Television

Burning Bacon

7

news@sfbg.com

Bacon has its own buzz these days, infused with an almost cult-like enthusiasm that’s hard to explain. But the uptick in business that my employer, the Bacon Bacon Food Truck, has recently experienced can hardly be explained by the pork product’s faddish popularity.

Bacon Bacon is in demand more than ever, and it’s all because a small group of neighbors who raised a stink inadvertently set off a national media craze, thereby inspiring bacon-loving supporters to come out in droves and place their orders.

When Jim Angelus opened a neighborhood breakfast sandwich shop five blocks from where he lives with his wife and daughters in the Haight, he never imagined he’d set off a media feeding frenzy about bacon. But that’s what happened.

Jim is my boss. I am a news intern at the Bay Guardian and a recent hire at the Bacon Bacon Food Truck as a line cook. Our menu is crammed full of items like bacon-wrapped fried chicken, a bacon-filled parody of the It’s-It ice cream sandwich called the “That’s-That,” and in quintessential San Francisco fashion, a BLT with goat cheese called “THE L.G.B.T.”

We’re open at Brick and Mortar, on Mission and Duboce streets in San Francisco, for lunch service. We recently reclaimed our original Frederick Street location, pending installation of a costly ventilation system replacement to be OK’d by the Planning Commission as a result of a dustup stemming from neighborhood complaints.

Just a typical San Francisco small business, right?

But ever since a group of neighbors in proximity to our location in the Haight filed complaints with the San Francisco Planning Department about the smell of bacon, sparking a media firestorm, things have gotten a bit surreal.

A Wall Street Journal reporter recently interviewed us for what would become a front-page article. Bacon Bacon even made Saturday Night Live in May, with Amy Poehler informing the nation that a “San Francisco bacon restaurant” was closed for its bacon smell.

Bloggers blogged, tweeters tweeted, and Bacon Bacon was thrown into the spotlight when ABC’s Good Morning America aired a segment titled, “big bacon battle sizzling.”

That media spectacle started to smell like business. Random San Franciscans, many of whom had only heard of us through recent headlines, began to walk up to the truck, stop by the new location and espouse gestures of solidarity to a crew of cooks bewildered by their sudden celebrity status. Many of these supporters had never even eaten the food.

It all started with a series of short San Francisco Examiner articles by Andrea Koskey, with catchy headlines like “Bacon Bacon Aroma Set To End,” which went viral in May. “One of the things I’ve taken away from all of this,” says Angelus, “is how few people called me [as the story was going viral] and asked questions.”

Maybe because it was about bacon, the media attention was largely sensational. “The Haight-Ashbury district was all about peace and love until bacon entered the picture,” Vauhini Vara’s Wall St. Journal story began on July 11, the day Bacon Bacon’s Planning Commission hearing was scheduled. When I asked Vauhini why she was doing the piece, said she just wanted to do more “fun” articles.

“Plus,” she added, as if to explain everything, “it’s bacon!”

 

THE SIZZLE

Angelus started the Bacon Bacon food truck two years ago, moving away from the late nights and weekends of the restaurant business to do a lunch-only truck so he could have more time with his family.

But, as he said the day before the hearing as a recently hired personal assistant scrolled through journalists’ emails, “a lot of this has been a huge distraction in running a business.”

The Wong Family, which owns Ashbury Market, offered Jim a lease on the deli portion of their building to operate as a commissary for the Bacon Bacon Food Truck (which then had four employees, Angelus included), and they started making bacon. The Planning Department stipulated that Angelus needed a “limited use restaurant” permit to operate. That’s when the trouble started.

Shortly after Angelus opened his doors in January of 2012, a handful of neighbors complained about the smell of bacon and the influx of bacon lovers to the new restaurant in their residential neighborhood. Contrary to SNL-fueled legend, none of the neighbors “complained to the cops that [they] smelled bacon.” Instead, they filed a discretionary review application, a process in which anyone can urge the Planning Department to take action if it’s found that the case demonstrates an exceptional and extraordinary circumstance. The Health Department allowed the restaurant to operate in the interim, as long as issues with the Planning Department were ultimately resolved.

But when the issue still wasn’t resolved more than a year later, the Health Department imposed a 75-day deadline by which the planning permits must be secured. Once that deadline passed in May, Bacon Bacon was shut down. This prompted the media frenzy, which continued through July 11 — when the Planning Commission unanimously ruled that it could reopen as long as an air filtration system was installed.

Four major-network television crews filmed the three-hour hearing, periodically running out of the hearing room to grab more videotape. Phylis Johnson-Silk lives around the corner from Bacon Bacon, on Downey St. “If they put in a nail salon,” she said during the commission meeting, “[these neighbors] would complain about that. Put in a bakery, then it’d be the smell of yeast!”

“I know [the neighbors] call FedEx when the truck is double parked for deliveries on their block,” said Mike Shell, who showed up to defend Bacon Bacon independently of the company in a pork-pink tie.

In an email to members of the Haight Ashbury Improvement Association, HAIA president Ted Lowenberg urged opponents to attend the Planning Commission hearing. “We have to get as many voices as possible to attend to say the Commission must take discretionary review,” he wrote. “The owner has committed a number of cardinal sins vis-a-vis the normal process of getting a business started, and to simply let this slide through creates havoc with the planning code and process. It would like legalizing Al Capone’s liquor sales because he’s been doing it for a while, whilst getting away with murder. Now is the time to scream, ‘STOP THIS!!!'”

Neighbor David Nevins described for the commission the physical “clouds” of bacon smell that wafted down the block, “almost toxic smelling.”

His wife, Inge, visibly teared up after her turn to speak. “This should not be a popularity contest,” she said. “This should be about proper placement of a restaurant … There are people on our sidewalks eating this stuff!”

In Bacon Bacon opponent David Nevins’ plea to the Planning Commission, he cited the Wall Street Journal’s interview with the head of Iowa State University’s Sensory Evaluation Unit as evidence that the bacon smell was a nuisance, while complaining the media overexposure had turned the proceedings into a “joke.”

“I have no problem with what the health department did,” Angelus said. “They waited a year and a half for us to sort all this out and it wasn’t working. The Planning Department was really banking on us resolving the issue with the neighbors.”

“This is a residential neighborhood, not a commercial neighborhood,” David Nevins said, “The commercial activity that’s existed is ‘limited commercial use,’ which means that it respects the integrity of the neighborhood that it’s in.”

If it weren’t for the Bacon Bacon buzzwords involved, it’s likely that none of us would have heard about any of this. The neighbors, who spent a lot of money obtaining top-level legal representation and footing the bill for all sorts of tests to check the credibility of Bacon Bacon’s operations, might have gained more traction if it weren’t for the public scrutiny.

But at the same time, it’s a prime example of the kind of story which gains national media attention simply because the topic is trendy.

Instead of reading about world affairs in the morning papers this week, many Americans will be reading about their breakfasts.

Rep Clock: July 17 – 23, 2013

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Schedules are for Wed/17-Tue/23 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-9. “Periwinkle Cinema: Reality Check,” short films, Wed, 8. The Space Invaders: In Search of Lost Time (Von Ward, 2012), Fri, 8. “An Evening with Sublime Frequencies and filmmaker Hisham Mayet,” Sat, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •Mystery Train (Jarmusch, 1989), Wed, 7, and Night on Earth (Jarmusch, 1991), Wed, 9:05. San Francisco Silent Film Festival: Prix de Beauté (Genina, 1930), Thu, 7; “Amazing Tales from the Archives,” Fri, 11am (free screening); The First Born (Mander, 1928), Fri, 2; Tokyo Chorus (Ozu, 1931), Fri, 4:30; The Patsy (Vidor, 1928), Fri, 7; The Golden Clown (Sandberg, 1926), Fri, 9:30; “Winsor McCay: His Life and Art,” presentation by John Canemaker, Sat, 10am; The Half-Breed (Dwan, 1916), Sat, noon; Legong: Dance of the Virgins (de la Falaise, 1935), Sat, 2:15; Gribiche (Feyder, 1926), Sat, 4; The House on Trubnaya Square (Barnet, 1928), Sat, 6:30; The Joyless Street (Pabst, 1925), Sat, 8:30; “The Kings of (Silent) Comedy,” Sun, 10am; The Outlaw and His Wife (Sjöström, 1918), Sun, 1; The Last Edition (Johnson, 1925), Sun, 3:30; The Weavers (Zelnik, 1927), Sun, 6; Safety Last! (Taylor and Newmeyer, 1923), Sun, 8:30. Tickets (most shows $15) and more info, including accompanists for each program, at www.silentfilm.org. The Great Gatsby (Luhrmann, 2013), Mon-Tue, 6, 9 (also Tue, noon, 3).

CHILDREN’S CREATIVITY MUSEUM 221 Fourth St, SF; www.artsanddialogue.org. Free (space is limited, so RSVP to info@ybcbd.org). “Arts and Dialogue presents the Yerba Buena Mini-Film Festival,” Thu, 6.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. Augustine (Winocour, 2012), call for dates and times. Frances Ha (Baumbach, 2012), call for dates and times. One Track Heart: The Story of Krishna Das (Frindel, 2012), call for dates and times. Rebels With a Cause (Kelly, 2012), call for dates and times. Storm Surfers 3D (McMillan and Nelius, 2012), call for dates and times. 20 Feet From Stardom (Neville, 2013), call for dates and times. The Hunt (Vinterberg, 2012), July 19-25, call for times. The Oyster Princess (Lubitsch, 1919) with “Cops” (Cline and Keaton, 1922), Mon, 7:15. With live musical accompaniment; this event, $12.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $10. “Midnight Movies:” V/H/S 2 (Various directors, 2013), Fri-Sat, midnight.

“FILM NIGHT IN THE PARK” This week: Creek Park, 400 Sir Francis Drake, San Anselmo; www.filmnight.org. Free (donations appreciated). The School of Rock (Linklater, 2003), Fri, 8; Brave (Andrews and Chapman, 2012), Sat, 8.

518 VALENCIA SF; www.laborfest.net. Donations accepted . International Working Class Film and Video Festival: •Strike (Eisenstein, 1925), and Even the Heavens Weep: The Mine Wars of West Virginia (McGuire, 1985), Thu, 7.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. RiP!: A Remix Manifesto (Gaylor, 2008), Wed, 7:30.

NIMBY’S 8410 Amelia, Oakl; www.brainwashm.com. $10. Brainwash Drive-In/Bike-In/Walk-In Festival, Fri-Sat through July 27, 9 (music at 8). All shows broadcast in FM stereo.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Dark Nights: Simenon and Cinema:” The Man on the Eiffel Tower (Meredith, 1949), Wed, 7; La Marie du port (Carné, 1950), Fri, 7; The Brothers Rico (Karlson, 1957), Sat, 8:30. “A Call to Action: The Films of Raoul Walsh:” Objective Burma (1945), Thu, 7. “From the Archive: Treasures of Eastern European and Soviet Cinema:” And Give My Love to the Swallows (Jires, 1971), Fri, 8:45; The Maple and Juliana (Uher, 1972), Sat, 6:30. “Castles in the Sky: Masterful Anime from Studio Ghibli:” Spirited Away (Miyazaki, 2001), Sun, 4:30.

REDSTONE BUILDING 2940 16th St, SF; www.laborfest.net. Donations accepted. International Working Class Film and Video Festival: •Living As Brothers (Fraser, 2012), with “Newspeak” (Fero, 2011) and Mothers of Fukushima (Torii, 2013), Fri, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. How to Make Money Selling Drugs (Cooke, 2013), Wed-Thu, 7, 9. An Oversimplification of Her Beauty (Nance, 2012), Fri-Sun, 9:15; July 22-25, 7. Big Star: Nothing Can Hurt Me (DiNicola and Mori, 2012), Fri-Sun, 6:45; July 22-25, 9. “Pictoclik Film Festival,” local film festival competition, Fri-Sat, 9. This event, $30-50.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. Band of Sisters (Fishman, 2012), Thu-Sun, 6, 8 (also Fri, 4; Sat-Sun, 2, 4). *

 

Kiwis win first real America’s Cup race as Oracle adapts to rejected rule change

9

After a week of one-boat “races,” an argument over rules, and an angry sponsor making waves in international media, it would be easy to write off the America’s Cup as the lamest party in town (so lame, in fact, that the organizers have ceased broadcasting the one-boat shows on YouTube).

But, it was a week of wins for Emirates Team New Zealand, most obviously the solid drubbing they delivered to Luna Rossa on Saturday (7/13) during the first race at which two boats actually showed.

A smart “hook” by ETNZ blocked Luna Rossa from the start line and gave the Kiwis a five second advantage that stretched to over five minutes during the seven legs of the race. Unfortunately, that was the peak of the action as the gap between the boats grew so great and Luna Rossa officially earned a “did not finish” result for exceeding the five minutes allowed to cross the finish line after ETNZ. Overall, the match was almost as boring to watch as the single-boat snoozefests of earlier in the week, however it did show off the capabilities of the Kiwi crew, who are clearly mastering foiling while jibing, a key move for maintaining high speeds downwind.

Which brings us to the other big win for the New Zealanders this week. On Thursday, the international jury ruled in favor of ETNZ and Luna Rossa, who protested a new rule requiring larger, symmetrical rudder elevators as a matter of safety. The jury decided that allowing the larger rudder elevators – which Oracle have been using on their boat since they relaunched in April after a pitch-pole in October destroyed their wing sail – would violate the AC72 Class Rule that governs the design specifications of the boats.

They said regatta director Iain Murray couldn’t change this rule without buy-in from all the competitors and that voluntary compliance of the other safety rules would appease the Coast Guard, which permitted the event based on the additional safety measures made after Andrew Simpson died.

The rudder elevators help stabilize the lightweight boats while foiling, or lifting off the surface of the water to hit speeds of over 40 knots – ETNZ saw 42.3 on the speedometer on Saturday while Luna Rossa maxed out at 39.9 knots. The crew that masters this move and can maintain it over the course of a race will likely come out ahead. ETNZ is doing it now and will likely get better and better at it over the coming weeks as they continue to race the course through the multiple round robins of the Louis Vuitton Cup.

Meanwhile, Oracle will have to return to the drawing board and Ellison’s crew will need to get out on the water and re-learn how to handle their boat with a new rudder that complies with the Class Rule.

Oracle has been tight-lipped on the subject, with just a brief statement from general manager Grant Simmer on the jury’s decision. “We continue to support the Regatta Director and we believe all teams have benefited from his review. We don’t have an issue complying with the Class Rule, and we will be ready to race under the rules affirmed by the Jury.”
However, they may have an issue playing catch-up to the Kiwis, who have a lot on the line. If they aren’t able to wrest the Auld Mug from Larry Ellison’s hands, it’s likely the New Zealand government won’t chip in for a future campaign – especially if high-tech, billion-dollar boats remain the name of the game.

The Kiwis have already chalked up four points and will need to win just one more of the next three bouts with Italy to advance to the Louis Vuitton Cup semifinals, during which the Swedish team, Artemis, should be back on the water. Spectators won’t see Oracle on the course until September 7, when the America’s Cup final matches commence, however there should be plenty of opportunities to observe their practice sessions with a newly rule-compliant boat.

To that end, it’s worth noting that situating the race close to land for the first time in the Cup’s history, and with a short course completed in multiple laps, was supposed to draw crowds to the shoreline and the television screen. Now that I’ve seen the boats live and on television, I have to admit that so far it’s still a pretty boring sport to watch. Standing near the start line at Marina Green or the finish line at Piers 27/29 may get you flashes of action and watching it on television is like watching a video game.

The best of both worlds is to park as near as possible to the water and get your hands on a portable marine VHF radio tuned to channel 20, which transmits the official America’s Cup broadcast. Then you can hear details on speed and tactics while actually seeing the most unforgettable part of this race – the boats jibing downwind, hitting freeway speeds while foiling with spray flying and crewmembers bouncing from one hull to the other.

That’s still drawing gasps and cheers from the crowd.

Rep Clock

0

Schedules are for Wed/10-Tue/16 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $5-6. “OpenScreening,” Thu, 8. For participation info, contact programming@atasite.org. “Re-Inventing the Reel,” artist-made works from Elements of Image Making, Fri, 8. “Your Skin is the Fourth Wall,” video and performance work, Sat, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •The Night of the Hunter (Laughton, 1955), Thu, 7, and Cape Fear (Scorsese, 1991), Thu, 8:45. •The Exorcist (Friedkin, 1973), Fri, 7, and Suspiria (Argento, 1977), Fri, 9:30. The Craft (Fleming, 1996), Sat, 3, 8. With a “witch-tacular” performance starring Peaches Christ, Sharon Needles, Alaska Thunderfuck, and Honey Mahogany. This event, $30-80; more details at www.peacheschrist.com. “Ray Harryhausen Tribute:” The 7th Voyage of Sinbad (Juran, 1958), Sun, 3:05, 7, and Jason and the Argonauts (Chaffey, 1963), Sun, 1, 4:55, 8:45. Diana Vreeland: The Eye Has to Travel (Immordino Vreeland, 2011), Tue, 7, and Renoir (Bourdos, 2012), Tue, 8:45.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. Augustine (Winocour, 2012), call for dates and times. Frances Ha (Baumbach, 2012), call for dates and times. Rebels With a Cause (Kelly, 2012), call for dates and times. 20 Feet From Stardom (Neville, 2013), call for dates and times. One Track Heart: The Story of Krishna Das (Frindel, 2012), July 12-18, call for times. Storm Surfers 3D (McMillan and Nelius, 2012), July 12-18, call for times.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $10. “Midnight Movies:” The Room (Wiseau, 2003), Fri, midnight. Hosted by Sam Sharkey.

“FILM NIGHT IN THE PARK” This week: Creek Park, 400 Sir Francis Drake, San Anselmo; www.filmnight.org. Free (donations appreciated). Footloose, Fri, 8. Union Square, Geary at Powell, SF. Vicky Cristina Barcelona (Allen, 2008), Sat, 8.

518 VALENCIA SF; www.laborfest.net. Donations accepted . International Working Class Film and Video Festival: •Shift Change (Dwarkin and Young, 2012), and One Shot, One Kill (Fujimoto, 2009), Wed, 7. Also ILWU Local 34 Hall, 801 Second St, SF. •The Contis: The Struggle Continues (Clatot, 2010), and On the Art of Water (Luzi and Bellino, 2012), Fri, 7.

JACK LONDON SQUARE Market lawn, Harrison at Water, Oakl; www.jacklondonsquare.com. Free. Hitchcock (Gervasi, 2012), Thu, sundown.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “A Call to Action: The Films of Raoul Walsh:” Regeneration (1915), Fri, 7; The Yellow Ticket (1931), Fri, 8:30; The Big Trail (1930), Sun, 6:30. “From the Archive: Treasures of Eastern European and Soviet Cinema:” Pastorale (Iosseliani, 1975), Wed, 7; Five Evenings (Mikhalkov, 1979), Sat, 6:30. “Dark Nights: Simenon and Cinema:” La tête d’un homme (Duvivier, 1933), Thu, 7; Stray Dog (Kurosawa, 1949), Sat, 8:30. “Castles in the Sky: Masterful Anime from Studio Ghibli:” Porco Rosso (Miyazaki, 1992), Sun, 4:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. A Band Called Death (Covino and Howlett, 2013), Wed-Thu, 7, 9. Maniac (Khalfoun, 2012), Wed-Thu, 7:15, 9:15. San Francisco Frozen Film Festival, indie films, Fri-Sat. More details at www.frozenfilmfestival.com. How to Make Money Selling Drugs (Cooke, 2013), July 12-18, 7, 9 (also Sat-Sun, 3, 5).

VOGUE 3290 Sacramento, SF; www.wordsondance.org. $20. “Words on Dance:” Maria Tallchief in Conversation with Evelyn Cisneros (1998), Mon, 7.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. André Gregory: Before and After Dinner (Kleine, 2012), Thu and Sat, 7:30pm; Sun, 2.

Hungry for reform

16

news@sfbg.com

Sitawa Jamaa is among the thousands of California inmates who, two years ago this summer, took part in the largest prison hunger strike in US history to protest harsh conditions and their invisibility to those outside prison walls.

Now, Jamaa and other prisoners are about to launch another hunger strike to highlight the system’s unfulfilled promises and the persistence of inhumane conditions.

The California Department of Corrections and Rehabilitation (CDCR) counted 6,000 prisoners throughout the state who refused food over several weeks in July 2011. During a follow-up strike that September, the number of prisoners missing meals swelled to 12,000, according to the federal receiver who was appointed by the courts to oversee reforms in the system. At least one inmate starved to death.

As one of four inmates who call themselves the Short Corridor Collective, Jamaa was a key organizer of the hunger strike. The group of inmates drafted a list of core demands calling for the strike when they weren’t met.

That was no easy task for Jamaa, who has spent most of the last 28 years alone in a windowless, 8-by-10 foot concrete cell in Pelican Bay State Prison, a supermax facility not far from the Oregon border, where some 1,200 men are held in similar conditions.

Inmates held in solitary confinement (in government lingo: “Segregated Housing Units”, or “SHU” for short) aren’t supposed to communicate with each other, verbally or through the mail. But they were able to organize with the help of their lawyers, who they are allowed to communicate with, and prison reform advocates outside.

Jamaa and other inmates are planning to launch a second hunger strike on July 8. The Short Corridor Collective has drafted a list of 45 demands, reflecting concerns ranging from inadequate health care to extreme solitary confinement—conditions that prison advocates characterize as cruel and unusual punishment.

The list is an extension of the five initial demands that Pelican Bay inmates presented in 2011 before initiating a hunger strike. Most of those demands were never met, or they were met only with lip service, leading prisoners back to where they started.

 

 

CONFINEMENT AS TORTURE

High on the list are concerns about conditions in the SHU, the amount of time prisoners can be made to spend in isolation, and the public’s inability to monitor the situation.

“I feel dead. It’s been 13 years since I have shaken someone’s hand and I fear I’ll forget the feel of human contact,” Pelican Bay prisoner Luis Esquivel told attorneys with the Center for Constitutional Rights in an interview.

Along with Jamaa and others, Esquivel is a plaintiff in a lawsuit against the state of California that would effectively cap the time someone can spend in solitary confinement to 10 years.

“The hunger strike is an extreme act,” says Terry Kupers, a Piedmont-based psychology professor and clinical psychiatrist who has testified before the California State Assembly on long-term solitary confinement. “It’s very dangerous, and you can die. So when a group of prisoners go on hunger strike, it means they’ve exhausted all ways of expressing themselves and having their demands considered. And that’s very much the case here—some of these guys have been in SHU for 30 or 40 years.”

Kupers believes solitary confinement in California prisons violates the 8th Amendment’s prohibition on cruel and unusual punishment, a view echoed by activists who’ve launched a statewide effort called the Stop the Torture Campaign.

United Nations Special Rapporteur Juan Méndez, an expert on torture, has called for a ban on solitary confinement where inmates are kept in isolation for 22 hours a day or more, saying the practice should only be used in very exceptional circumstances and for short time periods.

The CDCR has made some concessions and reforms since the 2011 hunger strikes, but critical issues have gone unaddressed. In Pelican Bay’s SHU, the men are now allowed beanie caps for when it gets cold. They can now have wall calendars to track time and bring a human touch to their surroundings.

Some prisoners have received exercise equipment, such as a handball or pull-up bar. Each year, they now have permission to have one photograph of themselves taken to send to family members, and prison administrators have signaled that they are looking into extending Pelican Bay’s visitation hours.

But more pressing issues have yet to be resolved, so the prisoners who drafted the 45 demands are resorting to starvation once again, despite official statements that it will do little to improve their conditions.

“Negotiation is something the department does not do,” says Terry Thornton, a spokesperson for CDCR. But the department has met periodically with a mediation team, consisting of lawyers and prison activists, who have communicated the inmates’ concerns and gone over their demands with prison authorities.

 

 

RESISTING REFORM

In 2002, the state of California was sued, and lost, in an 8th Amendment class-action lawsuit: Plata v. Davis. The federal judge overseeing the case called the medical treatment in California prisons “horrifying,” sinking “below gross negligence to outright cruelty,” ordering improved treatment and reductions in severe prison overcrowding.

A court-appointed doctor found that out of 193 deaths over the course of one year, 34 were “probably preventable,” but medical staff gave “well below even minimal standards of care.” Eleven years later, the state is still under federal receivership, until it can show that conditions have actually improved.

Court-appointed consultant Dr. Raymond Patterson wrote his 14th annual assessment report last April, blaming high suicide rates behind bars on a lack of “adequate assessment, treatment or intervention.” After it was released, he quit the post in frustration, writing: “It has become apparent that continued repetition of these recommendations would be a further waste of time and effort.”

So inmates are taking in upon themselves to accomplish what the courts and consultants have failed to do: reform conditions in the prisons.

As happened in 2011, in spite of what is planned to be a peaceful protest, prisons housing strikers will be, according to Thornton, on “modified program” (or “lockdown,” as prisoners call it). Generally, that means inmates aren’t allowed to leave their cells, even to shower.

New regulations created after the 2011 strikes call for no visits for striking prisoners, and for their canteen food to be confiscated. In addition, “inmate(s) identified as strike leaders, instrumental in organizing, planning, and perpetuating a hunger strike, shall be isolated from non-participating inmates.”

Since March of this year, the Guantanamo Bay prisoner hunger strike has made news around the world for highlighting alleged violations of international law. There, when a striker goes below 85 percent Ideal Body Weight, regulations dictate that he or she be shackled to a chair, fitted with a mask, and have tubes inserted through their nostrils into their stomachs for up to two hours at a time.

That didn’t happen in California back during the 2011 strikes, but the Division of Correctional Health Care Services devotes five pages of its policy handbook to outlining specific instructions for dealing with hunger strikers, including transfers to prison medical facilities where they could potentially be force-fed, another practice the UN regards as torture.

Prisoners and activists believe the policy was instituted as preemptive attack on the upcoming hunger strike. “We are concerned that, under the pretext of ‘welfare’ checks, prisoners are being harassed, targeted, and deprived of sleep as the date of planned hunger strikes and work stoppages approaches,” said Isaac Ontiveros of the Prisoner Hunger Strike Solidarity group. “Whatever the case, new CDCR Secretary Jeffery Beard has an opportunity to avoid the strike and begin to undo the indescribable harm that the California prison system has caused.”

 

 

DANGEROUS ASSOCIATIONS

Problems associated with solitary confinement are closely connected to CDCR’s most commonly used tool for sending prisoners like Jamaa into the SHU: the controversial “gang validation” process.

Once an inmate is listed in prison records as a gang member, he or she loses multiple rights on the assumption that they’re a threat to the order of the prison. With no disciplinary write-ups since 1995, Jamaa would have been eligible for parole in 2004, except for the gang validation that led to his indefinite SHU sentence.

Getting pegged as a member of a gang can happen easily. Guards can write prisoners up for anything from the possession of artwork deemed to be gang-related, to information obtained from confidential informants whose claims prisoners often aren’t allowed to refute and whose identities remain unknown to the targeted prisoners.

Last year, in the wake of hunger strikes, CDCR announced a “complex retooling” of the gang validation practices. The so-called Step Down process, created in conjunction with the Department of Homeland Security, is meant to transition inmates out of gangs over the course of four years, with privileges gained over that time.

It might be the most significant of the reforms that followed the last hunger strike, but prisoners and their advocates criticize it as too lengthy of a process, subject to the arbitrary whims of the correctional officers overseeing a given prisoner. In fact, they say it may widen the definition of who counts as a gang member.

Manuel Sanchez, who is participating in the Step Down program at Corcoran State Prison, wrote in a letter that he is “seriously considering returning to SHU, where I’d be less harassed and I’d get more yard access more consistently.”

Compounding the problems in the prisons is a lack of transparency and public accountability.

“It’s like mentioning July 8 is anathema,” says San Francisco Bay View Editor Mary Ratcliff, whose African American-focused newspaper has been a CDCR censorship target.

From January to April of this year, Ratcliff said papers were being returned from Pelican Bay undelivered because they included articles about the hunger strikes, representing “material inciting participation in a mass disturbance,” and “a serious threat to the safety and security” of the prison, according to CDCR Administrator R.K. Swift.

“I think it’s remarkable that hunger strikes are considered a ‘disturbance,'” says Ratcliff. “A disturbance is supposed to mean a fight—something that threatens people. A hunger strike is a threat to no one except the people who are participating in it.”

Just as inmates can’t get news from the outside, they are also walled off from journalists who might cover them and the conditions they live in.

Since 1996, the CDCR has limited reporters to only interviewing prisoners they’ve selected. Last September, Governor Jerry Brown vetoed legislation that would have opened up media access to the prisons. “Giving criminals celebrity status through repeated appearances on television will glorify their crimes and hurt victims and their families,” he wrote, citing the media spectacle around Charles Manson.

But activists say the nearly $2 million Brown received from the California Correctional Peace Officers Association (CCPOA) during his successful bid for governor in 2010 had more to do with it than infamous serial killers.

Assembly member Tom Ammiano, who authored the most recent bill, stressed that “Press access isn’t just to sell newspapers. It’s a way for the public to know that the prisons it pays for are well-run. I invite the governor to visit the SHU to see for himself why media access is so important.”

 

 

DRASTIC MEASURES

Last time around, Jamaa lost 19 pounds. Deprived of sunlight, the Oakland-born man has developed melanin and vitamin D deficiencies that have lightened his normally dark brown skin. He suffers stomach problems and swollen thyroid glands that he didn’t have before prison. Starvation is a possibly lethal proposition. “Make no mistake, none of us wants to die. But we are prepared to, if that’s what it takes to force a real reform,” he and other strike leaders wrote in a statement last December. Jamaa’s sister, Marie Levin, who has organized monthly vigils for the strikers at Oakland’s monthly First Fridays/Art Murmur event, is worried about how her brother’s body will cope this time around. “It’s something that we as family members don’t want them to have to experience again,” she notes with anxiety. Yet both the prisoners and their advocates on the outside say they can’t simply let dehumanizing conditions in California’s prison system continue indefinitely. “I think things have changed, but not substantially in terms of actual conditions,” Kupers argues. “What is changed is the CDCR had to recognize the strikers, and conceded some of the things. And subsequently, the various prisoner groups have come together and made a commitment not to have violence between groups inside the prisons. This is huge advancement.” But unless all 45 demands are met, they say the strike will commence July 8. For now, Jamaa and others are readying their bodies for hunger, for a cause they believe goes far beyond prison walls. “Know this,” he wrote from SHU, words that needed to be smuggled out through unconventional means to get around an official wall of silence. “I am a … Prisoner of War, and I serve the interest of all people.”

Rep Clock

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Schedules are for Wed/2-Tue/9 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. Directing Dissent (Hamacher, 2013), Sat, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-13. •Jaws (Spielberg, 1975), Wed, 2:15, 7, and Rocky (Avildsen, 1976), Wed, 4:35, 9:25. •Josie and the Pussycats (Elfont and Kaplan, 2001), Fri, 7:30; Velvet Goldmine (Haynes, 1998), Fri, 9:30; Wild in the Streets (Shear, 1968), Fri, 11:59. “Scary Cow Independent Film Festival,” Sat, 3. This event, $10-25; visit www.scarycow.com for more details. “50th Anniversary Restoration:” Cleopatra (Mankiewicz, 1963), Sun, 2, 7.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. Fill the Void (Burshtein, 2012), call for dates and times. Frances Ha (Baumbach, 2012), call for dates and times. Rebels With a Cause (Kelly, 2012), call for dates and times. 20 Feet From Stardom (Neville, 2013), call for dates and times. Augustine (Winocour, 2012), July 5-11, call for times.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $10. “Midnight Movies:” Mr. Hush (Madison, 2011), Fri, midnight. Hosted by Miss Misery.

“FILM NIGHT IN THE PARK” This week: Creek Park, 400 Sir Francis Drake, San Anselmo; www.filmnight.org. Free (donations appreciated). Super 8 (Abrams, 2011), Fri, 8; Return of the Jedi (Marquand, 1983), Sat, 8.

NEW PARKWAY 474 24th St, Oakl; www.thenewparkway.com. Free. “First Friday Shorts,” featuring short films made by local youth, Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “A Call to Action: The Films of Raoul Walsh:” Sailor’s Luck (1933), Fri, 7; Me and My Gal (1932), Fri, 8:40. “A Theater Near You:” Port of Shadows (Carné, 1938), Sat, 6:30; Kuroneko (Shindo, 1968), Sat, 8:30. “Castles in the Sky: Masterful Anime from Studio Ghibli:” Pom Poko (Takahata, 1994), Sun, 4:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. Hey Bartender! (Tirola, 2013), Wed-Thu, 7, 9:15. Ain’t In It For My Health: A Film About Levon Helm (Hatley, 2013), Wed, 7:15, 9:15. A Band Called Death (Covino and Howlett, 2013), July 5-11, 7, 9. Maniac (Khalfoun, 2012), July 5-11, 7:15, 9:15.

VICTORIA 2961 16th St, SF; teatrofrida.eventbrite.com/#. $12-35. “Fiestas Fridas:” •Frida: Naturaleza Viva (1984), and The Life and Death of Frida Kahlo as told to David and Karen Crommie (1966), Sat, 5. Followed by “Somos Frida,” a performance showcase. *

 

Supreme Court same-sex marriage decisions: DOMA invalidated, Prop 8 case dismissed, SF reacts [UPDATED]

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Watch this space throughout the day for breaking news on the decision and reactions. Tonight there will be a celebration of the Court’s decisions at Castro and Market Streets at 6:30pm. (Join  the Guardian beforehand, 6-9 at the Pilsner in the castro, at its annual pre-Pride event.) 

DOMA INVALIDATED

The Supreme Court released its ruling this morning that the Defense of Marriage Act, which denies federal recognition of same-sex marriage, “is unconstitutional as a deprivation of the equal liberty of persons that is protected by the Fifth Amendment.”

“DOMA singles out a class of persons deemed by a State entitled to recognition and protection to enhance their own liberty,” according to the majority opinion. “DOMA’s principal effect is to identify a subset of state sanctioned marriages and make them unequal.” The Court voted 5-4, with Justice Kennedy, who wrote the majority opinion, as the decisive vote along the usual liberal/conservative lines. You can read the full opinion here

This means that same-sex marriages performed in states that have legalized such marriages will be recognized by federal law.  

PROP 8 DISMISSED ON STANDING

As for Hollingsworth v. Perry, the Prop 8 case, it was dismissed on standing, due to the fact that the State of California refused to defend the case that would uphold Prop 8 (which denied same-sex marriage).That meant private citizens were left to defend a state statute, which was unprecedented, and the Court refused to rule on those grounds.

We have never before upheld the standing of a private party to defend the constitutionality of a state statute when state officials have chosen not to. We decline to do so for the first time here,” the majority Court statement (which broke along the typical 5-4 line) said. That means there is no specific decision from the Court regarding Prop 8, and the previous ruling, by Judge Vaughan Walker and upheld by the Ninth Circuit Court, that invalidated Prop 8 as discriminatory, stands.

This may mean that same-sex marriages in California can resume as early as July.

You can read the full Prop 8 ruling here.

Scene this morrning at SF City Hall, with Mayor Ed Lee and Lt. Gov. Newsom. Photo by Dan Bernal.

[UPDATE] REACTIONS AT CITY HALL

Steven T. Jones reports from SF City Hall:

City Hall was totally packed at 7am when the US Supreme Court convened — tons of journalists, lots of couples, many signs in the crowd. Two screens were set up, one with a live blog from court chamber, the other with the CNN live feed. Huge cheers erupted at 7:11 when the decision was announced striking down DOMA and forcing the federal government to recognize the rights of same-sex married couples.  Then at 7:38, when the Prop 8 statement came down, the room went nuts. 

A moment later, an array of current and former city officials appeared at the top of the City Hall main staircase. Mayor Ed Lee and Lt. Gov. Gavin Newsom escorted a fragile Phyllis Lyon down the stairs — she, along with the late Del Martin, were the first same-sex couple to get legally married in California in 2004 — flanked by the rest of the city family, all with big smiles.

“Welcome to the people’s house of San Francisco,” Mayor Lee said, thanking the crowd “for sharing in this historic moment.”

“It feels good to have love triumph over ignorance,” he said.

At 7:44, City Attorney Dennis Herrera and Chief Deputy City Attorney Terry Stewart, who had been on the City Hall steps addressed reporters’ question on the legal details of the ruling, joined the crew to sustained applause as Lee recognized them. He then introduced Newsom, who in 2004 as San Francisco mayor allowed same-sex marriages to be performed, as “one person who used the power of this office to make history and show his love for the city.”

“San Francisco is not a city of dreamers, but a city of doers,” Newsom said. “Here we don’t just tolerate diversity, we celebrate our diversity.” He thanked Herrera and everyone who contributed to this moment. “It’s people with a true commitment to equality that brought us here.”

Newsom introduced Kate Kendall with the National Center for Lesbian Rights, who has led the coalition of groups that have push for marriage equality. She looked around the crowd and said, “Fuck you, Prop 8!”

The crowd roared, and she said that she had scanned the room for children, and promised to “put a dollar in the swear jar” if necessary. But she said that, “We have lived for too many years under that stigmatizing piece of crap.”

Then Herrera took the podium, turned to Newsom, and said, Now you can say, ‘Whether you like it or not!'” — a joking reference to Newsom’s same-sex marriage rallying cry, which some blamed for boosting the anti-same-sex marriage cause.

“We wouldn’t be here today if it wasn’t for Gavin Newsom’s leadership,” Herrera continued. ““I remember in 2004 when people were saying it was too fast, too soon, too much.”

But today, that long effort has been vindicated, Now, he said, “It’s about changing the hearts and minds of people and educating them.” He also pledged to continue the fight that began here in City Hall more than nine years ago: “We will not rest until we have marriage equality throughout this country.”

Gavin Newsom being interviewed inside City Hall. Photo by Steve Jones

Finally Stewart, who has argued cases related to San Francisco’s stand before both the US and California Supreme Courts, praised both the Prop. 8 and DOMA rulings and the precedents they set. “In the DOMA case decision, the Supreme Court expressed a stong equal protection philosophy…that will help legalize same sex marriage in other states.”

Three members of the Board of Supervisors were also invited by Kendell to address the huge City Hall crowd: Board President David Chiu and Sups. David Campos and Scott Wiener, the only two current supervisors who are gay.

Chiu noted that the bust of slain Sup. Harvey Milk is prominently positioned outside the Board Chambers, a reminder of the long struggle for gay rights that San Franciscans have led. “That work lives on today,” he said.

He added the hope that the work done here will ripple out of across the country because, he said, “As goes San Francisco, so goes California, so goes the rest of the country.”

Campos, an attorney who has long been in a committed relationship, said, “It’s a very emotional moment for those of us who are part of the LGBT community.” He said this Supreme Court ruling is the first time it has really acknowledged “that we are people and we have dignity,” and that the rulings sends a clear message to Congress that legislation like DOMA is unconstitionally discriminatory.

Wiener praised the resilience of the LGBT community, from the early days of enduring the AIDS crisis and fighting for federal support through the current campaign for marriage equality. And he cheered the fact that, “Those marriages that we see under the rotunda [in City Hall] will get a little more diverse.”

11:30 AM UPDATE: Style and substance

While Newsom strutted around like a proud peacock in front of City Hall — clearly the leading man in this epic story with the happy ending, much in demand by the television crews — Herrera and Stewart briefed various reporters on the details of the case that they had just won.

Gavin Newsom outside City Hall. Photo by Steve Jones.

“I wanted a merits ruling, but a standing ruling is a victory too,” Herrera told us, making the distinction between the court ruling that banning same-sex marriage is unconstitutional on the grounds of equal protection under the law — which it did not do — and the 5-4 ruling it did issue: that those who appealed the Ninth Circuit Court ruling invalidating Prop. 8 lack proper legal standing to do so.

The standing ruling leaves same-sex marriage opponents more wiggle room to argue that the ruling might only apply to the couples named in the suit, or in just the counties that took part, which also included Alameda and Los Angeles, positions they were already signaling in press statements.

But Herrera said that he would vigorously contest that kind of challenge, which he considers to be without merit, telling us, “The injunction is not limited in its scope.”

UPDATE: SFPD isn’t worried

Police Chief Greg Suhr, who attended the City Hall event, said the timing on the ruling during Pride Week couldn’t be better. “It’s nice that it all lined up for us,” he told us. “This town is going to rock ‘til the wheels come off.”

Asked whether he has any heightened security concerns about the Pride Parade in the wake of a ruling that is controversial to some, Suhr said that he’s not worried. He said SFPD is now fully staffed and all available personnel working this weekend, although he will try allow many of his gay and lesbian officers to join the celebration if they want.

“We’re going to police what’s likely to be the biggest party this city has ever seen,” Suhr said, adding that his policing philosophy is, “We plan for the worst and hope for the best.”

 

Our Weekly Picks

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WEDNESDAY 26

Dita Von Teese

With a seductive and sexy nod to the past, modern pin-up and burlesque queen Dita Von Teese has been at the forefront of reviving a nearly lost art form for two decades now. Bringing back the sense of classic style and glamour of the golden days of Hollywood and meshing it with the tantalizing teasing of the old-time burlesque circuit, Von Teese returns to the city this week with her “Burlesque: Strip, Strip, Hooray!” show, a live revue featuring not only her own titillating talents, but a host of other performers as well, including Dirty Martini, Catherine D’Lish, and Lada Nikolska from the legendary “Crazy Horse Paris.”

(Sean McCourt)

Through Fri/28, 7:30pm, $40

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com


“Harvey Milk 2013”

The San Francisco Gay Men’s Chorus, the world’s first chorus comprised of openly gay men, had its first unofficial public performance at a candlelight vigil for Harvey Milk. The group has since become known for its dazzling holiday concerts, but its historical origins mean it’s fitting that — as part of its 35th anniversary celebration — SFGMC is presenting the world premiere of I Am Harvey Milk. Starring its composer Andrew Lippa as Milk, with guest soprano Laura Benanti, this blend of theater and choral works traces the courageous life of the slain politician, with accompaniment by the Bay Area Rainbow Symphony. (Cheryl Eddy)

Wed/26-Fri/28, 8pm, $25-60

Nourse Theatre

201-299 Hayes, SF

www.sfgmc.org

 

THURSDAY 27

Clay Shirky

“I’m trying to figure out what difference communications technologies makes to society,” Clay Shirky remarked in a 2011 interview. “What is it about the Internet, what is it about mobile phones, applications built on top of them, that changes how we behave.” The New York University professor has become one of the world’s foremost authorities on gauging how technology has shifted social action. His 2010 book Cognitive Surplus: Creativity and Generosity in a Connected Age outlined how web tools have provided new opportunities for creation in place of consumption, pointing out dynamics such as self-publication and charitable crowdfunding. Shirky has championed government transparency in recent editorials exploring the high-profile leaks of US surveillance programs. (Kevin Lee)

6:30 p.m., $20 (member, $12; students $7)

Commonwealth Club

595 Market, SF

(415) 597-6700

www.commonwealthclub.org

 

 

Tommy Davidson

Comedian Tommy Davidson might be offensive, but his keen observations about the absurdity of our daily lives and his animated delivery guarantee laughs. His ability to comment on situations that arise in all walks of life ensures everyone has something to chuckle about through his bits. Known for his roles in the ’90s hit sketch show In Living Color, films like Strictly Business (and OK, Juwanna Mann) and most recently in the spotlight for his character Cream Corn on Adult Swim’s cartoon Black Dynamite, Davidson tours pretty infrequently, so catch him while you can — likely offering fresh takes on old habits. (Hillary Smith)

8pm and 10pm, $24-26

Yoshi’s

1330 Fillmore, SF

(415) 655-5600

yoshis.com/sanfrancisco

 

FRIDAY 28

Y La Bamba

Indie-folk rocker group Y La Bamba has been steadily building a fan base over the past couple of years, earning high praise from NPR and loaning songs to television programs such as Bones. The Portland-based band’s hauntingly rich and ethereal sound is propelled by singer-songwriter Luzelena Mendoza, whose vocals float and weave tales above Latin-inspired rhythms and unique backing vocals. Its latest full-length album, last year’s Court The Stormwas produced by Los Lobos member Steve Berlin, and an excellent EP, Oh February was released this January. (McCourt)

9pm, $12–$15

Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

 

Japanther

Japanther lets everything go in its performances. Punk is its staple, and the group is known for fuzzy overtones and generally sloppy delivery. All this culminates into weird, disorienting live shows. But whether the band drops five Ramones covers on you or blasts into its own songs (likely off newest album, Eat Like Lisa Act Like Bart) with a raw, unpredictable energy, it will be fun. Keep an eye out for the duo’s signature telephone microphones and the more-often-than-not shirtless bat-shit drummer. (Smith)

With Defiance, Ohio, Psilovision

9pm, $12

Bottom of the Hill

1233 17th St., SF

(415) 626-4455

www.bottomofthehill.com

 

SATURDAY 29

San Francisco FrontRunners Pride Run

For folks who love to sweat, there’s no better way to celebrate Pride than with veteran LGBT running club the San Francisco FrontRunners, who’ve hosted this event for over three decades. Choose the 5K or the 10K by asking yourself “How many times do I want to haul ass up that hilly stretch of Golden Gate Park’s JFK Drive?” — but remember, the emphasis here is mos def on fun. Sure, some speed demons do turn out (last year’s 5K winner clocked in at just over 18 minutes), but casual joggers are also in effect, as are Pink Saturday-themed athletic ensembles. Upbeat DJs and tasty food at the finish line add to the festive atmosphere. (Eddy)

9am, $40

Golden Gate Park (near Metson and Middle Dr. West), SF

www.sffr.org

 

In A Daughter’s Eyes

Two women, two very different circumstances: the first, the daughter of a Black Panther sentenced to death for killing an Oakland cop; the second, the daughter of the slain man. Locked in a room together, how will the women negotiate their differences — and is there any chance of forgiveness and healing? Brava! For Women in the Arts and Black Artists Contemporary Cultural Experience present award-winning playwright A. Zell Williams’s In A Daughter’s Eyes in its West Coast debut; though it features just one location and only two characters, expect a powerful, intense story, guided by the sure hand of veteran director Edris Cooper-Anifowoshe. (Eddy)

Through July 14

Previews Thu/27-Fri/28, 8pm; opens Sat/29, 8pm; runs Thu-Sat, 8pm; Sun, 3pm, $15

Brava Theater Center

2781 24th St, SF

www.brava.org

 

The Juan MacLean (DJ Set)

After years of producing quality electro-disco-club music for DFA Records (home to legendary sometimes-retired LCD Soundsystem), DJ and producer the Juan MacLean (stage name for John Maclean) has leapt head first into a stripped-down, nu-house sound. With vocalist and longtime collaborator Nancy Whang, MacLean released the cool, classy “You Are My Destiny” this March, completing a shift that may have taken root as far back as 2011 with his Peach Melba side project. Transitions are standard practice for the former hardcore guitarist turned electronic music artist, who has collaborated with LCD Soundsystem, !!!, and Holy Ghost! and remixed Yoko Ono and Stevie Nicks. In the midst of a relentless international tour schedule, MacLean signaled his return to dance music prominence earlier this month with a set on BBC Radio 1’s prestigious Essential Mix program. (Lee)

With Kim Ann Foxman, Blacksheep

9pm, $10–$20

Monarch

101 Sixth St., SF

(415) 284-9774

monarchsf.com

 

SUNDAY 30

Deltron 3030

If you’ve lived in SF for at least a year, then you probably know about Stern Grove’s awesomely free and diverse ongoing music festival. But if not, this summer-long (June 16-Aug.18) series offers the community a chance to get outside and enjoy nature while picnicking with live musical accompaniment. The beautiful, towering eucalyptus trees, redwoods, and grassy meadows provide the best possible settings for a summer music festival. This Sunday’s lineup features dance hip-hip super group Deltron 3030. Rapping about evil corporate Goliaths and space battles, often alongside an orchestral band, Deltron 3030’s performance is anything but typical. The festival itself is always worth checking out, but the group makes this Sunday’s show one of the highlights of summer. (Smith)

2pm, free

Stern Grove

19th Avenue and Sloat, SF

www.sterngrove.org

 

“Science On Screen: The Science of Baseball”

Hey, batter! There are very few Bay Area residents who don’t have an opinion on which baseball team to root for (default consensus: “L.A. sucks”), but there’s more to the game than trash talk and World Series trophies. Indeed, there’s some pretty serious science behind all those curve balls and home runs, and who better to break it down than the Exploratorium’s David Barker and Linda Shore? (Check out the museum’s clever and educational “Science of Baseball” site at exploratorium.edu/baseball.) Using clips from documentaries and Hollywood films, the duo gets into the nitty-gritty of baseball’s complex biomechanics — so the next time you watch Hunter Pence step up to the plate, you’ll be able to spot the physics behind his hitting prowess. (Eddy)

7pm, $12

Christopher B. Smith Rafael Film Center

1118 Fourth St, San Rafael

www.cafilm.org

 

TUESDAY 2

Pure Bathing Culture

Listen to Portland, Oreg.-via-Brooklyn duo Pure Bathing Culture’s ethereal, synth-laced cover of Fleetwood Mac’s “Dreams,” and you’ll likely tumble into a web search hole, digging out other soundscape-y Fleetwood Mac covers to quench your newfound obsession (likely finding that PBC’s is still tops). Crawl out of the hole and face your new favorite, Pure Bathing Culture, head on by grabbing a hold of 2012’s self-titled EP, an ode to dreamy 1980s pop produced by Richard Swift. Then note influences like Talk Talk and Cocteau Twins expanding on recently released tracks off upcoming debut full-length, Moon Tides. Band members guitarist Daniel Hindman and keyboardist Sarah Versprille have contributed in the past to records by Foxygen and Damien Jurado, but together as Pure Bathing Culture, they form a loosely wound union of shimmering guitars, twinkling synths, and delicate vocals, twisting along a well-worn path. (Emily Savage)

With Cocktails, Cannons and Clouds, CoolGreg

9pm, free

Brick and Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.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, 225 Bush, 17th Flr., SF, CA 94105; or e-mail (paste press release into e-mail body — no 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.

Heads Up: 7 must-see concerts this week

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Pride Week is upon us y’all, and with those excited, proud, rainbow-waving masses, come awesome live acts, DJs, bands, you know the drill by now; there are official shows, tangential nights, and underground events (check out Mykki Blanco at Mezzanine, or Magic Mouth with THEESatisfaction at Hard French Hearts Los Homos). Many more Pride listings will be in the paper this week.

And of course, there’s also some unrelated live rock‘n’roll you should be checking out right now as well, including two doubled-headlined shows of high-quality locals; there’s the Warm Soda/Midnite Snaxxx night at Brick and Mortar, along with the White Barons/Wild Eyes SF shakedown at Bender’s. Plus, Deltron 3030 plays the free summer series at Stern Grove this weekend.

There’s plenty to do and see in San Francisco at the moment, so buckle up. An aside: I’d also recommend Austra at the Independent Wed/26, debuting its new album Olympia; the show is sold out but I know you creative types have ways around this.

Here are your must-see Bay Area concerts this week/end:

Warm Soda and Midnite Snaxxx
This should make for a fizzy summer combo: both local to Oakland and full of vigor, Warm Soda’s glistening ‘80s pop will be matched in this Brick and Mortar lineup to Midnite Snaxxx’s leather-jacket-babe rock‘n’roll bubblegum smash. The results should be explosive, like a shaking up a two-liter bottle of cola and showering those around you with its sticky sweetness. Plus, it’s your last chance to see Warm Soda this summer — the group’s about to head out on its first European tour.
With Primitive Hearts, the Wild Ones
Thu/26, 9pm, $8
Brick and Mortar
1710 Mission, SF
www.brickandmortarmusic.com
http://www.youtube.com/watch?v=OUQQDb4fkmo

Mykki Blanco
The self-described “Acid Punk Rapper” behind debut mixtape Cosmic Angel: The Illuminati Prince/ss brings his global nightlife pulse to San Francisco this week, (once again — when he performed here last year, Marke B. called Blanco a “Dark and fierce queer rapper from the future”). The hyperreal, multifaceted rapper is a supporter of underground arts and a rather busy one; he’s written books, recorded albums, posed as a fashion muse, and served as a nightclub dignitary, once telling Interview mag: “I didn’t plan for it, but everyday in the morning, for extra energy, I drink a raw garlic smoothie with fruit. I have nothing to lose and everything to gain by working hard. To have this be the beginning of my career and receive this much positive support — I cannot waste a fucking minute, and I’d be a fool to waste a minute.”
Thu/27, 9pm, $15
Mezzanine
444 Jessie, SF
www.mezzaninesf.com
http://www.youtube.com/watch?v=w39Fxx10CEI
http://www.youtube.com/watch?v=LSgVZEGpo6U

Y La Bamba
“Indie-folk rocker group Y La Bamba has been steadily building a fan base over the past couple of years, earning high praise from NPR and loaning songs to television programs such as Bones. The Portland-based band’s hauntingly rich and ethereal sound is propelled by singer-songwriter Luzelena Mendoza, whose vocals float and weave tales above Latin-inspired rhythms and unique backing vocals. Its latest full-length album, last year’s Court The Stormwas produced by Los Lobos member Steve Berlin, and an excellent EP, Oh February was released this January.” — Sean McCourt
Fri/28, 9pm, $12–$15
Chapel
777 Valencia, SF
(415) 551-5157
www.thechapelsf.com
http://www.youtube.com/watch?v=sP9U4tm8xJc

The Juan MacLean (DJ Set)
“After years of producing quality electro-disco-club music for DFA Records (home to legendary sometimes-retired LCD Soundsystem), DJ and producer the Juan MacLean (stage name for John Maclean) has leapt head first into a stripped-down, nu-house sound. With vocalist and longtime collaborator Nancy Whang, MacLean released the cool, classy “You Are My Destiny” this March, completing a shift that may have taken root as far back as 2011 with his Peach Melba side project. Transitions are standard practice for the former hardcore guitarist turned electronic music artist, who has collaborated with LCD Soundsystem, !!!, and Holy Ghost! and remixed Yoko Ono and Stevie Nicks. In the midst of a relentless international tour schedule, MacLean signaled his return to dance music prominence earlier this month with a set on BBC Radio 1’s prestigious Essential Mix program.” — Kevin Lee
With Kim Ann Foxman, Blacksheep
Sat/29, 9pm, $10–<\d>$20
Monarch
101 Sixth St., SF
(415) 284-9774
www.monarchsf.com
http://www.youtube.com/watch?v=Nwf31pKvGc4

The White Barons and Wild Eyes SF
Some background: local Southern fried rock group (“by way of Atlanta, Jakarta, and two Midwest podunk towns”) the White Barons includes members of Thee Merry Widows, Winter Teeth, and Whiskey Dick Darryls, and SF’s Wild Eyes recently opened for King Khan and BBQ Show at Slim’s. This Bender’s show is a party for a few things: it’s the birthday of Bender’s doorperson and Subliminal SF booker Mikey Madfes, it’s a split seven-inch release celebration for the White Barons and Wild Eyes, and lastly, there’s a band vs. band chili cook-off (if you buy a record, you’ll get a chili sample). So you know it’s going to be a messy mix of raucous rock’n’roll and tender cooked meats.
Sat/29, 10pm, $5
Bender’s Bar and Grill
806 S. Van Ness, SF
www.bendersbar.com
http://www.youtube.com/watch?v=9UXOSZPocks

Deltron 3030
“If you’ve lived in SF for at least a year, then you probably know about Stern Grove’s awesomely free and diverse ongoing music festival. But if not, this summer-long (June 16-Aug.18) series offers the community a chance to get outside and enjoy nature while picnicking with live musical accompaniment. This Sunday’s lineup features dance hip-hip super group Deltron 3030. Rapping about evil corporate Goliaths and space battles, often alongside an orchestral band, Deltron 3030’s performance is anything but typical.” — Hillary Smith
Sun/30, 2pm, free
Stern Grove
19th Avenue and Sloat, SF
www.sterngrove.org
http://www.youtube.com/watch?v=ijPE7fe4XTg

Magic Mouth
To get a taste of the soulful energy Magic Mouth exudes, check the YouTube video “MAGIC MOUTH LIVE: MISSISSIPPI STUDIOS,” (below); it’s like watching James Brown front a garage-punk band. The lively Portland, Ore. queer soul-punk quartet will play Hard French Hearts Los Homos (an event described by DJ Carnita as “an intergalactic Pride Party for all the gayliens who love to dance in outer space”), opening up for THEESatisfaction.
Sun/30, 4-11pm, $20
Roccapulco
3140 Mission, SF
hardfrenchpride2013.eventbrite.com
http://www.youtube.com/watch?v=otA5i0Y6wlE

One ringy-dingy

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marke@sfbg.com

STAGE “Oh, Ernestine has plenty to say about the current phone-surveillance thing,” the irrepressible Lily Tomlin told me, referencing her famous “one ringy-dingy” phone operator character and the recent NSA spying revelations. (Tomlin was driving down an LA freeway on her way to do some errands, popping in and out of coverage on her hands-free.)

In fact, another classic phrase from Ernestine, who’s been snooping on calls since Tomlin’s 1970s days on Martin and Rowan’s Laugh-In, rather appropriately sums up the civilian surveillance clusterbuck: “Have I reached the party to whom I am speaking?”

http://www.youtube.com/watch?v=k9e3dTOJi0o

“Back during the whole Bush wiretapping time, Ernestine became an emblem for political cartoonists,” Tomlin continues. “But her association with government shenanigans goes back through Iran-Contra, all the way to Nixon and Watergate. In fact, during Iran-Contra in the ’80s, I was performing at the Emmys — I was up for one that year — and I called up G. Gordon Liddy to do a skit with Ernestine. He was going to play Oliver North! And I would be eavesdropping on him. He agreed, but then I backed off because I thought I was making too much light of the whole thing.”

The rogue’s gallery in the above paragraph gives some indication of Tomlin’s longevity in the biz, as well as her necessity. “I’ve been performing since I could basically walk,” she says. “When I was growing up in Detroit, I used to hang a blanket as a curtain on my back porch and put on shows for my family and neighbors. And then, because it started to get dangerous on the streets, I immersed myself in afterschool arts programs. I started incorporating film in to my performances, as well as comedy, drama, a little of this and a whole lot of that. I think I was the original performance artist!”   

Along with Ernestine, Tomlin’s essential characters like Edith Ann, Mrs. Beaszley, Sister Boogie Woman — maybe even her characters from 9 to 5 and Big Business, please? — will be in tow for “An Evening of Classic Lily Tomlin” worth trekking up to Napa to catch. The show, a version of which Tomlin performs 30-50 times a year, is a a kind of constantly evolving greatest hits extravaganza. “These characters never leave me; I’m constantly playing with them in my head, like some weird kind of checkerboard,” Tomlin said with a laugh. “But they have to say something, something relevant. Somehow, of course, it always seems like there’s something for them to say, especially lately.”

Now 73, Tomlin’s coming off a season on TV as the pot-happy hillbilly grandma from Reba McEntire’s sitcom Malibu Country and the Tina Fey movie Admission. She’s also a regular as Lisa Kudrow’s mother on web series Web Therapy, an avid social media user, and a crusader for several causes. “Darn good genes,” she says when I gasp at her energy, roughly 1000 times any other human’s. “I had an aunt just pass away at 91. Marke, she would have lived to 120 if the smoker’s emphysema hadn’t slowed her down.”

And her maverick feminist spirit still shines bright. “There’s more opportunity for women in this business now than when I started out. Working with Tina and Lisa was inspirational, and now with new media, the possibilities are really opening up. I mean, people used to think women did comedy only because they were too ugly to do anything else. When I first started getting better known, I can’t tell you how many people came up to me saying, ‘Oh, Lily, you’re so much prettier than you are on television!’ Ha. Can you believe that?”

“AN EVENING OF CLASSIC LILY TOMLIN”

Doors 7pm, show 8pm, $70-$85

The Uptown

1350 Third St., Napa

(707) 259-0123

Cheap date alert: Get paid to go watch ‘Dexter’ at a pop-up drive-in

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Happy 80th birthday to the drive-in movie theater! We <3 you as much as Danny Zuko. And now that we’re on the subject — and not to be a total commercial or anything — but this promo deal from ZipCar hyping Dexter via drive-in actually looks like fair compensation for becoming part of a network television hype machine if you have a gore-oriented date on your hands. 

The upshot: ZipCar will pay $50 worth of car credit for members to rent an auto, drive to a secret location, eat free snacks (if you’re there early), check out the season premiere of Dexter‘s last go-round, and Liev Schreiber’s new vehicle Ray Donovan, and try not to get bodily fluids all over your rental car. I’m sorry, but come on it’s a drive-in theater — what do they think people do there, watch the screen?

Of course, this isn’t the only chance you have to fog up the windows. WestWind Drive-Ins operates two drive-in theaters in the Bay Area, one in Concord and one in San Jose that has a thriving screening schedule of double features. They’ll run you a reasonable $7.25 per person in your ride, plus $1 for individuals under the age of 11 (free entry for the sub five-year-olds). 

The San Jose Westwind. Photo by Yelp user Keith K.

Anyway, since the rental car company is pretty much paying for the June 26, we recommend reserving the ride with the largest back seat now. 

ZipCar Drive-In

June 26, 8-11pm, free with ZipCar membership

Secret Bay Area location

www.zipcar.com

In search of …

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arts@sfbg.com

FILM In the 1970s conspiracy-theory culture flourished as never before, an unsurprising development considering the disillusioned malaise that set in after the turbulence of the 1960s and Watergate. In addition to innumerable theories about the “truth” behind JFK’s death (and later Elvis’), there was suddenly a widespread fascination with such questionable phenomena as the Bermuda Triangle, UFOs, Bigfoot, extra-sensory perception, the “Amityville Horror,” and so forth. Naturally this interest rapidly spread from cheap paperbacks to television and drive-in screens.

Such obsessions occasionally sparked upscale treatment (i.e. 1977’s Close Encounters of the Third Kind), but were more often exploited by filmmakers working on the trashier side of the audiovisual entertainment spectrum. Ergo the surfeit of cinematic dumpster-diving that comprises the Vortex’s June series “The Vortex Phenomena,” whose four Thursday evenings are dedicated to exploring the unknown in movies that themselves are largely pretty dang unknown.

There are at least a couple exceptions — and interestingly they’re the ones least relevant to the theme, being traditional supernatural horror. Most prominent is John Carpenter’s 1980 The Fog, his entry into the relative big time after indie Halloween basically invented slasherdom two years prior. Depicting murderous mariner ghosts who attack a coastal town on its centennial, The Fog is an atmospheric classic of sorts that almost became a career-ending bomb. Assembling a rough cut, Carpenter thought the results so flat he did extensive reshoots that ultimately constituted about a third of the final, successful version. The film still has a structural problem, though: we know early on that the ghoulies want to claim six lives, and since right off the bat they take three, there’s no huge sense of peril for the cluttered cast (including Jamie Lee Curtis, her Psycho-shower-victim mom Janet Leigh, bodacious Adrienne Barbeau, and Hal Holbrook). Trivia note: it was partly shot in Point Reyes and Bolinas.

The other moderately well-known film in the Vortex series is The Dunwich Horror, a striking 1970 H.P. Lovecraft adaptation with erstwhile Gidget and all-around perky girl Sandra Dee as a graduate student unknowingly recruited for demonic sacrifice by a superbly creepy Dean Stockwell. Otherwise, “Phenomenon” features movies even the fairly learned horror fan has probably never heard of — though if you were of viewing age in the 1970s you might have actually seen (and forgotten) a couple of them on network TV.

A pilot for an unproduced series, 1973’s Baffled! features Leonard Nimoy in an unusually debonair role as a racecar driver who begins experiencing psychic visions of future mayhem (sometimes, inconveniently, when he’s behind the wheel). They draw him to England, where a visiting movie star (Vera Miles, another veteran of 1960’s Psycho) finds her 12-year-old daughter going through an uber-bratty phase possibly heightened by demonic possession. The slick mix of comedy-mystery and horror doesn’t quite work, but Star Trek aficionados will enjoy the inexplicable wrongness of seeing Nimoy as a conventional suave action hero, saying things like “You’re a great-lookin’ chick!”

A stand-alone, more typical TV “Movie of the Week” of the same era was 1975’s Satan’s Triangle, which offered “one explanation” for the ongoing mystery of disappearances in the Bermuda Triangle. Forgotten bo-hunk Doug McClure is part of a Coast Guard rescue team answering a distress signal from a wrecked yacht on which are found various corpses — and one traumatized survivor, Kim Novak (yet another Hitchcock veteran). What happened? A hint: Name-check the title. And expect a very Christian ending. It’s like a fairly clever attenuated Twilight Zone or Night Gallery episode. Those series’ actual mastermind, Rod Serling, narrates the 1973 omnibus horror feature Encounter with the Unknown — something of a ruse, since he neither wrote or produced this amateurish trilogy of dull, dismal horror stories. Also on the yakkety side is 1978 Italian lukewarm mess Eyes Behind the Stars, in which space invaders wearing sparkly hoodies and leotards with motorcycle-helmet-type face visors wreak convoluted havoc on any human who gets wise to their murky global conspiracy.

There’s likewise too much talk and not enough terror in 1979’s The Kirlian Witness, a murder mystery about a dead florist (and telepathic plants) that’s just odd enough to hold interest. The “secret life of plants” was big that year — then-massively popular Stevie Wonder released an album of that same name, one that was soundtrack to a documentary about floral phenomena that played theaters but seems to have been completely removed from the public sphere since.

The hairy mother of all speculative subject matters arrives in the form of Yeti: The Giant of the 20th Century, a 1977 wonder that manages to combine two of the decade’s most disreputable subgenres, the Bigfoot cash-in and the King Kong knockoff. Dino De Laurentiis’ massively publicized, critically mauled 1976 Kong remake inspired a lot of cheap imitations, none sillier than this Italian production which basically copies the entire second half of that revamp, albeit with a muscled bear in a fright wig giganticized via primitive process shots, terrorizing Toronto. He’s like a 100-foot tall, glacier-thawed, million-year-old Wolfman Jack.

The yeti does not appear to have genitals, but gets very excited when the heroine of this otherwise family-targeted entertainment inadvertently rubs one giant nipple. (That is the kind of attention to detail one appreciates in “Un Film di Frank Kramer,” a.k.a. Gianfranco Parolini, a vetern of spaghetti westerns and Hercules movies.) It’s no Shriek of the Mutilated (1974) as yeti movies go, but it does have disco music, super loud wide-lapel men’s sports coats, a heroic Lassie-type dog, and magical leaps of narrative continuity. *

THE VORTEX PHENOMENA

Through June 27

Thu, 9 and 11pm, $10

Vortex Room

1082 Howard, SF

Facebook: The Vortex Room

 

This Ain’t The Summer Of Love

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Recently, I came across this great series from 1995 on YouTube, “Dancing In The Streets–the History of Rock and Roll”. Ten episodes from the R/B meets Country birth of the music all the way to hip hop. Really well done, excepting some glaring errors (whomever wrote the Ramones segment knew nothing of the band) and omissions (not an Elton John fan, but the guy was a recording artist of enormous success, ditto Rod Stewart and no MC5 or New York Dolls). As it is television and not music, the colorful parts of rock’s history got a lot of play.

One entire segment was devoted to psychedelia. Was great, too–bookended by the Byrds’ “Eight Miles High” and “You Ain’t Goin’ Nowhere”. Naturally, there was a lot of attention devoted to San Fran and its bands and the importance of the City in rock and roll. Which can’t be denied. San Francisco–from the mid 50’s to the mid 60’s–was America’s creative crucible. The Beats of North Beach and the hippies of the Haight are now cultural signifiers and as the program pointed out, they didn’t happen in San Francisco by accident. 

As the Airplane’s Paul Kantner points out, San Fran is a seaport and seaports tend to be where the collision of disparate ideas from around the world makes new ones. What’s not in the piece is the real reason the Beats flourished in SF. In New York, cabaret licenses were hard to obtain in the 50’s, in SF, they weren’t. Therefore, a city with a population 1/10th the size of New York’s could compete with New York. As is also said in the show, all of SF’s old ballrooms were ideal for Kesey’s acid tests and the laissez faire attitude of the City wasn’t entirely due to its open-mindedness, but simply that San Fran had no idea what was coming in 1966 and 1967.

At the end of the show (which featured Jerry Garcia’s last interview and he was good naturedly hilarious in it), I wondered if in this day and age, San Francisco could ever be the giant of the zeitgeist again. Took me less than a half a minute to realize that the answer is a resounding “no”.

Every factor that figures in to a locale becoming a spawning ground for the arts no longer exists in SF. Artists need two things above all else–lots of space and cheap rent. An “artist” that works a 50 hour a week day job to pay the bare bones of rent, food and heat hasn’t got much left by way of time and energy. If the same artist is in a Mission one bedroom (and shared), there’s no elbow room. Nowhere to rehearse one’s craft and nowhere to paint or draw without getting up in someone else’s space.

That’s to say nothing of a “night life scene” where the price of two drinks and a cover could buy lunch five days a week in another city. 

Don’t hand me the idea that the young software and PNS developers are somehow the same as Jack Kerouac, Jerry, Janis and Grace. Yeah–they’re all young (not now, of course). But conflating commerce with art that no one thought would make any money in the first place because “that’s what kids do now” is jive. They’re opposites. Artists and their fans are messy and free and by their nature hard to control, businessmen and politicians are soulmates. Catering to the very wealthy is a slam dunk to the Ed Lee’s and Nancy Pelosi’s of the world because the wealthy contribute to them.

Don’t get me wrong–the 60’s weren’t utopia and the hordes of homeless people that have flocked to SF since have become an almost intractable problem. 

San Francisco is the country’s mosy physically beautiful city. It has a long history of upheaval (culturally and seismically). But in our time, Detroit, Erie or Buffalo are becoming just as likely if not more so to be where the arts boom next. They’re cheap and with the Internet, an artist’s work can go anywhere when he or she don’t have to. Fact is, plain old venality is doing SF in. Pandering to the few at the expense of the many means that the fertile underside of the (actual) creative class gets priced right off the peninsula. All that’s left is the safe and staid that San Fran has thumbed its nose at forever. Sad.

 

Airbnb is still snubbing SF, even after a NY judge rules it illegal there

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Now that a judge in New York has ruled that Airbnb is illegal there, a model that violates city tenant laws and state law, that should put pressure on the San Francisco-based company to finally stop snubbing cities and find a way to exist within local regulatory frameworks and finally start paying its taxes.   

It was good to hear KQED’s Forum discuss Airbnb this morning – it was getting lonely as the only local reporter highlighting the company’s open defiance of San Francisco’s ruling that it should be paying the city’s Transient Occupancy Tax, just like hotels – and to finally question an Airbnb executive on an issue the company has been refusing to address publicly (yes, they still aren’t returning my calls).

But the answer that David Hantman, Airbnb’s global head of public policy, gave this morning was pretty astounding in its hypocritical arrogance. He acknowledged the tax ruling by San Francisco and the company’s lack of compliance, and said the company was waiting for clarification on the various issues related to the questions of the legality of some of the short-term rentals it facilitates before paying its taxes.

In other words, this company is making tens of millions of dollars annually in San Francisco alone on a business model that it developed – one that often runs afoul of local land use and tenant laws, and in violation of people’s leases – and it’s up to city officials to find a solution to this company’s problems before it will pay taxes?!?

To his credit, Board of Supervisors President David Chiu has been trying to do just that for months, slogging through a number of complex and difficult issues that arise from this business model, and he has been clear throughout that Airbnb should be paying its taxes to the city, which it isn’t.

“It’s reasonable to ask people who benefit from the economic transactions we’re talking about to pay their fair share,” Chiu reiterated on Forum, citing the cost to the city of serving the 16 million tourists who visit the city each year.

Coincidentally, there’s a German television crew from ARD (Germany’s equivilent of the BBC) in San Francisco this week doing a story on Airbnb and the shareable economy, interviewing me about my coverage of the company, as well as others, including Airbnb co-founder Nathan Blecharczyk.

The ARD reporter told me this afternoon that Blecharczyk was animated and expansive when discussing how wonderful his company is and how it’s changing the world, but he became terse and unresponsive when she raised the issue of local taxes and regulations.

As I said on camera today, Airbnb and other shareable economy companies are cool, I’ve used them myself, and they’re certainly here to stay. But I just don’t understand their unwillingness to be good corporate citizens and to pay the taxes they owe to support the city services that their customers use.

Chiu has clearly said that Airbnb should pay the TOT — which my reporting has shown would bring $1.8 million annually into city coffers — and that paying its taxes will be a part of the regulatory package he’s working on. But sources have also told me that negotiations have been hard slog, largely because of Airbnb’s unwillingness to play by the rules and because of the unqualified support the company has from Mayor Ed Lee, whose main political fundraiser, Ron Conway, is also a major investor in Airbnb.

Hopefully the New York ruling and growing media scrutiny will prompt the young executives at Airbnb to finally become good faith partners in a city that has been so good to them — a city whose leaders seem anxious to return the favor and legalize Airbnb’s operations in San Francisco.

 

Rep Clock

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Schedules are for Wed/22-Tue/28 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. Free-$6. "CCSF Directing Students Showcase," Thu, 8. "Shorts from SFSU’s Cinema Department," Fri, 7. "Other Cinema:" "New Experimental Works," Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-13. Milk (Van Sant, 2008), Wed, 2, 4:30, 7, 9:30. •Black Swan (Aronofsky, 2010), Thu, 7, and Dancer in the Dark (von Trier, 2000), Thu, 9:05. Grease (Kleiser, 1978), presented sing-along style, Sun-Mon and June 1-3, 2:30, 8. This event, $10-15; advance tickets at www.ticketweb.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. In the House (Ozon, 2012), call for dates and times. Midnight’s Children (Mehta, 2012), call for dates and times. The Reluctant Fundamentalist (Nair, 2012), call for dates and times. Renoir (Bourdos, 2012), call for dates and times. Stories We Tell (Polley, 2012), call for dates and times. Frances Ha (Baumbach, 2012), May 24-30, call for times. "Shorts in Brief: Quality Films For Young Children," Sun, 11am. This event, $5.

DAVIES SYMPHONY HALL 201 Van Ness, SF; www.sfperformances.org. $40-65. "San Francisco Performances presents:" Koyaanisqatsi (Reggio, 1982), Sun, 7. With live performance by Philip Glass and the Philip Glass Ensemble.

DELANCEY STREET SCREENING ROOM 600 Embarcadero, SF; lastwarcrime.com/tickets_SF.php. Free (donations accepted; RSVP at web site). The Last War Crime (the Pen, 2012), Sat, 6, 8.

FIRST UNITED METHODIST CHURCH 9 Ross Valley, San Rafael; www.mitfamericas.org. $5-10. The Sixth Sun: Mayan Uprising in Chiapas (Landau, 1995), Fri, 7:30.

NEW PARKWAY 474 24th St, Oakl; www.thenewparkway.com. $6-10. "New Parkway Classics:" Heathers (Lehmann, 1988), Thu, 9. "Thrillville:" Plague of the Zombies (Gilling, 1966), Sun, 6.

"PLAYGROUND FILM FESTIVAL" Various Bay Area venues; playground-sf.org/filmfest. $10-25. Showcasing Bay Area filmmakers and writers and their short work. Through May 25.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. PFA closed through June 5.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. "I Wake Up Dreaming 2013:" •Bluebeard’s Ten Honeymoons (Wilder, 1960), Wed, 6, 10, and Death of a Scoundrel (Martin, 1956), Wed, 7:45; •The Crooked Way (Florey, 1949), Thu, 6:10, 9:45, and Criss Cross (Siodmak, 1949), Thu, 8. Sun Don’t Shine (Seimetz, 2012), Wed-Thu, 7:15. Upstream Color (Carruth, 2013), Wed-Thu, 9. "Sex Worker Film Festival," Sat, 2. More info at www.sexworkerfest.com. D Tour (Granato, 2009), Mon, 7:30.

SF JAZZ CENTER 201 Franklin, SF; gc.ajws.org/rsvpmaker/film-screening-god-loves-uganda. Free (limited seating; RSVP required). God Loves Uganda (Williams, 2013), with community forum about homophobia and Uganda to follow, Wed, 6.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. "Girls! Guns! Ghosts! The Sensational Films of Shintoho:" Death Row Woman (Nakagawa, 1960), Thu, 7:30; •Yellow Line (Ishii, 1960), Sun, 2, and Revenge of the Pearl Queen (Shimura, 1956), Sun, 3:30. "San Francisco Performances presents:" Beauty and the Beast (Cocteau, 1946), Thu-Sat, 8. With live performance by the Philip Glass Ensemble. This event, $40-65; tickets at www.sfperformances.org.

Rep Clock

0

Schedules are for Wed/15-Tue/21 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. "Other Cinema:" "Notebook Filmmaking," book release party and screening with Bill Brown, Sat, 8:30.

BALBOA 3630 Balboa, SF; www.cinemasf.com/balboa. $7.50-10. Rockshow: Paul McCartney and Wings (1980), Thu, 7:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-13. "Harvey Milk 2013: Living the Legacy," free discussion and performance by the SF Gay Men’s Chorus, Wed, 7. •Happy Together (Wong, 1997), Thu, 7, and Fallen Angels (Wong, 1996), Thu, 8:55. "Midnites for Maniacs: Dirty Little Munchkins Triple Bill:" •The Bad News Bears (Ritchie, 1976), Fri, 7:30; Gummo (Korine, 1997), Fri, 9:30; and The Garbage Pail Kids Movie (Amateau, 1987), Fri, 11:30. Tickets are $13 for one or all three films. •Rear Window (Hitchcock, 1954), Sat, 2, 4:30, 7, and Body Double (De Palma, 1984), Sat, 9:10. Oz: The Great and Powerful (Raimi, 2013), Sun, 2, 5, 8. •Stoker (Park, 2013), Tue, 7, and Shadow of a Doubt (Hitchcock, 1943), Tue, 8:55.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. The Angels’ Share (Loach, 2012), call for dates and times. Blancanieves (Berger, 2012), call for dates and times. In the House (Ozon, 2012), call for dates and times. The Reluctant Fundamentalist (Nair, 2012), call for dates and times. Renoir (Bourdos, 2012), call for dates and times. Rockshow: Paul McCartney and Wings (1980), Thu, 7, and Sat, 1. This event, $15. Midnight’s Children (Mehta, 2012), May 17-23, call for times. Stories We Tell (Polley, 2012), May 17-23, call for times. "World Ballet on the Big Screen:" Giselle, from the Royal Ballet, London, Sun, 1; Tue, 6:30.

"HIMALAYAN FILM FESTIVAL" Various SF and East Bay venues; www.himalayanfilmfest.com. $8-25. First annual festival featuring narrative and documentary "films from the roof of the world," Wed-Sun.

JOE GOODE ANNEX 401 Alabama, SF; www.rawdance.org. $5-10. "One Night, Three RAWdance Films," dance films, Thu, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, milibrary.org/events. $10 (reservations required as seating is limited). "CinemaLit Film Series: Paddy Chayefsky: Scenes from American Lives:" The Goddess (Cromwell, 1958), Fri, 6.

NEW PARKWAY 474 24th St, Oakl; www.thenewparkway.com. $6-10. "New Parkway Classics:" Shaun of the Dead (Wright, 2004), Thu, 9pm. "Thrillville:" Foxy Brown (Hill, 1974), Sun, 6.

NINTH STREET INDEPENDENT FILM CENTER 145 Ninth St, SF; www.thespaceinvaders.org. $10. The Space Invaders: In Search of Lost Time (Von Ward, 2012), Sat, 8.

"PLAYGROUND FILM FESTIVAL" Various Bay Area venues; playground-sf.org/filmfest. $10-25. Showcasing Bay Area filmmakers and writers and their short work. Through May 25.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. PFA closed through June 5.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. The Source Family (Demopoulos and Wille, 2012), Wed-Thu, 7. Upstream Color (Carruth, 2013), Wed-Thu, 9. "I Wake Up Dreaming 2013:" •Bewitched (Oboler, 1945), Wed, 6:30, 9:45, and Five (Oboler, 1951), Wed, 8; •Undertow (Castle, 1949), Thu, 6:30, 9:40, and Shakedown (Pevney, 1950), Thu, 8; •Pickup (Haas, 1951), Fri, 6:15, 9:45, and Wicked Woman (Rouse, 1953), Fri, 8; •All Night Long (Dearden, 1961), Sat, 1:30, 5:30, 9:30, and Sweet Smell of Success (Mackendrick, 1957), Sat, 3:30, 7:30; •Female on the Beach (Pevney, 1955), Sun, 1:15, 5:30, 9:30, and Autumn Leaves (Aldrich, 1956), Sun, 3:15, 7:30; •Killer at Large (Beaudine, 1947), Mon, 6:40, 9:30, and Key Witness (Lederman, 1947), Mon, 8; •The Tattooed Stranger (Montagne, 1950), Tue, 6:40, 9:45, and My Gun is Quick (Victor and White, 1957), Tue, 8. Sun Don’t Shine (Seimetz, 2012), May 17-23, 7:15, 9:15 (also Sat-Sun, 5).

SAN FRANCISCO STATE UNIVERSITY McKenna Theater, Creative Arts Building, 1600 Holloway, SF; www.sffilmfinals.com. Free. "53rd Film Finals," Fri, 7. Award ceremony and reception follows.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. "Girls! Guns! Ghosts! The Sensational Films of Shintoho:" The Horizon Glitters (Doi, 1960), Thu, 7:30; •Vampire Bride (Namiki, 1960), Sun, 2, and Ghost Cat of Otama Pond (Ishikawa, 1960), Sun, 3:45.

The Performant: Forever young

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Rocky Horror turns 40, still crazy after all these years.

Who doesn’t have fond memories of their first Rocky Horror Picture Show experience? Ok, mine are mixed since the first time I saw it was on an old black-and-white television with my father, avoiding eye contact and trying not to laugh too hard at the ribald bits. It wasn’t until I finally saw it on the big screen in the company of peers — armed with rice, noisemakers, and snarky quips — that the full potential of its subversive pleasures revealed themselves more fully.

Part of the fun of repeated viewings of the Rocky Horror Picture Show is emulating the character you most want to be, and for a curly-haired, goth-inclined teenager, the clear choice was Magenta, whose stone-faced cool and extraterrestrial sensuality were so beyond the straitjacket of smalltown teenhood, that to walk an evening in her spike-heeled shoes was akin to a declaration of, well, something. Call it freedom. Peaches Christ does.


“The Rocky Horror Picture Show was my ‘It Gets Better’ video,’ she told the cheering oddience assembled at the Victoria Theatre for the 40th anniversary of the original Rocky Horror Show, the slapstick, Ed-Wood-meets-Charles-Ludlam Rock Musical that, two years later, became a film destined to be the best known midnight movie of all time.

Deviating from the tried-and-true Midnight Mass formula of movie screenings, this Rocky Horror birthday bash took the form of a tribute concert at a respectable 8pm, with multiple singers cast in the iconic roles of the universes’ best-beloved Transylvanians, live music provided by the Whoa Nellies, and quick-and-dirty narration by Peaches Christ herself, synopsizing the negligee-thin plotline that happens between all of those undeniably catchy songs: “The Time Warp,” “Touch-a Touch-a-Touch Me,” and “Hot Patootie, Bless my Soul”. Channeling her inner Tim Curry, PC also provided the vox and corseted eye candy on “Sweet Transvestite” slyly replacing her planet of origins, “Transsexual, Transylvania,” with “San Francisco, California”.

But by far the highlight was the moment that the original Magenta — Patricia Quinn — stepped onstage in a sleek leather suit and handfuls of glitter, to sing the opening song she’d been cheated out of 38 years ago when Richard O’Brien took it over for the movie version, accompanied by a visual of her bright red “stunt lips.” My still-practically-teenaged heart be still. Quinn’s still got. It. That elusive, effusive cool. As does the whole freaking musical, which, stripped of the mostly laughable dialogue and B-Movie special effects, really rocks. Not bad for a 40-year-old who regularly stays up until 3am and can’t ever seem to remember to wear pants. Oh, Rocky!

Lest a single inch of stage space go wasted, almost every role was played by a minimum of two performers, including Dr. Frank-N-Furter portrayed mainly by seasoned Rocky Horror vet Jef Valentine, with a counter-point appearance by former X Factor contestant, Jason Brock, who sang a soulful “I’m Going Home” to an interstellar techno backing track provided by Marc Kate aka Never Knows. Exceptions were Musical Director Peter Fogel who pulled double duty as the titular boy toy and the imitable Leigh Crow as Eddie, ‘cause there can only be one Eddie, and really, that Eddie can only be Leigh Crow. And now that such a stellar lineup is already in place, here’s hoping Peaches will do a 40-year bash for the film version, too, come 2015. Don’t dream it, darlings. Be it!

Live Shots: Marina and the Diamonds at the Warfield

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I like a little grit. Usually I feel that a great show combines unpredictability, recklessness, and some raw, unpolished vulnerability. That’s what makes live music exciting and dynamic. If we wanted flawless vocals and sonically airbrushed instrumentals, we’d just stay at home and listen to the music on iTunes. So I’m trying to figure out why Marina and the Diamonds’ shiny, choreographed, factory-sealed set at the Warfield Sunday night felt so right.
 
Marina looks like an actual Barbie doll, with the kind of proportions people go under the knife for and a no-hair-out-of-place look straight out of a Bettie Page photo shoot. Her live persona is a hyperbolic take on teen idolhood, oozing confidence as she strutted, posed, and gracefully reclined on the daybed featured in her onstage bedroom set (complete with a coat rack, television, and stuffed animals.)
 
As Marina ripped through a packed setlist studded with costume changes and flawlessly executed pop routines, the sold-out audience — 1/3 tween girls, 1/3 their mothers, 1/3 Castro on a Saturday night — screamed and gushed at every opportunity. Fans wore homemade sashes bearing the Marina slogans “teen idle” and “heartbreaker” and nearly everyone had her trademark little black heart painted on their cheeks. And I can see why.
 
Marina is insanely talented. Her rich, clear voice is pitch-perfect. Her songs are catchy, extremely danceable, and overall just good, old-fashioned fun. She shone brightest when the camp factor was turned up to eleven, as it often was, with prop martini glasses full of glitter and neon lighting. Her more stripped down moments, featuring just Marina and a keyboard, lacked the punch and glamour that makes her presence so awesome.
 
But I think what makes Marina so likeable, despite her unbelievable precision and Mattel-like beauty, is that when she sings “I am not a robot,” you believe her. There is something very genuine about Marina’s hyperfeminine persona. When she said, “San Francisco, are you living in this moment right now? Because I am,” it rings true.
 
Usually my feminist blinkers would be going off at the sight of this woman in a crop top singing to tweenage girls about being a prima donna, but instead I found myself singing along with thousands of devoted fans, “Oh my God, you look just like Shakira/ No, no, you’re Catherine Zeta/ Actually, my name’s Marina!”

The simple fact is that Marina knows what she’s doing. Her image doesn’t seem contrived or commercially driven — it seems like a reclaiming of the femme fatale.
 
Marina may not be redefining dance music or pushing any major envelopes, but she rules at what she does. She absolutely dominates the stage, reminding everyone that there’s no shame in letting yourself enjoy a great pop hook, and that a powerful woman can still totally rock a pink vinyl minidress.

Will SF’s new broadband infrastructure be controlled by the city or Google?

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Board President David Chiu is calling for San Francisco to add to its broadband fiber network every time a contractor or utility tears up a street, joining other cities in expanding high-speed Internet capacity. But will this new network be a municipal utility or corporate-controlled? An upcoming hearing he has called for could begin to answer that question.

“In the 21st century, cities need access to affordable, high-quality broadband to compete economically, just as access to water, electricity, roads or railways was critical in the 20th century,” Chiu said in a public statement. “We see other cities like Austin, Kansas City and Santa Clara making enormous strides.  My proposal will ensure that San Francisco does better in this area.”

But Austin and Kansas City have opted to take the easy path and let Google install and control the system, which raises a variety of questions and problems that are highlighted “Kansas City Gives it up for Google,” in the current issue of Harper’s Magazine, which looked at how KC is letting corporate interests trump the public interest.

“According to its contract, Kansas City must give Google access to its underground conduits, fiber, poles, rack space, nodes, buildings, facilities, and available land. It cannot charge the company for ‘access to or use of any city facilities . . . nor will it impose any permit and inspection fees.’ And what does the city get in return? It has no say in the pricing of Google’s services, nor can it ensure that Google will deliver fiber-optic service to all of the city’s residents. Google’s offices, meeting spaces, and showroom are provided free of charge, and the city pays the company’s electric bill. The mayor, moreover, is barred from commenting on Google’s activities without the express permission of Google,” the magazine writes.

Chiu is building his proposal from a report that then-Sup. Tom Ammiano commissioned years ago, calling for the city to build a network of fiber as it opens up the streets. Now, Chiu is trying to implement that idea with legislation and an upcoming hearing on the issue, but right now he’s agnostic on whether that network is owned by San Francisco or a corporation that it might contract with.

“My legislation doesn’t dictate who lays the fiber, it just ensures that it happens,” Chiu told the Guardian, although he did add that he’s “more intrigued that it could be the public sector.”   

The Harpers article discusses how public utilities have succeeded in delivering reliable, cost-effective services to millions of Americans since the 1930s when FDR began to use government to deliver electricity to rural areas that lacked it, drawing parallels to the 100 million Americans now who lack access to high-speed Internet service. But the federal government seems to be encouraging corporations to do the work this time, and they’re more than happy to oblige.

“Why does Google feel so at home in Kansas City—rather than in, say, California, where the company is based? Why not build their first citywide fiber-optic network in a nearby community? According to Google vice president Milo Medin, the company has preferred to steer clear of such pesky statutes as the California Environmental Quality Act. ‘Many fine California city proposals . . . were ultimately passed over in part because of the regulatory complexity here,’ Medin told a congressional committee in 2011. ‘In fact, part of the reason we selected Kansas City for the Google Fiber project was [that] the city’s leadership and utility moved with efficiency and creativity in working with us to craft a real partnership,’” the article says.

Yet with Google in charge, the company is only guaranteeing access to neighborhoods where a minimum number of residents pre-register and pay for premium service, redlining out many African-American neighborhoods and forcing community members to go door-to-door essentially selling Google’s services.

And in the end, the corporation will make gains even if it loses money on the project, as the article concludes: “So why would an Internet-search company want to spend a fortune to install fiber-optic cable in Kansas City, Missouri, and neighboring Kansas City, Kansas? Freedom from regulatory headaches is one part of the equation: if such networks are the wave of the future, the time to jump in is now, before legislative oversight can ruin the party. But another explanation might be the treasure trove of user-behavior information that such a network represents. Data of this kind is so prized that a company like Google can afford to give away other services for free, as long as this beneficence opens up new markets. In Kansas City, low-income subscribers to the company’s slower, ‘free’ Internet option will be giving Google details about each URL they visit, even if their accounts remain anonymous. And customers who plunk down $120 a month for the ‘Full Google Experience’ will have their television-viewing habits individually tracked by Google’s data-mining elves. Is this a reasonable bargain? For Kansas City, it’s too late to ask. But history—and the success of municipally owned fiber-optic projects throughout the country—strongly suggest that we should look this gift horse in the mouth.”

Food for thought as San Francisco contemplates whether it wants to build public infrastructure or simply facilitate more corporate infrastructure.