Video Archives — Page 67 of 118 — San Francisco Bay Guardian Archive 1966

Love comes in spurts

Jesse Hawthorne Ficks

-

February 15, 2011

arts@sfbg.com

FILM It’s hard to recall an American independent film so good naturedly horny — and unexpectedly poignant — as Gregg Araki’s Kaboom. A screwball comedy for the Coachella set, Araki’s crackerjack death trip is a return to the devil-may-care form of The Doom Generation (1995) and Nowhere (1997). Our coed heroes are Stella (Haley Bennett) and Smith (Thomas Dekker), and they’re the only platonic thing in the movie. A cult-bidden mystery is perhaps a little too squarely accounted for, but that hardly matters when Kaboom is sliding up and down the Kinsey scale, huffing comic book paranoia for the fun of it and expurgating the teen sex romp of its straight-laced intolerances. Araki was kind enough to speak to me before the film had its local premiere at the San Francisco Independent Film Festival.

SFBG You have described Kaboom as an old-school Gregg Araki film. What does that mean to you?

Gregg Araki One reason I wanted to make the film was that I wanted to do an old-fashioned cult movie — a movie that’s really outside the box and a little crazy. As a filmgoer, I’m sort of bored with everything being the same. Kaboom is weird because it has broad appeal, but I want the cult audience to be able to claim it as their own. With The Doom Generation and Nowhere, I don’t even know how the cult of those movies developed. There was just the theatrical distribution and video at that point — no Internet, no Facebook, no Netflix. I really don’t know how a lot of kids even saw those movies! It’s really exciting for me to think that that cult is so much bigger today. But I’m older now and hopefully a little wiser, and I’m just not the same person as I was for The Doom Generation. Whenever The Doom Generation would play a festival, after the movie the audience would look shell-shocked. When Kaboom premiered at Cannes, right after the movie ended the audience started to cheer. It screened Saturday at midnight, and afterward the audience was ready to party — there was this weird, electric vibe. There’s more warmth and fondness to this new movie.

SFBG You feel a real tenderness toward all the characters.

GA It sounds crazy to say with this story, but Kaboom is the most autobiographical movie I’ve ever made. So much of what Smith is about and the specifics of his character are me. The scene where Smith is at a club and he’s listening to the band with that look on his face — that’s such a resonant scene for me. There’s a real kind of nostalgic love for all the characters.

SFBG How does that play out in the sex scenes? Besides being hilarious, I was impressed by how much the characters remain themselves in these moments.

GA I think my films have always been fascinated by sex and sexuality, but it’s never really been in a titillating or lascivious way. They’re really about getting access to those most private, intimate moments between characters. The sex scenes in my movies are always about that — the emotional nakedness as opposed to just the physical nakedness. I love the sex scenes in Kaboom to death because there’s just so much going on with the characters. You’re learning so much about them in those scenes.

SFBG You’ve talked about Twin Peaks being a big influence on Kaboom.

GA David Lynch is a huge influence on all my films, but this one especially.

SFBG It’s obviously there in the style and mystery of it. But I was also curious about its being a television serial might be important. There are all these stretches in Kaboom where it feels like you’re watching three or four-minute tight episodes in fast succession — all this crazy shit keeps piling up. It reminded me of what getting hooked by a TV show is about, but in a compressed way.

GA Yeah, someone told me that there’s basically a whole season of a show in this one movie. I worked on Kaboom for years, and in a different incarnation it was actually developed as a TV show. So it definitely has a relationship with that kind of storytelling, but there was a point when it just made more sense to make a movie. The first cut of Kaboom was half an hour longer, but I wanted the movie to play like a roller-coaster ride, where you get on and then it’s sort of over before you know it — again, with the idea that the cult audience can just pop it in over and over. If it was three hours long, that wouldn’t work.

SFBG Another thing that gives Kaboom the feeling of a ride is the wall-to-wall soundtrack. A lot of short scenes have three or four distinct music cues.

GA We had the score composed by four people and then on top of that we had about 30 songs. Every one of them is a personal favorite. The music is always where a lot of my inspiration comes from. A lot of the mood and spirit of Mysterious Skin (2004) is in the Robin Guthrie and Harold Budd score. If you listen to the soundtrack of Kaboom, you can almost see the movie in your head. So much of what the movie is to me is atmosphere. And so much of that atmosphere is created through the music.

SFBG And it fits with that time when you’re living in a dorm and music is coming at you from all sides.

GA I still live that way. I get up in the morning and before I even turn on the coffee, I turn on my stereo and listen. It’s always playing. When I write, too. It’s such a big part of my life — so of course it’s there in my movies. *

KABOOM opens Fri/18 in Bay Area theaters.

Playing chicken

Jesse Hawthorne Ficks

-

February 15, 2011

27

news@sfbg.com

The Heart of the City farmers market in U.N. Plaza may not exude the bourgeois foodie reputation of the Ferry Plaza farmers market. It doesn’t sell micro-roasted coffee or artisan cheeses, and its fountain may sometimes double as a public shower, but it does offer one product that no other San Francisco farmers market does: fresh, live poultry.

Raymond Young has sold live chickens here for two decades, showing up at dawn to set up shop and peddle his poultry to an eager throng of customers, mostly Chinese, who happily take home upwards of 600 birds per day.

But a group of animal rights activists is saying that the poultry stand is inhumane, violates health codes, and that Young’s employees have infringed on their civil rights as protestors. Since April 2010, members of LGBT Compassion have been showing up in the wee hours of the morning next to Young’s stand with banners, brochures, and signs promulgating the alleged cruelty of his business and seeking to block the sale of live birds. In January, protesters upped the ante when they slapped Young and the HOC market with a lawsuit alleging continuous abuse and negligence by those who supervise the market.

“For me, it was as simple as seeing the animal cruelty,” said Andrew Zollman, 43, the founder and organizer of LGBT Compassion. “The cages are dilapidated and cramped, there are feces everywhere, and the chickens are shoved in plastic bags, two at a time, while they scream in fear or pain. It was like walking down the street and seeing a dog beaten — and it’s really frustrating to see it happen here in San Francisco.”

Zollman and fellow protester Alex Felsinger, 25, filed the lawsuit with San Francisco attorney Matt Gonzalez after months of attempts to get city officials to intervene.

The allegations have Young and market management squawking, saying that the activists are opposing a practice that is both legal and routine. They claim the protesters are overly sensitive to the treatment of the chickens simply because they can see it, and decry their tactics as an attack on a small business and cultural traditions since almost all of his customers are Asian.

“These people just don’t seem to like other people’s culture of selling live chicken,” Young said. “”I think that what I do is right. I abide by all the health codes and animal care codes. I try to do everything I can to satisfy everyone. These protesters think they can override the law because they don’t like what they see.”

THE PATH TO COURT

Zollman and Felsinger have been encouraging the city to investigate Young’s stall, regularly sending videos and photos taken at Young’s stall to the Department of Public Health and Animal Care and Control. But their quest to protect the chickens has been complicated by the lack of city oversight and an inability to enforce animal cruelty laws due to provisions exempting poultry.

The clash between the vociferous vegans and the poultry purveyors reached its pinnacle in late December 2010, when Felsinger claimed he was punched in the side of the head, wrapped up in a tarp, and had the memory card from his camera stolen by one of Young’s employees. As painful as the altercation was, Felsinger’s scuffle has helped him garner support.

Felsinger doesn’t have footage of the December attack, but he and Zollman have documented several instances of alleged verbal and physical abuse by Young’s employees, including anti gay statements from Young’s daughter, which was the subject of a complaint to the Human Rights Commission.

“There is a long list of things being done to us over the past year,” Felsinger said. “I never expected them to take such a violent act against me. It’s not how I wanted to go about it. But it might have the end result we’re looking for.”

Christine Adams, manager of the HOC market since it first opened in 1981, has consistently defended Young and called the lawsuit “completely outrageous.”

“This is a market, and if they (Young’s crew) were illegal, they would have been booted,” she said. “I have done nothing wrong; Raymond has done nothing wrong. I’m not worried at all about the lawsuit.”

Adams said that while she had not been personally affected by the protesting in the past, she did not approve of Zollman and Felsinger’s actions and attributed a decline in live poultry sales to their presence.

“Their sales have gone down considerably,” Adams said. “They used to sell more than 1,000 birds a day and now it’s more like 600 or 700. I think it’s definitely because of the protesters. People don’t like to be followed through a market and have a camera shoved in their face just because they bought a live chicken.”

GATHERING EVIDENCE

Almost every market day, Zollman and Felsinger would show up to protest and take video and still photography of Young’s stall. They have posted numerous videos and photos to their group’s website (lgbtcompassion.org) — the same ones they say they send to DPH and ACC — documenting the conditions at Young’s stall.

The DPH makes routine inspections twice per year to the market. In November, Zollman, Young, and Adams held a meeting with principal environmental health inspector Lisa O’Malley to address issues of sanitation, handling, and guidelines for bringing live animals near food. The department says the vendor is operating within guidelines.

“There were some problems in the past, but they’ve been fixed,” O’Malley told us, naming a few instances of inadequate removal of chicken feces from the area and improper hand-washing as past problems. She said the challenge was maintaining the guidelines, the most difficult of which is making sure people do not walk through the market after purchasing their birds. Health codes prohibit animals from being within 20 feet of food. The primary concern is contamination from fecal matter, which could cause illnesses such as Salmonella poisoning.

O’Malley walks by the market regularly because of its proximity to her office and says all operations seem compliant. At the same time, official enforcement and inspection is limited to the Public Health Department’s semi-annual visits. This means the only people watching over the operations of the stall and customers are the security guards, who don’t start working until two and half hours after the market opens, long after prime time for buying live chickens.

CULTURE CLASH

Young stands by his actions and said he is not guilty of any wrongdoing. The activists criticize him for practices such as cutting off the tips of the chickens’ beaks, but Young said he only does this to prevent fighting injuries sustained when they are caged for transport and sale, a common practice for any chicken farmer.

In their pamphlets and the lawsuit, the activists claim that the poultry is a “collection of ‘spent’ live chickens (those who are no longer productive egg layers) from large Central Valley farms,” according to the suit. But Young contests that characterization and the activists can’t produce credible evidence of the birds’ age or origins.

“They don’t know how old my birds are. They don’t know how I care for them,” Young said, refusing to tell us how old the chickens are. “They just assume. What’s the difference between Safeway chicken and my chicken? They were all alive at one time, but you see mine.”

Young has three farms listed on his permit — in Modesto, Sacramento, and Manteca — that he runs with the help of his children and a few employees. Adams has visited his Modesto facility and reported that the chickens are free-range, seem to be in good health, and are treated no differently than they would be at any other farm. She also supported the accusation that the protests undermine cultural norms.

“How can it not be cultural? All their customers are Asian!” she said. “And why is it only the chicken man they harass? There is a guy who sells quail and pheasants and they aren’t bothering him.”

Zollman, Felsinger, and Gonzalez call that cultural criticism a diversionary tactic. “I don’t even want to dignify culture and race as an issue in this,” Zollman said. “I understand that people want to buy live chickens. Animal cruelty issues aside, this isn’t a live animal market like they have in most of Asia.”

Young and Adams stressed that Zollman could not possibly know about operations on the farm, and that his suggestion that the operation is extremely profitable is absurd. “Do you know how hard it is to work on a farm?” asked Young, a single father of three. “You don’t make any money except to put food on the table or send your kids to school. And now I have to pay for a lawyer.”

ARE CHICKENS ANIMALS?

Although the activists oppose factory farms and live animals for sale for human consumption in general, they have focused their attention on the HOC market because it is permitted by the city.

Gonzalez said the lawsuit aims to address three different issues. The first is violating his client’s free speech rights by Young and HOC market. The second seeks to compel the city to better identify and enforce alleged health code violations. The third and trickiest aspect deals with animal cruelty laws, which the activists hope will force more humane treatment of the birds.

Penal Code 597 outlines animal cruelty provisions, defining the word “animal” as “frogs, turtles, and birds sold for human consumption, with the exception of poultry.” That law was adopted in the early 1900s. Elsewhere the code defines animals as “every dumb creature.” But in 2000, the Fourth District California Court of Appeals analyzed the section and deemed that the definition should include birds.

But Gonzalez and ACC say city officials have allowed the poultry exemption to stick. “[The law] refers to live animals and makes a specific exemption for poultry,” Rebecca Katz, director of the Department of Animal Care and Control, told us. “I would venture to guess that poultry lobby was very strong at that time.”

The ACC, prompted by the protests, inspected Young’s facilities and cited him for 700 different violations, according to the lawsuit. Katz mentioned a few instances in which they observed chickens suffering to the point where they had to be euthanized. But most of the citations were for inadequate water supply or holding birds improperly.

“A lot of people eat animals for food, and that’s what it is,” Katz said. “I’m not a vegetarian, but the way they are being kept is not the way we would recommend they be cared for. Do we think there is some cruelty? Probably. But there is nothing we can do at this time until the law changes.”

Like his predecessors, newly appointed District Attorney George Gascón seems to believe that chickens are not protected by state law, regardless of perceived cruel treatment.

“To date, our position has been that there is a clear exception under the law for live poultry being sold for human consumption,” said Gascón spokesperson Erica Derryck. “As much as it appears that the treatment of these animals is inhumane, there is nothing we can do to prosecute these allegations under the current laws in California.”

Gonzalez disagrees, and his office referenced similar cases in the state in which poultry was protected from cruelty. “Frankly, it’s kind of embarrassing that they are taking the position they are taking,” Gonzalez told us. “They are trying to avoid a topic that would compel them to do what they need to do. Many in the Asian community and Mexican community see this as an attack on their cultural traditions, and that’s not the issue. We see it as a straight matter of misinterpretation.”

DAILY OPERATIONS

On a recent visit to the market, the stall appeared clean and the chickens were out of view. The stall features prominent signage in English and in Chinese languages of the ban on bringing live animals into the market, with additional signs throughout the plaza, but customers routinely step directly into the market after buying their chickens.

“This is not easy,” security guard Diana Ybarra said while trying to point a man carrying a bag with two chickens in the right direction. “Nobody wants to listen — most of them don’t speak English. Everyone wants to take a shortcut right back through the market.”

Ybarra and her coworker, Washington (who chose to be identified only by his last name), said that their entire day is consumed trying to get customers to abide by this rule. Prior to the November meeting, no signage was posted and customers just “walked all over the place as if it didn’t matter at all,” Ybarra said.

“Chinese New Year was bad,” Washington added.

The guards see enforcing the rule as an unnecessary waste of time that takes their focus off tasks such as preventing theft. Both said shoving birds in sacks was “messed up,” but they were also quick to criticize the protestors.

“Why are they bothering this man? This is a family business and people have to make money,” Washington said. “Those protestors came in and fucked everything up, if you ask me.”

Young said he resents getting caught up in this controversy. “We are so loyal to this city and to this market,” he said. “We have put up with drug dealers and crime just so we can serve the people. Maybe these protesters think differently.”

For now the activists are more focused on the lawsuit than remaining vigilant in their protests, hoping it will accomplish their goal.

“I wasn’t always so adamant about getting rid of them, it was having people notice something that is animal cruelty,” Felsinger said. “It had been good in some ways to have people exposed to this cruelty in San Francisco because it gave us a platform to speak on animal rights. These are egregious offenses and it’s hard to ignore when it is right in your back yard.”

Rep Clock

Andrew Lam

-

February 15, 2011

0

Schedules are for Wed/16–Tues/22 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $5-10. “OpenScreening,” Thurs, 8. For participation info, contact ataopenscreening@atasite.org. An Island (Moon, 2010), Fri, 8.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, SF; www.bfuu.org. Donations requested. The Economics of Happiness, Thurs, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-12. •Fight Club (Fincher, 1999), Wed, 2, 7, and Insomnia (Nolan, 2002), Wed, 4:35, 9:35. •McCabe and Mrs. Miller (Altman, 1971), Thurs, 2:20, 7, and Pat Garrett and Billy the Kid (Peckinpah, 1973), Thurs, 4:35, 9:15. “Midnites for Maniacs: King of the Hood” •Beverly Hills Cop (Brest, 1984), Fri, 7:30; The Warriors (Hill, 1979), Fri, 9:45; The Last Dragon (Schultz, 1985), Fri, 11:59. The Leopard (Visconti, 1963), Sat-Mon, 2:30, 7.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-15. The Illusionist (Chomet, 2010), call for dates and times. Even the Rain (Bollaín, 2010), Feb 18-24, call for times.

GOETHE-INSTITUT SAN FRANCISCO 530 Bush, SF; (415) 263-8760. $7. “From the Wild West to Outer Space: East German Films:” Chingachgook: The Great Snake (Groschopp, 1967), Thurs, 7.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. The Panama Deception (Trent, 1992), Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: New Year’s Revolutions:” Adam’s Rib (Cukor, 1949), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema: Fantasy Films and Realms of Enchantment:” Le Million (Clair, 1931), Wed, 3:10. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” “Abstraction in Film,” Wed, 7:30. “African Film Festival 2011:” “Contemporary African Short Films,” Thurs, 7. “Suspicion: The Films of Claude Chabrol and Alfred Hitchcock:” Betty (Chabrol, 1992), Fri, 7; La Cérémonie (Chabrol, 1995), Fri, 9; The Swindle (Chabrol, 1998), Sat, 8:50. “Cruel Cinema: New Directions in Tamil Film:” Naan Kadavul (Bala, 2009), Sat, 3. “Cinema Across Media: The 1920s:” The Complete Metropolis (Lang, 1926), Sat, 6. Shoah (Lanzmann, 1985), part one Sun, 11:30am; part two Sun, 5:15.

RED VIC 1727 Haight, SF; (415) 668-3994; www.redvicmoviehouse.com. $6-10. Four Lions (Morris, 2010), Wed-Thurs, 7:15, 9:20 (also Wed, 2). Harry Potter and the Deathly Hallows Part One (Yates, 2010), Fri-Sat, 5, 8 (also Sat, 2). Inside Job (Ferguson, 2010), Sun-Tues, 7, 9:30 (also Sun, 2, 4:30). White Material (Denis, 2009), Feb 22-23, 7:15, 9:20 (also Feb 23, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. San Francisco Independent Film Festival, Wed-Thurs. See www.sfindie.com for more info. Modern Romance (Brooks, 1981), Fri, call for times; Lost in America (Brooks, 1985), Sat, call for times. Henri-Georges Clouzot’s Inferno (Bromberg and Medre, 2009), Sun-Tues, call for times.

VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $12. Breath (Kim, 2007), Sat, 5. Gantz (Sato, 2011), Sat, 7:15. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Volume 14: Middle East,” nine videos focusing on the Middle East compiled by ASPECT: The Chronicle of New Media Art, Jan 13-March 27 (gallery hours Thurs-Sat, noon-8; Sun, noon-6). “Around the World in 33 Films: The Jeonju Digital Project,” Thurs, 7:30; Sat, 7 and 9; Sun, 2 and 4.

Music Listings

Andrew Lam

-

February 15, 2011

0

WEDNESDAY 16

ROCK/BLUES/HIP-HOP

Cake Fillmore. 8pm, $36.50.

Dum Dum Girls, Minks, Dirty Beaches Bottom of the Hill. 9pm, $12.

Miguel Independent. 8pm, $20.

Newfangled Wasteland, Dead Winter Carpenters Café Du Nord. 9pm, $10.

Pryor Baird and the Deacons Biscuits and Blues. 8 and 10pm, $15.

Angie Stone Yoshi’s San Francisco. 8 and 10pm, $45.

Stymie and the Pimp Jones Love Orchestra, Selector DJ Kirk Elbo Room. 9pm, $8.

Sunbeam Rd., Spiro Agnew, Red Blue Yellow Hemlock Tavern. 9pm, $6.

JAZZ/NEW MUSIC

Cat’s Corner with Christine and Nathan Savanna Jazz. 7:30pm, $5.

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

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

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

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

DANCE CLUBS

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

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

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes. Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

No Room For Squares Som., 2925 16th St, SF; (415) 558-8521. 6-10pm, free. DJ Afrodite Shake spins jazz for happy hour.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 17

ROCK/BLUES/HIP-HOP

Cake Fillmore. 8pm, $36.50.

Dogpatch Retox Lounge. 9pm.

*Eluveitie, 3 Inches of Blood, Holy Grail, System Divide Slim’s. 7:30pm, $20.

Everest, Carl Broemel, Infantree Hotel Utah. 9pm, $10.

Gift of Gab, Lance Herbstrong Independent. 9pm, $17.

Manzanita, Sporting Life, Bleached Palms Red Devil Lounge. 8pm, $6.

Popa Chubby Biscuits and Blues. 8 and 10pm, $20.

Spandex Tiger, Disastroid, Fever Charm Bottom of the Hill. 9pm, $8.

Angie Stone Yoshi’s San Francisco. 8 and 10pm, $45.

21st Century, LadyCop, Yearling El Rio. 8pm, $3.

Twilight Singers Amoeba, 1855 Haight, SF; www.amoeba.com. 6pm.

JAZZ/NEW MUSIC

Derek Smith Latin Jazz Band and Andres Speight’s SFSU student bands Savanna Jazz. 7:30pm, $5.

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

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

FOLK/WORLD/COUNTRY

Shareef Ali and the Radical Folksonomy Grant and Green. 9pm, free.

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

Leif Karlstrom and Jordan Klein Atlas Café. 8pm, free.

Whisky Richards, Misisipi Rider, Lady A and Her Heel Draggers, West Nile Ramblers Café Du Nord. 8:30pm, $15. Part of the San Francisco Bluegrass and Old Time Festival.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $7. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk and guests Afromassive and DJ Mr. Chatman.

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

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

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

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

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

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

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

1984 Mighty. 9pm, $2. The long-running New Wave and 80s party has a new venue, featuring video DJs Mark Andrus, Don Lynch, and celebrity guests.

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

Popscene Rickshaw Stop. 9pm, $10. Emerging artist showcase with Eulogies and Mother Mother, plus DJ Aaron Axelsen.

FRIDAY 18

ROCK/BLUES/HIP-HOP

Beach House Fillmore. 9pm, $22.50.

Estranged, Spectres, Young Offenders, Airfix Kits El Rio. 10pm, $7.

Rick Estrin and the Nightcats Biscuits and Blues. 8 and 10pm, $20.

Mark Growden, Seth Ford Young Brava Theater, 2781 24th St, SF; www.brava.org. 8pm, $20-50.

K-Ci and JoJo Yoshi’s San Francisco. 8 and 10pm, $35.

Lloyd’s Garage, Blackstone Heist, Whiskey Pills Fiasco Café Du Nord. 9:30pm, $10.

Monkey, Gogo 13, Chase Long Beach, Skank Agents, MC Tazy Phyllipz Bottom of the Hill. 8:30pm, $12.

Mustache Harbor, Sean Tabor Band, Oceanroyal Slim’s. 9pm, $13.

Real Nasty, Buxter Hoot’n, Steve Pile Band Hotel Utah. 9pm, $8.

Star Fucking Hipsters, Static Thought Thee Parkside. 9pm, $8.

Stockholm Syndrome Independent. 9pm, $22.

“Streep Tease: An Evening of Meryl Street Monologue and Song” Great American Music Hall. 8pm, $25. All-male cast including Shawn Ryan, Bruce Vilanch, and more.

Ana Tijoux, Yung Mars Project, DJ C-Funk Elbo Room. 10pm, $10.

Wild Thing, Culo, School Jerks Hemlock Tavern. 9:30pm, $6.

JAZZ/NEW MUSIC

Benn Bacot Savanna Jazz. 7:30pm, $8.

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

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

Messenjah Selah, Woven Roots, Seed N Soil Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 9pm, $10-15.

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

FOLK/WORLD/COUNTRY

Boombox, Boctok-Zapad, DJ Stranger Café Cocomo. 8pm, $38.

Earl Brothers, Henhouse Prowlers, BrownChicken BrownCow Plough and Stars. 9pm, $10-15. Part of the San Francisco Bluegrass and Old Time Festival.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Bart B More, Nisus Rickshaw Stop. 9pm, $12.50.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

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

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

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

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

Radioactivity 222 Hyde, SF; (415) 440-0222. 6pm. Synth sounds of the cold war era.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

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

Trannyshack Stevie Nicks Tribute DNA Lounge. 9:30pm, $15. Heklina, Anna Conda, and more pay tribute to the Gold Dust Woman.

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

SATURDAY 19

ROCK/BLUES/HIP-HOP

Scott H. Biram, Ralph White, Shovelman Bottom of the Hill. 10pm, $12.

Clorox Girls, Midnite Snaxxx, Cigarette Burns, Mermaid Bones Hemlock Tavern. 9pm, $7.

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

Gang of Four, Hollerado Fillmore. 9pm, $32.50.

Gliss, Here Come the Saviours, Spyrals El Rio. 9pm, $8.

Mark Growden, Seth Ford Young Brava Theater, 2781 24th St, SF; www.brava.org. 8pm, $20-50.

Jackie Payne Band Biscuits and Blues. 8 and 10pm, $20.

Keeping Score, Five Fingers of Death Thee Parkside. 2pm, free.

Todd Snider, Elizabeth Cook Great American Music Hall. 9pm, $21.

Stockholm Syndrome Independent. 9pm, $22.

JAZZ/NEW MUSIC

Robert Gastelum Amnesia. 7pm.

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

Ronnie Laws Quartet Yoshi’s San Francisco. 8 and 10pm, $16-25.

Tom Shaw Trio with Sheelagh Murphy Martuni’s, Four Valencia, SF; www.dragatmartunis.com. 7pm.

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

FOLK/WORLD/COUNTRY

Foghorn Stringband, Knuckle Knockers Swedish American Hall (upstairs from Café Du Nord). 8pm, $15. Square dance extravaganza with caller Bill Martin. Part of the San Francisco Bluegrass and Old Time Festival.

Forro Brazuca Red Poppy Art House. 8pm, $10-15.

Whitney Nichole, Leftcoastspecial Cajun Band El Rio. 6pm, free.

Pine Box Boys, Old Man Markley, Kemo Sabe, Hang Jones Café Du Nord. 8:30pm, $15. Part of the San Francisco Bluegrass and Old Time Festival.

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

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

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

Blowoff Slim’s. 10pm, $15. With host-DJs Bob Mould and Rich Morel.

Bootie SF: The Evolution Control Committee DNA Lounge. 9pm, $6-12. Mash-ups.

Cock Fight Underground SF. 9pm, $7. Gay locker room antics galore with electro-spinning DJ Earworm, MyKill, and Dcnstrct.

Fringe Madrone Art Bar. 9pm, $5. Indie music video dance party with DJs Blondie and subOctave.

Full House Gravity, 3505 Scott, SF; (415) 776-1928. 9pm, $10. With DJs Roost Uno and Pony P spinning dirty hip hop.

Industry Factory, 525 Harrison, SF; www.industrysf.com. 10pm, $40. With Ralphi Rosario and Abel.

Non Stop Bhangra Rickshaw Stop. 9pm, $15. Bhangra beats with the Dholrhythms Dance Troupe.

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

Saturday Night Soul Party Elbo Room. 10pm-2am, $5. DJs Lucky, Paul Paul, and Phengren Oswald spin butt-shakin’ ’60s soul on 45.

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

SUNDAY 20

ROCK/BLUES/HIP-HOP

Arboretum, Endless Boogie, Hiking Hemlock Tavern. 9pm, $8.

Brainbow, Passion Killers, Trip the Light Fantastic El Rio. 6pm, $5.

Trace Bundy Café Du Nord. 8pm, $18.

Frustrators, Phenomenauts, Kepi Ghouli Band, Bryan McPherson, Bobby Joe Ebola and the Children McNuggets Rickshaw Stop. 8pm, $12.

Richard Cheese and Lounge Against the Machine Bimbo’s 365 Club. 9pm, $39-60.

Marijuana Deathsquads, Skoal Kodiak, Slapping Purses Bottom of the Hill. 9pm, $12.

Tad Worku Yoshi’s San Francisco. 8:30pm, $20.

JAZZ/NEW MUSIC

Dan Berg Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8pm, free.

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

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

FOLK/WORLD/COUNTRY

Highway Robbers Thee Parkside. 2pm, free.

Peter Rowan Bluegrass Band Slim’s. 8pm, $18. Part of the San Francisco Bluegrass and Old Time Festival.

DANCE CLUBS

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

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

Dub Mission Elbo Room. 9pm, $. Dub, roots, and classic dancehall with DJ Sep and guests Habitat Sound featuring Prince Zohar, David Hurley, and Selector Eddir Turbo.

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

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

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

La Pachanga Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 6pm, $10. Salsa dance party with live Afro-Cuban salsa bands.

Play T-Dance: Pajama Party DNA Lounge. 5pm, $35. With DJ Steve Sherwood and DJ Sean Mac.

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

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

MONDAY 21

ROCK/BLUES/HIP-HOP

Big Sam’s Funky Nation Yoshi’s San Francisco. 8pm, $15.

*Man or Astro-Man? Independent. 9pm, $15.

DANCE CLUBS

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

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

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

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

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

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

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

TUESDAY 22

ROCK/BLUES/HIP-HOP

Awol One and Factor, Ceschi, Cars and Trains, Kirby Dominant, Megabusive Elbo Room. 9pm, $10.

Drift, CJ Boyd, High Wolf Hemlock Tavern. 9pm, $6.

Justin Townes Earle Great American Music Hall. 8pm, $17.

Brandon Leonard and the Nobodys, Palafox El Rio. 7pm, free.

Lydia Pense and Cold Blood Yoshi’s San Francisco. 8pm, $20.

Trampled Under Foot Biscuits and Blues. 8 and 10pm, $20. Rocky Votolato, Laura Gibson, Piss Pissedofferson Bottom of the Hill. 9pm, $14. JAZZ/NEW MUSIC Graham Connah Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Alcoholocaust Presents Argus Lounge. 9pm, free. “Stump the Wizard” interactive DJ game with DJ the Wizard and DJ What’s His Fuck. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx

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

The Great San Francisco Valentine’s Day Pillow Fight 2011

Jesse Hawthorne Ficks

-

February 15, 2011

0

It is extremely encouraging that A: hundreds of people still show up at Justin Herman Plaza to beat the living crap out of each other on Valentine’s Eve (with love!), B: We only resort to semi-violence for our kicks, and C: In the Facebook age, the “flash” in “flash mob” refers only to cameras. (Real spontaneous flash mobs RIP.) Video h/t: kevinsyoza

To the bone

Jesse Hawthorne Ficks

-

February 11, 2011

0

DANCE/MUSIC There are a lot of interesting things in Brontez Purnell’s room. Giant self-made posters of Josephine Baker (“The most famous black party kid ever,” he says), Arthur Evans’ Witchcraft and the Gay Counterculture, and the legendary Harlem Renaissance publication Fire!!. An arrangement of Polaroid Instamatic nude shots of old flames and interview subjects from his zine, Fag School. A few more Instamatic shots – of him and his mom and grandmother. A framed letter from Kathleen Hanna. An autographed copy of the Go-Go’s’ Talk Show. A typewriter. Effects pedals. On a window ledge, a CD by his uncle, the late blues guitarist J.J. Malone. On his bed, a well-worn paperback of Lady Sings the Blues, next to a Teenage Mutant Ninja Turtles pillow. But the most interesting presence in the room is Brontez himself.

“I grew up with a strong Southern Baptist influence,” Brontez says, when I ask about the role of ritual in his dance projects. “These days I’m not as likely to disregard what that did to me and how it set my way of thinking about the world into motion. I talk to my mom, who is a devout Christian and also totally wild-ass, every day. But for the first 15 years of my life, I was at a place where, every Sunday, the most conservative people could scream their heads off. It wasn’t pretentious, it was to the bone. It’s part of the reason I’ve never had trouble dancing at [rock] shows or getting into the energy of the moment.”

Long before Brontez burned up the stage as a key member of Gravy Train!!!!, he was the talk of the Bay Area rock scene because of his uninhibited energy. “Sometimes, in Gravy Train!!!!, or especially when I was younger, people would sexualize me in this way that was weird to me,” he recalls. “I just felt like I was being more punk than sexy. Sometimes I’d jump in the crowd and people would finger me, or rip off my underwear, and I was put off or taken aback. I felt like I was this baby with whiplash.”

No longer a baby with whiplash, the Brontez of today is still punk rock, but also well-read – and a dancer. This Friday, he’s debuting a trio of live dance pieces, and a trio of dance films (The Beats are Falling Down, Itxel, and Free Jazz) made with Gary Gregerson, as part of a Berkeley Art Museum program curated by Betty Nguyen. Shot in black-and-white and kindred in spirit with works by Yvonne Rainer (“Her ideas about task-oriented choreography, and choreography that deals with the everyday, are so fact-based,” he says), the movies are a natural extension from the dynamic dance video that Irwin Swirnoff made for “Sha-Boo Lee,” by Brontez’s band, Younger Lovers. They’ve got an electric charge — they’re inspiring.

“What I like about Gary [Gregerson] and Irwin [Swirnoff] is that there is always a sense of naturalness with them,” says Brontez. “In the Bay Area, there can be this cult of clutter – everyone has their Cockette thing going, and everything has to be splattered with glitter and fuzzy purple rhinestones. With the art I make, there isn’t a lot of high concept and high camp going on. I’m literally trying to tell a story that I want to let breathe. Both Gary and Irwin are respectful of that.”

This directness is present in Rock Flawless (Bachelor), the latest Younger Lovers album, which features contributions from Bare Wires’ Matthew Melton and drummer Taaji Malik (who is also present in Gregerson’s films), as well as bandmate Mateo Corona. Recorded next door to Aunt Charlie’s Lounge at a studio on the corner of Turk and Taylor in SF, Rock Flawless trades the vagaries of romance for the truth. “When I wrote about a boy on [2008’s] Newest Romantic, it was ‘la la la’ and flowery, but on Rock Flawless I’ll write about a specific boy, in a specific neighborhood – like the Lower Haight – that fucked me over.”

Brontez also throws in a killer cover, of “Heartbroken,” by T2 featuring Jodie Aysha. He’s typically candid about its inspiration. “I first heard [the song] during this Adam4Adam trick,” he says. “I went to this guy’s house and he was a total freak. He had this way-too-close relationship with his dog. I hugged him and the dog ran off the bed and he said, ‘She hates when you take my energy away like that.’ We were fucking and he had on his Pandora and that song came on, and I was like, ‘What is this? This is what’s up!’”

What’s up for Brontez today? For starters, his neighborhood in West Oakland, where warehouse spaces like Sugar Mountain, Ghost Town, and Copland are putting on shows. “On the weekend, you see so many white kids it’s like Woodstock,” he laughs. “What’s happening here isn’t going on in San Francisco. But during the weekdays, you see the nice cars that drive by to get heroin and crack, and the regular neighborhood people.”

What’s also going on is a strong dedication to making things happen, and making dance. “My biological clock is ticking, ticking, going ‘What have you done, girl?’,” Brontez jokes. “It’s nice to sit around waiting on boys to love you, but in the meantime…” In the meantime, he’s reading up on Rainer, Katherine Dunham, and Martha Graham. He’s watching AXIS Dance Company rehearsals. He’s drawing on his studies with choreographers Eric Kupers and Nina Haft. He’s getting set to act with Jesse Hewit and others in a film by Travis Mathews. He’s leading dance workshops. And he’s giving any “fucking squares” in dance a loving “a kick in the ass,” flyering shows punk rock-style, and choreographing pieces involving witch dancers and preachers, with titles like Whenever I Hit the Floor, I’m Like a Fucking Hurricane.

“Thank god I also read a lot of rock ‘n’ roll autobiographies,” Brontez says. “Because all of my favorite artists say the same thing: ‘They did not love me enough.’ This year, I’m going to find out who my brothers and sisters are, so we can start doing shows together.”

L@TE FRIDAY NIGHTS AT BAM/PFA: BRONTEZ WITH BRILLIANT COLORS
7:30 p.m. (DJ Myles Cooper at 6:30 p.m.), $7
Berkeley Art Museum, Gallery B
2626 Bancroft, Berk.
(510) 642-0808

bampfa.berkeley.edu

Snap Sounds: Darwin Deez

John Elberling

-

February 10, 2011

0

DARWIN DEEZ
Darwin Deez
(Lucky Number)

Phoenix is the most obvious reference for Darwin Deez‘s crisp, clean, and commercial tunefulness, with occasional traces of El Guincho — and Beck’s hipster clowning, which makes sense, as Deez made an unofficial 2009 video for Cornelius’s 2001 song “Fly.” (I’d hazard a guess that both Phoenix and Deez are influenced by the light beauty of Lô Borges.) My favorite aspect of lead member Darwin Smith’s songwriting and recording is the melodicism of his guitar sound — counter-melodic grace notes whirligig through the air on songs like “Deep Sea Divers,” “The City,” “Up in the Clouds,” and “Bed Space.” His lyrics and look are way too precious for my taste, but I might succumb with the repeated listens the better songs here attract. Guitar pop alert: In addition to some Deez clips, after the jump you’ll also find Damon Packard‘s HILARIOUS video for Buva’s “Hide Away,” with absolutely unparalleled animal control puppetry!

Darwin Deez, “Up in the Clouds,” from Darwin Deez:

Buva, “Hide Away,” directed by Damon Packard:

Darwin Deez, “Bed Space (Paramore-Style Music Video),” from Darwin Deez:

Hot sexy events: February 9-15

Andrew Lam

-

February 9, 2011

1

So Rihanna made an S&M video. No really, it’s called “S&M.” And yes, it does feature her walking Perez Hilton – not the sexiest choice – on a leash, while wearing a latex dress and a killer day-at-the-races hat-thing, plus her singing while hanging from the ceiling, men in restraints and gags, and creative use of duct tape. Yep, yet another celebrity discovers BDSM. While the video itself is not thrilling and not all that arousing (for my money, Rihanna’s made hotter), the girl’s got a way with outfits – she has a penchant for performing in latex, and sports a pretty incredible hood and stockings latex ‘fit in the new video, which already has 9.3 million views on YouTube, fyi. Perhaps she could be convinced to share the wealth at one of SF’s two kinky costume swaps this Sun/13 — at Kinky Salon and the SF Citadel respectively. Even if RiRi’s not in attendance, the event should be a good opportunity to re-up on some gear to wear to the next wild-and-wacky costumed sex party. Or nearly any of this weeks’ sex events, for that matter…

Bawdy Storytelling: “Slut or Whore?”

Four years of Bawdy Storytelling already? And it doesn’t look a day over “once upon a time”! At any rate, four years of exhibitionist show-and-tell deserves a little contemplation, so this month’s theme makes perfect sense. Sexologist Carol Queen and fowl-about-town Chicken John will be sharing scenes from their crazy line-toeing lives – maybe we can all sit back and think on what it means to get paid for it, whatever our career may be.

Weds/9 8 p.m., $10

The Blue Macaw

2656 Mission, SF

www.bawdystorytelling.com

Lyon-Martin Beer Bust

You’ve heard by now, no doubt, about how trans and woman-friendly Lyon-Martin Health Services is being threatened by these toughie economic times. Things are looking good for the clinic though, if one is to judge by the magnum-sized avalanche of fundraising events that have come down the chute from organizations and businesses all over the city. You can find a list of them here, by the way. And here’s a fabulous option: the Eagle will be busting beers out all afternoon in honor of safe, respectful, and effective reproductive health care – go drain a bottle, donate some cash to the cause, and buy some raffle tickets while you’re at it – your community will thank you.

Sat/12 3-6 p.m., free

The Eagle Tavern

398 12th St., SF

(415) 626-0880

www.lyon-martin.org

Valentino’s Casablanca

Here’s looking at you kid – you and your valentine(s, not trying to be limiting here) are welcome to get fuzzy at Stefanos invocation of Bogart’s bar. Sip on noir-style cocktails and look sultry while you check out violinists and sky-suspended roped beauties. Plus, there’s that big old dungeon to frolic in. Trust, this could be the beginning of a beautiful friendship(s, again, not tryin’ to hold you back here).

Sat/12 8-10 p.m., $30 singles, $60 couples, $90 trios

SF Citadel

1277 Mission, SF

(415) 626-2746

www.brownpapertickets.com

Kinky Salon Costume Swap

It can get rough attending themed swingers’ parties week in and week out – there’s only so many times you can wear those pink cat ears before their frisky fun seems a little worn out. Luckily, Kinky Salon’s got your back – show up at this naked person party (when you’re changing outfits people, game faces please) with an armload of the fetish funwear you’ve grown luke-warm on, and pick up another armload of your kinky peers’ cast-offs. Remember to clean everything before you bring it down.

Sun/13 4-6 p.m., $10 with costumes to swap, $20 without

Mission Control

www.missioncontrolsf.org

Swap it Out!

Just like the one above, only the Citadel’s swap is a true naked lady party – only women and the female-identifying are allowed at this trade. Bring your threads (street clothes welcome at this swap) – the ones that no one picks up will be shipped off to charity at the end of the three hours.

Sun/13 2-5 p.m., free

SF Citadel

1277 Mission, SF

(415) 626-2746

www.sfcitadel.org

Pop-Up Dildo Shop and Icecream Social

Now this will be all kinds of fun: an event at Fifty 24’s pop-up store with a little something for everyone. To whit, raunchy comedy by Will Franken, free organic icecream from Three Twins, a class on how to choose the perfect sex toy with Carol Queen, giveaways from Good Vibes, even free PBR! My goodness, and hot ’60s pop act Female Trouble to soundtrack the whole thing? Can you wait til Sunday, even?

Sun/13 3-5 p.m., free

Fifty 24 SF Gallery

252 Fillmore, SF

Facebook: Good Vibrations’ Pop-Up Dildo Shop and Ice Cream Social

Club Neon Underwear Party

Now let’s not get ahead of ourselves here, folks. This is an underwear party – which does not mean that you’re guaranteed nookie (when are you, really), but the talent will be much easier to scope than in your typical nightclub scene. That stud over there seem awfully full in the boxer brief? Sweaty sweetie by the bathrooms shaking that demi-bra with the skills to pay the bills? Play your cards right and you may have found your valentine.

Mon/14 9 p.m.-2 a.m., $5, free before 11 p.m. with no pants

The Knockout

3223 Mission, SF

(415) 550-6994

Facebook: Club Neon Underwear Party

Rep Clock

Andrew Lam

-

February 8, 2011

0

Schedules are for Wed/9–Tues/15 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Black History Month Film Showing:” Freedom on My Mind (Field and Mulford, 1994), Thurs, 7:30.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, SF; www.bfuu.org. Donations accepted. Chisholm ’72: Unbought and Unbossed (Lynch, 2004), Thurs, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Se7en (Fincher, 1995), Wed, 2:20, 7, and Memento (Nolan, 2000), Wed, 4:45, 9:25. “Buzz on Parade:” •Gold Diggers of 1933 (LeRoy, 1933), Thurs, 1:25, 4:55, and 8:55, and 42nd Street (Bacon, 1933), Thurs, 3:15, 7; •Dames (Enright, 1934), Fri, 1:25, 5:05, 9:10, and Footlight Parade (Bacon, 1933), Fri, 3:10, 7. “San Francisco Silent Film Festival Winter Event:” “It’s Mutual: Charlie Chaplin Shorts,” Sat, 1; L’argent (L’Herbier, 1928), Sat, 3:30; La Bohéme (Vidor, 1926), Sat, 8. For advance tickets ($15-17) or more info, visit www.silentfilm.org. “Scary Cow’s 13th Independent Film Festival,” Sun, 3. “A Victor/Victoria Valentine:” Victor/Victoria (Edwards, 1982), Mon, 9:30. With a tribute to star Lesley Ann Warren; for advance tickets and info on pre-show reception (8pm, $25), visit www.ticketfly.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-15. The Illusionist (Chomet, 2010), call for dates and times. “Mostly British Film Festival:” Boy (Waititi, 2010), Wed, 7; Beneath Hill 60 (Sims, 2010), Thurs, 7. Peter Pan (Brenon, 1924), Sun, 3. With the Mont Alto Motion Picture Orchestra.

FRAENKEL GALLERY 1453 Valencia, SF; www.believersfilm.com. Free. “The Believers” (Grannan, 2011), film installation, through Feb 26 (gallery hours Wed-Sun, noon-7).

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. The War on Democracy (Pigler and Martin, 2007), Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: New Year’s Revolutions:” Yesterday, Today and Tomorrow (de Sica, 1963), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema: Fantasy Films and Realms of Enchantment:” Aelita, Queen of Mars (Protanzanov, 1924), Wed, 3:10. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” Tongues Untied (Riggs, 1989) with “Binge” (Hershman, 1987), Wed, 7:30. “World Cinema Foundation:” Trances (El Maanouni, 1981), Thurs, 7. “Suspicion: The Films of Claude Chabrol and Alfred Hitchcock:” Rope (Hitchcock, 1948), Fri, 7; Inspector Lavardin (Chabrol, 1986), Fri, 8:40; Madame Bovary (Chabrol. 1991), Sat, 7; Story of Women (Chabrol, 1989), Sun, 5. “Cruel Cinema: New Directions in Tamil Film:” Subramaniapuram (Sasikumar, 2008), Sun, 3. “The Lunch Love Community Documentary Project,” Sun, 2:30.

RED VIC 1727 Haight, SF; (415) 668-3994; www.redvicmoviehouse.com. $6-10. The Jerk (Reiner, 1979), Wed, 2, 7:15, 9:20. “Nine Nation Animation,” Thurs-Fri, 7:15, 9:15. “A Special Fundraiser for the Red Vic: Lovers + Liberators:” •Bold Native (Hennelly and Suchan, 2010) and All Power to the People (Lee, 1996), Sat, 7, 9:30. Annie Hall (Allen, 1977), Sun-Tues, 7:15, 9:20 (also Sun, 2, 4).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. San Francisco Independent Film Festival, through Feb 17. See film listings or www.sfindie.com for more info. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Volume 14: Middle East,” nine videos focusing on the Middle East compiled by ASPECT: The Chronicle of New Media Art, Jan 13-March 27 (gallery hours Thurs-Sat, noon-8; Sun, noon-6). “Revolución,” short films from Mexican directors, Thurs-Fri, 7:30. Shoah (Lanzmann, 1985), Sun, 11am (complete film with one-hour break).

Music Listings

Andrew Lam

-

February 8, 2011

0

WEDNESDAY 9

ROCK/BLUES/HIP-HOP

*Cradle of Filth, Nachmystium, Turisas, Daniel Lioneye Regency Ballroom. 8pm, $27.

Expendables, Hold Up, B Foundation, Mordor Slim’s. 8pm, $24.

My Revolver, Rosa Grande, Days of High Adventure Elbo Room. 9pm, $6.

Oh Sees, Sic Alps Great American Music Hall. 8pm, $16. Benefit for the Coalition on Homelessness.

7 Orange ABC, Cash Pony, Maiden Lane Rickshaw Stop. 8pm, $10.

Al B. Sure! Yoshi’s San Francisco. 8pm, $26.

Times of Grace, War Of Ages, Straight Line Stitch Bottom of the Hill. 8pm, $13.

Travis Johns-Liz Meredith Holiday Heart, Head-Head Hemlock Tavern. 9pm, $6.

JAZZ/NEW MUSIC

Cat’s Corner with Christine and Nathan Savanna Jazz. 7:30pm, $5.

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

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

“Meridian Music: Composers in Performance” Meridian Gallery, 535 Powell, SF; www.meridiangallery.org. 7:30pm, $10. “Natural History” by dancer Heloise Gold and duo Gusty Winds May Exist.

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

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

DANCE CLUBS

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

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

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

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top 40, mashups, hip hop, and remixes.

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

No Room For Squares Som., 2925 16th St, SF; (415) 558-8521. 6-10pm, free. DJ Afrodite Shake spins jazz for happy hour.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 10

ROCK/BLUES/HIP-HOP

Badfish: A Tribute to Sublime, My Peoples, Impalers Independent. 8pm, $20.

Jefre Cantu-Ledesma, Higuma, Jon Porras Hemlock Tavern. 9pm, $6.

Expendables, Hold Up, B Foundation, Mordor Slim’s. 8pm, $24.

*Finntroll, Ensiferum, Rotten Sound, Barren Earth DNA Lounge. 7:30pm, $25.

Kegels, Dead Panic, Bombpops, Penny Dreadfuls Thee Parkside. 9pm, $6.

Nightwatchman, Jolie Holland, Jason Webley, Ryan Harvey and Lia Rose Bottom of the Hill. 8:30pm, $12-18. Benefit for Sarah Shourd’s work to free Shane Bauer and Josh Fattal; visit www.freethehikers.org for more info.

Unauthorized Rolling Stones Biscuits and Blues. 8 and 10pm, $15.

Vir, Manatee, Wait.Think.Fast, Dandelion War Red Devil Lounge. 8pm, $6.

JAZZ/NEW MUSIC

Sheldon Forrest Savanna Jazz. 7:30pm, $5.

“Martha Wainwright Sings Piaf” Great American Music Hall. 8pm, $25.

Pete Escovedo Latin Jazz Orchestra with Sheila E. Yoshi’s San Francisco. 8 and 10pm, $20-26.

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

SF Jazz Hotplate Series Amnesia. 9pm.

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

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

FOLK/WORLD/COUNTRY

Peter Himmelman, Bonfires Café Du Nord. 8pm, $18.

Jeanne and Chuck Atlas Café. 8pm, free.

Kardash Red Poppy Art House. 7pm, $15.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.

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

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

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

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Kissing Booth Make-Out Room. 9pm, free. DJs Jory, Commodore 69, and more spinning indie dance, disco, 80’s, and electro.

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

Motion Sickness Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Genre-bending dance party with DJs Sneaky P, Public Frenemy, and D_Ro Cyclist.

Nachtmusik Presents Knockout. 9:30pm, $4. Dark, minimal electronic with DJs Omar, Josh, and Justin.

1984 Mighty. 9pm, $2. The long-running New Wave and 80s party has a new venue, featuring video DJs Mark Andrus, Don Lynch, and celebrity guests.

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

Popscene Rickshaw Stop. 9pm, $10. Emerging artist showcase with Mona, Lesands, and DJs Aaron Axelsen and Nako.

FRIDAY 11

ROCK/BLUES/HIP-HOP

Ryan Bingham and the Dead Horses, Silent Comedy, Liam Gerner Great American Music Hall. 9pm, $21.

“Captain Beefheart Symposium” Independent. 9pm, $20-50. Conducted by Gary Lucas.

Jarrod Gorbel, Mansions, John Thatcher Hotel Utah. 9pm, $12.

Grayceon, Worm Ouroboros, Hollow Mirrors Bottom of the Hill. 10pm, $12.

Meat Beat Manifesto, Not Breathing Red Devil Lounge. 9pm, $20.

Monophonics, Cambo and the Life, DJs Effective and Ism Rickshaw Stop. 9pm, $12.

Tainted Love, Private Idaho Bimbo’s 365 Club. 9pm, $23.

Those Unknowns, Hounds and Harlots, Sydney Ducks Hemlock Tavern. 9:30pm, $6.

Tokyo Raid, Young Rapscallions, Paranoids Kimo’s. 9pm, $8.

Trombone Shorty and Orleans Ave, Los Amigos Invisibles Fillmore. 9pm, $25.

Unauthorized Rolling Stones Biscuits and Blues. 8 and 10pm, $15.

Yoya, Greenhorse Amnesia. 8pm, $5.

JAZZ/NEW MUSIC

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

Tommy Emmanuel, Sels Cuerdas: Ezequiel and Martin Etcheverry Palace of Fine Arts, 3301 Lyon, SF; www.omniconcerts.com. 8pm, $41.

Hurd Ensemble Red Poppy Art House. 8pm, $15-20.

Pete Escovedo Latin Jazz Orchestra with Sheila E. Yoshi’s San Francisco. 8 and 10pm, $24-28.

Karen Segal Savanna Jazz. 7:30pm, $8.

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

FOLK/WORLD/COUNTRY

Wiyos, Good Luck Thrift Store Outfit, Possum and Lester Slim’s. 9pm, $15. Part of the San Francisco Bluegrass and Old Time Festival.

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

DANCE CLUBS

Alcoholocaust Presents Riptide Tavern. 9pm, free. With DJ What’s His Fuck and guests Micahel Beller and Brian Richards spinning old-school punk rock and other gems.

Black Valentine’s Masquerade Mighty. 10pm. Wear your anti-Valentine’s best to this party with DJs Krafty Kuts, Ill Gates, Motion Potion, and more.

Blow Up DNA Lounge. 10pm, $20. Dance party with Jeffrey Paradise, Tenderloins, and Midnight Conspiracy.

DJ Mei Lwun Medjool, 2522 Mission, SF; (415) 550-0955. 10:30pm, $10.

Fo’ Sho! Fridays Madrone Art Bar. 10pm, $5. DJs Kung Fu Chris and Makossa spin rare grooves, soul, funk, and hip-hop classics.

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

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

Heartical Roots Bollywood Café. 9pm, $5. Recession friendly reggae.

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

Indy Slash Amnesia. 10pm. With DJ Danny Slash.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

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

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

Tim Burton Ball Café Du Nord. 8pm, $15. With Imaginary Daughter, Vernian Process, the Tiger Club, and swing lessons by Swing Goth.

Treat Em Right Elbo Room. 10pm, $5. Hip-hop, funk, and reggae with DJs Vinnie Esparza, B. Cause, and guest Roger Mas.

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

SATURDAY 12

ROCK/BLUES/HIP-HOP

Aquabats! Slim’s. 8pm, $20.

*Drunk Horse, Hot Lunch, Carlton Melton El Rio. 10pm, $8.

Gentry Bronson Band, Alice Rose, Return to Mono, Dirtybirdz Hotel Utah. 5pm, $10.

Derek Hughes Biscuits and Blues. 8 and 10pm, $20.

Karl Denson’s Tiny Universe, Chali 2na, House of Vibe + Lynx Fillmore. 9pm, $25.

Murder By Death, Builders and the Butchers, Damion Suomi and the Minor Prophets Bottom of the Hill. 10pm, $15.

Need, Nerv, Stand Fight Resist Thee Parkside. 3pm, free.

Night Horse, Electric Sister, Binges Hemlock Tavern. 9:30pm, $7.

Quick and Easy Boys Grant and Green. 9pm.

Tainted Love, This Charming Band Bimbo’s 365 Club. 9pm, $23.

Tumbledown, Tater Famine, Northern Son, Ari Shine Thee Parkside. 9pm, $8.

JAZZ/NEW MUSIC

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

Carol Luckenbach Savanna Jazz. 7:30pm, $8.

Pete Escovedo Latin Jazz Orchestra with Sheila E. Yoshi’s San Francisco. 8 and 10pm, $28.

Paula West and George Mesterhazy Quartet Rrazz Room. 7 and 9:30pm, $45.

FOLK/WORLD/COUNTRY

Beth Longwell, Nicolas Kouzouyan El Rio. 6pm, free.

Ricardo Peixoto Trio Red Poppy Art House. 8pm, $20.

SF Balalaika Ensemble Seventh Avenue Performances, 1329 Seventh Ave, SF; www.sevenperforms.org. 7:30pm, $15-20.

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

Bucky Walters, Whiskey Puppy, Erik Clampitt, Dirt Floor Band Café Du Nord. 8:30pm, $15. Part of the San Francisco Bluegrass and Old Time Festival.

DANCE CLUBS

Bootie SF: Valentine’s Party DNA Lounge. 9pm, $6-12. Mash-ups with Adrian and Mysterious D, Smash-Up Derby with guest singer Trixxie Carr, DJ Mykill, and Dada.

Club Gossip Cat Club. 9pm. Lots of Depeche Mode with Randy Maupin, Hollie Stevens, and more.

Cockblock Rickshaw Stop. 10pm, $7. Queer dance party with DJ Nuxx and guests.

DJ Duserock Medjool, 2522 Mission, SF; (415) 550-0955. 10:30pm, $10.

Frolic Stud. 9pm, $3-7. DJs Dragn’Fly, NeonBunny, and Ikkuma spin at this celebration of anthropomorphic costume and dance. Animal outfits encouraged.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip-hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Little Heartbreaker’s Ball Li Po Lounge. 8pm, $5. Disco and house with Dr. Sleep, Lel Ephant, Sergio, and the L’Elephant Sound System.

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

Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Smithsfits Friend Club Knockout. 9:30pm, $4. Smiths and Misfits with DJs Josh Yule and Jay Howell.

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

Spotlight Siberia, 314 11th St, SF; (415) 552-2100. 10pm. With DJs Slowpoke, Double Impact, and Moe1.

Tormentas Tropical Elbo Room. 10pm, $5-10. Electro-cumbia with Uproot Andy, Jubilee, and DJs Disco Shawn and Oro 11.

SUNDAY 13

ROCK/BLUES/HIP-HOP

*High on Fire Slim’s. 8pm, $18.

Ky-Mani Marley, DJ Funklor Independent. 9pm, $22.

Parkway Drive, Set Your Goals, Ghost Inside, Warriors, Grave Maker DNA Lounge. 7:30pm, $18.

Ash Reiter, Cowboy and Indian Hemlock Tavern. 9pm, $6.

Smith Westerns, Yuck, Grand Lake Bottom of the Hill. 9pm, $12.

“Voice of the Wetlands All-Stars” Great American Music Hall. 8pm, $27. With Tab Benoit, Anders Osborne, Cyril Neville, Big Chief Monk Boudreaux, and more.

JAZZ/NEW MUSIC

Bijou Martuni’s, Four Valencia, SF; (415) 241-0205. 7pm, $5. Loungey love songs.

Manny Moka Biscuits and Blues. 8 and 10pm, $20.

Pete Escovedo Latin Jazz Orchestra with Sheila E. Yoshi’s San Francisco. 5 and 7pm, $5-28.

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

Paula West and George Mesterhazy Quartet Rrazz Room. 5pm, $40.

Faith Winthrop Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

FOLK/WORLD/COUNTRY

Gen-11, Revtones Thee Parkside. 2pm, free.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Maneesh the Twister, and guest Jah Yzer.

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

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

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

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

La Pachanga Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 6pm, $10. Salsa dance party with live Afro-Cuban salsa bands.

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

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

MONDAY 14

ROCK/BLUES/HIP-HOP

Cake Fillmore. 8pm, $36.50.

Honeycomb, Chloe Makes Music, Magic Leaves Café Du Nord. 8pm, $10.

Radio Dept., Young Prisms, DJ Aaron Axelson Independent. 8pm, $15.

Smith Westerns Amoeba, 1855 Haight, SF; www.amoeba.com. 6pm, free.

JAZZ/NEW MUSIC

Lavay Smith and Her Red Hot Skillet Lickers Biscuits and Blues. 8 and 10pm, $20.

Paula West and George Mesterhazy Quartet Rrazz Room. 7pm, $65.

DANCE CLUBS

Club Neon Knockout. 9pm, $5. Seventh annual Valentine’s Day Underwear Party with DJs Jamie Jams, Aidan, and more.

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

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

The Look of Love Elbo Room. 10pm, $5-8. Soul, latin, hip-hop, and dancehall with Hot Pocket, 40 Love, and DJ Whooligan.

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

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

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

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

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

TUESDAY 15

ROCK/BLUES/HIP-HOP

Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ Crystal Meth and DJ What’s His Fuck.

Nicole Atkins and the Black Sea, Cotton Jones, That Ghost Café Du Nord. 9pm, $15.

Boyce Avenue, Megan and Liz, Tiffany Alvord Great American Music Hall. 8pm, $18.

Cake Fillmore. 8pm, $36.50.

Gashcat Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

Gerritt, Forked, Cribdeath Hemlock Tavern. 9pm, $5.

Glitter Wizard, Seventeen Evergreen, Naked Lights, Group Rhoda Slim’s. 8pm, $5.

Hello Monster, Resurrection Men, Pony Pony Pony! Bottom of the Hill. 9pm, $8. Chuck Johnson, Jameson Swanagon Amnesia. 9pm, $5. Symbol Six, Corruptors, Soul Trash, Off By An Inch Thee Parkside. 8pm, $6. JAZZ/NEW MUSIC Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Brazilian Wax Elbo Room. 9pm, $7. Samba with Brazil Vox plus DJs Carioca and P-Shot. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx.

The Free University of San Francisco kicks off teaching — to a lot of white people

Andrew Lam

-

February 8, 2011

71

“A piece of blank paper means anything you want can happen,” SF beat poet laureate Diane Di Prima was imparting a rare free lecture on shamanic poetry, the marquee event of this weekend’s popular first Free University of San Francisco teach-in at Viracocha. She had a packed the antique store-community center’s first floor showroom, encouraging in regards to the FUSF collective’s run at making free education available to all. But if the Free University wants to teach the world, why are the vast majority of its students – let’s not parse words here – white?

“Diversity outreach, that is absolutely one of our top priorities,” says FUSF organizer Alan Kaufman when the point was brought up in a phone interview with the Guardian yesterday. “We’re one of the most racially polarized cities, even in the progressive community. It’s something that needs to be explored and discussed.” Kaufman said that as the collective that runs the university moves forward, FUSF is actively working to involve minority community members – especially undocumented immigrants, one of SF’s populations who surely are among the least-served by the town’s would-be progressive creative institutions.

It does seem like FUSF has the capacity to be a source of radical academia and community in the city. This weekend’s teach-in (which continues through tonight, Tues/8) attracted capacity crowds to many of its popular hour-and-a-half long courses: Di Prima’s “19th Century Visionary Poetry,” Kaufman’s “Jack Kerouac, Thelonius Monk and Jackson Pollack,” and David Cobb’s “Abolishing Corporate Personhood to Create Authentic Democracy” among them. Though FUSF’s plan for six to eight week classes in the future and another teach-in may be a stretch to replace the value of an actual university degree for students, the success of its initial weekend course schedule does say that some people in the city are ready to rethink the way we view teaching. After all, as Kaufman reminded us, the cost of a four year degree at Stanford is now pegged at a quarter of a million dollars. “That can’t last.”

But if it’s going to be SF’s new center of alternative, cost-free education, FUSF has to appeal to more than just the aging hippies and earnest intellectual young people who attended this weekend’s teach-in.

How? Well, that’s the question, really – one that many creative institutions in San Francisco have yet to resolve, if they’ve tackled it at all. “We’re going to need to come up with new answers because the new answers are not working.” Kaufman mentioned that he is particularly impressed by the way SF’s queer community has celebrated its diversity.

“I feel like there are reasons why different groups don’t get involved in the beginning of these things.” Writer Maisha Johnson is one of the only African Americans who has been involved with the Free University planning meetings since she heard about its first get-togethers through her involvement in literary events like Quiet Lightening. “For me, living in San Francisco, it’s hard to find out where the black community gathers. A lot of the time, the assumption is you go to Oakland for acitivities with people of color.”

“If you’re looking at organizational power in San Francisco, it usually runs along lines of whiteness, maleness, and straightness. The only way to break down those social divisions is for people that don’t feel like they’re that similar to collaborate,” says Mumbles, a spoken word poet who is helping to organize an artist resource center called Merchants of Reality.

Mumbles says that the goal of Merchants of Reality – which plans to operate out of SoMa’s Anon Gallery and Climate Theater — will be “to help artists commercialize themselves so that others don’t do it for them.” Its a pragmatic mission, one that will even involve what Mumbles refers to as the “realty community” in order to help artists find studio space in the abandoned buildings that dot the SF landscape. The center will also include darkroom facilities, digital video setup, screen-printing equipment, help finding studio space, and a possible performance venue, all for use by artists who normally don’t have the opportunity to use professional-grade equipment and materials, presumably many non-white artists and performers.

Kaufman and Mumbles think that Merchants of Reality and the Free University can benefit from each other. “Space sharing is one way community can be developed,” says Kaufman, who told us the two groups are looking at ways to overlap each others’ missions in the hope of broadening the community of both organizations.

Of course, its about more than organizational partners. “It requires more of an explicit effort to reach out to other communities,” says Johnson who will be a part of FUSF’s outreach committee and, adding that she’s heartened by the university’s chances to diversify itself. “Right now it’s really open to people to come in and work on their own vision.” Kaufman agreed that expanding FUSF’s audience means working towards a curriculum that everyone finds useful and illuminating, incorporating classes and promotional materials in different languages, and connecting those typically excluded from professorships in the United States teaching positions. “There’s whole areas of education that others might know about that we might not consider,” he said.

“I believe our university will become famous among universities – come to be known as the ‘Zorro’ of universities,” said Kaufman in an address to the university community. (Printed copies of his four addresses were available by the class sign-in sheets at this weekend’s teach-in.) High hopes — but if the school is meant to make a real difference in progressive education, it’ll have to find a way to bring its message to everyone.

Free University of San Francisco’s first teach-in

(Started Feb. 5)

Tues/8 classes:

6-7:50 p.m.: “Critical Thinking (Introduction to Logic)”

w/ Jordan Bohall and Elena Granik

8-10 p.m.: “Introduction to Nietzsche”

w/ Evan Karp and Andrew Paul Nelson

Viracocha

998 Valencia, SF

fusf.wordpress.com

Deconstructing Cinderella, deconstructing La Llorona

Andrew Lam

-

February 7, 2011

1

They say you shouldn’t judge a person until you’ve walked a mile in their shoes. Ana Teresa Fernandez, the featured artist in Galería de la Raza’s upcoming video exhibition “La Llarona Unfabled,” (opening Sat/12) has obliged in regards to that feminist foil, Cinderella. For her video installation, Fernandez spent hours standing wearing a melting pair of “glass slippers” made of ice on a dirty West Oakland street. The experience, she feels, left her more than qualified to criticize the social constructs embodied by fairy tale’s scullery maid-cum-princess.

Originally conceived by Galería’s executive director Carolina Ponce de León, “La Llorona Unfabled” will include work from four other artists: Monica Enriquez-Enriquez, Geraldine Lozano, Rosario Sotelo, and Tanya Vlach. The five will respond to issues of gender, class, identity, and migration in an effort to re-craft cultural narratives into feminist and Latina perspectives.

Which is not to say the exhibition won’t speak to all women. “It isn’t about brown, white, rich, poor,” Fernandez affirms. “It is about the self, learning to find your true voice and talents and making that voice the thing which sustains you in life.”

In her art, Fernandez uses lessons from her own life to challenge feminine mythologies — from the Mexican folktale of La Llorona, the weeping woman, to the story of Cinderella – to “show little girls that they can be the protagonists of their own stories,” she says. Born in Tampico, Mexico, Fernandez was recruited by San Francisco Art Institute with a full scholarship – an opportunity that she met with amazement, and which enabled her to do the art she loves for a living. But Fernandez didn’t have a Prince Charming to make her dreams come true, or a fairy godmother for that matter. For that, she had to rely on talent, hard work and a passion for subverting the macho norms of classic art.

Growing up, the artist experienced very clear ideas about where women belonged. Her mother, a runner, was chastised for wearing short-shorts and sneaking out of the house to race with men. Ana, also an athlete, broke four national swimming records by the time she was eight. “They had to train me with the boys,” she recalls. Now 29, the artist has traveled the world but still feels that by supporting herself through painting, she is swimming against the current.

Like many children in Mexico, Fernandez grew up hearing the story of La Llorona, the colonial-era fable of a beautiful peasant girl who is abandoned by her noble (read: white) husband. She drowns her two children, and then herself in the river and is condemned to forever wander its banks, wailing for her lost sons. To Fernandez, the story was a clear message that a woman need to rescued by a man or else face a life of desperation. “What’s that game?” she asks, snapping her fingers. “Old Maid. If you’re not chosen, you’re nobody.”

Even as the child of educated parents from a big city, Fernandez feels she has to fight the story’s notions of class and race, isolation and empowerment. “There is something to be said about changing the incredible enlaid guilt of how you must act or what you must do as a woman where I grew up – which sounds so incredibly old-fashioned.”

Inspired by the “strong, elegant women” of her childhood, Fernandez’s paintings – the body of her artistic work up til now – balance the sensuality of the female body with the constrictions that work and fashion place upon it. In “Siren’s Shadow,” a woman swims in a cocktail dress and heels, literally dragged down by those conventional symbols of femininity. In the “La Llorona” show, these same themes are explored through video and performance art, with water taking on additional meaning as a symbol of La Llorona, weeping endlessly into the river.

“Siren’s Shadow” by Ana Teresa Fernandez

With the added dimension of time that video brings to Fernandez’s work, its dismantling of the ideals of femininity encoded in myth and art is shown more dynamically. As she stands over sewage in her ice shoes cast from the exaggerated stilettos worn by exotic dancers, waiting for her prince to come, Fernandez’s “glass slippers” and the mythology they imply literally melt away.

Fernandez is reluctant to align herself with the tradition of Chicana painters working in San Francisco. Her paintings are a far cry from the bold, primary colors of Mujeres Muralistas, the Mission’s famous group of female street artists who lit up Balmy Alley. While she says the Mission feels like her “home away from home,” with its pockets of Mexican culture, Fernandez admits that her work relates more to the European masters and is “much more influenced by male painters.”

Which seems a little incongruous, given her subject material, but Fernandez argues that the virtuosic style of her painting is in itself a subversion, given that the role of the virtuoso painter wasn’t always available to women. Many female artists, especially Latina artists, committed “rebellious acts” against virtuosic tradition in order to get noticed, creating Kahlo-like fantasy worlds rather than create art in the patriarchal classical vein.

By contrast, Fernandez’s figures, richly constructed out of layers of oil on canvas, glow with heat and realism. “Michelangelo and Botticelli and Brunelleschi were all men that fascinated me,” she says.

In fact, to someone not paying attention, the muscled, sculptural bodies in Fernandez’s work may not seem so different from the sexualized objects they are meant to replace. But “hyper-sensuality is not the same as sexuality – it oozes, rather than blurts out,” she explains. “It’s quieter, it lingers longer. That’s what I try to play with.”

She hopes to balance the tradition by adding a female voice without compromising the work’s aesthetic qualities. “In painting women have always been interpreted by men.” As in her life, in her art Fernandez chooses not to retreat into the realm assigned to her by men. She would rather beat them at their own game.

“La Llorona Unfabled: Stories to (Re)Tell to Little Girls”

Artist Talk Sat/12, 2-4 p.m., free

Opening Reception Sat/12, 7:30 p.m., free

Through April 16

La Galería de la Raza

2857 24th St., SF

(415) 826-8009

www.galeriadelaraza.org

I’m not Das Racist, but…

Andrew Lam

-

February 2, 2011

0

Social construct-questioning rap duo (trio if you count the group’s hypeman, we should) Das Racist is coming to the Independent tonight – but don’t worry white people, the show’s already sold out, which means that rather than sit through a scene like this, you can read the following blog post and still be able to participate in discussions of the group’s artistic merit and stainless steel balls with your friends at brunch this weekend.

Here we have assembled an Interwebs dossier on the three Wesleyan boys that would call racism on oh-so-many things in our modern day society. Who would have ever thought, back in those halcyon “Combination Pizza Hut and Taco Bell” days that we’d be calling them astute lyricists. Which we are. And to say they’re self-important, well that would be like saying it about Kanye West: a waste of time. Anyways, here’s your Das Racist 101.

This is the song the group got famous on. Everyone was really surprised when it’s subsequent offerings weren’t as surface-stupid. But those guys rap real good. Here’s one of my favorites, you can read it and then when you click on a phrase you don’t understand the website explains it for you!

At times, writers are inspired by the group’s insistent riffs on social mores that serve to unfairly regulate our society. So much so, in fact, that they will write an article in which all capital letters are eschewed. That’s called “subverting hierarchy.”

Writers loove to write about Das Racist (sup!) A New York Times Magazine writer made fun of Das Racist, but the group also made fun of a New York Times Magazine writer. At the same time. It was like a mobius strip of ill-concealed unease and disregard.

Das Racist actually makes fun of many attempts to write about it, that is when they’re not systematically eviscerating socio-cultural commentary on their contribution to hip-hop. But Das Racist will offer unsolicited feedback about one music site’s reviews on another music site “in order” to educate future journalists. Don’t say they never gave you nothin’, stinky writers.

Das Racist gets banned from bars, is given a second chance, and then gets banned from the bar again. They also took drugs in college to get over feeling weird about being there. That’s Wesleyan for ya.

Das Racist has the ability to make Katy Perry sound hallucinogenically more interesting than she normally does. Das Racist also makes a super hot mixtape, granted you like the word “fuck.” Who doesn’t, really? And the group makes a great music video.

Here’s the concert deets, but like I said – no mas tickets available. Just read about them on the Internet, that’s what everyone else is doing. I’ll leave you with a haiku that Himanshu Suri wrote for that Flavorwire article I linked to in paragraph six.

Hip-hop dies each year.

How many lives hip-hop got?

Is hip-hop a cat?

Das Racist

Feat. HOTTUB and DJ Vin Sol

Weds/2 8 p.m., $15

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

Panabay rising

Jesse Hawthorne Ficks

-

February 1, 2011

4

MUSIC Last year was a big one for Los Rakas. The Oakland-by-way-of-Panama duo, Raka Rich and Raka Dun, have been hustling their frenetic Panabay stylings since they banded together as high school students in 2005. But on the cusp of their second mixtape, La Tanda Del Bus, the arresting diversity of their influences and musical ideas began to coalesce. The far reaches of the blogosphere and the streets took notice.

Los Rakas’ “Abrazame” — a song reworked from Gyptian’s crossover hit “Hold You” and remixed into sure shot form by Brooklyn producer Uproot Andy — overcrowded year-end lists as the pinnacle summer jam of 2010. In the video, parallel love stories unfold and collapse over the backdrop of San Francisco’s Carnaval Festival. Shuffling polyrhythms swarm underneath simple Casio chords as Raka Rich moves effortlessly from trading syrupy verses with guest songstress Faviola to bursts of rapid-fire lyricism.

Meanwhile, the video for Los Rakas’ “Soy Raka” — a youthful ode to turfin’ in the streets of Oakland — has surpassed 250,000 hits on YouTube. What other rap groups spit a chorus like “Tengo mi pistola y diente de oro” on the same playlist as a sweltering love ballad? The video not only helped spawn the syncopated dance movement in Panama, but also inspired kids to prefix their names with Raka — “you know, like Raka Miguel” — Dun tells me excitedly in a thick Spanish accent. “In Panama, ‘That’s raka’ or ‘We’re from raka’ means ‘that’s ghetto’ or ‘we’re from the ghetto.’ But it’s an empowering term. It means that we’re proud of who we are and where we come from.”

This sort of community-centered spirit has inspired Los Rakas since the beginning of its rhapsodic ventures. In 2006, Rich and Dun released their first Panabay Twist mixtape with the help and studio support of local outreach organizations Youth Uprising, BUMP (Bay Unity Music Project), and Youth Movement Records. Its single, “Mi Barrio,” in many ways a precursor to the anthemic “Soy Raka,” is driven by the standard hip-hop commandment to represent where you’re from. But the song also honors a more difficult and subtle hip-hop ideal: one love. Los Rakas might boast about Oakland and Panama stomping grounds, but the duo also calls out for us to be “orgulloso and put your flag in the air.” Which flag, exactly?

“Oakland influenced us,” says Dun, who moved to the Bay when he was 14. “It didn’t just shape our instrumentals and lyrical style, from Zion I to E-40—Oakland has the history of the Black Panthers and politicism, so we naturally put that content in our music too.”

Los Rakas sound a bit different from, say, any other Bay Area rapper, because Rich and Dun’s music is informed by the infectious rhythms and punctuated Spanish flows heard in Panama’s pop music of the day, plena. A sprawling folk genre that originated in the Caribbean and related regions of Central America, plena has recently been digitized for a new generation, becoming a Panamanian spin on reggaeton.

But the influences don’t stop there. “In Panama we listen to all types of music: reggae, dancehall, salsa, meringue,” says Dun. “When I met Rico, he was listening to Tupac and we traded music. Hip-hop caught my attention fast. I found out about Tribe [Called Quest], Lil Kim, Nas. I researched where it came from, and how it evolved, and just fell in love with it.” Although the connections aren’t obvious at first, hip-hop and plena have a lot in common. They’re both hybrid genres, forms of pastiche that draw from a wide range of sonic traditions and background, computerizing folk and funk for the bass-hungry children of the always-evolving soundsystem.

Unsurprisingly, Los Rakas garnered attention from an emerging scene of enthusiasts, producers, DJs, writers, and musicians concerned with the musical diaspora of the Afro-Caribbean, or more acutely, what British sociologist Paul Gilroy has called the Black Atlantic. The term denotes the webbed network of the African diaspora culture that is not so much organized by a clear conception of roots but by a rhizomatic set of exchanges and networks: migrations, ships, trade, Creole, European miscegenation, flights, origin myths, stories of repatriation, and now the most diffusive cross-cultural exchange device of them all, the Internet.

Keep in mind that 2010 was the year that Diplo and Switch’s over-the-top dancehall project, Major Lazer, took clubs by storm, and even Rihanna finally started reppin’ roots, rhythm, and wires with “Rude Boy” and multicolored neon booty shorts. Even if MIA’s third full-length was lackluster, something of her world-town swagger has penetrated our times, while her “Bird Flu” call to arms has circulated through our quickly multiplying musical economies. Check the formula: add world genre to rap and uptempo dancehall/Bmore/house/techno; reconfigure percussion patterns in a drum machine; loop melodic fragments of a regional instrument; add inner-city noise, gunshots, chants, or field recordings of aggressive animal life; manipulate with a swill of static, fuzz, and a heavy dose of low end. Bump loud. Call it third world democracy.

Los Rakas, without even asking for it, has popped up in countless mixes and blog posts loosely labeled under the category of tropical bass. Rich and Dun contributed the steady banger “Afro Latino” to the recent Banana Clipz EP, produced by tropical harbingers Chief Boima and Ora 11 of Bersa Discos, and released on their Ghetto Bassquake blog and upstart. Speaking of Bersa, it hosts the crazy monthly Tormenta Tropical, which spotlights new sounds of electro-cumbia and related frontiers arising from the Black Atlantic. “That movement, I’m not sure what to call it, embraced us,” says Dun. It only makes sense that Los Rakas — navigating Oakland and Panama, turfin’ and plena, hiphop and digital polyrhythms, the new and the old — has returned the favor.

AUDYSSEY PRESENTS THE NEIGHBORHOOD: LOS RAKAS

with Roach Gigz

Wed/2, 9 p.m.–-2 a.m.; free

111 Minna Gallery

111 Minna, SF

(415) 974-1719

www.111minnagallery.com

Landmark to loudness

Jesse Hawthorne Ficks

-

February 1, 2011

0

MUSIC Happy Sanchez’s office is above the cafe, by the entrance. There are only a couple of windows. One opens onto the parking lot, where a car alarm blares during our interview. The other is dark; below it are the building’s two hourly rehearsal rooms. Aside from the vibration of a double bass revving, we’re cut off from the activity going on at Secret Studios. As the owner, Happy makes up for this isolation with a wall of closed-circuit TVs showing the hallways and common areas tying the Studio’s 130 monthly rehearsal spaces together.

“Mostly it’s just about dealing with the headaches of running a business,” Sanchez says. The headaches, when your clients are all musicians, can be numerous. Bands arrive at 2 a.m., fresh from a gig, and decide to toss utility carts down the stairs. People try to smoke inside, piss in the parking lot, live in their units. Watch out for speed freaks. Make sure women aren’t being harassed. “Sometimes I feel like I’m the principal of the school,” Sanchez says.

Sometimes it’s just plain traumatic. “The one thing that upset me the most, this fucking guy was pissed at his girlfriend, took her cat, put it in the [rehearsal] room, and left it for weeks. Fucking poor cat was skin and bones by the time the girlfriend came and asked me to look for it. Most I’ve ever been upset at anyone. He was banned.”

“But most of the time people are pretty cool,” Sanchez is quick to add. “The people who are on the lease are level-headed. It’s always the friend or the guy that’s just hanging out that makes problems.” There is reason for me to doubt this statement, having just heard Sanchez tell another story about being held up at gunpoint by a rapper who wants his demo tape. But I’m still inclined to believe him, given the sheer number of clients he’s come in contact with in the 25 years since he took a job as a studio manager at Secret Studios, back when it was a small two-room operation.

At the time, Secret, like most of the studios in town, was about hourly rehearsal and recording space. The two units of Secret Studios were originally at Third St., before a mid-1980s move to 215 Napoleon St. in a building with lots of neighbors. “Mostly we did a lot of punk rock recordings, back in ’87,” Sanchez remembers. “This guy David [Pollack], who I later bought the studio from, at the time I was just working for him and he set me up with all these gigs.” They’d rent the place out for parties, for extra money. “Metallica rented it, back in the days when I guess they were big in Europe but they weren’t really that big, yet. Before the Black Album [1991’s Metallica] came out, when they blew up.”

Those involved in Secret during the Napoleon Street era attempted to confine major sessions to nighttime, but it eventually became clear — as the neighbors bitched — that a different location was needed. After the owner sold the business to Sanchez (“Basically, he gave it to me at minimal cost”), he was able to expand and then move into 50 units at the current location on 2200 Cesar Chavez St. The large warehouse with a single floor of small rooms was previously the sound stage for the talk radio TV drama Midnight Caller.

Sanchez credits some of his success to timing. “I got in at the right time. It’s just more expensive to build nowadays. People have tried to build big studios like this and it’s just not affordable anymore. They see it as easy money, but it’s not easy to pull off.”

One person who tried — and succeeded — was Greg Koch, who developed the nearly 180-unit Downtown Rehearsal in 1992. Earlier, Sanchez had passed on its Third Street location. “It was shady at night when most of my clients would be around,” he says. “That building was cheap, though. They couldn’t give it away.”

Downtown was a major competitor until the summer of 2000, when Koch attempted to evict all of his tenants without notice in an attempt to flip the property for a huge profit. In the process, he instigated a musical community revolt, resulting in a large cash settlement and the formation of a then-hopeful, now apparently stagnant nonprofit, SoundSafe. At the time of the turmoil, Secret Studios was still expanding to its current size of 130 units. “I basically opened my units and saw a huge influx of bands,” Sanchez says.

Sanchez has had many models for what Secret Studios should — and shouldn’t — be. He recalls that Francisco Studios, a Turk Street basement space, had a bathroom out of Trainspotting. He’s quick to admit that since he’s taken over the business, there have been mistakes and failures. A plan to start the International DJ Academy in the front offices of the building, with a partner who managed Invisibl Skratch Piklz, fizzled. “They never could quite get it off the ground,” he says. “It was a good concept, but I think they needed someone to run it as a business.” Along with a rap studio that was going at the time, the academy devolved into something that included a barber shop and a night club before Sanchez had to shut it down.

Which, technically, makes two rap studios Sanchez had to end. Back in the late 1980s, at Secret’s old location, there was a lot of money to be made from hip-hop. “These rappers were coming in and you could pretty much just charge them anything,” Sanchez says. “I think there was always the drug dealer in the background financing it. I swear, we had like three clients over time that got murdered. The first time it was kind of a shock. They found the guy in a trunk in Oakland. The second guy got murdered on the night of the earthquake in 1989. The scene just got too crazy. Gangster rap came out, and the whole vibe changed. It got really hardcore.” After a hold-up occurred at the studio and an expensive keyboard was stolen, Sanchez stepped away from the rap game in 1991.

Many artists have come through Secret Studios, but it’s not something Sanchez brags about. In part this stems from his respect for overall security, a high priority when theft is a concern. But it also has to do with his respect for confidentiality. The music business exposed him to a lot of drugs in the ’80s, and he himself struggled with addiction. From 1989 until 1992, he hosted a Narcotics Anonymous gathering — the Straight Edge Rockers meeting — in the studio on Sunday nights. “There were a couple people there that you would definitely know their names,” he says. “I’m actually thinking about getting it going again. It’s not as easy to pull off, but I always thought that meeting was so cool. There are a lot of people in the music industry that need that.”

Sanchez is desensitized to stardom. He’ll say that no one really big has ever been at Secret Studios, then rattle off a long list of names: the Dead Kennedys, Michael Franti, the Go-Gos, EPMD, Romeo Void, Chris Isaak, Mike Pistel, Toots Hibbert. Some of these connections are long relationships, some are incidental. MC Hammer rehearsed at Secret before he was big (but had the parachute pants). Gene Simmons came down in a limo.

Sanchez is happy with his success so far and grateful for the freedom to be a musician with a stable business. With another 10 years on the lease (which he hopes to extend to when his two-and-a-half-year-old son reaches adulthood), he’s satisfied with assuming a more administrative role at Secret. He does the books, handles the day-to-day issues, and makes his own music, composing for movies and television as the Latin Soul Syndicate.

For a lot less drama, Sanchez is a little less in the know about his clients and their role in the scene of the moment. A while ago, for example, he needed to contact a band about a bill. But the band was on tour, and he was referred to its business manager. He went online to look it up. He had no idea who the band was until he Googled “The Dodos” and a video popped up showing the band playing on The Late Show with David Letterman.

www.secretstudios.com

arts@sfbg.com

Rep Clock

Andrew Lam

-

February 1, 2011

0

Schedules are for Wed/2–Tues/8 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. “Reagan’s 100th Birthday,” a collection of the former Prez’s finest and most ironic on-screen moments curated by Bryan Boyce, Sun, 7:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “SF Sketchfest Great Collaborators Series: Tribute to Murphy Brown,” with Candice Bergen and Diane English in person for a Q&A moderated by Connie Chung, Wed, 7. For more info on this event (tickets, $25), visit www.sfsketchfest.com. “Anne Francis: 1930-2011:” •Bad Day at Black Rock (Sturges, 1955), Fri, 1:30, 5:05, 8:55, and Forbidden Planet (Wilcox, 1956), Fri, 3:10, 7. “SF Sketchfest: True Stories 25th Anniversary: David Byrne in Conversation with Paul Myers:” True Stories (Byrne, 1986), Sat, 5. For more info on this event (tickets, $35), visit www.sfsketchfest.com. “SF Sketchfest and Midnight Mass present Idol Worship: An Evening with Cloris Leachman hosted by Peaches Christ:” High Anxiety (Brooks, 1977), Sat, 8:30. For more info on this event (tickets, $25), visit www.sfsketchfest.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. The Illusionist (Chomet, 2010), call for dates and times. Nuremberg: Its Lesson for Today (Schulberg, 1948/2010), call for dates and times. “Mostly British Film Festival:” Topp Twins: Untouchable Girls (Pooley, 2009), Mon, 7; The Ipcress File (Furie, 1965), Tues, 7.

COUNTERPULSE 1310 Mission, SF; www.counterpulse.org. $5-10. “50Faggots: How Gay Do You Want to Be Today,” Sat, 3. Screening of online documentary series followed by discussion with director Randall Jenson.

GRAY AREA FOUNDATION FOR THE ARTS 55 Taylor, SF; www.cinemaspeakeasy.com. $5. “Cinema Speakeasy: San Francisco Presents Shorts!”, Thurs, 8.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. South of the Border (Stone, 2009), Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: New Year’s Revolutions:” Libeled Lady (Conway, 1936), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema: Fantasy Films and Realms of Enchantment:” The Cabinet of Dr. Caligari (Wiene, 1920), Wed, 3:10. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” “Found Footage Films,” Wed, 7:30; “Versions of Veracity: Video, the 1980s,” Sun, 5:30. “African Film Festival 2011:” Shirley Adams (Hermanus, 2009), Thurs, 7; Beyond the Ocean (de Latour, 2008), Sat, 6:30. “Suspicion: The Films of Claude Chabrol and Alfred Hitchcock:” La Femme Infidèle (Chabrol, 1969), Fri, 7; Violette Nozière (Chabrol, 1978), Fri, 9; Vertigo (Hitchcock, 1958), Sat, 8:35. “School Days:” “Screenagers: 13th Annual Bay Area High School Film and Video Festival,” Sat, 3:30. “Cruel Cinema: New Directions in Tamil Film:” Paruthiveeran (Sultan, 2007), Sun, 2.

RED VIC 1727 Haight, SF; (415) 668-3994; www.redvicmoviehouse.com. $6-10. Ziggy Stardust and the Spiders from Mars (Pennebaker, 1973), Wed-Thurs, 2, 7:15, 9:15. Unstoppable (Scott, 2010), Fri-Sat, 7:15, 9:20 (also Sat, 2, 4). Every Man For Himself (Godard, 1980), Sun-Mon, 7:15, 9:15 (also Sun, 2, 4). The Jerk (Reiner, 1979), Feb 8-9, 7:15, 9:20 (also Feb 9, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Lemmy (Olliver and Orshoski, 2010), Wed, 7, 9:30. San Francisco Independent Film Festival, Feb 3-17. See film listings or www.sfindie.com for more info.

WAR MEMORIAL VETERANS BUILDING 401 Van Ness, SF; www.upheavalproductions.com. Free. Occupation Has No Future: Militarism and Resistance in Israel/Palestine (Zlutnick, 2020), Thurs, 7:30. Screening followed by a discussion with director David Zlutnick and members of Dialogues Against Militarism. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Volume 14: Middle East,” nine videos focusing on the Middle East compiled by ASPECT: The Chronicle of New Media Art, Jan 13-March 27 (gallery hours Thurs-Sat, noon-8; Sun, noon-6). Shoah (Lanzmann, 1985), Sat, 1 (first half); Sun, 1 (second half); Feb 13, 11am (complete film with one-hour break).

Music Listings

Andrew Lam

-

February 1, 2011

0

WEDNESDAY 2

ROCK/BLUES/HIP-HOP

Corruptors, Heroine, Vanishing Breed Knockout. 9:30pm, $6.

Generalissimo, Blind Shake, Guitar vs. Gravity Hotel Utah. 9pm, $7.

Bobby Long Café Du Nord. 9:30pm, $15.

*Motorhead, Clutch, Valient Thorr Warfield. 8pm, $38.

Professor Burns and the Lilac Field, Eric Maskol, Maya Dorn Milk. 8:30pm, $5.

Das Racist, Hottub, DJ Vin Soi Independent. 8pm, $15.

Sweet Chariot, Victory and Associates, Calls Elbo Room. 9pm, $6.

Tristen, Billy and Dolly, Corner Laughers Rickshaw Stop. 8pm, $10.

Tunnel, Foolproof Four, Word Bottom of the Hill. 9pm, $8.

Wood Brothers Yoshi’s San Francisco. 8pm, $17.

JAZZ/NEW MUSIC

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

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

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

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

DANCE CLUBS

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

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

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

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes. Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 3

ROCK/BLUES/HIP-HOP

Ólafur Arnalds Great American Music Hall. 8pm, $17.

Shawn Colvin Yoshi’s San Francisco. 8pm, $34.

Leather Feather, Heart Touch, Dr. Madd Vibe, Sistas in the Pit, Punk Funk Mob Cellspace, 2050 Bryant, SF; www.sfindie.com. 9pm, $10. Part of SF Winter Music Festival.

Limousines, Aaron Axelsen, Miles the DJ Rickshaw Stop. 10pm, $12. Presented by Popscene.

Little Creatures, Casy and Brian El Rio. 10pm, free.

Mangled Bohemians, Lickets, Shores Hemlock Tavern. 9pm, $6.

Mercury Falls Kaleidoscope, 3109 24th St, SF; www.kaleidoscopefreespeechzone.com. 9pm, $8.

Midnight Snackers, Badugi, Late Night Drive Kimo’s. 9pm, $6.

Mofo Party Band Biscuits and Blues. 8 and 10pm, $16.

Nels Cline Singers with Yuka C. Honda, Paul Riola Independent. 8pm, $16.

Social Distortion, Aggrolites, Chuck Ragan Warfield. 9pm, $35.

Tennis, Lord Huron, Air Waves Bottom of the Hill. 9pm, $12.

That Ghost, Hymn for Her Amnesia. 9pm.

Toasters, Inciters Red Devil Lounge. 8pm, $12.

JAZZ/NEW MUSIC

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

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

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

FOLK/WORLD/COUNTRY

Country Casanovas Atlas Café. 8pm, free.

DANCE CLUBS

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

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

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

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

Electric Feel Lookout, 2600 16th St, SF; www.fringesf.com. 9pm, $2. Indie music video dance party with subOctave, Blondie K, and guest DJ Lifeline.

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

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

Holy Thursday Underground SF. 10pm, $5. Bay Area electronic hip hop producers showcase their cutting edge styles monthly.

JFK of MSTRKRFT, Nisus, Shane King Mighty. 9pm, $15.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro.

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

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

FRIDAY 4

ROCK/BLUES/HIP-HOP

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

Les Aus, Huan Hemlock Tavern. 9:30pm, $8.

“Battle of the Bands: Finals” DNA Lounge. 5:30pm, $12. With Handshake, Thy Winter Shadow, Boondock Squad, and more.

Blisses B, Acadia Collective, Ben Keeler Hotel Utah. 9pm, $8.

Ethan Bortnick and His Musical Time Machine Regency Ballroom. 8pm, $29-50-39.50.

Cat Power Fillmore. 9pm, $35.

Church Great American Music Hall. 8pm, $35.

Shawn Colvin Yoshi’s San Francisco. 8pm, $34.

Definite Articles, She Beards, Gems, Bryan McPherson Bottom of the Hill. 9:30pm, $10.

Exrays, Tim Cohen’s Magick Trick, Fiveng, DJ Cyclist Café Du Nord. 9pm, $12.

“14th Annual One Night Stand” Slim’s. 8pm, $13. Local bands perform cover songs.

Frail, Rykarda Parasol, Slpwlkrs Rickshaw Stop. 8pm, $10-15.

Hi-Rhythm Hustlers, Slim Jenkins Verdi Club, 2424 Mariposa, SF; www.oldtimey.net. 9pm, $10.

Claudette King Biscuits and Blues. 8 and 10pm, $20.

Los Shimmy Shakers, Foolproof Four, Taxes, Yoma Band, Shit Outta Luck, Thief, Nervous Energy Cellspace, 2050 Bryant, SF; www.sfindie.com. 8pm, $10. Part of SF Winter Music Festival.

Social Distortion, Lucero, Chuck Ragan Warfield. 9pm, $35.

FOLK/WORLD/COUNTRY

Forro Brazuca, DJ Alfie1Bateria Elbo Room. 10pm, $10.

Valerie Orth and friends Red Poppy Art House. 8pm, $10-15.

JAZZ/NEW MUSIC

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

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

DANCE CLUBS

Braza! Som.10pm, $10. With DJs Vanka, Elan, and Caasi.

Deeper 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With rotating DJs spinning dubstep and techno.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

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

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

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

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

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

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

Strangelove Cat Club. 10pm, $6. Six-year anniversary featuring goth and industrial with DJs Tomas Diablo, Joe Radio, Xander, and Orko.

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

SATURDAY 5

ROCK/BLUES/HIP-HOP

Communist Kayte, Icekats and the Mengz Thee Parkside. 3pm, free.

Devil’s Brigade, Roger Miret and the Disasters Thee Parkside. 9pm, $12.

*400 Blows, Skinwalker, Longmont Potion Castle El Rio. 10pm, $8.

Tommy Guerrero Café Du Nord. 9:30pm, $12.

Hurry Up Shotgun, X-Ray Press, Third Victim of Abigail Rutledge Hemlock Tavern. 9:30pm, $6.

Lakeside Yoshi’s San Francisco. 8 and 10pm, $25-35.

Led Zeppelin 2 Slim’s. 9pm, $16.

Rod Piazza and the MIghty Flyers Biscuits and Blues. 8 and 10pm, $22.

Pollux, Pine and Battery, Lite Brite, Gentlemen Bottom of the Hill. 9pm, $12.

Grace Potter and the Nocturnals Fillmore. 9pm, $20.

Roy G. Biv and the Mnemonic Devices, Semi Feral, Aaron Lee and the Love Vigilantes, Sorry Mom and Dad Kimo’s 9pm, $8.

JAZZ/NEW MUSIC

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

FOLK/WORLD/COUNTRY

Brothers Comatose, Green String Farm Band Amnesia. 9pm, $7.

Rodney Crowell Great American Music Hall. 9pm, $26.

I.R.B. Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

“Khaliji Night” Arab Cultural and Community Center, Two Plaza St., SF; www.arabculturalcenter.org. 7pm, $15. With singer-oud player Naser Musa and percussionist Faisal Zedan.

Mighty Mississippi Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

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

DANCE CLUBS

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

Everlasting Bass 330 Ritch. 10pm, $5-10. Bay Area Sistah Sound presents this party, with DJs Zita and Pam the Funkstress spinning hip-hop, soul, funk, reggae, dancehall, and club classics. Foundation Som., 2925 16th St., SF; (415) 558-8521. 10pm.

Gemini Disco Underground SF. 10pm, $5. Disco with DJ Derrick Love and Nicky B. spinning deep disco.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip-hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Kontrol Endup. 10pm, $20. With resident DJs Alland Byallo, Craig Kuna, Sammy D, and Nikola Baytala spinning minimal techno and avant house.

Leisure Paradise Lounge. 10pm, $7. DJs Omar, Aaron, and Jet Set James spinning classic britpop, mod, 60s soul, and 90s indie.

New Wave City: New Romantic Night DNA Lounge. 9pm, $7-12. DJs Skip and Shindog spin dreamy 80s.

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

Saturday Night Soul Party Elbo Room. 10pm, $5-10. Sixties soul with DJs Lucky, Phengren Oswald, and Paul Paul.

Sensualite 111 Minna. 8pm, $20. Sexy party with burlesque, cookies, and the authors of Cockfidence: The Extraordinary Lover’s Guide to Being the Man You Want to Be and Driving Women Wild.

Souf Club Six. 9pm, $7. With DJs Jeanine Da Feen, Motive, and Bozak spinning southern crunk, bounce, hip hop, and reggaeton.

Soundscape Vortex Room, 1082 Howard, SF; www.myspace.com/thevortexroom. With DJs C3PLOS, Brighton Russ, and Nick Waterhouse spinning Soul jazz, boogaloo, hammond grooves, and more.

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

Three Kinds of Stupid Dance Party Rickshaw Stop. 9pm, $12. With Sugar and Gold, Yip Deceiver, and DJs BAS, Chris Baty, and Brother Grimm.

Twelves, White Mike, Nisus Mezzanine. 9pm, $16.

SUNDAY 6

ROCK/BLUES/HIP-HOP

Fracas, Kicker!, Bite, FUKM, Sad Boy Sinister Cellspace, 2050 Bryant, SF; www.sfindie.com. 6pm, $10. Part of SF Winter Music Festival.

Hymn for Her Hemlock Tavern. 9pm, $6.

Plain White Ts, Parachute, Miggs Fillmore. 8pm, $22.50.

JAZZ/NEW MUSIC

Jennifer Bryce and Josh Workman Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Joe Warner Trio Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8pm, free.

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

FOLK/WORLD/COUNTRY

John Meeks Thee Parkside. 4pm, free.

DANCE CLUBS

Afterglow Nickies, 466 Haight, SF; (415) 255-0300. An evening of mellow electronics with resident DJs Matt Wilder, Mike Perry, Greg Bird, and guests.

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

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

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

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

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

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

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

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

MONDAY 7

ROCK/BLUES/HIP-HOP

Asada Messiah, Dimesland, Catacomb Creeps Elbo Room. 9pm, $6.

Atomic Tom, Maniac Café Du Nord. 9:30pm, $12.

Guitar Shorty Biscuits and Blues. 8 and 10pm, $20.

JAZZ/NEW MUSIC

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

Randy Weston Yoshi’s San Francisco. 8pm, $30.

DANCE CLUBS

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

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

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

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

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

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

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

TUESDAY 8

ROCK/BLUES/HIP-HOP

Assateague, Wooly Moon Amnesia. 9pm.

Tina Dico Swedish American Hall (upstairs from Café Du Nord). 8pm, $16.

Lazarus, Michael Beach, Colossal Yes Hemlock Tavern. 9pm, $6.

Dominique Leone, Sit Kitty Sit, Tzigane Society Bottom of the Hill. 9pm, $8.

Tony Lucca, Lauren Shera Café Du Nord. 9:30pm, $12.

Sebadoh, Quasi Great American Music Hall. 8pm, $20.

Guitar Shorty Biscuits and Blues. 8 and 10pm, $20. Lolita Sweet Yoshi’s San Francisco. 8pm, $20. JAZZ/NEW MUSIC Nick Culp Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Bombshell Betty and Her Burlesqueteers Elbo Room. 9pm, $10. Burlesque and live music with Fromagique. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx.

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

5 things you didn’t know about cable cars

Andrew Lam

-

February 1, 2011

6

Get it out of the way now: roll those eyes. The cable cars are something no native San Franciscan would ever bring up in polite (that is, local) company, let alone write about in a blog post. But fact is, there’s a reason why these things are iconic. Those cars have as speckled and quirky a history as the City by the Bay.

San Franciscans steeped in facts and figures about the tourist-movers probably know that ours is the last operating cable car system in the world and that its design hasn’t changed much since Andrew Hallidie devised it upon seeing an overloaded horse-car slip down a hill in the rain. Perhaps you’ve heard that the four remaining lines each rely on a continuous loop of cable running under your feet at a constant 9.5 miles per hour, powered by electrical motors and a system of pulleys and huge wheels. If you’ve ever visited the Cable Car Museum (c’mon folks, it’s free) you’ve seen the sheaves pulling the cable along, and you’ve learned that the cars operate by grabbing the cable with giant pliers that reach through the floor and into a slot in the street where the cable runs.

Bored yet? Stifle that yawn, we’re just getting started. Read on for five things you haven’t heard about those postcard pretties.

I know why the caged bird . . . rings?

The famous author, poet, and social activist Maya Angelou dropped out of Mission High School at 15 to work the cable cars. “The thought of sailing up and down the hills of San Francisco in a dark-blue uniform, with a money changer at my belt, caught my fancy,” she later recalled in 1969’s I Know Why the Caged Bird Sings. Angelou won the job as San Francisco’s first African American (and female) cable car conductor by heckling reluctant company managers until they caved and she was hired to ring the cars’ bells and swing “on the back of the rackety trolley, smiling sweetly and persuading [her] charges to ‘step forward in the car, please.’”

Smokin’ tracks

Ever noticed a certain funk riding in a cable car? It wasn’t the guy next to you. It’s caused by two materials that play a critical role in starting and stopping the car: the pine resin that greases the cable and the wooden brake shoes, made from Douglas fir, that press against the tracks to stop the car. Friction causes the wooden brakes to smoke, meaning they must be replaced every three days with new ones milled locally at a shop on 22nd Street and Indiana. Friction from the pliers-like grip grabbing the cable likewise melts and then vaporizes the pine tar. This results in a smooth, lubricated start-up, but is also responsible for the burning and odor. (And if that sounds a bit too familiar, perhaps you should call your doctor…) Like the wooden brakes, the grip that grabs the cable must be replaced every three days for wear.

The cable car: the Imelda Marcos of public transportation. (Stack of brake shoes at the Cable Car Museum). Photo by Emily Appelbaum

Move over, men

Working as a grip operator requires incredible dexterity and also the nuanced ability to feel the cable, picking it up slowly to ease the car to full speed. Though well over half of trainees drop from the teaching program each year, the required combination of subtlety and strength make gripping the perfect job for powerful women like Fannie Mae Barnes, who became the city’s first female grip in 1997.

“A lot of guys will try to muscle the grip, but it’s really more a finesse thing – you have to leverage it with your body weight,” Barnes told the Guardian in an interview last fall. Barnes retired in 2007, but when San Francisco’s second female grip, Willa Johnson, took the post last April, Barnes presented her with a pair of custom-made pink leather grip gloves, emblazoned with her name.

Beyond the bells

The Slot Blades, named for the cars’ emergency braking system, is a band composed entirely of SF Muni workers who conduct and grip the city’s cable cars. Their moniker is a tongue of metal that, when deployed, wedges itself so tightly against the tracks it must be removed with a torch. The cable-proud band gets together for practices and jam sessions in addition to playing at Muni and cable car-related events like the annual Cable Car Bell Ringing Contest – now in its 49th year.

Falling cars and free love

Forget stranded cables and smashed cars: San Francisco’s most infamous cable car victim may be Gloria Sykes, who claimed that a 1964 accident left her with a black eye, bruises, and an unquenchable sex drive.

When a mechanical failure caused the car she was riding to slide backwards down a hill, Sykes – later dubbed the “cable car nymphomaniac” by the daily newspapers — sued the City of San Francisco for a half million dollars. Her lawyers argued that the sexual abuse she suffered as a child combined with the stress of the accident caused her to seek the company of up to 50 sexual partners a week. After listening to 44 taped transcripts of an electrically hypnotized Sykes, the jury awarded the insatiable (ha) plaintiff $50,000 in damages. Sykes’ case is cited as one of the earliest court-recognized examples of post-traumatic stress disorder.

San Francisco Cable Car Wheelhouse from Emily Appelbaum on Vimeo.

Check out the inner wheelings and dealings of the SF Cable Car Museum. Here, the whirling electric motors that power the cars. Video by Emily Appelbaum

Danny Glover, DCCC stand up for HANC

Sasha Cuttler And Mary Magee

-

January 30, 2011

9

The Haight Ashbury Neighborhood Council (HANC) Recycling Center has gained some powerful allies in its ongoing fight against eviction.

A YouTube video posted over the weekend shows actor Danny Glover, a resident of the Haight, sitting in his car at the recycling center. If it were shut down, “I would be dismayed,” Glover tells a staff member. He also says, “It would be a tragedy. It would be a great loss to this city.” (Scroll down to watch.)

On Jan. 26, the Democratic County Central Committee (DCCC) voted in favor of a resolution calling for the HANC recycling center to stay at its location behind the Kezar Stadium in Golden Gate Park. The statement noted that “San Francisco is notoriously underserved by recycling centers,” adding that “people want to receive their California Redemption Value deposit, especially in this depressed economy, which can only be done at recycling centers.”

In recent weeks, Sup. Eric Mar told the Guardian he was strongly supportive of the recycling center’s continued operation in the park. He added that he planned to encourage Mayor Ed Lee to overturn the eviction.

The San Francisco Recreation & Park Commission voted in December 2010 to evict the recycling center from a paved lot in Golden Gate Park, where it has been operating for more than three decades. Since the center was originally on a quarterly lease, it was given 90 days notice — but HANC’s lawyer contends that it could legally occupy the property till June.

The eviction, supported by former Mayor Gavin Newsom and a commission composed of his appointees, was widely viewed by recycling center supporters as a form of political payback. HANC, a progressive organization that was at odds with the Newsom administration on a variety of issues, was particularly outspoken against the sit/lie ordinance, which Newsom placed on the ballot.

A neighborhood group, the Inner Sunset Park Neighbors, also supported the ouster of HANC, citing quality-of-life issues such as aggressive panhandling and public safety concerns that the group believes to be linked to recycling center patrons. Rec & Park plans to use the lot for a community garden, at a cost of $250,000.

http://www.youtube.com/watch?v=l09tUCChOiA

Activists and former prisoner call for Obama to close Guantánamo

Sasha Cuttler

-

January 28, 2011

0

The second anniversary of President Obama’s promise to close the Guantánamo Bay detention center was recognized this week at an event about torture and human rights abuse that continue to take place there.

“There doesn’t seem to be an end in sight…as far as we can tell the [Obama] administration has no intention to close it at this point.,” Rini Chakraborty, Western Regional Director of Amnesty International USA, said at a panel discussion about Guantánamo Bay human rights abuses Wednesday at UC Berkeley.

That conclusion contradicts the assertion by White House spokesperson Adam Abrams that closing Guantánamo is still a “national security imperative.” While the White House says President Obama remains unwavering in his commitment to eventually close the center, more than a hundred detainees remain locked up for years without so much as charges brought against them, according to Chakraborty.

Among those featured at the Amnesty International event was former detainee Omar Deghayes who spoke via video conference from the United Kingdom, where he is a citizen. He spent six years at Guantánamo and was released in what even United States officials eventually considered a case of mistaken identity. He was living in Pakistan in 2002 when one night he was abducted from his home by Pakistani security personnel and later taken into American custody.

“They didn’t know anything about us, ” he said, recalling his first interrogations by Americans at the U.S detention center in Bagram, Afghanistan. “They never accused us of anything…then every year they alleged something and then realized it is completely false…then the next year they would make something up that was more believable.”

What led to Deghayes’ release was a deal with the United Kingdom, where his family conducted a wide campaign to pressure British politicians into action. President Obama has made two recent statements about Guantánamo, stressing the importance of and difficulties inherent in closing Guantánamo Bay, but neither statement gave any indication of when the closure would happen.

“[We need to close it] to make sure that we’re also living up to our values and our ideals and our principles. And that’s what closing Guantánamo is about — not because I think that the people who are running Guantánamo are doing a bad job, but rather because it’s become a symbol,” Obama said in a Dec. 22 news conference.

He failed to specify what Guantánamo might symbolize. It is fair to assume President Obama was referring to widespread allegations of torture and human rights abuse that take place in Guantánamo and U.S. facilities all over the world.

Deghayes shared horrid details of his treatment at the hand of U.S. prison guards. He lost vision in one eye in a beating and had his nose, finger and ribs broken in other instances of abuse. “There were physical beatings, interrogations, chains…we were not allowed to speak to anyone for days and months,” he said.

He also said other cases were worse than his. “Some died under torture, some were sexually abused, they were raped.”

Chakraborty said that Guantánamo’s closing would not spell an end to torture and abuses because there is an unknown number of overseas and secret U.S. interrogation and detention facilities. But she called closing Guantánamo “one very important first step,” adding that it would “show we have the kind good political will to ensure justice for detainees.”

Currently, Deghayes works with lawyers and activists to fight for accountability. “We want help from lawyers in the United States to bring cases [to trial] and help accountability…not just damages to rebuild shattered lives of [former prisoners],” he said.

Next month, the Berkeley City Council will vote on a resolution to welcome Guantánamo detainees who have been released and cleared as not posing a threat. Many such detainees have no country to be released to because of political circumstances. So far, the United States has refused to let these former detainees live in the United States and so a vote in favor of the resolution would have only symbolic value.

Obama addresses DREAMer Steve Li’s video

Mary Magee

-

January 28, 2011

0

Earlier this week, I posted a video clip that Community College nursing student Steve Li, who narrowly avoided deportation from San Francisco to Peru last year, submitted to the White House in answer to Obama’s groundbreaking online State of the Union outreach effort. And yesterday, Obama addressed Li’s video (featured at 33.10 minutes into a Jan. 27 interview that YouTube’s Steve Grove moderated) as he answered questions on a wide range of issues submitted by and voted on by YouTube users.

Li is a supporter of the DREAM Act, which would allow undocumented youth who attend college and/or serve in the military to apply for citizenship. And while the DREAM Act failed to get the necessary votes last year, advocates like Li have vowed to keep up the pressure until it becomes law. And Obama indicated yesterday that he believes expelling undocumented youth who are ready to serve in the military or at college makes no sense.

“Let’s stop expelling talented, responsible young people who can staff our research labs, start new businesses and further enrich this nation,” Obama said

DREAMers like LI and their allies will doubtless take Obama’s words and try to get the president to back them up with concrete actions, so stay tuned as the seemingly endless fight to reform the federal immigration system in a humane way continues.

Getting free

Jesse Hawthorne Ficks

-

January 25, 2011

3

rebeccab@sfbg.com

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

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

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

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

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

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

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

FIGHTING FOR FREEDOM

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

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

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

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

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

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

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

WHO ARE THE HIKERS?

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

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

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

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

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

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

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

SOLITARY

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

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

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

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

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

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

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

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

LOOKING AHEAD

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

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

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

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

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

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

ART AUCTION TO FREE ALL THREE

Saturday, Jan. 29, 7 p.m.

SomArts Cultural Center

934 Brannan, SF

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

www.artforssj.tumblr.com/#about

THEY SING THESE SONGS IN PRISON

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

Thursday, Feb. 10, 8:30 p.m., $12–$18

Bottom of the Hill

1233 17 St., SF

www.bottomofthehill.com

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

Burn the Bay

Jesse Hawthorne Ficks

-

January 25, 2011

0

Self-medicate and simmer? Hardly. A nice big toke deserves (another and) a trip out and about to see some of the Bay Area’s finest sites to be stoned in. Just don’t flash that bong around — we hear that shit’s still illegal (?). Here are the Guardian staff picks for places around town that your buzz will love.

GOOD MANG KOK BAKERY

Post-Mary munchies are no joking matter. Yeah, you laugh when your buddy eats sausages dipped in maple syrup, but when it’s your turn the joke’s on you. Fortunately, Good Mang Kok Bakery in Chinatown is there to get you through those funky hunger spells. It’s got it all: pork buns, shrimp dumplings, egg tarts, mochi, sesame balls, chow mein — more grease and sugar than you can shake a spliff at. The joint (ha!) smells like stoner heaven, but the best part about Good Mang Kok is that it won’t leave a dent in your wallet — three steamed pork buns cost only $1.50 and all the food a stoner can eat won’t ever cost more than a 10 spot. Peep the window sign that says “Dim Sum Nice Food” and you’ll know you’re at the right place.

1039 Stockton, SF. (415) 397-2688

KADAMPA BUDDHIST TEMPLE’S “MEDITATIONS ON WORLD PEACE”

It’s Sunday morning, you’re stoned, and your heart is full of love. Kumbaya friend, mosey down to the Mission’s Kadampa Buddhist Temple for its weekly group meditation on world peace — because we all know that war, violence, and suffering are huge mellow-harshers. Inside the small building you’ll find a meeting room lined with chairs, Buddhist art, and sculpture — take a seat and be on time. Class includes a guided prayer, a spiritual teaching (try not to space, because if you pay attention here you can learn a lot), and refreshments. Every level of experience is welcome and no stoner will be turned away for lack of funds.

Sundays, 10:30 a.m.–noon, $10 donation suggested. 3324 17th St., SF. (415) 503-1187, www.meditationinnortherncalifornia.org

REVOLUTION CAFE

We regard the Revolution Cafe as its own mythic country, one in which bearded men and dashing women from various cosmopolitan European, Latin-American, and African cities epically lounge, smoke from their spliffs still lingering in their leather jackets and hand-woven mountain sweaters. In this convivial company, there is no better vantage point to regard the Mission’s ragtag parade from behind the fog of (medicinal, surely) Humboldt fog, particularly with a glass of house red or cappuccino in hand. Languid inter-table conversation is a mandate on the Revolution porch — retreat inside to giggle at The Awl’s witticisms on your laptop or take in the piano-guitar duo occupying Rev’s tiny corner that is allotted to its live music offerings.

3248 22nd St., SF. (415) 642-0474

ZEUM

Who says you have to be a kid to get a kick out of this museum’s interactive art and technology exhibits? Twist one up and try your hand at photo manipulation, animation, and video-mixing geared toward the mini-mind. And while we’re feeding our heads here, why not go truly techno-psychedelic with the kids’ museum’s Z Dance — dance in front of a green screen and a computer will transfer your image to a trippy backdrop (see Jefferson Airplane’s Smothers Brothers Comedy Hour performance of “White Rabbit” for inspiration). For gizmo gear-heads to blasé Betties, some advice for truly groking the beauty of Zeum: nothing will awaken your childlike wonder like a little William’s Wonder.

221 Fourth St., SF. (415) 820-3320, www.zeum.org

SEWARD STREET SLIDES

In 1966, Seward Street minipark was the site of a neighborhood sit-in that saved the last remaining open space between Seward and Corwin streets from encroaching development. Honor the community protesters’ struggle in true ’60s spirit by lighting up, grabbing a cardboard box, and flying down the polished concrete flumes for freedom (you can also slide at the chutes in Children’s Playground and Bernal Heights). Getting blazed is a good way to mitigate small bruises and the burn of climbing to the top of the remarkably long chute. But if intoxication and high velocity isn’t your favorite mix, there are plenty of places to perch peacefully and watch the action.

Acme between Seward and Corwin, SF

BERKELEY BOWL

This locally-owned grocery chain is a stoner’s dream, whether you alight on the 40,000 square foot megastore or the sleek new western location complete with parking lot: an added convenience for pre-browse hot-boxing. From asparagus to zatar (a Lebanese spice related to mint), the Technicolor aisles tantalize tokers’ taste buds, and are the ideal playscape for customer antics — shopping cart drag races are not unheard of. Feeling peckish? Avoid being “that hippy” shoving patchouli-scented paws in the bulk bins. Try baking among the baked goods at the store café, where you’ll find plenty of fresh soups, sandwiches, and company to ponder universal truths with.

2020 Oregon, Berk. (510) 843-6929; 920 Heinz, Berk. (510) 898-9555, www.berkeleybowl.com

WESTFIELD MALL ESCALATORS

Try to accomplish anything at the Westfield Mall while sober and you will surely end up crying outside of Jamba Juice, then struggling for hours more just to find the first floor exit. A better way of approaching the shiny downtown consumerist behemoth is to get faded and ride the escalators for, like, a really long time. The inter-floor specimens at the Westfield are a sight to behold. Unlike boring linear escalators, these zigzag upward and downward in Escher-esque profundity, caged in the mall’s dome-like interior. Those seeking ascent or descent must navigate a loop of shiny retail spaces just to find their way to the next moving staircase. Keep your wits about you — if you know which way is up, you may just reach Century Theatres!

865 Market, SF. (415) 512-6776, www.westfield.com/sanfrancisco

AUDIUM

Seeing the sights while stoned is all well and good, but you can give your optic nerves the night off and still totally trip off of SF. The wonder that makes it all possible is the Audium, where synapse-stimulating sound sculptures are unleashed on listeners seated in a round auditorium that is darkened to blackness to further heighten the experience. This place was constructed to get you high off auditory fumes. Sayeth Stan Shaff, the composer who co-masterminded the Audium concept back in the 1950s: “As people walk into a work, they become part of its realization. From entrance to exit, Audium is a sound-space continuum.” Somehow we’ve made it through this entire paragraph without using the term “mind-blowing.” Shoulder pat.

Performances Fridays and Saturdays, 8:30 p.m. 1616 Bush, SF. (415) 771-1616, www.audium.org

NORTHERN CALIFORNIA COAST GALLERY AT THE STEINHART AQUARIUM

Look, for those riding the green hornet, buzziness doesn’t get much better done than at the California Academy of Sciences. The Morrison Planetarium sends not just cosmic gas and glistening stars whirling around your dome, but protozoan tendrils and glimmering ambient sounds as well, as part of the current “Life” show. Iridescent butterflies flit unfettered about the Buckyball-like “Rainforests of the World” structure. And of course there’s Claude the preening albino alligator and a clownish troupe of cavorting penguins. But for sheer shivery loveliness, we like to slip into the basement for the Steinhart Aquarium’s gorgeously curated exhibits of regional undersea habitats. The Philippine Coral Reef wastes our retinas with its neon delights and the generalist Water Planet Galleries include infinite otherworldly species. But it’s the Northern California Coast Gallery that keeps us rooted in a meditative pose with its hypnotically undulating anemones and sensuously intertwined towers of opalescent kelp. Think about it. That’s, like, right off Ocean Beach, dude. Your pipe is your snorkel.

55 Music Concourse Dr., Golden Gate Park, www.calacademy.org

List assembled by Emily Appelbaum, Marke B., Caitlin Donohue, and Hannah Tepper.

Gorgeous George

Jesse Hawthorne Ficks

-

January 25, 2011

0

TRASH She’s an unstoppable force, that Sherri Frankenstein. As embodied by Linda Martinez in an anything-but-soggy serial by George Kuchar, Sherri is endlessly buffeted by life — shoved, mutilated, or worse by rapacious characters ever-eager to administer injections. She’s prone to oracular gestures so lengthy and dizzyingly impulse-driven that their conclusions directly contradict the reality around her. But whether she’s carousing at a go-go club or distractedly presiding over a Dracula’s castle-turned-home for wayward women, Sherri’s is a spirit that will not be snuffed.

Sherri’s odyssey begins in 2003’s Kiss of Frankenstein, a screen adaptation of a 2003 play’s torrid and torrential vomitous verbiage. Shot in three hours for $500 and post-dubbed in a bathroom, Kiss is an orgy of all that Kuchar in dramatic mode has to offer — a DayGlo video update of the old dark house scenario of his and Curt McDowell’s classic Thundercrack! (1975) with live action-meets-animation interiors that outdo Dario Argento’s Suspiria (1977) in terms of lurid décor. Martinez’s sheer organza negligee is only the raciest fabric in a dance of the 700 veils to rival Kenneth Anger’s Puce Moment (1949). The dreamy-eyed male lead’s hairy chest and right nipple peeks out from a torn pajama top. A maze of maniacal monologues and mythical machinations — listening to Kuchar’s characters rattle off narration, one can’t help but ponder the narcissistic nature of memoir — in the form of a hungry Hungarian “pilgrimage for the palate,” the first chapter in Kuchar’s monstrous equivalent to Wagner’s Ring includes a sudden ax attack rendered in the style of William Castle.

Fresh from an acid facial, Sherri is back and pig-biting mad in 2005’s The Fury of Frau Frankenstein, another of Kuchar’s collaborations with his students at San Francisco Art Institute. Abandoning Kiss‘s monologues for title cards and visual tale-spinning, Fury introduces Sherri’s buxom niece Leticia, whose fate is watched by a Ryan Gosling-like newspaper reporter named Bruce. (In a bit part, young filmmaker Sarah Hagey almost steals the movie while her man is stolen.) Kuchar unleashes a blitz of post-production video effects, placing party scenes within envelopes and sprinkling digital glitter on Sherri’s face. Shot for $100 less than its predecessor, Fury is pure cinematic gluttony on a budget: a stew is stirred with a dismembered hand, a glimmering spider web curtain from the previous movie returns as one character’s cape, and a bat scurries across a floor in a manner that evokes not just the ravenous killer brains of the 1958 British horror flick Fiend Without a Face, but also furry slippers.

Technical difficulties prevented a viewing of the climax of Kuchar’s Frankenstein Cycle, 2008’s Crypt of Frankenstein. But Sherri returns in a sequel to the series, 2010’s Jewel of Jeopardy, whose cast includes an M.D. A little weary and slurry and lost in the length and relentlessness of her monologues, she’s soon helpless — gleefully so — to stop a Dracula who “burns quite easily” as he feasts on the “nubile necks” of her female charges, administering “hellish hickeys.” Here, the prop-mad and pixelated fervor of Kuchar’s meta-montage reaches its apex: digital blood drapes the screen, hairdos morph into spider webs, a character is beaten with his own severed leg, a Santa Claus wall hanging beams green rays from its eyes, Martinez’s flesh is visually rhymed with a Frankenstein mask, and the cast is momentarily lost in a blizzard of animated hearts and stars that would bring a blush to the face of the Lucky Charms leprechaun.

It’ll end in puke, of course, but anyone with a hungry eye should welcome the Roxie’s decision to put three nights of movies by George Kuchar on its menu. Or a hungry heart: the cheerful gastric onslaughts of Kuchar’s Frankenstein cycle are countered by the disarmingly poignant mortal attention to digestion and bodily function in his recent diary films, Vintage Visits, The Nutrient Express, and Dribbles, all from 2010. The time is right to gorge with George.

BY, FOR, AND ABOUT GEORGE KUCHAR

Fri/28–Sun/30, $6–$10 (Fri/28: The Frankenstein Cycle; Sat/29: It Came From Kuchar plus two Kuchar shorts; Sun/30: new video diaries by George Kuchar)

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com