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On the Rise: Trails and Ways

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This is the year we’ll finally get to spend some QT with Trilingual, which will technically be Trails and Ways’ debut LP. Though there’s still no release date or label, it will be coming out in 2013. It seems like we’ve been hearing about this much-anticipated release for ages, given all the buzzy blog love thrust on the Oakland indie-pop quartet.

And when I say anticipated, I mean it. Trails and Ways even made it on Hype Machine’s list of the “Most Blogged About Artists of 2012,” partially due to chatter about Trilingual, but likely more to the ingenious covers of Miike Snow, M83, and the like by guitarist-synth master Hannah Van Loon, rhythm guitarist Keith Brower Brown, bassist Emma Oppen, and drummer Ian Quirk.

The band is savvy, and knows how to keep up the momentum for its own projects. It’s posted dreamy official videos for tracks off the upcoming record, including “MTN Tune” and “Border Crosser.” And since December 2012, Trails and Ways have been slowly releasing songs for a remix EP, including one for “Border Crosser” by another On the Rise 2013 act: the Seshen.

Of course there’s more to T&W than a media-hold; the root reason for the frenzy is the music itself. Along with tropical synths, technical guitarwork, and Afro-pop inspired rat-a-tat drums, there’s the four glorious female-male multi-part harmonies that warm and come together like a picturesque sunrise on any given white sand beach (with or without tequila). It’s snark-proof, globally inspired pop, with hints of Brazilian tones, Spanish language snippets, and the occasional whistle, or group ooh-ooh.

Description of sound: You say bossa nova dream pop, I say Brazilian shoegaze.

What you like most about the Bay Area music scene: Our friends Bells Atlas, Astronauts Etc., the Bilinda Butchers, Waterstrider, the Seshen, and the widespread non-commercial ethos of groove.

What piece of music means a lot to you: Pat Metheny Group ft. David Bowie, “This Is Not America”; This song sounds like the boundary waters of dream pop and smooth jazz and it was my favorite song from my dad’s whole CD collection and I think I learned how to use a stereo by hitting repeat for this song.

Favorite local eatery and dish: Oasis Food Market falafel sandwich.

Who would you most like to tour with: tUnE-yArDs.

www.trailsandways.com

Sundance 2013: the way of the gun

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Festival veteran Jesse Hawthorne Ficks files his third report from the 2013 Sundance and Slamdance Film Festivals. Read his first two reports here and here.

British filmmaker Sean Ellis’ Philippines-set Metro Manila took home the Audience Award: World Cinema Dramatic at Sundance. It’s a gritty, neo-realist journey into Manila’s Catch 22‘d slums that’s every bit as shocking as it is hypnotic. When I saw it, the entire audience (myself included) was left gasping for air while wiping their tears — it’s ruthlessly realistic, insanely inspired, and a taut thriller to boot.

Metro Manila is a perfect precursor to Anurag Kashyap’s Gangs of Wasseypur, a 320-minute exploration of 70 years of corruption in the small town of Wasseypur — the coal capital of India — that has to be one of the most monumental political action films ever made. I’ve now seen it twice, and its attention to detail is so precise that in certain scenes, if you can recognize the Hindi movie posters on the alley walls, you’ll be able to pinpoint what month and year the film has splintered into.

Given Gangs‘ brutal violence and slang-filled dialogue, Kashyap admitted he was surprised that it was not banned in India, since his previous films had been. (More props for the director: he showed up for a 1am festival Q&A.) This towering achievement will no doubt excite fans of Ram Gopal Varma’s gangster films; it’s a jaw-dropping, Godfather-esque odyssey that’s both historical allegory and unstoppable action flick.

Shifting focus to urban America: Alexandre Moors’ Blue Caprice (part of Sundance’s NEXT programming, highlighting “impactful” indies screening out of competition; more on the NEXT films in an upcoming post) is inspired by Washington DC’s 2002 sniper attacks, specifically focusing on the two shooters as they meet, diabolically prepare, and eventually execute their plan. The first post-film question, vehemently asked, was “Why didn’t you make a film about the victims?” But its point of view is what makes Blue Caprice so profound; it encourages the audience to attempt to understand the attackers, much like Fritz Lang’s classic murder tale M (1931).

http://www.youtube.com/watch?v=L5tIVbZTgEg

Director Moors and lead actor Isaiah Washington (as John Allen Muhammad) do an astounding job leading us through an absolutely terrifying story, and they are able to do so without resorting to broad strokes. Interestingly, with both the US Grand Jury Prize: Dramatic and the Audience Award: US Dramatic going to Oakland filmmaker Ryan Coogler’s wonderfully executed yet disappointingly one-dimensional Fruitvale, it seems that many audiences are not prepared for such a brave and complex film as Blue Caprice. It’s a film based on a real-life tragedy that asks a lot of questions, pushes a lot of buttons, and offers no answers.        

Is your cat the Devil? Learn its historical precedence at demonic kitty lecture

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Has your cat spit fire recently? Exhibited fluency in multiple languages simultaneously? Levitated? Flown? If so, your furry feline may be experiencing the troublesome symptoms of housing a demon. And fire can really do a number on those expensive drapes.

Luckily for you, occult expert Paul Koudounaris is coming to SF this Friday, and as part of David Normal’s “Crazyology” art exhibit will be shedding light on the dark world of demonry in his lecture series, looking at both historical and modern accounts of devilish domestics.

Koudounaris stumbled upon this cryptic world of bedeviled kitties during research for his upcoming book Heavenly Bodies. Initially seeking evidence of angelic cat spirits, like the fluffy white Swiss apparition rumored to protect both the town Bürglen and the remains of St. Maximus, Koudounaris realized that the wealth of information on supernatural kitties was located on the dark side.  

Even the goddess Bast, one of the most enduring Egyptian cat figureheads, was revered for her dark side. According to records from Herodotus, Koudouanris explains in an email interview with the Guardian. “Debauchery was part of the celebration of Bast. One source I found indicated that rapes and assaults were totally acceptable during the celebration of Bast, because it was believe that the spirit of Bast had taken over the perpetrators during the festival. ”

While the how’s and why’s of cats becoming possessed remain unexplained, accounts of these Luciferian faring felines are centuries-old.

And given the responses to Koudounaris’ lectures, still relevant today. “I started doing this lecture as a kind of series” he says, “People who had not been to it would come to me and say, ‘oh, you should talk about my roommate’s cat, that thing is a total demon.’ But [they didn’t] mean bad kitty, [they meant] possessed by demons, or at least suspected of it.” Throughout his research Koudounaris has seen enough bones that he doesn’t spook at just any apparition.

After completing his Ph.D. in art history at UCLA in 2004, Koudounaris was left waiting for some kind of otherworldly inspiration to direct and supplement his extensive training. Inspiration struck in 2006, in the seedy lobby of a Czech hostel.

“I had spent a day in Melnik , where I visited an extraordinary charnel house in the crypt under the Church of Sts. Peter and Paul,” wrote Koudounaris on his website, “It was gritty and dirty — decidedly not sanitized for tourists — but the arrangements of the bones showed genius, not just in formal artistic principles, but also in their understanding of philosophy and theology.”

For the next four years, his interest in the bizarre left him mausoleum-bound and underground, photo-documenting his journey into innumerable holes, crypts, and churches around Europe.

The Empire of Death, his recently-released book, documents this journey in rich color printed photographs, visually raising from the dead the largely forgotten history of ossuaries.

While he’s by no means a bone collector,  Koudounaris, is certainly an archaeologist of sorts, exhuming the forgotten, the unbelievable, and even the seemingly bizarre. His work breathes new life into forgotten chapters of history, like that of devil cats.

One such chapter belongs to the United States, and a cat that haunts the Presidential homestead.

D.C., short for the District of Columbia (but also Demon Cat) has been purportedly haunting the White House since the Civil War days. Legend has it that General Nathan Bedford Forest, who was also the Grand Wizard of the Ku Klux Klan, was responsible for invoking this common cat with demonic duties. D.C. was “initially related to the death of Lincoln,” says Koudounaris, “hence the suspicion that the confederacy was involved, apparently as an attempt to undermine the Union through a decidedly guerrilla tactic of sending in a demonically-possessed cat.”

D.C.’s historic haunting’s have even garnered him his own Wikipedia page. According to Koudounaris, D.C.  “has a tendency to reappear and presage national disasters — the last account of it was right before the 9/11 attacks. It also appeared before Pearl Harbor and the Kennedy assassination, when it appeared and told JFK to “go fuck off.”

Koudounaris muses, “Do you think they have to brief every new president? ‘Sir, now that you have taken the Oath of Office, there is something we must tell you. If you happen to see a black cat that metamorphs, disappears, and speaks to you in tongues, it’s a demon, sir.'”

Humor is clearly unfiltered when one deals with darkness daily.

A cat owner himself, he notes that chances of actually encountering a demonically-possessed cat is rather rare, but rogue demons have been known to take form in even the most docile of kitties. ‘I don’t consider this something most of us should be worried about. But if your cat starts spitting fire–well, get the hell away from it.”

Paula Koudounaris demonic cat lecture

8pm, free

1000 Van Ness, atrium, SF

www.empiredelamort.com

 

Out of place

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news@sfbg.com 

In his State of the City address last week, Mayor Ed Lee cheerfully characterized San Francisco as “the new gravitational center of Silicon Valley.” He touted tech-sector job creation. “We have truly become the innovation capital of the world,” Lee said, “home to 1,800 tech companies with more than 42,000 employees — and growing every day.”

From a purely economic standpoint, San Francisco is on a steady climb. But not all residents share the mayor’s rosy outlook. Shortly after Lee’s speech, renowned local author Rebecca Solnit published her own view of San Francisco’s condition in the London Review of Books. Zeroing in on the Google Bus as a symbol of the city’s housing affordability crisis, she linked the influx of high-salaried tech workers to soaring housing costs. With rents trending skyward, she pointed out, the dearth of affordable housing is escalating a shift in the city’s cultural fabric.

“All this is changing the character of what was once a great city of refuge for dissidents, queers, pacifists and experimentalists,” Solnit wrote. “It has become increasingly unaffordable over the past quarter-century, but still has a host of writers, artists, activists, environmentalists, eccentrics and others who don’t work sixty-hour weeks for corporations — though we may be a relic population.”

LIMITED OPTIONS

The issue of housing in San Francisco is highly emotional, and there is perhaps no greater flashpoint in the charged debate than Ellis Act evictions.

When the housing market bounces upward, Ellis Act evictions tend to hit long-term tenants whose monthly payments, protected by rent control, are a comparative bargain. Even if they’ve submitted every payment on time and upheld every lease obligation for 20 years, these renters can find themselves in the bind of being forced out.

And they don’t just lose their homes; often they lose their community. San Francisco has become so expensive that many Ellis Act victims are tossed out of this city for good.

Enacted in 1986, the state law allows a landlord to stop renting units, evict all tenants, and sell the building for another purpose. Originally construed as a way for landlords to “go out of business” and move into their properties, the Ellis Act instead gained notoriety as a driving force behind a wave of evictions that slammed San Francisco during the tech boom of the late 90s. Between 1986 and 1995, just 29 Ellis evictions were filed with the San Francisco Rent Board; in the 1999-2000 fiscal year alone, that number ballooned to a staggering 440.

Under the current tech heyday, there are indications that Ellis Act evictions are gaining fresh momentum. The San Francisco Rent Board recorded 81 this past fiscal year, more than double that of the previous year, and there appears to be an upward trend.

TIC CONTROVERSY

Buildings cleared via the Ellis Act are typically repackaged as tenancies-in-common (TIC), where several buyers jointly purchase a multi-unit residence and each occupy one unit. Realtors often market TICs as a path to homeownership for moderate-income individuals, creating an incentive for buyers to enter into risky, high-interest shared mortgages in hopes of later converting to condos with more attractive financing.

The divide between TIC owners and renters came into sharp focus at a contentious Jan. 28 hearing, when a Board of Supervisors committee met to consider legislation that would allow some 2,000 TIC units to immediately convert to condos without having to wait their turn in a requisite lottery system.

One TIC owner said he was financially burdened, but had only entered into the arrangement because “I wanted to stay here and raise my family, but we couldn’t afford a single family home.” Yet tenants brought their own set of concerns to the table, saying the temptation to create TICs was putting a major dent in the city’s finite stock of rent-controlled units — the single greatest source of affordable housing in San Francisco.

“My feeling is, let’s stop doing TICs,” Tommi Avicolli Mecca, a tenants right activist with the Housing Rights Committee, told the Guardian following the hearing. “The city has to just start making sure that the condos that are built are the kind of thing [TIC buyers] can afford. Instead, we cannibalize our rental stock? That’s a reasonable way? You evict one group of people to house another: How does that make sense?”

The grueling five-hour hearing illustrated the sad fact that San Franciscans in a slightly better economic position were being pitted against economically disadvantaged renters. The two groups were bitterly divided, and all seemed weary, furious, and frustrated by their housing situations.

The condo-conversion legislation, co-sponsored by Sups. Scott Wiener and Mark Farrell, did not move forward that day. Instead, Board President David Chiu made a motion to table the discussion until Feb. 25, to provide time for “an intensive negotiation process.” Chiu, who rents his home, added: “While I myself would like to become a homeowner someday … I do not support the legislation in its current form.”

Sup. Jane Kim sought to appeal to the tenants as well as the TIC owners. “It’s very tragic that we have set up a situation where [TICs and renters] are pitted against one another,” she said. She hinted at what a possible alternative to might look like. “We should be looking at a ban of scale,” she said. “If we allow 1,800 potential units to go thru this year, are we willing to do a freeze for the next 8 to 10 years?”

It’s unclear what will happen in the next few weeks, but if this legislation makes it back to the full board in some form, the swing votes are expected to be Sups. London Breed, Malia Cohen and Norman Yee.

CASH OR EVICTION?

New protections were enacted following the late-90s frenzy to discourage real-estate speculators from using the Ellis Act to turn a profit on the backs of vulnerable seniors or disabled tenants. Yet a new wave of investors has discovered they can persuade tenants to leave voluntarily, simply by offering buyouts while simultaneously wielding the threat of an Ellis Act eviction. “The process got more sophisticated,” explains San Francisco Rent Board Deputy Director Robert Collins.

Once a tenant has accepted a check in lieu of eviction, rent-controlled units can be converted to market rate, or refurbished and sold as pricey condos, without the legal hindrances of an eviction blemish. Buyouts aren’t recorded with the Rent Board, and the agency has no real guidance for residents faced with this particular dilemma. “We don’t have the true number on buyouts,” says Mecca. “We don’t know how many people have left due to intimidation.”

Identity-wise, renters impacted by the Ellis Act defy categorization. A contingent of monolingual Chinese residents rallied outside City Hall recently to oppose legislation they believed would give rise to evictions; in the Mission, many targeted tenants are Latinos who primarily speak Spanish. From working immigrants, to aging queer activists, to disabled seniors, to idealists banding together in collective houses, the affected tenants do have one thing in common. When landlords or real-estate speculators perceive that their homes are more valuable unoccupied, their lives are susceptible to being upended by forces beyond their control.

The upshot of San Francisco’s affordability crisis is a cultural blow for a city traditionally regarded as tolerant, forward thinking, and progressive. In the words of Rose Eger, a musician who faces an Ellis Act eviction from her apartment of 19 years, “it changes the face of who San Francisco is.

Out of the Castro

By Tim Redmond

You can’t get much more Castro than Jeremy Mykaels. The 62-year old moved to the neighborhood in the early 1970s, fleeing raids at gay bars in Denver. He played in a rock band, worked at the old Jaguar Books, watched the rise of Harvey Milk, saw the neighborhood transform and made it his home.

He’s lived in a modest apartment on Noe Street for 17 years, and for the past 11 has been living with AIDS. Rent control has made it possible for Mykaels, who survives on disability payments, to remain in this city, in his community, close to the doctors at Davis Hospital who, he believes, have saved his life.

And now he’s going to have to leave.

In the spring of 2011, his longtime landlords sold the building to a real-estate investment group based in Union City — and the new owners immediately sought to get rid of all the tenants. Two renters fled, knowing what was coming; Mykaels stuck around. In September of 2012, he was served with an eviction notice, filed under the state’s Ellis Act.

He’s a senior, he’s disabled, his friends are mostly dead and his life is in his community — but none of that matters. The Ellis Act has no exceptions.

Mykaels spent a fair amount of his life savings fixing up his place. The walls are beige, decorated with nice art. Dickens the cat, who is chocolate brown but looks black, wanders in and out of the small bedroom. Mykaels has been happy there and never wanted to leave; “this,” he told me, “is where I thought I would live the rest of my life.”

There’s no place in the Castro, or even the rest of the city, where he can afford to move. Small studios start at $2,500 a month, which would eat up all of his income. There is, quite literally, nowhere left for him to go.

“A lot of my friends have died, or moved to Palm Springs,” he said. “But this is where my doctors are and where I’m comfortable. I’m not going to find a support system like this anywhere else in the world.”

Mykaels is the face of San Francisco, 2013, a resident who is not part of the mayor’s grand vision for bringing development and high-paying jobs into the city. As far as City Hall is concerned, he’s collateral damage, someone whose life will have to be upended in the name of progress.

But Mykaels isn’t going easily. The former web designer has created a site — ellishurtsseniors.org — that lists not only his address (460 Noe) and the names of the new owners (Cuong Mai, William H. Young and John H. Du) but the addresses of dozens of other properties that are facing Ellis Act evictions. His message to potential buyers: Boycott.

“Do not buy properties where seniors or the disabled have been evicted for profit by real estate speculators using the Ellis Act,” the website states.

Mykaels is a demon researcher — his site is a guide to 31 properties with 94 units where seniors or disabled people are being evicted under the Ellis Act. In some cases, individuals or couples are filing the eviction papers, but at least 14 properties are owned by corporations or trusts.

Mai told me that he knew a disabled senior was living in the building when he and his two partners bought it, but he said his plan all along was to evict all the tenants and turn the three-unit place into a single-family house. He said he hasn’t decided yet whether to sell building; “I might decide to live there myself.” (Of course, if he wanted to live there himself, he wouldn’t need the Ellis Act.)

Mai said he “felt bad about the whole situation,” and he had offered to buy Mykaels out. The offer, however, wouldn’t have covered more than a few months of market rent anyplace else in the Castro.

By law, Mykaels can stay in his apartment until September. If he can’t stave off the eviction by then, San Francisco will lose another longtime member of the city community.

 

Dark days in the Inner Sunset

By Rebecca Bowe

The living room in Rose and Willie Eger’s Inner Sunset apartment is where Rose composes her songs and Willie unwinds after playing baseball in Golden Gate Park. Faded Beatles memorabilia and 45 records adorn the walls, and a prominently displayed poster of Jimi Hendrix looms above a row of guitar cases and an expansive record collection.

It’s a little worn and drafty, but the couple has called this 10th Ave. apartment home for 19 years. Now their lives are about to change. On Jan. 5, all the tenants in their eight-unit building received notice that an Ellis Act eviction proceeding had been filed against them.

“The music that I do is about social and political things,” explains Rose, dressed from head-to-toe in hot pink with a gray braid swinging down her back. Determined to derive inspiration from this whole eviction nightmare, she’s composing a song that plays with the phrase “tenants-in-common.”

Cindy Huff, the Egers’ upstairs neighbor, says she began worrying about the prospect of eviction when the property changed hands last summer. Realtor Elba Borgen, described as a “serial evictor” in online news stories because she’s used the Ellis Act to clear several other properties, purchased the apartment building last August, through a limited liability corporation. The notice of eviction landed in the mailbox less than six months later. (Borgen did not return Guardian calls seeking comment.)

“With the [average] rent being three times what most of us pay, there’s no way we can stay in the city,” Huff says. “The only option we would have is to move out of San Francisco.” She retired last year following a 33-year stint with UCSF’s human resources department. Now, facing the prospect of moving when she and her partner are on fixed incomes, she’s scouring job listings for part-time work.

The initial notice stated that every tenant had to vacate within 120 days, but several residents are working with advocates from the Housing Rights Committee in hopes of qualifying for extensions. Huff and the Egers are all in their fifties, but some tenants are seniors—including a 90-year-old Cuban woman who lives with her daughter, and has Alzheimer’s disease.

Willie works two days a week, and Rose is doing her best to get by with earnings from musical gigs. Both originally from New York City, they’ve lived in the city 35 years. When they first moved to the Sunset, it resembled something more like a working-class neighborhood, where families could raise kids. The recent tech boom has ushered in a transformation, one that Rose believes “changes the face of who San Francisco is.” Willie doesn’t mince words about the mess this eviction has landed them in. “I call it ‘Scam-Francisco,'” he says.

The trio recently joined tenant advocates in visiting Sup. Norman Yee, their district supervisor, to tell their stories. Yee, who is expected to be one of the swing votes on an upcoming debate about condo-conversion legislation vehemently opposed by tenant activists, reportedly listened politely but didn’t say much.

As for what the next few months have in store for the Egers? “I can’t really visualize the outcome,” Rose says. “I can only visualize the day-to-day fight. And that’s scary.”

 

Fighting for a home in the Mission

By Tim Redmond

Eleven years ago, Olga Pizarro fell in love with Ocean Beach. A native of Peru who was living in Canada, she visited the Bay Area, saw the water and decided she would never leave.

Fast forward to today and she’s built a home in the Mission, renting a small room in a basement flat on Folsom Street. The 55-year-old has lived in the building for eight years; polio has left her wearing a leg brace and she can’t climb stairs very well, but she still rides her bike to work at the Golden Gate Regional Center. She’s a sociologist by training; the walls in her room are lined with bookshelves, with hundreds of books in Spanish and English.

The place isn’t fancy, and it needs work, but it’s hard to find a ground-floor apartment in the Mission that’s affordable on a nonprofit worker’s salary. Since 2011, when she moved in, she and her three housemates have been protected by rent control. And Pizarro’s been happy; “I love the neighborhood,” she told me.

The letter warning of a pending eviction arrived Jan. 16. A new owner of the building wants to turn the place into tenancies in common and is prepared to throw everyone out under the Ellis Act. There’s no place else in town for Pizarro to go.

“I’ve looked and looked,” she said. “The cheapest places are $2,500 a month or more. Maybe I’ll have to move out of the city.”

Pizarro’s building is owned by Wai Ahead, LLC, a San Francisco partnership registered to Carol Wai and Sean Lundy. I couldn’t reach Wai or Lundy, but their attorney, Robert Sheppard, had plenty to say. “San Francisco is going the way of New York,” he told me. “Manhattan is full of co-ops that used to be rentals, and lower-income people are moving to Brooklyn and Queens. That’s happening here with Oakland and further out.” He argued that TICs, like co-ops, provide home-ownership opportunities for former renters.

Sheppard, who for years represented tenants in eviction cases, said the Ellis Act is law, and America is a capitalist country, and “as long as there is a private housing market, there will be shifts of people as the housing market shifts.” He agreed that it’s not good for lower-income people to lose their homes, but “the poor will always be hurt by a changing economy. It’s called evolution.”

Pizarro told me she’s shocked at how expensive housing has become in the Mission. “It’s gotten so gentrified,” she said. “People show up in their BMWs. It’s starting to feel very isolated.”

She’s fighting the eviction. “I didn’t intend it to be this way,” she explained. “I just want to live here.” Lacking any family in the area, the Mission has become her community — “and I’m frustrated by the violence of how expensive it is.”

 

Affordability goes out of style

By Rebecca Bowe

Hester Michael is a fashion designer, and her home doubles as a project space for creating patterns, sewing custom clothing, weaving cloth, and painting. She’s lived in her Outer Sunset two-bedroom unit for almost two decades, but now she faces an Ellis Act eviction. Michael says she initially received notice last June. The timing was awful -– that same month, her husband passed away after a long battle with terminal illness.

“I’ve been here 25 years. My friends are here, and my business. I don’t know where else to go, or what else to do,” she says. “I just couldn’t picture myself anywhere else.”

Michael rents the upstairs unit of a split single-family home, a kind of residence that normally isn’t protected by rent control. Yet she leased the property in 1994, getting in under the wire before that exemption took effect. Since she pays below-market-rate rent in a home that could be sold vacant for top dollar, a target was essentially inscribed on her back when the property changed hands in 2004. That’s about when her long battle with the landlords began, she says.

From the get-go, her landlords indicated that she should look for a new place, Michael says, yet she chose to remain. The years that followed brought things falling into disrepair, she says, and a string of events that caused her feel intimidated and to fear eviction. Finally, she consulted with tenant advocates and hired an attorney. A complaint filed in superior court alleges that the property owners “harassed and retaliated [Michael] when she complained about the defective and dangerous conditions …telling [her] to move out of the property if she did not like the dangerous conditions thereat … repeatedly making improper entries into [the] property, and wrongfully accusing [her] of causing problems.”

Records show that Angela Ng serves as attorney in fact for the property owner, Ringo Chung Wai Lee. Steven Adair MacDonald, an attorney who represents both landlords and tenants in San Francisco housing disputes, represents the owners. “An owner of a single family home where the rent is controlled and a fraction of market has virtually no other choice but to terminate the tenancy,” MacDonald said when the Guardian reached him by phone. “They’ve got to empty it, and the only way to empty it is the Ellis Act.”

While Michael received an extension that allows her to remain until June 5, she fears her custom sewing business, Hester’s Designs, will suffer if she has to move. There’s the issue of space. “I have so much stuff in this house,” she says. And most of her clients are currently located close by, so she doesn’t know where her business would come from if she had to relocate. “A lot of my clients don’t have cars,” she says, “so if I live in some suburb in the East Bay, forget it. I’ll lose my business.”

The prospect of eviction has created a major dilemma for Michael, who first moved to San Francisco in 1987. While moving to the East Bay seems untenable, she says renting in San Francisco feels out of reach. “People are renting out small, tiny bedrooms for the same price as I pay here,” she says. With a wry laugh, she adds: “I don’t think there’s any vacant apartments in San Francisco -– unless you’re a tech dude and make seven grand a month.”

Salute new Hi Fructose boxed set at free YBCA party tomorrow

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You could practically hear the sharpening of claws in the Guardian office when the Last Gasp-published Hi Fructose Collected 3 boxed set arrived on our proverbial doorstep. For fans of quirky, dark arts, this was the motherload: a tidal wave of a book stuffed with visual artists from around the world, all accompanied by a sweet bear (sheep? I say sheep. There was debate) mask by Mark Ryden, ready to be fastened on one’s face with a lightly-colored ribbon. There was a velvet-flocked triptych by Martin Ontiveros, Skinner, and Junko Mizuno. A fantasy city on a poster. Stickers. All of it.Count on us then, to be lined up to have our copy signed at YBCA tomorrow (Tue/5) during the museum’s free day. Our fave freaky Bay Area cake artist Scott Hove and a host of others whose work is in this magical bundle will be signing books, all while Swiftumz plays a DJ set. We caught up with Collected 3‘s editors to gush and ask stupid questions.

Behold, the answers by Hi Fructose’s Annie Owens and Attaboy. And some pretty art thangs you’ll find in the boxed set.

Fuco Ueda

SFBG: I wonder what kind of language you use to describe the work Hi Fructose profiles? I know I’m seeing something distinctive, but dammit if I could put a genre on it. 

Annie Owens: ‘New contemporary’ seems to be a good catch-all umbrella for most things under the high art radar, but even high-art is a line we cross sometimes. 

Scott Hove

SFBG: Draw some lines for me — who are some artists who would never appear in Hi Fructose? Someone who you’ve never worked with that would be a fantastic inclusion. Living, dead, mythic beasts are all acceptable answers.

Attaboy: We’ve got some mythic folks lined up for the coming year, don’t want to ruin the surprise.

AO: Never say never. Even Thomas Kinkade has his appeal! [Artists we’d like to work with include] Hieronymus Bosch, Charles Addams. As for live ones, we’ve had the pleasure to have some of our favorite art legends, who we won’t mention here, say yes to an upcoming project so there’s that!

Gabriels

SFBG: Please recommend a usage for the mask enclosed in box set.

A: On someone’s else’s face. So you can poke fun of them.

Hi-Fructose Collected 3 launch party

Tue/5,5:30-7:30, free

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

 

Stallone, Walken, zombies, Oscar shorts, and more: new movies!

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Yes you can find time to see a movie this otherwise football-y weekend. The ongoing Noir City and Sketchfest still have a lot of great upcoming programming, Sly Stallone is back in evocatively-titled action flick Bullet to the Head, a zombie finds love in Warm Bodies (review below), and all the Academy Award-nominated shorts are now available for big-screen viewing, for anyone who takes winning the office Oscar pool as seriously as … the Superbowl.

And speaking of the big game, the Roxie will be hosting its annual “Men in Tights” viewing party, a benefit for the theater and the upcoming SF IndieFest. So you can have your pigskin, and eat your popcorn too. GO NINERS!


“Oscar Nominated Short Films 2013: Animated” If you caught Wreck-It Ralph, nominated in the Best Animated Feature category, you’ve already seen John Kahrs’ Paperman, about a junior Mad Men type who bumbles through his pursuit of a lovely fellow office drone he spots on his commute. Or, if you saw Ice Age: Continental Drift, you’ve seen Maggie Simpson in The Longest Daycare, starring Homer and Marge’s wee one as she grapples with the social order at the Ayn Rand School for Tots. Among the stand-alones, Minkyu Lee’s Adam and Dog features a quick appearance by Eve, too, but the star is really the scrappy canine who gallops through prehistory playing the world’s first game of fetch with his hairy master. Two minutes is all PES (nom de screen of Adam Pesapane) needs to make Fresh Guacamole — which depicts grenades, dice, and other random objects as most unusual ingredients. The only non-US entry, UK director Timothy Reckart’s Head Over Heels, is about an elderly married couple whose relationship has deteriorated to the point where they (literally) no longer see eye to eye on anything. The program is rounded out by three more non-Oscar-nominated animated shorts: Britain’s The Gruffalo’s Child, featuring the voices of Helena Bonham Carter and Robbie Coltrane; French art-thief caper Dripped; and New Zealand’s sci-fi tale Abiogenesis. (1:28) (Cheryl Eddy)

http://www.youtube.com/watch?v=Z8SbmPhavhs

“Oscar Nominated Short Films 2013: Documentary” Selections include San Francisco filmmaker Sari Gilman’s poignant study of a Florida retirement community, Kings Point; Cynthia Wade’s Mondays at Racine, about a beauty salon that provides free services for women who have lost their hair to cancer treatments; Sean Fine and Andrea Nix’s Inocente, a profile of a young, homeless, aspiring artist; Redemption, Jon Alpert and Matthew O’Neill’s take on New York dumpster divers; and Open Heart, Keif Davidson’s look at Rwandan children who travel to Sudan for high-risk surgery. (3:29)

“Oscar Nominated Short Films 2013: Live Action” Selections include Bryan Buckley’s Asad, about a Somali boy who must choose between fishing and piracy; Sam French’s Buzkashi Boys, about two young friends coming of age in war-torn Kabul, Afghanistan; Shawn Christensen’s babysitting yarn Curfew; Tom Van Avermaet’s supernatural love story Death of a Shadow; and another (sort-of) love story, Canadian Yan England’s Henry. (1:54)

Sound City Dave Grohl adds “documentary director” to his ever-lengthening resume with this tribute to the SoCal recording studio, where the grimy, funky décor was offset by a row of platinum records lining its hallway, marking in-house triumphs by Fleetwood Mac, Tom Petty, Cheap Trick, Neil Young, and others (even, yep, Rick Springfield). Top acts and producers (many of whom appear in the doc to dish and reminisce) were lured in by a unique recording console, installed in the early 1970s, whose legend grew with every new hit it helped engineer. Despite its reputation as a hit factory — and the attraction of its laid-back vibe and staff — old-school Sound City began to struggle once the highly-polished sound of digital technology overtook the music industry. That is, until Grohl and Nirvana recorded Nevermind there, keeping the studio alive until the unstoppable march of Pro Tools hammered the final nails in. Or did it? Sound City‘s final third follows Grohl’s purchase of the studio’s iconic console (“A piece of rock ‘n’ roll history,” he proclaims, though he installs it in a swanky refurbished space) and the recording of an album featuring luminaries from the studio’s past … plus Paul McCartney. The resulting doc is nostalgic, sure, but insider-y enough to entertain fans of classic rock, or at least anyone who’s ever sneered at a drum machine. (1:46) Roxie. (Cheryl Eddy)

Stand Up Guys Call it oldster pop, call it geriatricore, just don’t call it late for its meds. With the oncoming boomer elder explosion, we can Depends — har-dee-har-har — on the fact that action-crime thrillers-slash-comedies like 2010’s Red, 2012’s Robot and Frank, and now Stand Up Guys are just the vanguard of an imminent barrage of grumpy old pros locking and loading, grousing about their angina, and delivering wisdom with a dose of hard-won levity. As handled by onetime teen-comedy character actor Fisher Stevens, Stand Up Guys is a warm, worthy addition to that soon-to-be-well-populated pantheon. It grows on you as you spend time with it — much like the two aging reprobates at its core, Val (Al Pacino) and Doc (Christopher Walken). Val, the proverbial stand-up guy who took the fall for the rest of his gang, has just completed a 25-year-plus stint in the pen. There to meet him is his only pal, and former partner in crime, Doc, who has been leading a humble life but has one last hit to commit for their old boss Claphands (Mark Margolis), who’s inexplicably named after a Tom Waits song. Sex, drugs, and some Viagra commercial-esque bluesy guitars are in order, but first Val and Doc must find their drive, in the form of their old driver buddy Hirsch (Alan Arkin), who they break out of a rest home, and, perhaps, their moral compass, which arrives with the discovery of a victim (Vanessa Ferlito) of baddies much less couth than themselves. The pleasure comes with following these stand-up guys as they make that leap from craven self-preservation to heroism, which might seem implausible to some. But to the cast’s, and Stevens’s, credit, they make it work — and even give the sentiment-washed finale a swashbuckling buddy-movie romanticism, the kind that a young Tarantino might dislike and an older Tarantino would be loathe to begrudge his lovable louses. (1:34) (Kimberly Chun)

http://www.youtube.com/watch?v=1FVyUL1Q06M

Warm Bodies A decade and a half of torrid, tormented vampire-human entanglements has left us accustomed to rooting for romances involving the undead and the still-alive. Some might argue, however, that no amount of pop-cultural prepping could be sufficient to get us behind a human-zombie love story for the ages. Is guzzling human blood really measurably less gross than making a meal of someone’s brains and other body parts? Somehow, yes. Recognizing this perceptual hurdle, writer-director Jonathan Levine (2011’s 50/50, 2008’s The Wackness) secures our sympathies at the outset of Warm Bodies by situating us inside the surprisingly active brain of the film’s zombie protagonist. Zombies, it turns out, have internal monologues. R (Nicholas Hoult) can only remember the first letter of his former name, but as he shambles and shuffles and slumps his way through the terminals of a postapocalyptic airport overrun by his fellow corpses (as they’re called by the film’s human population), he fills us in as best he can on the global catastrophe that’s occurred and his own ensuing existential crisis. By the time he meets not-so-cute with Julie (Teresa Palmer), a young woman whose father (John Malkovich) is commander-in-chief of the human survivors living in a walled-off city center, we’ve learned that he collects vinyl, that he has a zombie best friend, and that he doesn’t want to be like this. We may still be flinching at the thought of his and Julie’s first kiss, but we’re also kind of rooting for him. The plot gapes in places, where a tenuous logic gets trampled and gives way, but Levine’s script, adapted from a novel by Isaac Marion, is full of funny riffs on the zombie condition, which Hoult invests with a comic sweetness as his character staggers toward the land of the living. (1:37) (Lynn Rapoport)

Libertine dream

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marke@sfbg.com

SUPER EGO One of my supreme happy places, apparently, turned out to be the packed dancefloor of an underground fundraiser for Radical Faerie Burning Man camp Comfort and Joy, right around 3am a couple Fridays ago, when the drag queen DJ dropped “Rock the Casbah” and some behooded elfin rogue’s giant LED rainbow wings lit up and blinded me. Joe Strummer smiles from heaven, surely.

Alas, that drag queen, mi amiga grande Ambrosia Salad, will soon join the current nightlife exodus to Los Angeles, to follow her twinkling star (and cheaper rent) along the path to immortality — or at least an all-night churro cart. Can we get one here please thanks. But just when I despair of the city emptying of its precious idiosyncracies and after-dark characters, someone amazing pops up to charm the hotpants off of me and remind me of both San Francisco’s resilient weirdness and its cyclical subcultural nature.

“Oh, I moved out of the Castro when the drones moved in. Everyone started wanting to look the same, dress the same. It really took the fun out of the gay scene, these marching costumes coming in and stamping out the magic.” That’s twinkle-toned Todd Trexler, poster artist, AIDS nurse, and legendary bon vivant, speaking over the phone — not about about the samey-samey Wienerville the Castro has become, but the Castro clones of the mid-1970s. For all the renewed interest in the workboots, cut-offs, and mustaches of pre-AIDS SF gay culture (see local director Travis Mathews’ exciting, upcoming, James Franco-starring Interior. Leather Bar, which imagines the lost orgy footage from classic homoerotic/gay panic slasher flick Cruising and wowed ’em at Sundance last week), it’s good to remember there were also some fabulous butterfly dissenters to that macho wannabe world.

Trexler was a player in one of the seminal moments of alternative gay culture — after snagging an art degree from SF State, he designed the posters for the queer-raucous, acid-kaleidoscopic performance troupe The Cockettes’ first official shows, as well as the Midnight Movie series, later the Nocturnal Dream Shows at the Palace Theater in North Beach in the early ’70s, back when North Beach was a magnet for free-lovin’ freaks and nightlife oddities. (See, anything can happen). Now, he’s reprinted many of those iconic and visually stunning “Art Deco revival meets Aubrey Beardsley louche meets underground comics perversion” ink-and-photo masterpieces for surprisingly affordable purchase at www.toddtrexlerposters.com.

Divine in her iconic, kooky crinoline (“Basically she just threw on a bunch of stuff from the trunk of our car and voila, Divine!”) outside the Palace of Fine Arts for the “Vice Palace” play and, later, starring in Multiple Maniacs and “The Heartbreak of Psoriasis”; Sylvester looking his sultry best for a New Year’s Eve concert, and featured on a controversially explicit piece for decidedly hetero rock outfit the Finchley Boys; Tower of Power, Zazie dans le Metro, Mink Stole as Nancy Drew, the Waterfront gay bar — Trexler’s platinum stash of memorabilia will reinvigorate anyone zoinked out by our increasingly conformist, consumerist moment. (Trexler was prodded into reprinting by my favorite classic SF eccentric, Strange de Jim.)

And hey, there’s some hope for a freakish future, even: lauded local theater troupe Thrillpeddlers, which includes a couple gorgeous surviving Cockettes itself, will put on the Cockettes’ 1971, Trexler-postered “Tinsel Tarts in a Hot Coma” starting March 28, www.thrillpeddlers.com.

Trexler’s importance to gay culture doesn’t end with his glamourous posterization, however. After his ’70s time “crafting assemblage sculptures from gems found at Cliff’s Variety Store, hand-drawing the posters in the flat at 584B Castro Street, smoking weed with Sebastian [Bill Graham’s accountant, who instigated the whole Nocturnal Dream Emissions insanity], and hanging out at the Palace and the Upper Market Street Gallery,” he moved down to Monterey and became a registered nurse, cared for the first GRID, aka AIDS, patient in the area, and pitched in on the groundbreaking early work on the epidemic with UCSF and the National Institutes of Health.

“What troubles me most now,” he says, reflecting on his experience, “is the rising prevalence of HIV infections among young gay men.” Some cycles don’t need repeating, k?

 

BROWN SUGAR

Heck yes — the classic hip-hop soul joint is back, scooping you up for free after the Oakland Art Murmur’s First Fridays blast, which is amazing. Brown Sugar crew Jam the Man, The C.M.E, and Sake 1 spin with the Local 1200 crew on the street and then take it inside to the spanking new Shadow Lounge (formerly Maxwell’s). Welcome back, fellas.

Fri/1 and first Fridays, 9:30pm, free. Shadow Lounge, 341 13th St., Oakl.

 

MATTHEW DEAR

Moody-poppy Detroit techno pretty boy is a favorite around these parts. He may have started the recent (sometimes regrettable) trend of DJs singing, but he’s one of the best at it — and his compositions aren’t afraid to get deep and edgy.

Fri/1, 9pm, free. 1015 Folsom, SF. www.1015.com

 

VINTAGE

Icon Ultra Lounge is dead — please welcome new, neater venue F8 in its place. Also, after a horrific hit-and-run accident last year, beloved and crazy DJ Toph One is alive! He’s returned with his crew to reboot this eclectic-tuned early evening fave every Friday to fly you into the weekend.

Fridays, 5:30-9:30, free. F8, 1192 Folsom, SF. www.feightsf.com

 

KAFANA BALKAN SIXTH ANNIVERSARY

Holy Balkans, Batman! Six years of wild, whirling, stomping, shouting Romani-inspired music goodness from one of the best and most unique parties anywhere, with DJ Zeljko, the Inspector Gadje brass band, and a Balkan bellydance blowout with the inimitable Jill Parker and the Foxglove Sweethearts. Get there early.

Sat/2, 9pm, $15. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

 

GAVIN AND ROBBIE HARDKISS

OK, the headliner for this event is actually the excellent old-school California techno wizard John Tejada (along with fellow mage Pezzner playing live) downstairs in the big room of Public Works — but the big news is a reunion of two of SF’s wiggy, wowza Hardkiss Brothers all night long upstairs in the loft. Bigness!

Sat/2, $12 advance, $15 door. Public Works, 131 Erie, SF. www.publicsf.com

Party Radar: Red Bull Thre3style hypes up the Bay

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Every year, the musical magi at Red Bull scoop up a gaggle of disparately-styled local DJs and feed them into the hype machine, spitting out a DJ battle blast, surprisingly full of fun and Bay Area pride. Although compared to years past, the upcoming 2013 SF Red Bull Thre3style (Thu/24, 8pm at The Independent, $15) has been scaled back somewhat — only five competitors this year, instead of the usual eight, and all of them are hip-hop/electro heavy dudes — it’s still gonna be a hair-raising time, and a chance to check out some talent outside your micro-niched nightlife comfort zone. 

Plus, the competition is kinda tricky!

Here’s the gimmick: This year’s competitors — D-Sharp, J Espinosa, Dstrukt, Richie Panic, Mei-Lwun — have to include at least three genres in their 15 minute sets (mashups don’t count!), while keeping the crowd pleased. I have seen this go seriously awry in years past, which is part of the general craziness. (The winner gets to travel around and win something big, I forget what.)

Another fun 3style thing — the DJs usually ham it up (and if I know Richie Panic, which I do, mentally intimately, he will realllly turn up the ham), which makes you appreciate how self-effacing a lot of the DJ scene here usually is, despite the oft-bombastic music.

Anyway, I usually balk at branded events, but Red Bull really invested early in local nightlife scenes and brings out actual talent — this ain’t no Rock Star EDM crap, Red Bull gives you wings and standards. Just don’t OD on all the fun, k?

Here are some of my favorite sets from years past =– including one of the final appearances of DJ Solomon, RIP

 

Roe v. Wade anniversary inspires flash mob, pro-choice rally, and pro-life march in SF

Remember when a dance revolution broke out in Justin Herman Plaza during Occupy San Francisco? This coming Saturday, the same choreographers behind that flash mob for economic justice plan to reignite the public square, this time with a flash mob organized in collaboration with the Silver Ribbon Campaign to commemorate the 40th Anniversary of Roe v. Wade.

“Roe v. Wade is an invitation to really celebrate women, women’s rights and women’s reproductive rights,” says Magalie Bonneau-Marcil, director of Oakland nonprofit Dancing without Borders, who will direct the Jan. 26 flash mob. She expects between 400 and 500 dancers to descend upon the plaza.

The performance is part of a larger event, Women Life & Liberty, organized to commemorate the landmark Supreme Court decision that made abortion legal in the United States. The Trust Women Silver Ribbon Campaign is organizing the free celebration in tandem with the National Organization for Women and a coalition of more than 20 local partners.

“Our sense was, it’s an opportunity to claim and reclaim, and revive our activism around the issues that this event is about,” Silver Ribbon Campaign Director Ellen Shaffer told the Guardian. The rally is part of a national effort that has also launched an “online march” for reproductive rights.

Birth control champion Sandra Fluke, who became the center of a firestorm after being lambasted by Rush Limbaugh for testifying before Congress on the need for access to birth control, will speak at the rally.  Other speakers will include filmmaker and Webby Awards Founder Tiffany Shlain, and San Francisco Supes Malia Cohen, David Campos, David Chiu and Eric Mar, who joined the board in adopting a December resolution commemorating the 40th anniversary of Roe v. Wade.

Meanwhile, an international campaign to end violence against women will also play a role in this weekend’s events. Upon returning to the Bay Area after a dance festival in Europe, Bonneau-Marcil says she saw Eve Ensler’s music video promoting VDay’s 1 Billion Rising Campaign, created to spark a global movement to end violence against women. “I was so moved,” she says.

Inspired, she began making preparations for the Jan. 26 performance and an upcoming Feb. 14 flash mob, to be staged in front of San Francisco City Hall in league with VDay’s global movement.

With recent outrage fueled by the rape and fatal attack in India, the public performances are timely. Bonneau-Marcil describes the public dance gatherings as a way for participants to “share a prayer to create a world free of violence and sexual oppression.” 

But there’s likely to be drama, as the Women Life & Liberty celebration is one of two dueling events. Walk for Life West, essentially the polar opposite of the Trust Women Silver Ribbon Campaign, is being spearheaded by San Francisco pro-lifers Dolores Meehan and Eva Muntean. Now in its ninth year, the annual event will bring hordes of anti-abortion activists to San Francisco, wielding dead fetus photos. They’ll travel from as far away as Nevada, Canada and “all over the Midwest,” according to Muntean. “We have 200 buses coming from all over the West Coast,” she said.

The anti-abortion rally will feature speakers such as Rev. Clenard Childress, who has built a career out of telling right wing Christians that the pro-choice movement is racist. (Seems Childress also spends his spare time penning inflammatory columns suggesting that acceptance of LGBT rights is “a sign of the end times.”)

The pro-life rally will converge at Civic Center Plaza and progress to – where else? – Justin Herman Plaza. There, according to the event page, revelers from the transformative flash mob may still be celebrating. Expect an awkward buzz kill.

This being San Francisco, plans are already being hatched to counter-protest the anti-abortion event. (Muntean emphasized that Walk for Life West should not be interpreted as counter-protest to the Women Life & Liberty event, by the way.)

Stop Patriarchy, made of up activists who are pro-choice, anti-Democratic party, and even anti-pornography since they deem it to be part of the war on women, plans to stage “boisterous and confrontational political protests throughout the week, taking on the Pro-Lifers who will be in San Francisco,” according to a press release. They’ll be there counter-protesting the Walk for Life with banners and signs declaring, “Abortion On Demand and Without Apology!”

Bonneau-Marcil, the flash mob director, says she’s trying to stay out of any back-and-forth that may come from warring factions. “We’re not pointing fingers,” she says. Instead, she’s on a mission to help dancers move in harmony to “access a place where, it’s not about opinions. It’s just about remembering who we are as human beings.”

The Women, Life & Liberty rally will be held at Justin Herman Plaza from 10 a.m. to noon. The Dancing Without Borders flash mob performance will take place at 11:30. Anyone can join the flash mob after attending two rehearsals: more info here. The Walk for Life West rally will converge at 12:30 at Civic Center Plaza and begin the procession to Justin Herman at 1:30. More info here, here and here.

Sacred space

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emilysavage@sfbg.com

MUSIC There will be no bad seats at the new SFJazz Center in Hayes Valley; or at least, that’s the goal.

The brand new jazz venue in the heart of town, a three-story, glass-encased structure with a circular concrete stadium bowl of an auditorium, educational components, rehearsal spaces, a cafe run by the Slanted Door’s Charles Phan, and multiple bars opens Mon/21. It’s a $63 million, 35,000-square-foot addition to Performing Arts Row, near Van Ness-adjacent locations such as the Davies Symphony Hall, and the War Memorial Opera House. It’s the birth of a nonprofit jazz institution.

In the auditorium, 700 seats encircle and hover above a central stage — chairs behind the stage, up in the balcony, and practically up in the artists’ faces on the ground level. Because the room so surrounds the stage, there’s a direct sight line for every instrument being played, every hand grasping a horn, tickling keys, or plucking strings. There are platforms that can accordion and retract, making that enviable space near the stage open up into a temporary dance floor.

And all the seats have cup-holders. We’re a long way from the smoke-filled, underground jazz clubs of the past.

 

EXCITING AS ALL HELL

And from those seats in the Robert N. Miner auditorium, patrons will see an impressive first season of SF Jazz at its new home. Fans already have high expectations, given SF Jazz’s 30 years of hosting concerts and festivals at other venues like the Paramount in Oakland, and smaller clubs like Amnesia. Now with its own multi-use facility, the nonprofit has taken eclectic routes with its programming and contributions.

“This first season, when you look at some of the things we’re doing here, it’s just exciting as all hell,” says founder and executive artistic director Randall Kline, barely able to contain that excitement, clad in a hardhat and reflective vest on the first level of the still-under-construction building. “[These events] fully take advantage of what we can do with the theater — something we couldn’t do when we didn’t have our own place.”

For starters, there’s a sold-out opening night celebration Jan. 23, hosted by Bill Cosby, along with a grand opening week of shows spotlighting McCoy Tyner, the SFJazz Collective, and more, followed by a week of big band with the Realistic Orchestra (Jan. 31), and swing with Lavay Smith and Her Red Hot Skillet Lickets (Feb. 3).

In March, virtuoso Indian percussionist Zakir Hussain will perform four nights, and in April there will be a Weimar Germany themed weekend with Ute Lemper, Max Raabe and the Palast Orchester, and a screening of the classic Metropolis (1927), with live music by the Clubfoot Orchestra.

But even more to Kline’s point: there will be five resident artistic directors for the 2013 through ’14 season (along with Kline’s overall vision). The five — Jason Moran, Regina Carter, Bill Frisell, John Santos, and Miguel Zenon — are musicians with distinctive backgrounds and viewpoints, programming four days of thematic events.

 

ENCOMPASSING GEOGRAPHIES

For his days, Santos hand-picked colleagues and artists working and performing in the Caribbean style. He chose De Akokan, a duo made up of Cuban singer-songwriter-composer Pavel Urkiza and Puerto Rican saxophonist-composer Ricardo Pons, because “they’re phenomenal artists…and they rarely come here.” He also invited cutting edge trombonist-composer Papo Vazquez, who lives in New York but is steeped in the Afro-Puerto Rican tradition.

During a phone call a few hours before my hard-hatted venue walk-through with Kline, architect Mark Cavagnero, and Marshall Lamm, who does public relations for the center, Santos discusses his anticipation and interest in the upcoming schedule.

The Bay Area bred percussionist will also be premiering his own Filosofia Caribena II, which refers to Caribbean philosophies and traditions — those that have informed his entire body of work. “[It] blends all the experiences of Black American music with Caribbean traditions, and it goes into the whole socio-political aspect of how the music really represents resistance and the identity of a whole group of people that identify culturally, even though we don’t live in Cuba or Puerto Rico, but we certainly grew up in and maintained those traditions.”

Adding, “Jazz was born in that environment, in New Orleans, in the Caribbean community. We’re making those connections between jazz and the Caribbean roots.”

Frisell’s batch of shows, beginning April 18, will include multimedia pieces with projections and orchestras, readings of Allen Ginsber’s Kaddish, and Hunter S. Thompson’s The Kentucky Derby is Decadent and Depraved (the latter of which is rumored to be narrated by Tim Robbins).

Moran’s residency likely represents the scope of the auditorium’s versatility best: he’ll open with a solo acoustic piano night (May 2), followed by a “Fats Waller Dance Party” with Meshell Ndegeocello that utilizes the dance-floor, then break out the inspired, possibly nutty, concept of a skateboarding jazz piece. There will be an actual half-pipe on the lower level of the room — seats pushed back — with professional skateboarders riding back and forth in the curved structure to Moran’s musical accompaniment.

 

FOCAL POINT

It’ll be one of many configurations for that striking room. The specifics of the auditorium were big challenges for architect Cavagnero — the acoustics, the balance of sound (such as making sure solo piano and thundering skateboarding dips both fill the space equally), isolating street noise, creating those excellent sight lines from every angle.

“The idea of the building was to make the big concrete room the sacred space for music, the focus space,” says Cavagnero, walking up the stairs in the building’s glass-encased entryway. “That was going to be the closed, sacred space, [and] everything else would wrap around it and be as open and public as we could make it.”

To that end, the rest of the building has floor-to-ceiling glass, and the staircase has no columns supporting it, just thin titanium rods that double as the guardrail. The second floor has bars on either ends and terraces with glass doors that fully open, along with tiled murals representing the history of jazz in the city, with long-gone clubs painted throughout.

It’s clear that this building is meant to be more than a standard music venue, the goal is to be an institution.

“So, if the paradigm is: clubs are harder to run and have live music, well, if we could have the same kind of vibrant music in an institution that supported that kind of thing, to build up a community of people that cared about that kind of thing — which is the gamble I guess we’re making here in this building — we can build it for the jazz community,” says Kline. “[The goal is to have] a great place to hang out and hear live music, where new artists can grow and premiere, and be nurtured.”

And it is hard to run live jazz venues in the city. Nearing the end of 2012, the owners of Oakland’s Yoshi’s filed for involuntary bankruptcy to put its San Francisco location in Chapter 11 if it couldn’t meet an agreement with its partners, the Rrazz Room switched venues under a cloud of controversy stemming from an allegedly racist former manager of its then-location, and Savanna Jazz had to fight off foreclosure.

“We have not seen an increased interest for the art form [recently] primarily because the economy is down significantly and the arts are usually the first to suffer,” says Savanna Jazz co-owner Pascal Bokar.

Because of this, I ask Bokar if other jazz club owners in the city see the center as a contentious new rival. He categorically denies that assertion.

“Jazz is an art form and it has no competition, every club and club owner adds to the fabric of our community and SFJazz is the big brother. I know how hard it is to promote jazz and [Kline] has been working at it for several decades,” he says. “He deserves tremendous credit for bringing this to San Francisco. SFJazz is a very powerful organization and I think that there is an opportunity for [it] to partner with the smaller venues like Savanna Jazz. The smaller venues are the incubators of local talent and I think that they would benefit from a closer relationship, which in turn would solidify community commitment.”

It may be the older sibling to smaller clubs, but given the economy, and the tough climate for all music venues in San Francisco really, the SF Jazz Center does also feel like a gamble itself. But to extend and belabor the metaphor, Kline’s got a good hand.

Santos describes the center to me as a “bold experiment.”

“The amount of money that it has taken to build that place and keep the doors open is phenomenal, and in a lot of ways, it’s a step out into the darkness,” he says. “But I see the potential of it as just limitless. It can be such an incredible thing, if the community supports it. That’s what I’m hoping will happen.”

 

NATIONAL ART FORM

Santos points out that the jazz center is unique in its fans and patrons differing from the typical performing arts donor, and will have specific obstacles because of that.

“In a way, it’s abstract, when you think of it like, OK, there it is, next door to the symphony hall, to the ballet, to the opera, within one block of those institutions. It’s wonderful to have jazz there, and standing toe-to-toe with those institutions, and getting the respect it deserves. Getting public support from the city and the country and the state, as it should be, because jazz is our national art form. The symphony and the ballet and the opera are not.”

“The difficult part is that the opera and the symphony and the ballet have traditional well-heeled audiences of supporters. Jazz does not. Jazz is grassroots; it’s working class. The audience for jazz and the community from where jazz comes out of is not a deep-pocket kind of community. And that’s where the challenge lies.”

If anyone can face that, it’s Kline. It’s part of his whole bootstrapping essence, how he’s kept SFJazz up, running, and prominent for the better part of three decades. From its humble beginnings as the three-day Jazz in the City festival, promoted solely by Kline, to the Summerfest, the SFJazz High School All-Stars group, the monthly Hotplate series, and finally, the SFJazz Center.

Leaning against the guardrail on the second floor of the building, gazing out through the wall of glass to the greater Hayes Valley neighborhood, Kline smiles as he talks of the city’s history with jazz, his own life mirroring it for quite some time. “I’ve been here since 1976, and I’ve seen a lot of patterns in the scene; it ebbs and flows, the economy changes. This building is a reflection of the sociology; we’re trying to be relevant, so we’ve chosen a different model, we’ve chosen institution.”

It’s one of a few times that will come up in my conversations with those involved with the center.

“Could we apply that older model for culture to a younger, vibrant art form that’s relevant to the city?” he asks, rhetorically. “That’s the aim here, to try something that’s of our time.”

Jazz hands: Some SFJazz season highlights

 

MCCOY TYNER

A rare old school jazz legend in the center’s inaugural season — stunning and dapper pianist Tyner will “consecrate” the space by performing with the SFJazz house band.

Jan. 24, 7:30pm, $50–$150

 

MONTCLAIR WOMEN’S BIG BAND

Swing is still huge in SF, and this celebration of the classic big band sound pairs the 17-member Montclair Women with the 20-member Realistic Orchestra (who’ve big-banded Bjork) for a wall of swingin’ sound. The SFJazz High School All-Stars Orchestra opens.

Jan. 31, 7:30pm, $25

 

AFRO-CUBAN ALL STARS

Oh heck yes.

Feb. 22-24, 7:30pm, $25–$65

 

MARIZA

The gorgeous longing of Portuguese fado washes over the Bay in the form of the wonderfully voiced Mariza, a spellbinding star whose repertoire spotlights acoustic melancholy melodies from Brazil, Cape Verde, North Africa, and beyond.

Mar. 14-17, 7:30pm, $25–$65

 

“JOHN SANTOS: FILOSOFÍA CARIBEÑA II”

Beloved Bay Area bandleader and jazz evangelist digs deep in his knowledge of Cuban, Latin, and indigenous Caribbean styles to deliver a heady trip through ancient Iberian influences and contemporary island expressions.

Mar. 23, 7:30pm, $25–$65

 

METROPOLIS

San Francisco’s Club Foot Orchestra performs its renowned futuristic soundtrack to Fritz Lang’s silent sci-fi masterpiece.

Apr. 14, 7:30pm, $20–$40

 

“ALLEN GINSBERG’S KADDISH” AND “HUNTER S. THOMPSON’S THE KENTUCKY DERBY

Überhip guitarist Bill Frissell, an SFJazz resident artistic director, applies his downtown cool pedigree to two überhip literary iconoclasts. He’ll be conducting an ace team of musicians for multimedia presentations of Ginsberg’s epic poem of mourning and Thompson’s notorious, uproarious 1970 article about the grand horse race. With visual design by Ralph Steadman for both programs, classic counterculture will be out in force.

Ginsberg: Apr. 18, 7pm and 9:30pm, $35–$80

Thompson: Apr. 20, 7:30pm and Apr. 21, 4pm and 7pm, $35–$80

 

BANDWAGON AND LIVE SKATEBOARDING

“Jazz wild card” and MacArthur Genius pianist Jason Moran gets contemporary with new trio Bandwagon, performing a rolicking set as a who’s-who of SF skateboarders shows off the flexibility of the new center.

May 4, 7:30pm, $20–$40

 

Our Weekly Picks: January 9-15

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WEDNESDAY 9

RADAR Reading Series

Like a literary-focused Parisian salon, but with vibrant SF genderfucking and homemade desserts, this monthly showcase of emerging, underground writers and artists is routinely the most enticing potpourri of need-to-know talent. The RADAR Reading Series is part of local treasure/Sister Spit(ter) Michelle Tea’s nonprofit, RADAR Productions. This time, there’s visual artist D-L Alvarez, Gaga Feminism author Jack Halberstam (who writes often of gender queerness, pop culture, and bad TV), transnational interdisciplinary artist and cultural organizer Favianna Rodriguez, and author Grace Krilanovich — whose 2010 debut novel, The Orange Eats Creep,was named one of Amazon’s top science fiction/fantasy books that year. With Tea hosting the follow-up Q&A, you know there will be cookies on hand. (Emily Savage)

6pm, free

San Francisco Public Library, Main Branch

Latino Reading Room

100 Larkin, SF

www.radarproductions.org


THURSDAY 10

“Unknown but Knowable States”

Dorothea Tanning’s surreal paintings provide a window into the female subconscious with as much style and punch as her male contemporaries. There will be a few of these crisp, symbolic painting in the upcoming exhibit, Known but Unknowable States, but it will also show a different side of her work — one that could easily fit in with ethereal figure painting seen in contemporary art. The most striking works are what she called “prism” paintings, which twist the female form into abstract visions with soft brushwork and unique color combinations. To go along with these will be some of her soft sculptures of strange creatures made of fabric, fur, and a sewing machine. (Molly Champlin)

Through March 2

Opening reception, 5pm, free

Gallery Wendi Norris

161 Jessie, SF

(415) 346-7812

www.gallerywendinorris.com

 

The Art and Legacy of Crime Photographer Weegee

It should come as no surprise that Eddie Muller took a shining to the work of 1930s and ’40s press photographer Arthur Fellig, a.k.a. Weegee. Muller’s the founder of the SF Noir Film Festival, whose hardboiled flicks go perfectly with Weegee’s steely-gazed shots of crime scenes. The photographer is widely credited with bringing aesthetic concern to crime scene photography. Today, Muller explains why the man’s work still matters now, in the era of Instagram and meme mania, with this talk, punctuated by video interludes. (Caitlin Donohue)

6:30-8pm, $5

Contemporary Jewish Museum

736 Mission, SF

(415) 655-7800

www.thecjm.org


FRIDAY 11

“Risk is This…”

If you want to see what Cutting Ball Theatre’s next season might look like, you’d do well to check out this season’s new experimental plays festival, “Risk is This….” Past festivals have foreshadowed full productions of some of Cutting Ball’s most memorable pieces including Marcus Gardley’s “…and Jesus Moonwalks the Mississippi” and Eugenie Chan’s “Tontlawald”, and this year’s lineup looks to be just as full of future potential, with new plays written by Sean San José, Dipika Guha, and Basil Kreimendahl, plus exciting new translations of Alfred Jarry’s “Ubu Roi” and the Capek brothers’ “Insect Play.” Presented over five weekends of staged readings, the five plays range topically from transgenderism to crack-cocaine to the corrupting influence of power — which certainly sounds like the very definition of risk to us. (Nicole Gluckstern)

Fridays and Saturdays through Feb. 9

8pm, free–$20 donation

EXIT on Taylor

177 Taylor, SF

(415) 525-1205

www.cuttingball.com

 

“Alfred Hitchcock: The Shape of Suspense”

Alfred Hitchcock is just coming off his best year in decades, with a biopic starring Anthony Hopkins and the news that his 1958 psychological drama Vertigo leapfrogged past the almighty Citizen Kane (1941) in at least one “best films of all time…ever…full stop” poll of influential film critics. Not bad for a guy who died in 1980. The Pacific Film Archive shines a well-timed spotlight on the prolific Master of Suspense with an extensive retrospective of works well-known (1954’s Rear Window, 1959’s North by Northwest, 1960’s Psycho, and — of course — Vertigo) and more obscure (1931’s Rich and Strange, 1937’s Young and Innocent, 1947’s The Paradine Case) — not to mention often-overshadowed underdogs like the series kick-off film, made by Hitch in his pre-Hollywood days: 1935’s The 39 Steps. (Cheryl Eddy)

Through April 24, 7pm, $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

bampfa.berkeley.edu

 

Mister Lies

Nick Zanca played in several punk bands in high school until he was introduced to electronic music and production in college. This happened about a year ago. Since then he’s caused quite the stir, catching a record deal and tour as Mister Lies. The deep, almost spiritual electronica, or “experimental avant-garde pop” as he prefers, draws inspiration from diverse artists — spanning Steve Reich to Missy Elliot. His generally downtempo vibe might be better scheduled at four in the morning. But hey, there’s no right time to unwind your mind a bit, particularly when it’s Mister Lies’ gospel-infused sound paired with the smooth dream pop of San Francisco local, Giraffage. (Champlin)

With Some Ember

9:30pm, $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com


SATURDAY 12

“Rituals of Water”

The most recent work of local artist, Rodney Ewing, manages to distil a lot of history and ideas into a coherent show about water. This theme is embedded even in the creation of the art: the large scale paintings are made of ink, salt, and mostly, water. Through figures and words that seem to be dissolving on paper, he looks at four moments in the history of African American people, the transatlantic slave trade, baptism, civil rights, and Hurricane Katrina. Though his works are heavily political, they don’t seek to make a statement. Instead they perform a sort of ritual in which the viewer and artist strengthen African history by reclaiming memories and stories once lost through diaspora. (Champlin)

Through March 1

Opening reception, 6pm, free

IcTus Gallery

1769 15th St., SF

(510) 912-0792

www.ictusgallery.com

 

Mary Armentrout

Old Will wasn’t exactly thinking about installation pieces when he proclaimed, “all the world’s a stage.” Still there is something about the connection between “living” and “performing” that today many dance artists explore by stretching that fragile tie between the two. One way is by abandoning the proscenium theater for more flexible environments. Few, however, go as far as the ever adventuresome Mary Armentrout who is traveling her “reveries and elegies,” essentially a solo piece for herself, from two Oakland locations first to CounterPULSE this weekend, then (Feb. 23-24) to Bakers’ Beach. Each time she shows these “reveries,” she will do the same, of course, not at all. Ideally one would see the whole cycle but since Armentrout has assembled the piece from fragments, fragments is what we’ll get. And that’s OK. (Rita Felciano)

Also Sun/13, 4:15pm, $20

CounterPULSE

1310 Mission, SF

(510) 845-8604

www.eventbrite.com

 

Kicker

Newish Bay Area band Kicker features members of Neurosis, Filth, and Dystopia, and sounds like late ’70s anarcho-punk à la Subhumans. Which makes perfect sense, really, as lead vocalist Pete the Roadie grew up in England, went to the same school as Subhumans and Organized Chaos, and has been a part of the worldwide punk scene since that formative year of ’77. Really need another reason to go to this $5 Bender’s show? OK: Bad Cop/Bad Cop — the LA rock’n’roll band with members of Cocksparrer tribute act Cunt Sparrer — opens the whole thing up. (Savage)

With Pang!

10pm, $5

Bender’s

800 S. Van Ness, SF

(415) 824-1800

www.bendersbar.com


MONDAY 14

The Great American Pop-Up

The Great American Pop-Up is back. Because who wants to make dinner on a Monday night? At the first installment, patrons scarfed chocolate raspberry cookies, sustainable sushi, and salty spiced sausages. At this second round — again inside the iconic Tenderloin site, recently named one California’s most beautiful music venues — a few of those patron-pleasing vendors will return: sustainable sushi via Rice Cracker Sushi, Asian fusion dishes via Harro-Arigato and Ronin, along with Dora’s Donuts and Donna’s Tamales. The house Chef James Whitmore will be whipping up dishes, and there will be some crafty vendors including a Yes & Yes Designs booth, should you be in the market for one-of-a-kind jewelry made from recycled books as a delicious side dish to your sushi. DJs Children of the Funk will provide the background beats to your fine (club) dining experience. (Savage)

Great American Music Hall

859 O’Farrell, SF (415) 885-0750

www.slimspresents.com


TUESDAY 15

Shabazz Palaces

The retro-future of space hip-hop is here, in disparate senses among headliner Shabazz Palaces and opener Ensemble Mik Nawooj. Led by Palaceer Lazaro — formerly of jazz-rap group Digable Planets — and multi-instrumentalist Tendai “Baba” Maraire, Seattle’s Shabazz Palaces are part of a cosmic collective of forward-thinking artists, including Sub Pop labelmates, THEESatisfaction. Their latest release, 2011’s Black Up, was a vortex of jazz, soul, and rap with African percussion keeping the beat. And then there’s Ensemble Mik Nawooj, the East Bay crew behind that alternate universe chamber hip-hop opera, Great Integration, a similarly genre-busting production that follows five malevolent lords who control the physical world, and the assassin who slays them. Prepare to elevate your mind. Countdown to launch. (Savage)

With Ensemble Mik Nawooj, Duckwrth, DJ Orfeu

9pm, $15

New Parish

579 18th St., Oakl.

(415) 371-1631

www.thenewparish.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.

The shape of stage to come

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culture@sfbg.com

CAREERS AND ED Like most skills, acting can be honed and refined, and the number of disciplines and techniques an actor could familiarize themselves with are practically infinite. Fortunately for the professional and amateur actor alike, there’s a number of theater companies who offer the same actor trainings to the public that they utilize in the creation of their own work.

Ranging from techniques such as Suzuki Method or Viewpoints, skill sets such as improv or stage combat, or theatrical forms such as Bouffon or Kyogen, these classes help keep working actors in artistic shape, and offer a way for even rank beginners to acquire translatable performance skills. And since unlike acting schools or conservatories, there’s rarely an audition process or prerequisite for attendance, they’re accessible to a fairly broad demographic.

Ensemble theater-making is East Bay company Ragged Wing‘s focus, and therefore also the focus of the trainings it offers to the public. Utilizing techniques such as Viewpoints, mask performance, puppetry, music, and myth-based story creation, Ragged Wing introduces actors and theater-makers of all levels (including total newbies) to concepts such as devised theater, imagination play, and the psycho-physical exercises of Michael Chekhov. It even offers a workshop for teachers in applying ensemble theater techniques in the classroom. Visit its website for an overview of last year’s program, and this year’s upcoming dates, which will occur later this spring.

www.raggedwing.org/training

We like this next class so much we awarded it a Best of the Bay in 2011! Taught by Naked Empire Bouffon Company artistic director Nathaniel Justiniano, the Intro to Bouffon Workshop guides up to 20 participants on a journey to find their “personal bouffon” (or “inner psychopath,” as we termed it). Alternating between weekend intensives and four-week workshops of two-hour sessions (one of which just started on January 15), Intro to Bouffon includes instruction on creating within ecstatic play, movement-and-vocal-based improv, and blatantly violations of the usual boundaries drawn between audience and performer. In addition to teaching at the warehouse Main Street Theater, Justiniano has also recently joined the Circus Center faculty where he will teach a seven-week course on Bouffon beginning in April.

$60–$80, 20-hour intensives $200, Circus Center intensive $3200. www.nakedempirebouffon.org

Another theater company offering training in the specialized theatrical format it also performs is Theatre of Yugen, which offers a series of art of performance workshops as well as an apprenticeship program on Kyogen and Noh techniques. This year’s public trainings begin on January 26 with a weekend intensive on “Physical Character” in the Kyogen style of performance. Private apprenticeships are granted by audition, and last for an entire calendar year during which apprentices train and eventually perform with the company, sometimes staying on as company members after their graduation.

$80–$100 (with discount for taking multiple classes.) Enrollment is limited. www.theatreofyugen.org

Sure you can act if someone hands you a script. But how about when there isn’t one? At its best, improvisational theater makes use of a whole range of techniques, and requires a huge amount of focus and cooperation between players in order for a scene to work. It’s also one of the most accessible theatrical art forms for beginners to get involved with, particularly in the Bay Area. One of the newer kids on the block, EndGames Improv is nonetheless one of the most pedigreed. Offering instruction in “long form improvisation” à la Upright Citizens Brigade and Second City, EndGames Improv holds classes in four levels and stages weekly performances at Stagewerx, including its infamous “F!#&ing Free Fridays.” Seven-week classes are capped at 16 participants. January is sold out, but keep an eye on the website for future dates.

$199; $225 for upper levels. www.endgamesimprov.com

They’re not a stand-alone theater company, but I can’t resist mentioning Dueling Arts San Francisco. Providing instruction to performing artists in a wide range of stage combat skills — including quarterstaff (what up Little John?), rapier, dagger, broadsword, and unarmed combat — the instructors of Dueling Arts are also accomplished fight directors and performers in their own right, for a diverse array of companies including IMPACT Theatre, Shotgun Players, Thrillpeddlers, ACT, Berkeley Rep, San Jose Rep, SF Playhouse, and California Shakespeare Theatre. Certification class sizes are generally between six to 12 students, and there are no prerequisites for the beginning levels.

Quarterstaff Level 1 Certification Class begins March 17, $200. www.duelingartssf.com

 

Will narrow business interests continue to dominate SF’s political agenda?

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Will the narrow, deceptive, and disempowering “jobs” rhetoric of the last two years continue to dominate San Francisco politics in 2013? Or can San Franciscans find the will and organizing ability to create a broader political agenda that includes livability, sustainability, and affordability?

If it’s up to the San Francisco Chamber of Commerce – whose perspective has been aired in both the Examiner and Chronicle over the last two days – private sector profits will continue to be our only metric of civic success.

Just take a look at the “Pinkslips and Paychecks Scorecard” that the Chamber released yesterday, rating members of the Board of Supervisors based on a series of 16 votes for tax cuts and public subsidies for businesses, approvals of projects serving the rich, rollbacks of government regulations, business surcharges on consumers, maintaining PG&E’s dirty energy monopoly, and blocking an expansion of developer fees to improve Muni.

That aggressive neoliberal agenda, which is shared by Mayor Ed Lee and his big corporate backers, was reinforced by Chamber VP Jim Lazarus in an op-ed in today’s Examiner. Ignoring the rising housing and other living costs that plague the average San Francisco, Lazarus uses hopeful language about how we’re all “poised for success in 2013,” burying the Chamber’s aggressive and exclusive agenda in the subtext.

At the top of his agenda are: “Approval of the California Pacific Medical Center rebuild, reforming San Francisco’s California Environmental Quality Act appeals process, and rule-making for the upcoming gross-receipts tax.” In other words, let CPMC have what it wants, make it more difficult to challenge developers on environmental grounds, and ensure business taxes remain as low as possible.

And to ensure supervisors get the message, he closes by noting that business leaders are “energized and ready” to push their agenda with tools such as the Alliance for Jobs and Sustainable Growth, which waged some of the nastiest and most deceptive political attack ads on progressive candidates in the last election cycle.

The progressive movement of San Francisco has its problems and issues, including a recently widening schism between environmental and transportation activists on one side and the nonprofit housing and social justice faction on the other. And in the current economic and political climate, both sides too often find themselves partnering with corporate and neoliberal interests to get things done.

But now, more than ever, San Francisco needs to broaden into political dialogue, and that means a reconstitution and expansion of its progressive movement. That’s something that the Guardian has long focused on facilitating and publicizing – something that will be my personal focus as well – and we have some idea percolating that we’ll discuss in the coming weeks and months.

Then maybe all San Franciscans can be poised for success in 2013 and beyond.

Respect your elders

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By Sara Maria Vizcarrondo

arts@sfbg.com

YEAR IN FILM Before Bruce Willis saved Bonnie Bedelia at Nakatomi Plaza, he was David Addison, detective-agency foil to Cybill Shepherd on Moonlighting. Then, after some multi-genre foreplay (1987’s high pedigree rom-com Blind Date, an iffy pop album), Willis charmed the pants off America in 1988’s Die Hard, sliding — gritty and glistening — down an air duct to escape the film’s fiery climax.

It’s been a hero’s journey ever since, so appropriately enough, the 57-year-old co-stars in next year’s G.I. Joe: Retaliation. According to the trailer, he’ll mow down villains triumphantly, then annoy some hottie with TMI about the pains of aging. Maybe Willis’ action-hero persona has come full circle, but the movies haven’t exactly evolved with him. With the exception of the mercifully MIA Steven Seagal, the 1980s’ biggest action stars spent 2012 doing the shtick they perfected long before latter-day idols like The Amazing Spider-Man star Andrew Garfield and The Avengers star Chris Hemsworth (both born in 1983, which makes them one year older than The Terminator and one year younger than First Blood) entered the third grade.

>>Read more from our Year in Film 2012 issue here.

But unlike more spandex-y saviors, the leathery hunks who’ve been making films for a generation aren’t asking us to grow with them; instead, they’re growing old in front of us. (In The Dark Knight Rises, Christian Bale’s Batman is just pushing 40, but he spents half the movie in post-injury, old-man wobble mode.) If we wanna watch these guys be badasses, we’d better mind our touchy-feely instincts, because aging is rougher than a hailstorm of bullets and nowhere near as pretty. At least the flashy shit happens quickly.

Usually, an actor demonstrating frailty provokes viewers to confront their own weaknesses — the goal there is identification, poignancy. So what are we to make of the unstoppable Expendables series? The movies are as one-note as the best glossy shoot-’em-ups, which is relevant because Sylvester Stallone couldn’t have cast Willis, Dolph Lundgren, or Arnold Schwarzenegger as the cockroaches of the mercenary world without their stone-cold legacies. This epic Viagra ad of a franchise is built on the same single-mission structure of the classics that made its stars famous in the first place. The Expendables 2 pads its cast with Chuck Norris and Jean-Claude Van Damme (as a villain named “Vilain”) — but adds a “kid” (Liam Hemsworth) and a woman (Yu Nan) to the mix. Of course, the film atones for these updates making a plutonium mine the center of the film. (Also, it’s set in an old Russian military base — ah, sweet memories!)

But Stallone, Willis, and co. aren’t the only geezers attached to the aging-heroes trend. Think of Liam Neeson, sizzling anew at age 60 thanks to the Taken films. His career has only gotten hotter as he’s aged and started embracing lower-brow roles — does anyone look more fierce fighting wolves than Neeson? Tom Cruise, who turned 50 this year, doesn’t need a career reboot, even after Rock of Ages; his action-man streak continues apace with the upcoming Jack Reacher, plus 2013’s Oblivion and an inevitable fifth Mission: Impossible film.

James Bond may have shagged half of Europe, but he’s a lone wolf (no cubs) by design, and when the character turned 50 (current Bond Daniel Craig is 44), the plight of post-middle age was all his 23rd movie could talk about. Skyfall, a.k.a. The Best Explosive Marigold Hotel, features a Bond that fights for Britain and his own relevance at the same time — while the series does the same, making the bad guy a hacker and aiming for poignancy with a back story the 1960s Bond would have been too busy sexing around the globe to indulge.

According to the rules of the cowboy — speaking of, is Clint Eastwood still out there somewhere, talking to that empty chair? — the silver star goes to the next in line. But these cowboys ain’t going nowhere, no matter how many Channing Tatum clones start lurking around the box office. The Expendables 3 has already been announced (two words, casting directors: Nic Cage). No word if Willis is in that cast, but he does have G.I. Joe: Retaliation, Red 2 (another series about “retired, extremely dangerous” operatives), and A Good Day to Die Hard on the docket. Terrorists, Cobra Commanders, JCVD, wolves: 2012’s mature action heroes fear not these things. Their only true adversary is time. And possibly gravity.

Psychic Dream Astrology: A look ahead to your 2012

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ARIES

March 21-April 19

This week: It’s wicked hard to be patient, especially when you just know that your way is the best way. This week you need staying power if you want to avoid creating needless drama. Use your awesome sense of humor and playfulness to diffuse the difficult stuff, including your perpetual restlessness.

2013: Happy New Year, Aries! The ego is a tricky thing, and while many of us associate it with over-confidence, it more often balloons out of fear and insecurity. This year your relationships will be the most important stuff, not only because they can be a great source of happiness, but also because they hold up such an accurate mirror. Choose to be true to yourself and those you love instead of succumbing to defensive reactiveness in 2013.

TAURUS

April 20-May 20

This week: You’re stuck in a tough spot but there’s no anchor to tether yourself — outside of yourself. That doesn’t mean you can’t trust or lean on others, but you need to stand by you above all else, Taurus. Let go of what you assume you’re supposed to do or be and just figure out what’s right for you.

2013: Happy New Year, Taurus! Who do you want to be, and how will your life be different if you actually become that dream self? 2013 is a challenge for you to grow into a truer version of your self. Your fears of change, rejection and good old-fashioned failure will do their best to thwart you, but don’t let them, pal. You are capable. It will require sustained dedication and follow-through to outgrow your old posturing, but it’s worth it. Embrace growth.

GEMINI

May 21-June 21

This week: Just because you’re ambiguous doesn’t mean you’re on the wrong track, Gemini. You need to trust in your instincts this week, and that means you’ve gotta be emotionally present enough to perceive them! Take care of the basics so that you don’t bring your insecurities from the place of bad-vibes fantasy to reality.

2013: Happy New Year, Twin Star! Its 2013 and you know you need change, but you don’t know how to do it, or even what the best direction is. Don’t worry too much over the details; contemplate what your life would feel like if you were more happy with it, what might you be doing differently? Keep your eyes open for opportunities that will allow your life to feel as you want it to, even if the path is dramatically different than you would have thought.

CANCER

June 22-July 22

This week: The problem with being scared of things going wrong is that those thoughts and feelings motivate you to look for evidence of your fears coming true. This week you should resist the impulse to look for what you least want, Moonchild. Put your formidable energy into calming your insides instead.

2013: Happy New Year, Moonchild! Your 2013 theme centers on your center. Get to lovin’ yourself, even if that means making peace with some uncomfortable truths about who you’ve been. You cannot successfully participate in life based on fantasies of who you are. So get real. It’s only by knowing yourself that you can create change that sticks. Show yourself compassion and experience the kind of self-acceptance that’s infectious.

LEO

July 23-Aug. 22

This week: It’s important that you reflect on your needs enough so that when le merde hits the fan you are still armed with enough self-knowledge to react in the best ways possible. Tend to yourself as a way to support your relationships this week; give freely and practice receiving the gifts presented to you, Leo.

2013: Happy New Year, Leo! This upcoming year the fates want you to go deeper that you’ve gone before into your mental wellness. Uncertainties can have a crippling effect on your self-esteem and mess with your sense of purpose if you let them. How you mentally and emotionally manage the unknowable will have a defining effect on your year. Success will come though your striving to better understand and support the good, the bad and the ugly within.

VIRGO

Aug. 23-Sept. 22

This week: There’s too much going on, and it feels super-overwhelming. This week your best tool is love, your greatest insights will be inspired by compassion, and the only way to go is to assume the best of others (and yourself.) Unify, don’t divide as a way to come to a better understanding of your situation.

2013: Happy New Year, Virgo! 2013 is going to change you, there’s no two ways about it. If you believed that life wants you to be happy, and that there is an abundance of what you need, how would you regard things differently? Strike up the courage to believe in the potential of your own happiness and success. Dare to grow when you would rather shrink and hide. Take heart and stand tall; it’s better to risk and fail this year than to not try at all.

LIBRA

Sept. 23-Oct. 22

This week: The best risks to take are around being your self. Authentically try for the stuff you want and invest in the goodness of your future in creative ways this week. Don’t take on anything new, focus on working with what you’ve got. Finish what you’ve started and repurpose instead of throw stuff out. You’re on your way, Libra.

2013: Happy New Year, Libra! This year it’s time to get free from being a people pleaser, and to saying yes when you mean maybe or no. Treat yourself to some radical honesty. Don’t assume that it’s your job to protect everyone’s feelings, or that you even know what they are. Let your relationships thrive in the space between where you are authentic as opposed to easy, and let others be themselves, too. It’ll be worth it, even if it seriously changes things.

SCORPIO

Oct. 23-Nov. 21

This week: Don’t think about it, just do it, Scorpio! You are on the verge of a big transition and you’ve processed as much with the well-oiled machine of your mind that is helpful. Now’s the time to go through the steps of opening up to something new, and letting go of what has been proven to not work.

2013: Happy New Year, Scorpio! Saturn is sitting in your sign all of 2013 and that means heavy lessons and serious introspection all year long for you. Remember that action always speaks louder than suffering! Once you see a thing clearly you can change it or decide to change yourself to accommodate it. This year is one of seeking, and for best results you should let what you most value motivate your actions. Stay focused on your goals and pro-active in achieving them.

SAGITTARIUS

Nov. 22-Dec. 21

This week: You can’t have it all at once all the time, Sagittarius. This week will test your ability to manage your thinking. If you jump to worst-case scenarios you’ll be stressed and get freaked out by how few options you see. Practice trusting in the abundance of your days. Even if it’s not here right now, there’s plenty of time for it to come.

2013: Happy New Year, Sagittarius! They say, “Forgiveness is letting go of all hope of a better past.” This year you need to forgive yourself for all the crap you did or didn’t do, and to offer the same compassion to others. None of us are perfect, and you should strive to accept the mistakes that have made you who you are today. Don’t confuse enabling with kindness or idealizing with generosity in 2013.

CAPRICORN

Dec. 22-Jan. 19

This week: You shouldn’t have to know who’s gonna win in order to play the game, Capricorn. This week, try to approach life with a strong sense of humor, a willingness to play fairly with others and your ambitions clear in your mind. You can have what you want but not without a lighter heart and flexible attitude.

2013: Happy New Year, Cappy! In this upcoming year you need to stop trying to figure things out. Look for creative solutions for what lies in front of you instead of trying make things fit into your agenda. The problems you face in 2013 will require your willingness to dare to stand up and be yourself, even when that feels risky. Treat yourself like a BFF instead of a frenemy when the going gets complicated.

AQUARIUS

Jan. 20-Feb. 18

This week: Be careful Aquarius, ’cause you might just get what you’re going for. Do you actually want what you’re working so hard to get? Will it make you happy and improve your life? Things are about to change and your job is to create a world that you want to be in, instead of just pursing one in which you “win”.

2013: Happy New Year, Aquarius! Look forward to cultivating some patience this year. Let 2013 be the time that you thoughtfully consider all of your options and make the best choices possible. If that’s not your mindset you may find yourself impatiently overdoing things and wrecking havoc in your life. Think like an economist and make cost-effective choices this year.

PISCES

Feb. 19-March 20

This week: Be in touch with what you feel to aid in laying the foundation for happiness to flow in your life. This week you might have to make extra effort to check in with yourself so that you aren’t being a yes man. Going with the flow is awesome, but you need to have a way to slow things down or change course, too.

2013: Happy New Year, Pisces! It’s the year of the hug, the year of family and love and connection. That also means that it’s time for you to open yourself up to intimacy, which is hard and super rewarding work. Practice the fine art of receiving in 2013. True generosity is not just about being giving; it can only be attained when you are able to receive what others are offering you. Be open to experiencing new and deeper forms of vulnerability.

Jessica Lanyadoo has been a Psychic Dreamer for 18 years. Check out her website at www.lovelanyadoo.com to contact her for an astrology or intuitive reading.

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Nite Trax: Ana Sia, back on home court

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For those of you who haven’t been listening: Ana Sia is kind of a big deal. One of those quaintly San Francisco nightlife things — you blink for a hot minute, and someone familiar on the scene blows up, their hard work rewarded with major festival gigs, a large and growing following, and DJ sets being featured on NPR. Heeeey.

I’ve been a fan of the poised yet energetic Ana for a long while, and I must say I’m pleased as punch for her continued success — and to see what she’s got in store for us as she plays again in SF. (She’s one of the headliners, along with the UK’s excellently house and techy Ben UFO, at Friday night’s As You Like It party at Beat Box.) Onstage, the local Frite Nite label head quickly pulls you into her zone, tempering a concentration born of pure appreciation of the music with some playful bouncing and disarming charm. “I’m having a shit-ton of fun!” you can hear her shouting from the decks.

Categorizing her actual sound, however, can prove challenging.

Ana’s been through a few transfomations. I first became aware of her as a member of the underground techno scene, then as a part of the crunk-meets-dubstep-meets-Burning Man Bassnectar touring juggernaut — at one point pimping herself with a wink as playing “global slut psy-hop,” a moniker which went well with the gaudy scene of the late ’00s. Then, as part of Frite Nite, she became a brainier glitch advocate, delving into more adventurous realms of broken bass. But she’s always been courageous, forceful, and fun — even now, when she’s adding full-on house and ravier techno to the mix, as you can hear below.

Love it. She took a minute to email me the answers to some questions in anticipation of her Friday gig. Welcome back, Ana.

SFBG You’ve been playing all over lately — how does it feel when you come back to San Francisco?

ANA SIAReturning home and playing shows with my peers and in front of what very much feels like family is the greatest part of my schedule. What makes San Francisco so tight is the diversity and multi-cultural melange of the people, and those acknowledgments certainly carry through to the art scene. Connecting with listeners is easier on the home court — I feel much more safe and secure introducing more challenging music and unfamiliar sounds because everyone is so open here, They genuinely understand and love music. Ask any touring artist this question and I bet they say the same about our community here!

SFBGYour sound has really evolved since you were playing here regularly. Can you tell me where you’re at now, and what we can expect?

ANA SIA I think the one thing that has not changed about my sound is that it’s always different than the last time — whether that’s a yay or nay thing is another issue though. But right now, people can expect the agenda i’ve been pushing for a minute now; classy yet ratchet bass music, stepping on the toes of techno-house. And yeah, i’ve always tried to stay ahead of the curve for DJ sets, but honestly all the latest trends and best music out right now is re-introducing fundamental dance music. It’s nothing really super-shiny and new. It’s all slightly more modernized revisions of classic sounds which i’m grateful for. Because for me, my young rave days began with house. 

SFBG What equipment are you using lately — and can you tell us about some of your recent or upcoming releases?

ANA SIA Ableton Live is still my bandmate, but I have this new bossy future-midi controller, the QuNeo. I’m working on an EP right now, probably music that no ones’ expecting but all the tunes are in the territory of the above mentioned. 

SFBG In my mind, your sound is always evolving, you’ve always been on the cutting edge — it’s hard for a writer like me to keep up with you! Who are you listening to now? And since you travel so much, do you have any good stories from the road? 

ANA SIA Such a loaded question! Presently in my playlist of the last few months : Kendrick Lamar, Detroit Swindle, Bambounou, George Fitzgerald, Bach, 2 Chains, Dj Spinn, Lukid. And road stories? that’s classified information. Mostly because i fear self-incrimination. But i will say that it is shocking how many really great sushi restaurants there are in the most unsuspected of places in the middle of America. 

AS YOU LIKE IT with ANA SIA and BEN UFO

Fri/14, 10pm-4am, $15, $10 before 10pm, $20 after

Beatbox

314 11th St., SF.

www.ayli-sf.com

Our Weekly Picks: December 12-18

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WEDNESDAY 12/12

"The Lion and the Lamb"

Sam Flores, a graffiti-inspired artist whose work often deals with religious themes, now turns his attention to the conflicting symbols of violence and innocence. His recent paintings, which show a more classical style than previous works, depict the lion and the lamb amongst other figures in chaotic, urban settings. These bold and deeply hued paintings convey the convoluted relationship between good and evil. As a prominent artist in the crossover between urban and fine arts, you may have found his work alongside painter-designer, Jeremy Fish or tagger-tattoo artist, Mike Giant. Like many others, Flores got his start designing for skateboard and clothing companies, but with more and more solo exhibits, his painting has begun to flourish. This show should be a great example of the strong voice he has found. (Molly Champlin)

Through Feb. 12

Opening reception tonight, 6:30pm, free

Fifty24SF

218 Fillmore, SF

(415) 861-1960

www.fifty24sf.com

WEDNESDAY 12/12

Charles Phoenix Holiday Show


Oddball Americana guru Charles Phoenix has explored and celebrated the best in kitschy, cool, and kooky artifacts and history for many years now, having written several books on mid-20th century, deep-fried pop culture, fashion, lifestyle and more. The author of tomes such as Southern California In The 50s, and Americana The Beautiful brings his hilarious holiday show and talk to the city, set to roast not just Christmas, but all of the holidays with his ever-growing collection of slides and tales of his off-beat and always colorful road trip adventures. (Sean McCourt)

8pm, $25

Empress of China Ballroom

838 Grant, SF

www.charlesphoenix.com

WEDNESDAY 12/12

"How The Grouch Stole Christmas"


The Grouch is continuing his annual holiday hip-hop tour through 18 cities across the West Coast. This year the merry night in San Francisco will include performances by Bay Area native Mistah F.A.B., Minneapolis-based artist Prof, DJ Fresh, and of course, the Grouch and Eligh. Apart from the live show, Mistah F.A.B. will host a Battle of the Bands/MCs Showcase where participants will have the platform to show their own talent. The freestyle champion will win a Grouch Merchandise pack and a pair of Able Planet studio headphones. (Soojin Chang)

8pm, $20

Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

THURSDAY 12/13

Subterranean Arthouse’s Third Annual Chanukah Party


Yiddish supergroups, klezmer dance parties, and tzedakah, all wrapped into one shiny gold coin of an evening. The Subterranean Arthouse’s Chanukah Party is part of Heather Klein’s "Hungry for Yiddish: A Mitzvah Project" concert series, which donates proceeds from events to the Berkeley Food Pantry and similar organizations; and the event is co-presented by KlezCalifornia and the Jewish Music Festival. Acts include Klein’s Inextinguishable Trio, Anthony Mordechai-Tzvi Russell, noted Yiddish dance instructor Bruce Bierman, and Saul Goodman’s Klezmer Band. With instructions from Bierman, the lovely Yiddish songs of both Klein and Russell, and Goodman’s brassy klezmer, this should make for a fun, frenzied mid-point party during the festival of lights — and yes, they’ll light the menorah. Chag Sameach, Berkeley. (Emily Savage)

9pm, $10–$20 donation

Subterranean Arthouse

2169 Bancroft, Berk.

Klezmer.brownpapertickets.com

FRIDAY 12/14

Dylan Moran


Perhaps best known to American audiences for his appearances in Shaun of the Dead and Run, Fatboy, Run, Irish comedian Dylan Moran is a huge hit in his native UK, notably for his brilliant role as a cantankerous and drunk, yet lovable book shop owner in the tragically short-lived BBC series "Black Books." His live stand-up is where he’s really making his name now though; his current "Yeah, Yeah" tour is only stopping in New York, Los Angele, and here in San Francisco — consider yourself lucky and don’t miss your chance to see one of funniest comics on either side of the pond. (McCourt)

Also Sat/15, 8pm, $35

Marines Memorial Theatre

609 Sutter, SF

(415) 771-6900

www.marinesmemorialtheatre.com

FRIDAY 12/14

The Mountain Goats


I’d like to sit on some front porch (any porch, really) with John Darnielle and just listen to him tell stories — maybe over a glass of whiskey and several puffs of something. Sometimes telling the truth, but mostly relying on a wild imagination, the Mountain Goat’s dynamic leader has been writing songs about addiction, infidelity, and more sensitive subjects for the last 20 years. The group’s new album, Transcendental Youth, has been an excuse for Darnielle to branch out, inviting avant-symphonic rocker, Matthew E. White, to write horns for the album and working with Owen Pallett to arrange the songs for a collaboration with the a cappella quartet, Anonymous 4. This should be a well-worn show — mixing old and new in a chaotic journey through the picaresque scenes of Darnielle’s mind. (Champlin)

With Matthew E. White

9pm, $28

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

FRIDAY 12/14

"Diez Por Arriba"


The glorious annual flamenco season is in full swing — so much emotion, so much drama, so much invigorating live sound and movement, olé! It’s all a perfect rehearsal for your upcoming family holiday gatherings. Next up, fantastic choreographer Yaelisa and her Caminos Flamencos company, an enthralling troupe that stomps, whirls, hypnotizes, and enraptures like a force of nature, all under the expert musical direction of Jason McGuire "El Rubio." I would say the distinguishing feature of Yaelisa’s work is its generous spirit and breadth of technique. As evidenced by Caminos’ show last year, she favors longer solos and duos, giving each featured performer enough time to weave a spell of exquisite technique and subtle variations. Gorgeous costumes (hello, tight-pantsed toreadors!) and music from an international ensemble helps turn up the magic past 10. (Marke B.)

Also Sat/15, 8pm; Sun/16, 3pm, $20–$40

ODC Theater

3153 17th St., SF

www.caminosflamenco.com

SATURDAY 12/15

"In One Hand A Ghost, The Other An Atom"


As urban art has become more popular, many taggers are making a profit from their work in the gallery world. New2, who has been writing in Australia since the movement began in the early ’80s, is one of these. He’s worked in a variety of spray paint alternatives when bringing his work indoors, including paint, sculpture, and paper. His most recent project, "In One Hand A Ghost, The Other an Atom," uses intricate, paper cut-outs to merge his long tradition of writing (the ghost) with his futuristic take on letters (the atom). In the show, care and thoughtfulness form the same bright colors, geometric currents, and space themes that he has developed in years of experimentation on trains and empty walls. (Champlin)

Through Jan. 5

7pm, free

White Walls Gallery

835 Larkin, SF

(415) 931-1500

www.whitewallssf.com

SATURDAY 12/15

Pilot 61


Making dances — we all know — is a lonely and precarious enterprise. You can’t just sit down on your keyboard and write your poems. You need bodies and a bigger area than your kitchen. That’s why ODC’s Pilot program is such a gift to young choreographers. They get 11 weeks, a studio, a tiny budget, and a lot of feedback. In return, they have to commit to two public performances — of which we are the beneficiary. Seeing what gifted but not-yet-established choreographers come up with is a thrill like few others. In its 61st incarnation, Pilot will introduce Jenni Bregman, David Schleiffers, Katharine Hawthorne, Erin Malley, and Phoebe Osborne. They are calling the program Nightcap. (Rita Felciano)

Also Sun/16, 8pm, $12

ODC Dance Commons

351 Shotwell, SF

(415) 863-9833

www.odctheater.org

SATURDAY 12/15

Found Footage Festival


You’ve seen ’em: those piles of mysterious VHS tapes, often unmarked, gathering dust at Community Thrift. Found Footage Festival curator-hosts Nick Prueher and Joe Pickett live for the thrill that comes from finding bizarre, hilarious cast-off videos — and they’re on the road, sharing their fascination with audiences across the country. The 2012 program of repurposed entertainment looks to be stuffed with gems, gut-busters, and things that make you go "WTF?": ferret-care tips, freaky craft-sponging, and something called "The Sexy Treadmill Workout." Head to the FFF website to whet your appetite with the "VHS Find of the Day" feature. Two words: cat massage. (Cheryl Eddy)

Also Sun/16, 8pm, $13

Roxie Theater

3117 16th St., SF

www.foundfootagefest.com

MONDAY 12/17

Dee Dee and Brandon


Dee Dee from the Dum Dum Girls and Brandon from the Crocodiles are in love — married, in fact, and make a rather swoon-worthy couple. She with her thick-lined lids and vertical striped tights, he with his dark sunglasses. Listen to Dee Dee’s crooning on "Bedroom Eyes" off 2011’s Only In Dreams, in which she repeats "fear I’ll never sleep again" and you start to get a sense of their connection, and the pain they feel apart on separate tours. To view said connection live, in all its gushy splendor, be the voyeur at their joint Rickshaw Stop show tonight; a very special showcase, indeed, where both will perform songs from their respective catalogs and — as I can only imagine — harmonize like old lovers do. Like Johnny and June, Exene and John Doe, all those passionate, oft-heartsick music mates that have come before them, the duo is sugar and spice with a splash of whiskey. (Savage)

With Gio and Stef (Young Prisms)

8pm, $15

Rickshaw Stop

155 Fell, SF (415) 861-2011

www.rickshawstop.com

TUESDAY 12/18

Kinky Friedman


Although he has garnered a considerable amount of national mainstream success in the last 25 years as the author of a series of popular mystery novels and non-fiction books touching on politics, writer and all-around raconteur Kinky Friedman first made a name for himself as a singer and songwriter. In the early 1970s, along with his band the Texas Jewboys (he was raised by Jewish parents in the Lone Star State), he penned a slew of country and twang-tinged tunes such as the rollicking and humorous "They Ain’t Making Jews Like Jesus Anymore." He hits the city tonight as part of his "Bipolar" tour. This is your chance to meet the man, as he promises to "sign anything but bad legislation!" (McCourt)

With Brian Molnar

8pm, $25

Cafe Du Nord

2170 Market, SF

www.cafedunord.com


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On the Cheap Listings

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WEDNESDAY 12


The Lion and the Lamb FIFTY24SF Gallery, 218 Fillmore, SF. www.fifty24sf.com. Through Feb 12. Opening reception: 6:30-10pm, free. Partnering with chic streetwear store Upper Playground, artist Sam Flores will be debuting his first solo presentation in more than three years entitled "The Lion and the Lamb." The work presented is a thorough exploration of the duality of the relationship between good and evil via the medium of oil paintings, pen and ink drawings, and sculptures.

THURSDAY 13


I See Beauty in this Life Curator’s Walkthrough California Historical Society, 678 Mission, SF. (415) 357-1848, iseebeautycurator.eventbrite.com. 5pm, 5:45pm, 6:30pm, free–$5. Jump into 100 years of pictures of rural California with writer and photographer Lisa M. Hamilton’s as your tour guide, in her new exhibit entitled "I See Beauty in this Life." For the last two years, Hamilton has been chronicling stories of rural communities as apart of work "Real Rural" and tonight some of that work will be on display at the California Historical Society.

Ditched a.Muse Gallery, 614 Alabama, SF. (415) 279-6281, www.yourmusegallery.com. Through Jan 6. Opening reception: 6:30-9pm, free. Hap Leonard’s latest photo exhibit takes a humorous approach to our city’s urban landscape. "Ditched" is a series of photographs of colorful abandoned couches set in various San Franciscan allies and streets.

FRIDAY 14


Soldering, Lapidary, and Enameling Demonstration Silvera Jewelry School, 1105 Virginia, Berk. (510) 868-4908, www.silverajewelry.com. 1-8pm, free. Interested in learning to work with soldering, lapidary, enameling, and stone cutting? Then you won’t want to miss this event at the North Berkeley Silvera Jewelry School.

Animal Dance Party Harlot, 46 Minna, SF. wildkingdom-es2.eventbrite.com. 9pm-3am, $5-10. If the name of this event doesn’t immediately make you want to burst out of your seat and start dancing like nobody’s watching, then something must be wrong you. Just kidding: we’ll still love you either way. Experience DJs Traviswild and Girls and Boomboxes ignite electro mayhem at the Harlot Club. Oh, and nimal attire is strongly encouraged.

SATURDAY 15


Steppe Warriors Shooting Gallery, 839 Larkin, SF. www.shootinggallerysf.com. Through Jan 5. Opening reception: 7-11pm, free. Did you know that Genghis Khan’s real name is Chinggis Khan? Genghis Khan is the Persian version of the Mongolian King’s name. And the horsemen of this legendary historical player are the source of inspiration for Zaya’s upcoming solo show entitled "Steppe Warriors" which will feature 12 ink and watercolor paintings.

Fabricators Jack Fischer Gallery, 49 Geary Suite 418, SF. www.jackfischergallery.com. 3-5pm, free. This new show is the result of a collaboration among five Creativity Explored artists and students from the California College of the Arts’ Fabricators ENGAGE class which is taught by art critic, writer, educator and curator Glen Helfand. Holiday gifts, baked goods, and art pieces will also be on sale at this exhibit.

Mercado de Cambio 2940 16t St. #301, SF. (415) 863-6306, www.poormagazine.org. 3-7pm, free. POOR Magazine will throwing the fourth edition of its annual Mercado de Cambio/The Po Sto’ Holiday Art party, billed as a "powerful people-led collaboration of micro-business, art, performance, and community." Sounds like the perfect holiday party for the Mission.

Poetry Reading Vi Gallery, Embarcadero Center 4, Lobby Level, 100 Drumm, SF. www.vi-gallery.com. 4-6pm, free. The Embarcadero Center isn’t the first place most people think of when asked where’s the best place in SF for a poetry reading. Nevertheless this Saturday writers Richard Hack and Mel C. Thompson will be on hand to dish out some of their own poetry.

In One Hand a Ghost, the Other an Atom White Walls, 835 Larkin, SF. www.whitewallssf.com. Through Jan 5. Opening reception: 6-9pm. Australian artist New2’s curiously named exhibit will showcase between 16 and 24 pieces of large-scale artwork completely made from paper — specifically, hand-cut layered paper collages.

SUNDAY 16


Santa Skivvies Run The Lookout, 3600 16th St., SF. www.lookoutsf.com. 1pm, free to watch, $35 to run. The only thing better than running through the streets half-naked is running through the streets half-naked for a good cause. Come watch dozens of barely clothed Santas romp around the Castro for the 2012 Santa Skivvies run, whose proceeds will go to benefit the SF AIDS Foundation.

TUESDAY 18


Sketch Tuesdays 111 Minna Gallery, 111 Minna, SF. www.111minnagallery.com. 6pm, free. On the third Tuesday of every month about 20 artists gather at this swanky SOMA gallery to fabricate art on a small scale. And if you’re a patron of the arts you’ll be able to purchase these freshly made works.

YEAR IN MUSIC 2012: Waiting for Four-O

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arts@sfbg.com

YEAR IN MUSIC I’m at the Marina in Berkeley with J-Stalin around noon, waiting for producer-rapper Droop E to arrive so he and J can shoot a video for his upcoming EP, Hungry & Humble. I was invited, not by Droop but by his “Pops,” Bay Area legend E-40, to do an interview for 40’s epic, two-album collaboration with Too Short, History (HeavyOnTheGrind/EMI, 2012).

“Shiiit, me and you go way back, patna,” 40 said the week before over the phone, recalling prior interviews. “I just gotta film a cameo then we’ll do it there.” But since scheduling the article, I haven’t been able to reach him, either directly or by publicist, so Stalin took pity on me and brought me along to the shoot.

“I’m going on tour with Trae tha Truth,” Stalin says, referring to the Houston rapper signed to T.I.’s Grand Hustle label. “He flew out here and Ghazi from Empire Distribution picked him up from the airport; when Trae got in the car, he was like, ‘Who is J-Stalin? I need to work with him.'”

That word of Stalin has spread to Houston is an encouraging sign in the usually bleak landscape of Bay Area rap, and couldn’t come at a better time as the West Oakland MC prepares his fourth “official” solo album, On Behalf of the Streets, Pt 2. Like J’s debut, OBOTS2 is produced entirely by the Mekanix; the difference six years later is Stalin’s now the second bestselling local rapper after E-40 — according to Rasputin Records — and the Mekanix are among the Bay’s hottest producers, working with everyone from 40 on down. In the absence of local radio or major label support, the stakes continue to increase for the author of Memoirs of a Curb Server (Livewire/Fontana, 2012) and the proprietors of The Chop Shop (ZooEnt, 2012).

The day stretches on, tedious yet fascinating. Droop E’s got a serious film crew here and armed security to boot; the only thing missing is a permit. And 40. Various rappers drift in and out, like Cousin Fik, latest star of DJ Fresh’s ongoing Tonite Show series, or Lil Blood and Boo Banga, who released a syrup-drenched duo disc Cream Soda and Actavis (Livewire) this year. A member of Stalin’s Livewire crew from Oakland’s Dogtown neighborhood, Blood’s prepping his own official debut, Meet the Driver and the Shooter, for February. He takes off his ski hat and shows off his scalp, revealing an entrance wound and an exit wound about an inch and a half apart. Everybody laughs, but they don’t think it’s funny. It’s a stark reminder of how little insulation there is between the industry and the street out here.

HYPHY 2.0

Between takes, I get in some questions with Droop E. Besides launching his own career, Droop has had a big hand in his dad’s, co-executive producing four volumes of Revenue Retrievin’ (2010-11) and three of Block Brochure (2012) for his HeavyOnTheGrind imprint of 40’s Sick Wid It Records. Yet the 24-year-old veteran — who, as a teen, was one of the architects of hyphy, along with Rick Rock, Traxamillion, and ShoNuff — lives up to his EP’s title.

“I’m a partner but I’m still a protégé,” he says. “I’m learning a lot, seeing my Pops get into a whole nother mode of beastin’ and just making our own sound.”

That sound, judging from Block Brochure and History, has grown suspiciously more hyphy lately, in the wake of Drake’s double platinum “The Motto,” an overt homage to the Bay Area music of half a decade ago.

“That ended up being beneficial,” Droop says, “because look at the sound now in the Bay and L.A. ‘The Motto’ opened it up again.”

Given the bizarre local backlash against hyphy beginning mid-2007 — forcing its originators to prematurely back away from the sound — this is a remarkably philosophical purchase. Reached by phone, Traxamillion agrees, as his own 2012 disc My Radio (SMC) finds him revisiting the implications of the sound.

“I’m not mad,” he says. “I felt like I had an influence on music on a national level.”

 

OUT HERE TRYNA FUNCTION

The next night, I’m in a Dublin club, where we’re not allowed to drink, because this is a movie. Sympathetic to my long wait, Droop E’s somehow procures me some Jameson’s and the tawny liquid immediately catches E-40’s eye. “Gable, what you got there?” Dressed in a black pinstriped suit, 40 has finally arrived for his cameo, a series of elaborate tracking shots of him pouring a shot and toasting. Finally, I manage to catch him in an unoccupied moment and remind him about the interview; can we tape a few questions? He fixes me with a look of contempt.

“Nah, I ain’t fuckin’ with you.”

I feel the blood drain from my face. Then, with agonizing slowness, a smile begins to creep across his lips.

“Nah, I’m just playin’,” he says. “Let’s do it.”

Delays are nothing new to the Vallejo MC; he and Too Short first began announcing History in the late ’90s while they were both on Jive, but Jive never let it happen.

“It was 10 years in the making, but it didn’t take 10 years to make,” 40 says. “God work in mysterious ways so now’s the perfect time because we get all the marbles. We superindependent. We got a distribution deal through EMI.”

40’s made the most of his new freedom, only releasing albums in pairs and trios since parting with Warner after The Ball Street Journal (2008). Where BSJ bore clear signs of corporate overthink, 40’s prolific post-Warner output makes it obvious that he does his best work with a free hand. At age 45, the rapper scored one of his biggest hits this year with Block Brochure‘s “Function,” which in turn has provided a convenient new label to replace the toxic term “hyphy.” History‘s two volumes are thus divided into Mob Music and Function Music.

“Function music is more club, party music,” 40 says. “The difference between function music and mob music, function is the feel of the new era; we’re covering two and a half to three decades of music. We been doing it since the mid-’80s and here it’s almost 2013. Some people wish they could have one hit; I have had many hits in my life.”

“There’s people who don’t like me but I’ve carved my name into the history books,” he concludes. “There’ll never be another E-40 ever because I’m too different. One thing about the Bay Area: we some trendsetters and we got haters and they talk about us but they duplicate us later.”

 

Next level: this weekend’s SF Youth Arts Summit takes SOMArts

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San Francisco’s next great designer, sculptor, or filmmaker could possibly be in attendance this Sat/8 at the second annual San Francisco Youth Arts Summit taking place at SOMArts Cultural Center.

Maybe the next big things will be Maeve Fitzhoward and Brandy Ruedas, two youth artists who we met who will be showcasing – and selling, hey – their printmaking projects from Out of Site youth arts center, which will help host Saturday’s science-fair-meets-arts-gala. Fitzhoward and Ruedas also dish out advice to other artists through their positions on the Out of Site youth advisory board.

The Guardian also spoke with another Out of Site participant Mari Galicer, who’s been taking the digital media class this past semester. Galicer has learned how to create and manipulate film using programs like FinalCut Pro and Photoshop. Right now she’s working on a film with a group of peers about the city’s 11th district. If you stop by to see her, smile pretty – she’s putting together footage of this weeks’ Art Summit for an upcoming promotional video for Out of Site.

The summit will feature a total of 200 teenage artists from over 20 youth arts organizations. Attendees will also get to check out autuers from YBCA’s Young Artists at Work program, the Children’s Creativity Museum, and BAYCAT‘s base of budding Bayview media types.

While you’re perusing the various works of art you may want to indulge in some printmaking at the Out of Site bartering bank and ATM (Art That Matters) machine, or unleash your inner filmmaker by creating a stop-motion video at the mobile animation studio. If you’re a wordsmith, show off your literary skills at a poetry workshop with members of the WritersCorps, SF Mime Troupe, and TILT, the independent film center for young people.

SF Youth Arts Summit

Sat/8, 2-5pm, free

SOMArts Cultural Center

934 Brannan, SF

www.somarts.org