat/26

6:30, 8, and 9:15 p.m., $10

Ninth Street Independent Film Center

145 Ninth St., SF

(415) 625-6100

www.sfdancefilmfest.org

 

FRIDAY 25

PERFORMANCE

Free: Voices from Beyond the Curbside

Destiny Arts Center in Oakland has been around so long — it was founded in 1988 — that you tend to take it for granted. Better stop doing that, especially in this climate of shrinking resources for socially-engaged arts programs. Destiny provides a safe place, activities, and role models during after school, weekend, and summer programs. Students ages three to 18 learn martial arts, dance (modern, hip-hop, and aerial), theater, self-defense, and conflict resolution. All these elements come into play one more time during this year’s Destiny Youth Company’s big-time production at Laney College. Created by the students with the guidance of adult artist-teachers, Free explores concepts of personal and social freedom (and the lack thereof). The program also features documentary filmmaker David Collier’s video of the process that made Free possible. (Rita Felciano)

Through April 3

Fri.–Sat., 7:30 p.m. (also April 2–3, 2 p.m.), $6–$25

Laney College

900 Fallon, Oakl.

1-800-838-3006

www.brownpapertickets.com

 

ROCK

Vastum

Vastum, from the Latin vastus: immense. Empty. Wasted. It’s easy to feel that way bumbling home from a dime-a-dozen metal show — depthless, bored, and boozed. But the three times I’ve seen Vastum, I almost pissed myself with joy: my fingers can form horns again, my head bangs rather than bobbles, my tired faith is revived. With members from two stalwart San Francisco bands, Saros and Acephalix, the five-piece delivers precision death metal with a little punk, classically fast and aggressive with none of the cheesiness often befalling the genre. The venue’s a gem, too: an all-ages Oakland warehouse run by an old-school artist and a gargantuan raptor. (Renz)

With Embers, Atriarch, and Headless Lizzy and Her Icebox Pussy

9 p.m., $6

First Church of the Buzzard

2601 Adeline, Oakland

Facebook: Vastum

 

MUSIC

Wye Oak

Rock duos tend to strive toward sounding greater than their parts. Wye Oak, composed of Baltimore-based musicians Jenn Wasner and Andy Stack, are no exception. Rather than pure bombast, the two play into the contradiction of expectations on almost every track. Wasner’s guitar and lyricism are the initial focus, typically heavily folk-influenced backed by true multi-instrumentalist Stack, who plays drums and keyboard at the same time. As the melodic verses build into the explosive choruses, so do the 1990s alternative rock influences, recalling Yo La Tengo, Sonic Youth, and My Bloody Valentine. It’s an attention-grabbing effect and in a smaller venue should be impossible to ignore. (Ryan Prendiville)

With Callers and Sands

10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

SATURDAY 26

DANCE

“Pilot 58: Fight or Flight”

It may not take a village to produce a dance concert, but a collective of choreographers sure makes the process more creative and exciting. Or at least that’s the lesson gleaned from the participants in Pilot, ODC’s self-producing incubator that selects six dance artists to work together on a shared bill. Known as a springboard for emerging choreographers, Pilot showcases new and under-the-radar dance from fresh choreographic voices: Raisa Punkki, Byb Chanel Bibene, Bianca Cabrera, Katharine Hawthorne, Ashley Johnson, and Erica Jeffrey. Arriving at choreography through notably different experiences, the evening brings a host of ideas to the table, from moving light sources to little dance cartoons. (Potter)

Sat/26–Sun/27, 8 p.m. (also Sun/27, 4 p.m.), $12

ODC Studio B

351 Shotwell, SF

(415) 863-6606

www.odcdance.org

 

SUNDAY 27

MUSIC

Rotting Christ

Though not as famed as other loci of Lucifer, Greece has a long and distinguished black metal history. Delightfully named Rotting Christ was founded in 1987 by brothers Sakis and Themis Tolis, who have been plying their blast-beaten trade ever since, much to the dismay of born-again Christian headbanger Dave Mustaine of Megadeth, who refused to play at a Greek music festival once he learned that Rotting Christ was on the bill. The hellbound Hellenic quartet is joined on its current tour by cult favorites Melechesh, a “Mesopotamian” metal band — composed of Israeli expatriates based in Amsterdam — whose distinctive sound combines razor-wire riffing with idiosyncratic Middle Eastern harmonies and rhythms. On a more somber note, this show will be the last promoted by Shawn “Whore for Satan” Phillips, whose retirement will be a deeply-felt loss for metal, both in San Francisco and elsewhere. (Ben Richardson)

With Melechesh, Hate, Abigail Williams, and Lecherous Nocturne

7:30 p.m., $25

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

 

MONDAY 28

MUSIC

Röyksopp

Fame can go in divergent ways. For Norwegian electronic duo Röyksopp, the breakthrough was “Remind Me,” a catchy 2002 cut featuring vocals from Kings of Convenience’s Erlend Øye. In the U.K. it picked up Best Video at the Europe Music Awards that year. In the U.S., however, a version of the song is associated with a Geico commercial featuring a caveman. Look past that though, as the pair of musicians have otherwise proven themselves as standouts on the electronic scene, releasing ethereal downtempo compositions. Live, their performances are more amped up and free-ranging, involving unexpected covers like Queens of the Stone Age’s “Go With The Flow.” (Prendiville)

With Jon Hopkins

8 p.m., $30

Regency Ballroom

1300 Van Ness, SF

1-800-745-3000

www.theregencyballroom.com


TUESDAY 29

DANCE

Alvin Ailey American Dance Theater

Under the directorship of Judith Jamison, Alvin Ailey American Dance Theater became the country’s most popular dance troupe, with an impressive infrastructure and a $3 million budget. Now it will be up to Robert Battle, its new artistic director, to build a repertoire that matches the troupe’s organizational achievements. His appointment was something of a surprise; he never danced with Ailey and, at 37. he is young to assume that kind of responsibility. (Jamison was 43). Programs A and C on this year’s Zellerbach schedule each feature one of his choreographies. Whatever he does in terms of programming, he is not likely to offer fewer glimpses of Revelations, the company’s bread and butter. But how about presenting it with live music? The Bay Area has some excellent gospel choirs. (Felciano)

March 29–April 2, 8 p.m. (also April 2, 2 p.m.);

April 3, 3 p.m., $34–$62

8 p.m., $34–$62

Zellerbach Hall

Bancroft at Telegraph, Berk.

(510) 642-9988

www.calperformances.org 

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

Anticlimax

1

Dear Andrea:

I’m living with my first “serious” girlfriend and everything is great except the sex. As far as I can tell, she is having orgasms but I’m not. When we have sex I have to finish myself off with my hand. I don’t think it’s supposed to go this way.

Love,

Disappointed

Dear Dis:

You don’t say whether you’ve ever had intercourse with anyone else before Serious, but I’m going to guess not.

So anyway. A little self-stim never hurt anyone. I don’t think that part is, in and of itself, a problem. Technically, it’s actually a solution. It could be a bit grim, though, to always have to rely on your own devices despite having gone to all the trouble to acquire and keep a partner.

Typically, anorgasmia and, uh, semi-orgasmia are usually a girl problem, with guy problems tending to run to the can’t-get-it-up, can’t-keep-it-up, and “whoops!” varieties. Or maybe you’re on SSRI antidepressants, which I’m kind of hoping you are, because that can be fixed.

No? And no blood pressure meds either, right? Or any scarring or neuropathy or … no, you’re like 20 years old. So it’s almost certainly not some physical thing. Probably you are entirely capable of reaching orgasm easily but you’re not letting yourself.

Do you think you might be going kind of out-of-body and are watching yourself perform instead of feeling yourself feel? Are you wondering if she really likes having sex with you or is just pretending? All this falls under the clunky-sounding rubric of “specatatoring,” and you can get out of the habit but it does take some work.

Are you anxious? Worried about keeping it up? Judging yourself? Raised to believe that sex is bad — or that premarital sex is bad? Or are you fine with sex but terribly worried you’ll get her pregnant and ruin everybody’s life?

Obviously that last one can be addressed with technology. And other anxieties can be salved through other technologies, be they drugs or meditation or talking to each other so you can stop wondering and worrying about what she might be thinking.

But maybe what’s wrong is the intercourse itself. An old instructor of mine used to teach that sex is nothing but fantasy plus friction, and if you’re OK in the fantasy department, maybe you need more friction. Move! Put her on top. Try it from behind. I don’t care, just try something else. And try more lube while you’re at it, and also, less.

Or maybe you are one of those men, not rare but rarely spoken of, who just don’t like intercourse much. You didn’t have this problem back while you were still letting yourselves have teenage sex before you moved in together. If this is the case, all you have to do is add back the stuff you like to the stuff she (presumably) likes and boom, everybody’s happy.

Final possibility? You two are not very good at this. This, too, is OK — lack of knowledge and lack of skill are entirely curable conditions.

Love,

Andrea

Got a question? Email Andrea at andrea@altsexcolumn.com

Our Weekly Picks: March 16-22

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WEDNESDAY 16

EVENT

“Nerd Nite SF No. 10: Visualization of Science, Undersea Internet, and the Art of Videogames”

Get your geek on! Nerd Nite, a relaxed celebration of the cerebral, features science-centric presentations that will increase your already genius-level IQ, you MENSA member, you. Take your first sip of alcohol and listen to lectures like The Coolest A/V Club in the Universe: Science Visualization at the California Academy of Sciences” by Jon Britton, senior systems engineer and production engineering manager of electronics engineering and science visualization (that’s a mouthful) at the academy; “20,000 Leagues Under the TCP: The Undersea Internet” by Chris Woodfield, senior network engineer for Yahoo!; and “Sorry, but Videogames Are Art” by acclaimed technology journalist Alex Handy. (Jen Verzosa)

8 p.m., $8

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.sf.nerdnite.com


MUSIC

“(Pre) St. Paddy’s Day Punk Bash XI”

Tradition dictates that the St. Paddy’s Day Punk Bash is held on, well, March 17. But this year, there was a Steve Ignorant-playing-Crass-songs show (don’t call it a reunion!) scheduled for March 17, so veteran local promoter Scott Alcoholocaust — noting the potential conflict of mohawked interests — scooted his Paddy party to the day prior. Alas, Crass ran into visa troubles and had to reschedule its gig for later this spring. So get your punk fix tonight; tomorrow, you can stay home and recover (suggested activity: watching all the Leprechaun movies) while the amateurs crowd the pubs. The bill includes SF’s own tongue-in-cheek rockers Crosstops and “all-zombie” Dead Boys tribute act UNdead Boys. Magically delicious! (Cheryl Eddy)

With Ruleta Rusa, Face the Rail, and Street Justice

8 p.m., $8

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com


THURSDAY 17

EVENT

“How Wine Became Modern Featuring Pop-Up Magazine”

If you prefer wine to green beer on St. Patrick’s Day, head to SFMOMA for a wine-infused installment of their Now Playing series, featuring Pop-Up Magazine in a new, between-issues format, “Sidebar.” Unlike normal magazines with a shelf life, each issue of Pop-Up takes the form of a live performance presented to an audience in real time. This issue discusses wine culture, science, history, politics, and humor in conjunction with the museum’s current exhibition, “How Wine Became Modern.” The evening includes a screening of Brian De Palma’s Dionysus in 69 (1970) and a rooftop bacchanal-themed event by Meatpaper magazine. Bonus: admission is half-price after 6 p.m. Thursday nights. (Julie Potter)

6 p.m., $9

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

 

FRIDAY 18

DANCE

Dance Anywhere

A few years ago dancer-choreographer Beth Fein asked herself: “What if the world paused to dance?” It certainly couldn’t hurt. In the Bronx, hip-hop helped reduce violence. More recently, all of Cairo danced on Tahrir Square. Fein elicited enough of a response that people around the globe will gather for one big communal dance. You can “dance anywhere” on your own or join kindred spirits. In San Francisco, find Alyce Finwall (Geary and Grant streets), the Foundry (Civic Center BART), Kara Davis and Agora Project (Lincoln Park), or Project Trust (Togonon Gallery). In Oakland see Carolyn Lei-Lanilau (Bosko Picture and Framing store), Destiny Arts Center (at home), and Eric Kupers’ Dandelion Dance Theater (Frank Ogawa Plaza). For additional Bay Area participants consult the website. (Rita Felciano)

Noon, free

Various Bay Area locations

(415) 706-7644

www.danceanywhere.org

 

DANCE

Nederlands Dans Theater

The elite dance creatures of Nederlands Dans Theater visit Berkeley to perform Whereabouts Unknown, the work of former artistic director Jiri Kylián, and Silent Screen, a collaboration by resident choreographers Paul Lightfoot and Sol León set to the music of Philip Glass. Known for its gorgeously trained artists, the company pairs the work of NDT’s longtime leader alongside choreography by the company’s next generation of dance makers, giving audiences an idea of this fine group’s trajectory. In addition, artistic director Jim Vincent (previously stateside directing Hubbard Street Dance Chicago) offers a free public lobby talk with Cal Performances’ Kathryn Roszak Sat/19 at 5 p.m. (Potter)

Fri/18–Sat/19, 8 p.m., $34–$72

Zellerbach Hall

Bancroft at Telegraph, Berk.

(510) 642-9988

www.calperfs.berkeley.edu

 

MUSIC

Devo

With nearly 15 years between releases leading up to 2010’s Something for Everybody, it’s probably an understatement to say that Devo has slowed down considerably since its heyday throughout the 1970s and ’00s. Regardless, the band is still synonymous with the idiosyncratic new wave and synth-punk it helped create those many years ago. Ringleader Mark Mothersbaugh has rekindled the group’s flare for sci-fi kitsch, surreal humor, and of course, the costumes, in recent appearances and the group seems rejuvenated with touring drummer Josh Freese (Vandals, A Perfect Circle) on board. With talks of a possible Devo Broadway musical in the works, it seems the group possibly has a few more tricks up its oddball sleeve. (Landon Moblad)

With the Octopus Project

9 p.m., $37.50–$99.50

Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com

 

DANCE

RAWdance

RAWdance, also known as Ryan T. Smith and Wendy Rein, may be best known for their Concept Series, in which popcorn and new dance packs them in. (It is also a place where a local critic was once hit by a flying ice cream bar.) The work shown is usually “in progress.” An ODC Theater Residency has now enabled the two artists to finish one of their tentative excursions. The full-evening Hiding in the Space Between — live dance and LED projections — takes on the complications, discoveries, and shifting priorities that an exploding range of technology imposes on us. Human beings have always been social creatures, but what kind of animals are we turning into? (Felciano)

Fri/18–Sun/20, 8 p.m., $15–$18

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org

 

SATURDAY 19

MUSIC

Greg Ginn and the Royal We

Full disclosure: I have only the vaguest impression of what the erstwhile Black Flag guitarist’s latest project actually sounds like (short answer: weird and stony), and my preliminary Internet sleuthing suggests that nobody else seems to know too much, either. What’s certain, however, is that any band with Greg Ginn at the helm will make for an interesting experience — consider the countless stories in circulation about people who walked into a Taylor Texas Corrugators show hoping to hear “Police Story,” only to be held hostage by a nightmarish jam band for over an hour. Here’s hoping Ginn’s latest project lives up to the jarring strangeness of its immediate predecessors. (Tony Papanikolas)

With Big Scenic Nowhere and Glitter Wizard

9 p.m., $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

PERFORMANCE

“Jay and Silent Bob Get Old”

Since their first appearance in Kevin Smith’s 1994 film Clerks, the characters of Jay and Silent Bob have gone on to achieve cult status — ever though Smith’s alter ego doesn’t speak much and his overly-verbose partner, portrayed by Jason Mewes, is a foul-mouthed, obnoxious punk. Smith and Mewes have revived the hilarious duo once again; brandishing the tagline “Every saga has a middle age,” they’ve started taping a live podcast, “Jay and Silent Bob Get Old,” riffing on just about everything funny thing you could imagine. When the show comes to the city tonight, just imagine you’re standing in front of that old Quick Stop in Jersey and let the raunchy tirades roll. (Sean McCourt)

9 p.m., $59.50

Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com

 

SUNDAY 20

MUSIC

Carlton Melton

Welcome to Spaceship Earth. Please enjoy its dynamic equilibrium, finite resources, and infallible interdependency. Heavy shit? Maybe. But engineer and visionary Buckminster Fuller had reality dialed, helping popularize these concepts and designing the eco-before-“eco” geodesic dome. Time travel 40 years to today, where the five members of Carlton Melton have pioneered “dome rock” from the acoustic womb of their spherical abode on the Mendocino coast. No rehearsals, studios, or second takes; all dome-inspired improvisation, experimentation, and Floydian trippiness. Bucky would be proud. And beyond reverberations from dome sweet dome, how could you flake on a stony Sunday afternoon BBQ with Acid King? (Kat Renz)

With Acid King and Qumram Orphics

2 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

MONDAY 21

MUSIC

Destroyer

Dan Bejar is never quite what he seems. He’s a pivotal member of indie talent union the New Pornographers, but the nine albums he’s released as Destroyer stands to eclipse that collective effort. The name may invoke metal, but that’s the one popular genre that Bejar seems to borrow from the least. Kaputt in particular, the latest and best Destroyer album since 2001’s Streethawk: A Seduction, finds Bejar in territory that’s undeniably smooth. Smooth jazz smooth, but adding musical nuance and lyrical mystery in a way that hasn’t been so successful since the ’80s (or arguably, ever). If the eight-piece orchestra on this tour aims to destroy anything, it’s expectations. (Prendiville)

With the War on Drugs, Devon Williams, and DJ Britt Govea

8 p.m., $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

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

5 Things: March 11, 2011

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>>SHE WANTS TO BE WHERE THE PEOPLE ARE For years Ariel Soto has been documenting her fashion finds found while hitting the streets of San Francisco on sfbg.com. She’s finally compiled her satorial spreads into a book, and will be giving sneak peaks of it to the lucky trendoids that find their way to her photo show at Density tomorrow, from 7-9 p.m. We’ll be in attendance to see if our off-shoulder velour onesie made it into her best-of pics – and of course, to check for Herald and Biko.

>>LEND A HAND Now that your East Coast relatives have been assured you’re not washed out to sea floating on nothing but your bedroom door and trusty, humanized volleyball, you can turn your thoughts to the next item of business re: the Japanese tsunami disaster. That being how to help the earthquake and ensuing waves’ survivors. Here’s a good place to get started.

>>WITHOUT APPS WE’D BE RUNNING AROUND NAKED The proliferation of completely uneccesary apps – well to be calling it a problem would be giving excess technology too much creedence, so let’s just saying it’s fucking irritating. But seriously, this one is growing on us: swackett, which has taken the head scratching out of our daily what-do-I-wear conundrum.

Seesaw: sleek and stain-resistant

>>LARGE COFFEE WITH ROOM FOR CHILDREN We’re tickled pink by some of the new cafes opening up around town (including Tell Tale Preserve Co.‘s pop-up pastry-and-coffee-stop in Big Daddy’s Antiques, Tell Tale Trunk Show). But then, we’re old enough to walk into any patisserie in town and no one’s gonna groan and roll their eyes. Not so for those under the age of eight! And so it for youngster’s rights that we welcome the arrival of Seesaw, a stark Hayes Valley joint recently opened by a child psychologist that incorporates an airy, engaging play space into the cafe’s floor plan. Parents (and those that don’t mind youngsters dashing about during laptop time) can order a tasty sandwich and a cuppa from the joint’s impressive tea menu and chill while their youngster attends one of Seesaw’s convivial “brunches,” which focus on developing social awareness, grace, and friendship-building skills.

>>SHAKE IT, DWIGHT This Yello song from 1980 has been following us around to a bunch of different clubs lately — from alternative hip-hop, to minimal techno, to soulful house, to new school vogue. Could it be the dance music version of “The Office,” embodying a weird nostalgia for a faceless manufacturing and processing sector in a recession and outsource culture that’s all but decimated it? Maybe, but it’s still a jam.

Bay Area dance’s bragging rights

0

DANCE When the 25th Annual Isadora Duncan Dance Awards take place March 14, the local dance scene will have much to celebrate. In advance of the event, I recently asked several local members of the community what makes Bay Area dance special.

Wayne Hazzard, executive director of Dancers’ Group, pinpoints the relationship between contemporary and traditional artists. “I’ve seen it [the dance community] really grow and continue to do what it’s been doing and attract new companies and artists to the area.”

According to Hazzard, the dance scene’s steady development is linked to the Bay Area’s “livability” and “the maverick nature of the West Coast, this region where you can find yourself. Even if you are coming from a tradition, you can deepen that and go in your own direction, which seems to be a truism of artists here whether [we’re discussing] the San Francisco Ballet or Brenda Way or Chitresh Das. They’re all traditionalists, yet they’re imbuing their formal structural ideas around theater and dance with current issues. Joe Goode as well.”

Jessica Robinson Love, artistic and executive director of CounterPulse, focuses on a different aspect of community. “We can’t talk about dance in the Bay Area without discussing the Ethnic Dance Festival and the huge amount of culturally-specific dance that’s practiced here,” she says. Love also believes the Bay Area’s proximity to Silicon Valley makes for greater interest in and use of technology: “Being on the Left Coast gives us a freedom to experiment. There’s less of a fear of risk-taking and failure, so there’s a lot more diversity in terms of the choices choreographers make about their work.”

“I also see a real emphasis on queer and gender-bending performance,” she adds. “There’s an emerging, blossoming conversation between the drag performance community and the dance community in San Francisco right now.”

Joe Landini, artistic director of The Garage, agrees that queer dance-makers are among the strongest voices to surface. Specializing in emerging choreographers, he produces an exceptional amount of new work. “What I’m finding is that a lot of choreographers coming out of the university system are choosing to relocate to San Francisco because the resources are less competitive than New York. San Francisco probably has more opportunities for emerging choreographers than any other place in the United States, so we have a huge pool of trained choreographers.”

Site-specific work also makes its mark on the scene. Hazzard points in particular to Anna Halprin’s long history of investigations, noting that, at 90, she’s still creating new work, including an upcoming trilogy honoring her late husband titled Remembering Lawrence. “Joanna Haigood particularly deals with space and ideas,” he adds, “so when you look at aerial artists that work here, whether its Haigood or Jo Kreiter or Project Bandaloop, no one anywhere else is doing what they’re doing. It’s uniquely about our region and space and relationship to dance and performance.”

THE 25TH ANNUAL ISADORA DUNCAN DANCE AWARDS

Mon/14, 7 p.m., free

Yerba Buena Center for the Arts Forum

701 Mission, SF

(415) 978-2787

www.ybca.org

Our Weekly Picks: March 9-15

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WEDNESDAY 9

FILM

San Francisco Ocean Film Festival

Featuring more than 50 fascinating films about the ocean and its importance in nature, along with the role it plays in our society, the San Francisco Ocean Film Festival features programs ranging from documentaries on marine life and environmental science to surfing videos and panel discussions on International Marine Protected Areas. Highlights for this year’s fete include a program dedicated to sharks (and the ongoing debate over the sale of shark fins) and a chance to meet the filmmakers who work among the denizens of the deep at a special opening night benefit fundraiser. (Sean McCourt)

Wed/9–Sun/13

Tonight, 6:30–9:30 p.m., $60 (most festival programs $5–$12)

Theatre 39 and Aquarium of the Bay

Pier 39, SF

(415) 561-6251

www.oceanfilmfest.org

 

MUSIC

Damien Jurado

Despite a start with Sub Pop in the late 1990s and a steady stream of beautiful, literate albums ever since, Damien Jurado has always flown a bit further under the radar than some of his contemporaries. The Seattle-based singer-songwriter recalls echoes of Nick Drake’s sparsely intimate folk and combines it with modern arrangements full of strings, pianos, and clanking percussion, all of which is perfectly displayed on his 2010 LP, Saint Bartlett. The higher registers and slight twang that creep up in Jurado’s voice help bring his character-driven songs to life with a hushed, fragile clarity that can make you want to hang on his every word. (Landon Moblad)

With Viva Voce and Campfire OK

9 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

MUSIC

Castanets

Spawned from the quirky, vintage-clad loins of the early-aughts freak-folk movement, Castanets is sort of like psychedelic country without too much acid trippy-ness. Portland, Ore., (by way of San Diego) bandleader Raymond Raposa works with a merry-go-round of accompanists; his latest release, Texas Rose, the Beasts, and the Thaw, is just shy of 39 minutes — though a review posted on label Asthmatic Kitty’s website insists it is “Pink Floyd gone epic.” The review also notes, in case you were worried, that Texas Rose is “not a hippie record.” Even squares can have a ball. (Jen Verzosa)

With Holy Sons and Dolorean

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

www.hemlocktavern.com

 

PERFORMANCE

The Islanders

Ever want the words you read to leap off the page and come to life? Word for Word Performing Arts Company makes it happen, and in this book-loving city they are truly at home. Known for staging performances of top-notch literary fiction, Word for Word presents The Islanders, a story about the bonds of friendship as two women reunite for a trip to Ireland, by best-selling author Andrew Sean Greer and directed by Sheila Balter. If you’re feeling fancy, come for Friday’s performance, which includes a champagne reception with the artists and a post-show conversation between Andrew Sean Greer and Daniel Handler (the face of the mysterious Lemony Snicket). (Julie Potter)

Wed/9–Fri/11, 8 p.m.;

Sat/12, 3 and 7 p.m., $15–$40

Z Space

450 Florida, SF

(415) 626-0453

www.zspace.org

 

THURSDAY 10

FILM

Human Rights Watch International Film Festival

On its opening night, the 2011 Human Rights Watch International Film Festival premieres “Youth Producing Change,” a collection of short films by teenagers from across the globe who’ve candidly captured their day-to-day experiences. As they document their realities on film, they give a face to important human rights and social issues: child labor, LGBT acceptance, the struggles associated with seeking political asylum, environmental contamination, land and water rights, refugee life, and ethnic persecution. Several of the young artists will be on hand to discuss their experiences. (Verzosa)

March 10–31

Tonight, 7 p.m., $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

 

MUSIC

Triumph of Lethargy Skinned Alive to Death and Cave Singers

Though the Murder City Devils haven’t released a new record in almost 10 years and only play the occasional reunion show now and then (and are sorely missed by fans!), most of the band members have gone on to form other outstanding groups,. Two of these come to town tonight on the heels of recent excellent releases. Singer Spencer Moody appears with Triumph of Lethargy Skinned Alive To Death, whose Some Of Us Are In This Together came out in January, while Derek Fudesco brings the Cave Singers, whose No Witch was released last month. (McCourt)

With Lia Ices

8 p.m., $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

PERFORMANCE

Atlacualto (The Ceasing of Water)

José Navarrete and Violeta Luna, SF artists originally from Mexico City, summon the figures of the Aztec god and goddess of water for their multimedia performance, Atlacualto (The Ceasing of Water), which sheds light on the serious ecological issues of water rights and shortages. Highlighting the roles of water as sacred and as a commodity, Navarrete and Luna shift between striking ritualistic tableaus and humorous yet compelling scenes including an overzealous street vendor. The work combines contemporary dance, performance art, new music, visual art installation and video, stirring thought about this life-sustaining substance in the modern world. Water anyone? (Potter)

Thurs/10–Sat/12, 8 p.m., $25

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

 

FRIDAY 11

DANCE

13th Floor Dance Theater

If you like weird, Jenny McAllister is your woman. I mean, would you want to make a piece about the fun of being hit by lightening several times? Even the extreme weather nuts run for cover when Zeus starts throwing his thunderbolts. But then McAllister is not exactly your workaday choreographer: she has shared her skewed — and at times hilariously funny — perspective on weddings, Christmas, and everything that creeps, crawls, and walks. McAllister was half of Huckabay McAllister Dance for 15 years; last summer she started her own company, the 13th Floor Dance Theater. The current program, a collaboration with writer Kim Green and visual designer Michael Oesch, presents two works: Lighting Strikes Anonymous and Under the (Periodic) Table. (Rita Felciano)

Fri/11–Thurs/13, 8 p.m., $15–$18

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org

 

EVENT

Star Trek Convention

Bay Area Trekkers (Don’t call them “Trekkies!”) should set their coordinates for San Francisco this weekend as an official Star Trek convention takes over the Airport Hyatt. Joining them will be two of the most esteemed names in the Trek universe — Leonard Nimoy (Mr. Spock) and Nichelle Nichols (Lt. Uhura) — make appearances, chatting on stage about their careers and meeting with fans. Other notables set to participate include Rene Auberjonois (Odo), Bobby Clarke (the Gorn), and Grace Lee Whitney (Yoeman Janice Rand). Fans also will be able to peruse a galaxy of vendors and participate in seminars, workshops, and parties. Live long and prosper! (McCourt)

Fri/11–Sun/13, times and prices vary (general admission, $20–$40)

Hyatt Regency

San Francisco International Airport

1333 Bayshore, Burlingame

www.creationent.com

 

MUSIC

Pogo

Electronic music has an obvious relationship with technology, but South African Nick Bertke, a.k.a. Pogo, is indebted to one specific medium, YouTube. Pogo first gained attention with a video-based on Alice in Wonderland, which mined the 1951 Disney classic for new sounds, chords, and lyrics to create hypnotically familiar original music. The formula led to further sanctioned work from studios including Pixar. But if that all sounds a little too twee princess, Pogo’s selections surprise, taking musical inspiration from films as wide-ranging as The Terminator (1984) and The Apartment (1960). As previewed in “Gardyn,” a video recorded in his mum’s flower patch, Pogo hopes to extend the project to sample the world. (Ryan Prendiville)

With Lynx

9 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

SATURDAY 12

MUSIC

Red Fang

Rock and roll! Hoochie coo! Truck on out and spread the news: Three bands, spawned from two cities of skinny-jeaned, tatted-up, new-boho meccas. One stage. My guess is Portland, Ore.’s, Danava, with its harmonized fuzz and searing synth, will flow seamlessly from the shreddy, Dixie-prone assault of Lecherous Gaze, an Oakland band boasting members of the now-defunct Annihilation Time and boldly claiming to embody “the future of rock and roll.” With tones of Black Flag, Thin Lizzy, and Queens of the Stone Age, can we up the rock ante any further? Yep: headliners Red Fang, also hailing from Portlandia, culminate a rawk-ous, piss-beer soaked night. Lordy mama, light my fuse. (Kat Renz)

With Danava and Lecherous Gaze

10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

DANCE

“Dance Repertory 2011 Showcase”

As a professional dancer and educator, Donnette Heath became painfully aware of the gap between student dancer-choreographers and the professional world. So for the last 11 years, her dRep company has offered young artists performance opportunities through the yearly Vision Series Dance Festival. Participants are chosen on a first-come, first-served basis, and the festival has attracted participants from Northern California high schools, private studios, and colleges from as far as Modesto. What was initially a modest event has become an intriguing showcase for those interested in what the next generation is up to. Now Heath is taking the next step by putting four of these high-caliber student groups — chosen by adjudication — on the same stage with professionals such as Kunst-Stoff. (Felciano)

8 p.m., $15–$20

Cowell Theater

Fort Mason Center

Marina at Laguna, SF

(415) 345-7575

www.fortmason.org

 

MUSIC

Slough Feg

Cultivating a vaudevillian approach that knows no equal or analog in the world of metal, Slough Feg is a San Francisco treasure. Though the strength of its recent album Animal Spirits has seen the band’s profile rise toward a more deserved apex, you can still catch the quartet in the close confines of the Hemlock Tavern, where the inimitable Mike Scalzi — the Lord Weird Slough Feg Himself — will be within spitting distance. The promised presence of incendiary Washingtonian NWOBHM troupe Christian Mistress and Portland, Ore., doom merchants Witch Mountain just adds to the already burgeoning excitement. (Ben Richardson)

With Christian Mistress and Witch Mountain

9:30 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

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

Newsom’s fancy gift, trip to China

The Chronicle’s got a story today about how Lt. Gov. Gavin Newsom’s personal investments and earnings, documented in an economic disclosure form released by the Fair Political Practices Commission (FPPC), make him a lot richer than his boss, Gov. Jerry Brown.

The form also discloses travel payments and gifts Newsom received in 2010, which makes for some interesting reading. For one, San Francisco’s former mayor evidently received a very expensive pen (made by Louis Vuitton and valued at $398) last year from this guy.

The most significant item in the travel and gifts category, of course, was Newsom’s trip to Shanghai last June, valued at $9,082 and paid for by the San Francisco-Shanghai Sister City Committee. He traveled there with former Mayor Willie Brown and some others for San Francisco week at Expo 2010 Shanghai China.

Evidently, it was a week filled with dancing, singing, and celebration. (And dressing to impress. Check out the creamy, eco-friendly suit Brown wore at this “dazzling” event.)

http://www.youtube.com/watch?v=NZ8rKho15dw

Since becoming lieutenant governor of California, Newsom has continued his efforts to improve business relations between China and San Francisco. Just have a look at his recent article in China Brief, a magazine published by the American Chamber of Commerce in the People’s Republic of China (AmCham-China).

In the article, penned in late January of 2011, Newsom wrote:

“China’s central government stresses the importance of developing their innovation industry sectors–including clean-tech, biotech and information technology (IT)—and is projected to commit over $600 million of government funds to support this development. This overlaps with San Francisco’s core industry sectors. With over 500 tech and new media companies (including leaders such as Salesforce.com, Zynga and Twitter), more than 225 clean-tech companies and a worldclass biotech hub (anchored by the University of California San Francisco), San Francisco brings together internationally-recognized leadership in each of these sectors.”

Meanwhile, a few items on that economic disclosure form suggest that what’s good for business in China is also good for Newsom. His wife’s investment portfolio, the Jennifer Siebel Newsom Trust, includes stocks ranging from $10,001 to $100,000 each in China Valves Technology, a for-profit, “e-learning services provider” called  Chinacast, and a Chinese motor manufacturer called Harbin Electric.

The unseen enemy

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Trevor Paglen’s photography has always been about making the unseen visible. His luminous chromogenic prints unsettlingly reveal that the machinery of war and surveillance controlled by the military-industrial complex is more often than not hiding from plain sight; one need only have the right high-powered lens to gaze back.

One of the ironies of Paglen’s work, owing largely to the great distances from which he must photograph his purposefully obscured subjects, is how minuscule and non-particular they appear within the photographs themselves (this is also why Paglen’s work, in particular, suffers in reproduction). Test sites are twinkling oases amid vast surrounds of rock and sand, orbiting satellites are often no more than streaks of light, and unmanned planes are but black flecks against large expanses of sky. The human element is absent or left implied.

“Unhuman,” the title of Paglen’s second solo show at Altman Siegel, is thus quite appropriate, calling to mind the unmanned and auto-piloted craft that he repeatedly shoots while also drawing attention to the reality that much of this technology will continue to exist and perhaps, one might speculate, even continue to operate long after we have vanished. The recent work in “Unhuman” zeros in on both concerns.

Take the black and white photograph, Dead Military Satellite (DMSP 5D-F11) Near the Disk of the Moon, in which the titular forgotten object, lighted only by a half-veiled moon, is barely visible amid the surrounding darkness of space. The shot could easily be mistaken for a matte painting from Alien, and its seeming impossible vantage point makes Paglen’s dogged tracking of the dead satellite somehow all the more poignant.

Other photographs are less subtle. In the diptych Artifacts, a black and white photograph of the famous Anasazi cliff dwellings in Arizona’s Canyon de Chelly National Park hangs next to one that captures the glowing traces of spacecraft perpetually orbiting thousands of kilometers above the equator. Although the score-marked cliff face in the first photo forms a nice formal counterpoint to the hatch-markings of time-lapsed stars in the second, the pairing (perhaps a nod to Kubrick’s bone-satellite?) offers too heavy-handed and easy a comparison.

But Paglen doesn’t need to spell things out so directly. The show’s most stunning pieces are a series of lush skyscapes in which reaper and predator drones hover mote-like amid large, gaseous swathes of color seemingly lifted straight from a Rothko or Turner. The abstract beauty of these images is held in tension by the near-unseen menace that their titles call attention to. It’s a tension exacerbated by the limits of Paglen’s own machine-enhanced vision, such as when he photographs a similar type of dronecraft in a blurry, enlarged “close-up” two miles from the Indian Springs, Nev., site where it sits parked.

 

TENDERLOIN SATORI

For her debut at Silverman, local Deva Graf looks to both midcentury Minimalist sculpture as well as her ongoing studies at the Mount Baldy Zen Center in California’s ski country. The pairing isn’t so unlikely, and the two installations Graf has created on either side of the small space evoke both the simple shapes and natural materials of de Maria and Smithson sculptures as well as those of objects used in Zen practice.

To the right is Mother’s Vigil, an arrangement of three small stone sculptures of Buddhist deities surrounded by lighted candles (around 40 are used for the piece each day) set into earthenware bowls filled with sand. In Bindu, on the opposite side, a lighted pyramid-shaped candle on stone pedestal sits below an eye-level framed piece of paper with a black India ink square at its center. An arc, also done in India ink, is traced on the wall above both painting and candle.

The features and iconography of each installation overtly solicit the viewer’s contemplation and concentration. Alas, that’s a tall order when floor-to-ceiling windows are the only thing between you and heavily-trafficked Sutter Street.

TREVOR PAGLEN: UNHUMAN

Through April 2

Altman Siegel Gallery

49 Geary, Fourth Floor, SF

(415) 576-9300

www.altmansiegel.com

DEVA GRAF: GOOD MORNING

Through March 12

Silverman Gallery

804 Sutter, SF

(415) 255-9508

www.silverman-gallery.com

 

Stage Listings

0

THEATER

ONGOING

The Dog and Pony Show The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $15-35. Thurs, 8pm; Sat, 8:30pm; Sun, 7pm. Through Sun/27. No horses in this show, actually, and no people either, just dogs. That’s the claim anyway. But while she manages to largely steer clear of ponies, in her new solo show, Michigan-based performance artist and NEA Four alum Holly Hughes ultimately segues not so subtly from her lifelong obsession with dogs to the life lessons we might glean from them. Treats along the way can take the form of amusing personal observations about Dorothy and Toto’s misadventure in the Wizard of Oz, a clip of the Obamas wagging the White House dog on Barbara Walters, or Hughes and her partner of 16 years at home in cozy domesticity—just two women, nine animals, and one sectional sofa. Her own family’s love for animals developed in the absence of much love for anyone else, Hughes tells us. Fortunately her monologue, directed by Dan Hurlin, resists being a bummer thanks to Hughes’ indomitable good nature. It’s her very cute and talented Norfolk terrier who steals the show, however, via a video segment at a Michigan dog competition. Maybe that’s as it should be in this unabashed bow to the bowwow. (Avila)

*Farragut North NOHSpace, 2840 Mariposa. www.opentabproductions.com. $25. Thurs-Sat, 8pm. Through March 5. Former Howard Dean speechwriter Beau Willimon’s formulaic but solidly crafted 2008 play about backroom politics and the seamy side of what’s euphemistically called the American democratic process seems like it’d make a good George Clooney movie. George Clooney thought so too. He’s making it now under the title The Ides of March. You can see it sooner and without all those goddamn movie stars in this low-budget, high-octane staging by OpenTab Productions (Fishing). Stephen (Ben Euphrat) is a 25-year-old wiz of a press secretary for a “maverick” governor heading into a major primary battle on the road to the White House. But an unexpected phone call leads “idealistic” power-lover Stephen into temptation, even as it reveals the real dynamics of the electoral system he thought he’d mastered. A battle for career survival ensues with his former boss (Alex Plant), in which loyalty is a password and decency the first sandbag to drop. Opening night had one or two timing issues and some actors lost in shadow, but director Dave Sikula builds the action well and gets strong performances from an uneven but generally winning cast. Particularly nice work comes from a convincingly unraveling Euphant, a coolly compassionate Carla Pauli (as precocious intern–turned–unwitting pawn), and the formidable Nathan Tucker as Stephen’s slickly conniving counterpart and Mephistopheles of the moment.

*The Last Night of the Barbary Coast SOMArts,934 Brannan; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Fri, 8pm; Sat, 5 and 9pm. Through Sat/26. A fresh theatrical breeze blows in from the rank and churlish alleyways of Gold Rush San Francisco’s notorious red light district in writer/director Jessa Brie Berkner and Idora Park Theatre Company’s beautifully detailed musical tale. Set on and around a gorgeous rotating roulette-wheel stage (crafted by Simon Cheffins and Jack Ruszel, and hauntingly illuminated by lighting designer Zoltan DeWitt), Last Night of the Barbary Coast tells the story of a young Midwestern woman (Tristan Cunningham) who joins a traveling troupe of vaudevillians, searching for an unknown freedom in the chaotic landscape of the Old West as a performer and prostitute. A set of 49er archetypes (smartly outfitted by costumer Lucid Dawn) overflow the ample SOMArts stage with the all the flouncing brawn, sashaying bodices and boozy bluster of a saloon floorshow, alongside live musical accompaniment from vocalist-instrumentalist Freddi Price’s lush and moody nine-piece Alchemical Orchestra. Told in snatches of dialogue, song and pantomime (smooth choreography by Ena Dallas), Berkner weaves an inspired narrative from personal family legend and characters derived from the tarot deck’s Major Arcana. The result is a dynamically staged, alternately somber and spirited exploration of the precarious freedom possible in life and art. (Avila)

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

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

Treefall New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $24-40. Call for dates and times. Through Sun/27. New Conservatory Theatre Center presents a tale of erotic attraction by Henry Murray.

What We’re Up Against Magic Theatre, Fort Mason Center, bldg D; 441-8822, www.magictheatre.org. Wed-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm; Tues, 7pm. Through March 6. Following the popularity of Theresa Rebeck’s Mauritius in 2009, Magic Theatre brings the New York playwright back for the world premiere of a decidedly flimsy comedy about sexual discrimination at a busy architecture firm. Eliza (Sarah Nealis) is the bright and brash new employee who finds herself shut out by an old boys network. Sodden boss Stu (Warren David Keith) resents her heartily for her competence and ambition, while ass-kissing power-jockey Weber (James Wagner) uses the leverage for all its worth. Gender solidarity with sole (but soulless) sister Janice (Pamela Gaye Walker) doesn’t get Eliza very far either. One guy at the firm, Ben (Rod Gnapp), alone knows better (among what amounts to an unbelievably inept staff). Eliza, meanwhile, crafts a form of revenge from her well-guarded solution to the otherwise stymieing “duct problem” in the plans for a new mall, a major account hitting the skids. Ben’s obsession with ducts is something of a key joke here, which ends up being characteristic of a play that stretches its not-very-new conceits thinly over two acts. The glass ceiling, ducts and all, is a bit too transparent in this bloodless production (helmed by artistic director Loretta Greco), leaving precious little to wonder or worry about. (Avila)

 

BAY AREA

The Agony and the Ecstasy of Steve Jobs Berkeley Rep, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Call for dates and times. Through Sun/27. In his latest monologue (playing in repertory with another, The Last Cargo Cult), Mike Daisey explores the deeper implications of his own, and our, obsession with technology through a parallel look at the career of Apple’s megalomaniacal founder, and Daisey’s own reconnaissance trip to Apple’s manufacturing center in southern China. The story is well-crafted, Daisey’s delivery dependably expert—even if his humor occasionally strays into the more obvious, belabored humor of the office water-cooler wag—and the real-world vision of hell he paints in a behemoth suicide-ridden factory called Foxconn (apt if understated name there) all too salient. But the story gives us back as revelation what we already know, surely, about the horrifying labor system behind our various electronic gizmos and much else besides. It’s a kind of liberal conceit to play along with the indignation and head back out into the world fully willing to do battle against corporate capital, or at least sign an online petition. As a performer, meanwhile, Daisey has not budged from the formula he originally borrowed from Spalding Gray but made it even more his own. Indeed, to call his approach “indebted” to Gray is like saying the black market iPhone knock-offs he describes are merely an homage to Apple’s product. Beside his professed love for the latest high tech wizardry comes this uncanny attachment to the utterly low-tech, analog-monologue style of the late master.

Collapse Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $34-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through March 6. Aurora Theatre presents a comedy by Allison Moore.

Seagull Wed, 7:30pm, Thurs-Sat, 8pm; Sun, 7pm; Tues, 8pm. Through Sun/27. Marin Theatre Company presents a new translation of Chekhov’s great play from former Oregon Shakespeare Festival artistic director Libby Appel. The translation feels crisp and lucid, but artistic director Jasson Minadakis’s production remains fairly unmoving despite some effective moments among a skilled cast, including the dependably charismatic Howard Swain (as the doctor). The surprising lack of connection or spark between the principal characters—especially the jaded writer (Craig Marker) and the infatuated, soon-to-be-ruined Masha (an otherwise vivacious Liz Sklar)—results in a dutiful production without that pent-up Chekhovian atmosphere that should envelop and follow you for hours if not days to come. (Avila)

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

BAY AREA

Marga’s Funny Mondays The Cabaret at The Marsh Berkeley, 2120 Allston; (800) 838-3006, www.themarsh.org. Mon/28, 8pm. $10. Marga Gomez hosts a Monday night comedy series.

 

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

 

“My girlfriend is a hacker”: Inside the EFF party

2

On our way to the Electronic Frontier Foundation’s 21st Birthday party, my programmer friend explained to me why, if it weren’t for the work of the good folks over at EFF, neither eBay nor WikiLeaks could do their thing.

See, it’s all about encryption, a topic my friend is slightly obsessed with. It used to be illegal for anyone but the government to send encrypted information through electronic channels, he explained, using technology that’s now commonplace and used in any website that requires a log in. In the 1990s, the EFF came along with a lawsuit to open up the ability to offer a secure transfer of information to the masses. The tech law firm prevailed, and soon it became possible to securely log in to a website and enter your credit card information without fear that it would be intercepted. Hence, the trail was blazed for online shopping.

From minds far more subversive than that of Meg Whitman sprang a very different use of the technology. Utilizing encryption software, WikiLeaks designed a way for whistleblowers to securely submit classified documents to an online repository.

That’s just one of many accomplishments that EFF could point to at its Feb. 16 celebration. A nonprofit, EFF “fights for freedom primarily in the courts,” according to its website, taking on the US government and major corporations on issues that threaten Internet freedom and digital rights. EFF boasts more than 61,000 contacts through its Action Center, which it uses to beat back bad legislation and raise awareness.

Just in the last few weeks, EFF has taken on the FBI over its plan to expand federal surveillance laws, weighed in on net neutrality, fended off against attacks from Congress over its aggressive protection of online privacy, and spearheaded a program that allows web users to surf secure all the time.

The EFF staged its 21st bash at Bricks and Mortar Media (BAMM.tv), a “content creation factory” in SoMa.

The place was adorned with festive, futuristic hacker art, from a flat-screen monitor displaying a word cloud, to a stage setup featuring an aerial array of computer bits and video game controllers.

One room featured a live video feed projected onto the wall with a strobe-light effect, and partygoers delighted in throwing kung-fu kicks in front of it and watching themselves flicker on screen like action figures seconds later.

In true tech-pioneer fashion, the night featured live nerdcore performances. What’s nerdcore? Let me put it this way. When the star of Dual Core shouts into the mic, “Throw your hands in the air if you’ve got mad skills,” the people he’s addressing really do have mad skills – like programming, web design, developing apps for mobile devices, managing vast databases, creating video games, and yes, even hacking. One of Dual Core’s raps included the line, “My girlfriend is a hacker.” He’s clearly smitten.

Several chiptune artists also performed, including Crashfaster  — “a chip musician, retro remixer, and low-bit concert promoter whose outreach has galvanized the Bay Area’s vibrant chiptune community,” according to EFF – and Trash80, “the eminent chip musician behind ArduinoBoy — software that helps integrate the Nintendo Game Boy into any existing electronic music arsenal.”

I had the honor of chatting with Doctor Popular, described on EFF’s site as a “professional yo-yoer, nerdcore artist, and innovator.” The good doctor makes music using only an iPhone, iPad, and some wires. He told me he writes songs using a handful of apps while riding CalTrain from San Francisco to San Mateo for his day job at a company that makes video games.

And oh, the nerdy crowd! The knowing glint in their eyes, those people who really understand how to manipulate technology. They program software, develop apps, eat, sleep and breathe online communication, whip out iPhones and Droid phones and talk about video games, latest versions of browsers and operating systems, and other matters that this reporter could not quite comprehend, because they were using acronyms.

They were gracious. “Sorry,” some one said to me after launching into a paragraph of alphabet-soup gibberish to my programmer friend. “Sometimes I forget, and then I notice people’s eyes glazing over.”

And yet, when you hang out with hardcore nerdcore fans, you learn the most fascinating things. For example, how when you begin typing “Torrent” into a Google search engine, the word “torrent” will not show up in the automatic feed that suggests search terms. Why? Well, there are theories.

Send in the clowns

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arts@sfbg.com

STAGE/PUPPETRY It’s been more than 10 years since Brooklyn-based Kevin Augustine brought his life-sized puppets and existential worldview to the Bay Area, and during that time he’s not been idle. Augustine’s last full-length show, 2008’s Bride, a charged exploration of theism, garnered much critical acclaim as well as an UNIMA-USA Citation of Excellence in Puppetry — the profession’s highest honor.

Just one month after Bride‘s successful New York City run, Augustine was already nurturing the delicate sprouts of the show that has become Hobo Grunt Cycle. After briefly considering a Civil War theme, Augustine expanded his vision to encompass the broader topics of modern warfare: weapons technology, the psychological effects of war, the physical effects of violence. He began to direct his creative energies toward answering a question he felt central to the topic: What progress have we made?

“The whole idea of warfare, of training ourselves to kill other human beings, seems so archaic,” he explains over the phone.

Part of Augustine’s brainstorming process includes sketching possible characters. One of his images, a soldier in fatigues with the face of a world-weary clown, helped spark his conviction that the hierarchies between the world of the soldiers and the world of the clowns were very similar. “There are always the clowns who get hit in the face with the pie,” he points out. Drawing from the comparison between low-caste clowns getting knocked around by their “superiors” and low-ranking Dogfaces getting shafted on the battlefield by theirs, Augustine started to craft Hobo Grunt Cycle‘s narrative around a hobo clown (played by himself), while adding a parallel narrative that involves war veterans (played by puppets).

The use of tramps and clowns as protagonists is not exactly new territory for Augustine — his previous productions Big Top Machine and Once Vaudeville feature one or the other. Both can be likened to the classic archetype of the fool or trickster, which makes them perfect for illustrating uncomfortable human truths via puppetry. What’s different for Augustine as a playwright is that most of Hobo Grunt Cycle is performed in silence, a nod to the tradition of pantomiming tramp-clowns such as Emmett “Weary Willie” Kelly, as well as a symbolic comment on the blanket secrecy that shrouds many veterans of conflict during and after their tours of duty. When one soldier character is finally allowed some exposition, Augustine is representing vets such as the “Winter Soldiers,” who have been able to break this silence and speak out about their experiences.

More than just the rich, dark nuances of Augustine’s playwriting set Lone Wolf Tribe apart. The puppets themselves are incredibly distinctive. Trained in theatre and — briefly — sculpture, Augustine had no formal puppetry experience when he began working on his first puppet show in 1995.

“I started as a solo performer,” he jokes. “But it got lonely, so I added the puppets.”

Starting from scratch, without preconceived expectations of puppetry’s limits, Augustine began creating life-size puppets to his own singular specs: warped, clumsy, vulnerable bodies with grotesque features and complex emotions. The foam-rubber he carves his puppet heads from allows for an unsettling realism in terms of facial textures — sleepy half-lids, arched brows, curled lips, rutted terrains of wrinkles and lines. Most of his puppets are manipulated by whole teams of hired-gun puppeteers, who must perform heroic acrobatics as they make the puppets dance, shamble, and limp across the stage.

So does Hobo Grunt Cycle answer its central question? Augustine remains unconvinced that progress has been made.

“I believe we haven’t progressed in terms of violent conflict because we’re stuck in our adolescent stage of development,” he says ruefully. “We see things only from our point of view, and always in terms of right and wrong, mine and yours, us and them — which prevents us from seeing that all human beings [and all puppets?] have the same needs.” *

HOBO GRUNT CYCLE

Thurs./17 through March 5; $15-$25

Exit Theatre

156 Eddy, SF

(415) 673-3847

www.theexit.org

Our Weekly Picks: February 16-22

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WEDNESDAY 16

MUSIC

Dum Dum Girls

Dee Dee, bandleader of Dum Dum Girls, a 1960s pop-meets-early punk, all-girl four piece, is no dummy. Named not for the lollipops, but after the Vaselines’ album Dum-Dum and the Iggy Pop song “Dum Dum Boys,” DDG was initially a solo project on Dee Dee’s DIY record label, Zoo Music. To take her music beyond her bedroom, she called on the help of her friends: Jules (guitar and vocals), Bambi (bass), and Sandy (drums and vocals). DDR’s most recent album, Sub Pop release I Will Be, features Nick Zinner of the Yeah Yeah Yeahs, Crocodiles’ Brandon Welchez, and Los Angeles musician Andrew Miller. (Jen Verzosa)

With Minks and Dirty Beaches

9 p.m., $12

Bottom Of The Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

THURSDAY 17

EVENT

The Tribes of Burning Man

Either you are or you aren’t: I’m an aren’t. As in, not a Burning Man person. But that won’t stop me from trumpeting the release of The Tribes of Burning Man, the end result of six years of work by Steven T. Jones, known around the Guardian as Steve the City Editor and on Burning Man’s playa as “Scribe.” Chances are you’ve seen Jones’ Burning Man coverage in the Guardian’s pages over the years; his new book examines the history and philosophy of the annual event, as well as the ways that Burning Man has become a year-round lifestyle for some and a (counter-) cultural touchstone for hundreds of thousands of desert-goers. The Tribes launch party features readings by Jones and appearances by Burning Man leader Larry Harvey, circus performers Fou Fou Ha, beat boxer Kid Beyond, and other colorful characters from the book. (Cheryl Eddy)

7 p.m., $5 ($20 with book)

Project One

251 Rhode Island, SF

www.p1sf.com

 

MUSIC

3 Inches of Blood

Though it has endured many lineup changes, 3 Inches of Blood is always instantly recognizable, thanks to the falsetto assault of vocalist Cam Pipes (his real name). Drawing on power metal and thrash but hewing closely to the classic sounds of the New Wave of British Heavy Metal, Pipes and his Vancouver-based band have plied their rock the world over. Fire Up the Blades (2007) experimented with polished, immaculate production, with Slipknot drummer Joey Jordison producing, but 2009 release Here Waits Thy Doom stripped away the gloss, returning the band to its raw, urgent roots. Now that it’s coming to town, you won’t have to wait for your doom any longer. (Ben Richardson)

With Eluveitie, Holy Grail, System Divide

7:30 p.m., $20

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

FILM

“Around the World in 33 Films: The Jeonju Digital Project”

The still-young Jeonju International Film Festival is exceptional for privileging film culture over film markets. To take one significant example of this emphasis, for each edition the festival commissions three half-hour digital films by major auteurs. It’s almost impossible to imagine an American festival apportioning funds in this internationalist, art-first manner. Yerba Buena Center for the Arts screens all 33 Jeonju commissions from 2000-10 over the next two weeks. It’s an ambitious — and, one imagines, costly — program, so make it count. This first show features an especially strong class of 2010 (James Benning, Denis Côté, and Matías Piñeiro), with works by the new century’s preeminent film artists (Pedro Costa, Apichatpong Weerasethakul, Jia Zhangke, etc.) waiting in the wings. (Max Goldberg)

Feb 17–27 (2010 program: tonight, 7:30 p.m.), $8

YBCA Screening Room

701 Mission, SF

(415) 978-2700

www.ybca.org

 

FRIDAY 18

MUSIC

Chromeo

At first listen, Chromeo’s music would seem to run the risk of being a little tough to take seriously — if only it wasn’t so damn well-executed. Instead, the Montreal-based electro-funk duo creates perfectly retro-minded jams that skimp refuse to scrimp on creative songcraft or purely visceral dance floor diversion. The fantastic talk box solos don’t hurt either. Taking its cues from classic era funk, Hall and Oates-style blue-eyed soul, and modern synthpop, Chromeo’s 2010 album Business Casual has led to a slew of strong reviews, festival appearances, and a top 10 slot on Billboard’s dance/electronic chart. (Landon Moblad)

With MNDR and the Suzan

8 p.m., $25

Fox Theater

1807 Telegraph, Oakl.

(510) 548-3010

www.thefoxoakland.com

 

MUSIC

Bart B More

How old is Bart B More? In videos from his recent Asian tour, he’s got the pallid complexion that my friends did in high school. Maybe a result of the DJ lifestyle, spending too much time in clubs around 2 a.m. (or being Danish). The rest of Bart B’s existence, from what I can tell, consists of lifting weights and looking at Lamborghinis. Ah, to be an international beat maker, an up-and-comer who’s reputedly worth checking out. Anyway, Blasthaus resident Nisus has proven himself a reliable dance floor driver, delivering a binaural set at the Treasure Island Music Festival and excellently setting up the Twelves earlier this month. (Ryan Prendiville)

With Nisus and Tron Jeremy

9 p.m., $12.50

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

MUSIC

Mark Growden

Back from another long stretch of touring and recording, wandering minstrel Mark Growden lands at the Brava Theatre with a brand new album Lose Me in the Sand and a posse of old-school Tucson troubadours as the backing band. Less sweepingly-thematic than 2010’s Saint Judas, the new album combines oddments of philosophy, romance, humor, and reminiscence, covering familiar tunes in startlingly unfamiliar ways, plus a handful of originals including a breakneck-paced courting song “Settle in a Little While” and a sepia-toned hometown lament “Killing Time.” Growden’s long-time collaborator and Porto Franco labelmate Seth Ford Young opens and also releases his eponymous debut album. (Nicole Gluckstern)

With Seth Ford Young

Fri/18–Sat/19, 8 p.m., $20–$50

Brava Theatre

2781 24th St., SF

(415) 641-7657

www.brava.org

 

PERFORMANCE

Move Thru Me

“I’m with the band” may sound smoother than “I’m with the dance company,” although either could be stated by the performers of Move Thru Me, a collaboration of Christine Cali’s Cali & Co Dance and Matthew Langlois’ the Welcome Matt band. A hybrid of rock ‘n’ roll and modern dance, the performance responds to the pursuit of a creative life and ongoing artistic practice. Prior to joining forces, Cali and Langlois each worked as independent artists for more than 15 years. The work includes a soundtrack of original music as well as online dance videos. As with any good concert tour — T-shirts! (Julie Potter)

Fri/18–Sat/19, 8 p.m. (also Sun/20, 5 p.m.), $10–$20

Dance Mission Theater

3316 24th St., SF

(415) 826-4441

www.dancemission.com

 

SATURDAY 19

EVENT

“From Produce to Production: New Traditions in Bay Area Food Culture”

Bay Area Now (BAN6), a triennial celebrating local artists from diverse disciplines, begins with a series of Bay Area-centric conversations about food, environmentalism, futurism, community activism, radical identities, and technology. The first roundtable discussion addresses new practices for growing, preparing and shopping for food, during which YBCA Executive Director Ken Foster will speak with food luminaries Bryant Terry, eco-chef and activist from Oakland and author of Vegan Soul Kitchen; Novella Carpenter, journalist, farmer and author of Farm City; and Leif Hedendal, a self-educated chef at San Francisco’s Greens and Oakland’s Citron restaurants, whose Bay Area culinary events combine art and food. (Potter)

1 p.m., free

Yerba Buena Center for the Arts

701 Mission, SF

(415) 987-2787

www.ybca.org

 

EVENT

The Fortune Cookie Chronicles

Planning on consuming a little New Year’s nosh during this weekend’s bunny-fueled festivities? Then you might be interested to know that the Japanese — not Chinese — invented the fortune cookie; Chinese takeout cartons can be found everywhere but China; and chop suey may or may not be an elaborate American hoax. I see all you smartphone nerds plinking “chop suey” into snopes.com right now, but save yourselves the trouble: New York Times reporter and author of The Fortune Cookie Chronicles Jennifer 8. Lee is here to unravel the history of Chinese cookery — and just in time for the Chinese New Year. The book is also seasoned with a healthy smattering of SF history to spice things up. (Emily Appelbaum)

2:30–4 p.m., free

San Francisco Public Library

Chinatown Branch

1135 Powell, SF

(415) 557-4400

www.sfpl.org

 

SUNDAY 20

EVENT

“San Francisco Mixtape Society presents Guilty Pleasures”

Listening to Ke$ha on repeat? Excited about Britney Spears’ upcoming release, Femme Fatale? Love to share music? Then the San Francisco Mixtape Society has you covered. It presents “Guilty Pleasures,” a night of music mixtape exchanges. Assemble a mixtape according to the theme in any format — cassette, CD, or USB — and leave with a fellow attendee’s mixtape; they’ll be exchanged throughout the evening via a raffle. Those who come armed with tunes will receive a free drink — and all the joy guilty pleasures can provide. (Verzosa)

4–6 p.m., free

Make-Out Room

3225 22nd St., SF

(415) 647-2888

www.sfmixtapesociety.com

 

MONDAY 21

EVENT

“The Cleveland Confidential Book Tour”

As the guitarist for Rocket from the Tombs and the Dead Boys, Cheetah Chrome helped write the sonic blueprint for punk rock — and now he’s written an autobiography, Cheetah Chrome: A Dead Boy’s Tale From The Front Lines of Punk Rock, which chronicles his explosive life and his role in one of the most infamous movements in modern pop culture. Joining him for “The Cleveland Confidential Book Tour” are Mike Hudson from the Pagans and Bob Pfeifer from Human Switchboard; don’t miss your chance to hear the story straight from the mouths of a triumvirate of punks’ founding fathers. (Sean McCourt)

Tonight, 6 p.m., $10

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com.

Tues/22, 7 p.m., free

Moe’s Books

2476 Telegraph, Berk.

(510) 849-2087

www.moesbooks.com

Feb. 23, 7 p.m., free

Gallery Fifty24

218 Fillmore, SF

www.noisepop.com

 

TUESDAY 22

MUSIC

Odd Future

The Internet has birthed yet another rap group with disturbing lyrics (see also: Die Antwoord), but this time there’s no doubt regarding the collective’s genuine intentions. Members of Los Angeles hip-hop skate crew Odd Future Wolfgang Kill Them All (OFWKTA) range in age from 16 to 23 and wax philosophical about typical teenage concerns, from school and love to murder and bondage. Sometimes the music comes off like a hip-hop parallel to horror metal, but ultimately Odd Future is less about fetishizing violence than it is about offering an unfettered forum for the group’s personalities. Though their ages imply novelty, listening to the sharp, dense flow of Earl Sweatshirt or the lo-fi contorted funk of Tyler the Creator confirms there can be no doubt that these kids are headed for big, big things. (Peter Galvin)

9 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

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

Stage Listings

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THEATER

ONGOING

Clue Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-35. Wed-Fri, 8pm; Sat, 7 and 10pm. Through Sat/19. A play based on a film based on a board game is just the kind of tangled genealogy much goodtime theater is made of these days. So there’s nothing too new about Boxcar’s stage adaptation of the manic 1985 comedy derived from a once popular Parker Bros. diversion. In fact, it’s at least the second stage adaptation of same to be offered in San Francisco. (Impossible Productions remounted its version at the Dark Room just last year.) Nevertheless, led by adapter-director Nick A. Olivero, Boxcar’s production pursues its vision like a mad yen, with a loving fidelity and self-referential glee that are not so much inspired as just plain zealous (although Olivero’s scenic design does reach new heights: a TV-toned board-game set that the audience peers down on from six-feet-high balconies ringing the stage). Performances are dutiful and solid for the most part, with especially nice work from Brian Martin (as the butler) and J. Conrad Frank (as Mrs. Peacock). Although there’s something vaguely and not unpleasantly hypnotic about it all, groups of cult-film line-gleaners may be the best audience for this one. (Avila)

*Farragut North NOHSpace, 2840 Mariposa. www.opentabproductions.com. $25. Thurs-Sat, 8pm. Through March 5. Former Howard Dean speechwriter Beau Willimon’s formulaic but solidly crafted 2008 play about backroom politics and the seamy side of what’s euphemistically called the American democratic process seems like it’d make a good George Clooney movie. George Clooney thought so too. He’s making it now under the title The Ides of March. You can see it sooner and without all those goddamn movie stars in this low-budget, high-octane staging by OpenTab Productions (Fishing). Stephen (Ben Euphrat) is a 25-year-old wiz of a press secretary for a “maverick” governor heading into a major primary battle on the road to the White House. But an unexpected phone call leads “idealistic” power-lover Stephen into temptation, even as it reveals the real dynamics of the electoral system he thought he’d mastered. A battle for career survival ensues with his former boss (Alex Plant), in which loyalty is a password and decency the first sandbag to drop. Opening night had one or two timing issues and some actors lost in shadow, but director Dave Sikula builds the action well and gets strong performances from an uneven but generally winning cast. Particularly nice work comes from a convincingly unraveling Euphant, a coolly compassionate Carla Pauli (as precocious intern–turned–unwitting pawn), and the formidable Nathan Tucker as Stephen’s slickly conniving counterpart and Mephistopheles of the moment.

Next to Normal Curran Theatre, 445 Geary; (888) SHN-1799, www.shnsf.com. $30-99. Call for dates and times. Through Sun/20. Diana Goodman (Alice Ripley) is a woman too restlessly witty and big-souled to sit easy in the suburban home she shares with her husband (Asa Somers), 16-year-old daughter (Emma Hunton), and 18-year-old son (Curt Hansen). What’s worse, the 18-year-old died as a baby about 17 years ago, and has not been taking the news lying down. A mother’s grief winds through this sometimes clever, mostly sappy, and ultimately tedious Broadway rock musical about a bipolar woman and the impact of her illness on her family. Director Michael Greif’s (Rent) kinetic staging takes place across a three-level industrial-box set that houses musicians in its outer corners as well as the stereotypical family dwelling in its center. The set’s outer façade (moving panels featuring giant eyes and mouth) meanwhile suggests the whole thing as a model of the mind we’re witnessing come apart. The 2008 musical by Brian Yorkey (book and lyrics) and Tom Kitt (music) won a Pulitzer for its supposedly bold depiction of mental illness. But despite reasonable scoffing at the paternalistic, pharmacologically fueled regime of mainstream treatment (embodied by Jeremy Kushnier’s various doctors), neither Tony-winner Ripley’s jagged performance nor Yorkey’s book transcends a stultifying and finally grating set of narrative clichés, which the driving, mostly generic-sounding score only makes more obvious. A Woman Under the Influence this isn’t. (Avila)

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

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

Spalding Gray: Stories Left to Tell Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $10-25. Thurs-Sat, 8pm. Through Sat/19. Originally conceived as a one-off benefit show by Gray’s widow, Kathleen Russo and director Lucy Sexton, Spalding Gray: Stories Left to Tell intersperses segments of some of Gray’s most famous works—Swimming to Cambodia, Gray’s Anatomy, Monster in a Box—with excerpts from his journals, the stories left to tell. The original concept to have five actors representing five aspects of Gray’s words—adventure, career, family, journals, and love—seems to have been crafted with the specific purpose of allowing several people the opportunity to “speak for” Spalding, without actually performing “as” Spalding, appropriate enough for a celebratory memorial, but hard to accept as a capital-P play. It’s a conundrum that Custom Made Theatre cannot solve. Half the cast convey by their tone and manner the casual ease of campfire story-tellers, while the other half take a more performative approach to their recitations, particularly a smooth Patrick Barresi as “Career” and the likable Richard Wenzel as “Love.” The stories themselves are often hilarious, including Gray’s turns as a “Bowery Bum,” a jailbird in Nevada, and a sweat lodge initiate, while the stories that are not side-splittingly funny are poignant, painful, and even unflinchingly sentimental, especially in regards to his young sons. But as a work of theatre, they underwhelmed. (Gluckstern)

Treefall New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $24-40. Call for dates and times. Through Feb 27. New Conservatory Theatre Center presents a tale of erotic attraction by Henry Murray.

What We’re Up Against Magic Theatre, Fort Mason Center, bldg D; 441-8822, www.magictheatre.org. Wed-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm; Tues, 7pm. Through March 6. Following the popularity of Theresa Rebeck’s Mauritius in 2009, Magic Theatre brings the New York playwright back for the world premiere of a decidedly flimsy comedy about sexual discrimination at a busy architecture firm. Eliza (Sarah Nealis) is the bright and brash new employee who finds herself shut out by an old boys network. Sodden boss Stu (Warren David Keith) resents her heartily for her competence and ambition, while ass-kissing power-jockey Weber (James Wagner) uses the leverage for all its worth. Gender solidarity with sole (but soulless) sister Janice (Pamela Gaye Walker) doesn’t get Eliza very far either. One guy at the firm, Ben (Rod Gnapp), alone knows better (among what amounts to an unbelievably inept staff). Eliza, meanwhile, crafts a form of revenge from her well-guarded solution to the otherwise stymieing “duct problem” in the plans for a new mall, a major account hitting the skids. Ben’s obsession with ducts is something of a key joke here, which ends up being characteristic of a play that stretches its not-very-new conceits thinly over two acts. The glass ceiling, ducts and all, is a bit too transparent in this bloodless production (helmed by artistic director Loretta Greco), leaving precious little to wonder or worry about. (Avila)

 

BAY AREA

The Agony and the Ecstasy of Steve Jobs Berkeley Rep, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Call for dates and times. Through Feb 27. In his latest monologue (playing in repertory with another, The Last Cargo Cult), Mike Daisey explores the deeper implications of his own, and our, obsession with technology through a parallel look at the career of Apple’s megalomaniacal founder, and Daisey’s own reconnaissance trip to Apple’s manufacturing center in southern China. The story is well-crafted, Daisey’s delivery dependably expert—even if his humor occasionally strays into the more obvious, belabored humor of the office water-cooler wag—and the real-world vision of hell he paints in a behemoth suicide-ridden factory called Foxconn (apt if understated name there) all too salient. But the story gives us back as revelation what we already know, surely, about the horrifying labor system behind our various electronic gizmos and much else besides. It’s a kind of liberal conceit to play along with the indignation and head back out into the world fully willing to do battle against corporate capital, or at least sign an online petition. As a performer, meanwhile, Daisey has not budged from the formula he originally borrowed from Spalding Gray but made it even more his own. Indeed, to call his approach “indebted” to Gray is like saying the black market iPhone knock-offs he describes are merely an homage to Apple’s product. Beside his professed love for the latest high tech wizardry comes this uncanny attachment to the utterly low-tech, analog-monologue style of the late master.

Collapse Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $34-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm (also Feb 19, 2pm). Through March 6. Aurora Theatre presents a comedy by Allison Moore.

Grapes of Wrath Marion E. Green Black Box Theater, 531 19th, Oakl; www.theatrefirst.com. $10-30. Thurs-Sat, 8pm; Sun, 2pm. Through Sun/20. TheatreFIRST presents Frank Galati’s stage adaptation of the John Steinbeck novel.

Heartbreak House Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-0999, www.berkeleyrep.org. $12-15. Fri-Sat, 8pm (also Thurs/17, 8pm). Through Sat/19. Actors Ensemble of Berkeley presents the George Bernard Shaw comedy set just before World War I.

The Last Cargo Cult Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Call for dates and times. Through Sun/20. As fans of J. Maarten Troost have learned, life on an island “paradise” is far less idyllic than the imagination yearns to believe. So it’s hardly surprising that Mike Daisey’s monologue The Last Cargo Cult begins with a white-knuckle ride in a prop plane piloted by a man with a milky eye. Daisey’s destination, the Pacific island of Tanna, is the location of one of the world’s last so-called “cargo cults”, and their big celebration “John Frum Day” is approaching. Daisey’s intention to hang out at the festivities smacks a little of entitled voyeurism, but the parallel he manages to draw between the complexities of a religion dedicated to a mythical cargo of “awesome shit”, and our own dedication to the acquisition of same, is a striking one. From our almost blind faith in the value of basically valueless currency, to our even blinder faith that indenturing ourselves by debt will enrich us, the foundations of our own “cargo cult” are revealed smartly by Daisey to be just as precarious as if built at the base of a volcano as in Tanna. Still, I found the most revealing thing about the evening to be the moment when the couple next to me took off with a $100 bill they’d acquired free-of-charge at the door, to which I can’t help but ask them: “Did you get your money’s worth?” (Gluckstern)

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 826-5750, www.themarsh.org. $20-50. Fri, 8pm. Through Fri/18. Brian Copeland brings back his long-running solo show.

Seagull Wed, 7:30pm, Thurs-Sat, 8pm; Sun, 7pm; Tues, 8pm. Through Feb 27. Marin Theatre Company presents a new translation of Chekhov’s great play from former Oregon Shakespeare Festival artistic director Libby Appel. The translation feels crisp and lucid, but artistic director Jasson Minadakis’s production remains fairly unmoving despite some effective moments among a skilled cast, including the dependably charismatic Howard Swain (as the doctor). The surprising lack of connection or spark between the principal characters—especially the jaded writer (Craig Marker) and the infatuated, soon-to-be-ruined Masha (an otherwise vivacious Liz Sklar)—results in a dutiful production without that pent-up Chekhovian atmosphere that should envelop and follow you for hours if not days to come. (Avila)

Strange Travel Suggestions The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through Sat/19. Jeff Greenwald stars in a one-man show about the vagaries of wanderlust.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

BAY AREA

Marga’s Funny Mondays The Cabaret at The Marsh Berkeley, 2120 Allston; (800) 838-3006, www.themarsh.org. Mon/14, 8pm. $10. Marga Gomez hosts a Monday night comedy series.

 

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

 

The Ed Lee documents

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One of the depositions taken in a case involving fraud and corruption in city contracting contains some fascinating detail about how City Hall worked under Mayor Willie Brown — and the role the current mayor, Ed Lee, played in the behind-the-scenes action. The deposition of Deborah Vincent-James, who used to run the city’s technology purchasing agency, was taken by Matt Springman, an attorney with Gonzalez and Leigh. You can read the whole thing here (pdf).It gets pretty interesting around page 49, and the Ed Lee/Willie Brown stuff starts on p. 85.

Where the Magik happens

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arts@sfbg.com

MUSIC Because of the rusty pieces of corrugated sheet metal crudely affixed to its exterior, I almost mistake Tiny Telephone, a recording studio, for a very large, dilapidated storage unit. But on a brick-red door, alphabet letter magnets spell out “tiny,” and only bits of dried glue and fragments of “telephone” remain. This must be it.

Through the door, a two-wall art installation made of reclaimed redwood (by resident artist Claire Mack) in the lounge/kitchen area catches my eye. I’ve seen pictures of it on the studio’s website. This is it. It’s easy to imagine Death Cab For Cutie or San Francisco songstress Thao drinking beer, shooting the shit, and jamming in this room.

Once I plop down on the couch, pop-folk icon John Vanderslice, owner and manager of Tiny Telephone, pulls up a chair. Minna Choi, the artistic director of Magik*Magik Orchestra, the studio’s official house orchestra, takes a seat on a tan area rug.

“It’s probably like how everyone feels when you’re from San Francisco and you move to the East Coast and there are no good taquerias,” Vanderslice says, laughing, when I ask him about the history of Tiny Telephone. “I was in a small local band,” he elaborates. “We wanted to make a record. We toured every local studio. It was like there were only either rehearsal places with garbage on the floor, or posh, unaffordable, hardwood-floor, uptight-owner situations. There was nothing in the middle.”

In September 1997, Vanderslice opened Tiny Telephone to give independent musicians the opportunity to make affordable hi-fi recordings. Magik*Magik Orchestra entered the picture in 2008. “We wanted to simplify the process of incorporating classically-trained musicians into a nonclassical environment,” Choi says. “So I e-mailed [John].”

“It was like genius!” Vanderslice blurts out.

Adding the orchestra to Tiny Telephone is in tandem with Vanderslice’s evolution as an artist. On 2004’s Cellar Door (Barsuk), he strayed from electric guitar and used acoustic guitar and keyboards. “[Electric guitars] really take up a lot of territory,” he explains. “It’s a little bit like a cock-block. [Keyboards] can sit in one area, and then you can put something directly above them and below them in the frequency spectrum, so there’s plenty of room for, like, a French horn.” This year’s White Wilderness (Dead Oceans), finds Vanderslice’s tenor accompanied by acoustic guitar and a 19-piece ensemble gleaned from Magik*Magik Orchestra’s roughly 180-person membership.

“It’s great to go in a different direction,” Vanderslice says. “It’s great to move on.”

We all stand to start the tour. As I walk across the aqua blue floor, my hand grazes Fender amps that line the walkway to the main recording room. Inside, it’s dimly lit. When Vanderslice flips a switch, a white deer head becomes illuminated — like a statue of an idol — by Christmas lights strung on a pump organ. In one breath, he enumerates some of the equipment that is available: 14 guitar amps, a Hammond b3, a grand piano, keyboards, an EMT reverb plate. The lexicon of music recording equipment is dizzying. Vanderslice points to the walls: “These are all untreated cedar panels. This is cotton batting.” As we leave the room, he pauses to mention that the studio has been booked for more than 400 days in a row.

We climb a few rickety stairs to enter the control room, where we’re joined by Ian Pellicci, Tiny Telephone’s house engineer. With its UV meters, faders, and colored knobs, the room’s Neve console, built in 1976 for the BBC in London, looks like a prop taken from the bridge of the original Star Trek‘s Enterprise. This is the tape machine,” says Choi. “I’m proud to say that I was here when they put all of the light bulbs in, then all of a sudden it came alive like Wall-E.”

To encourage analog recording, Tiny Telephone provides free two-inch tape to clients. “Not that digital is terrible. But the technology has a ways to go,” Pellicci says. “There’s a greater dimension to the sound [of analog].”

Next we shuffle into the isolation room. “We’re basically in an anechoic isolation room where people can do vocals, drums — ” Vanderslice begins to explain. But with the room’s door open, I can hear the raucous sounds of construction taking place down the hallway.

Next door, what once was an auto shop is being converted into a separate studio, a “B Room” Opening in June, the B Room will be set up as an arts nonprofit modeled after The Bay Bridged and 826 Valencia. Unlike Tiny Telephone, which costs $350 per day plus engineers, the B Room will cost $200 daily. “We wanted to give bands a low-cost option to record on a tape machine, on a real console with microphones, in a space where they can make as much noise as they want,” says Vanderslice.

“With this other price point, [Vanderslice] is tapping into another group of bands and artists,” Choi adds. “There are probably so many diamonds in the rough — crazy talent waiting to be discovered.”

As the tour winds down, Vanderslice shares his vision of Tiny Telephone and the B Room: “We’re going to put a picnic table outside, a basketball hoop — we’re going to build community. And that’s what it’s all about.”