Video

Let’s hear it for the Boy Boy

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arts@sfbg.com

MUSIC One morning, I woke up to a call from a woman named Tasha. “Messy Marv wants to speak to you,” she says. Uh-oh, I think, what’d I do? Mess isn’t the kind of guy who calls just to chop it up. “He wants you to write an article,” she says. This isn’t my usual method, but given the difficulty of touching down with the Fillmore District native, I’ll tape first and ask questions later. Mess has largely been out of state since getting out of jail (for a weapons charge) in late 2007, and his absence has inspired controversy in the Moe, so I’m wondering if he wants to address it.

But Mess has other things on his mind when he phones from Miami.

“Let’s talk about 400,000 units independently,” he begins, an impressive tally of cumulative sales in the Bay. Mess’s fanbase extends well beyond the region; he’s been featured on discs by the likes of Killer Mike and Tech9ine, Snoop Dogg shouts him out on Malice in Wonderland (Doggystyle/Priority, 2009), and he provided a 20-year-old Keyshia Cole her first real exposure on his third album, Still Explosive (M Ent., 2001). Cole’s returning the favor by recording a single with Mess, “Luv Somebody,” for his album, The Cooking Channel, slated for July 7.

But even this isn’t what he wants to talk about. Right now Mess is all about his corporation, Scalen, LLC, whose name derives from one of Mess’ aliases, Messcalen. Scalen began as Mess’s record label, which he recently rebranded Click Clack Records to signify its integration into the new company whose other divisions include Scalen Films and Scalen Clothing.

“The beginning of my career was all music,” Mess says. “But now I’m a CEO.” In the era of Jay-Z and P. Diddy, most rappers have aspired to their own corporations. Yet in the perpetually underfunded Bay, such dreams tend to remain unrealized. But Mess, who’s been moving units since age 15, appears to be realizing the goal. Scalen Films already has two DVDs in the can for release later this year: Gigantic, a documentary on Mess’ life, and All Gas No Breaks, his dramatic debut. He’s shopping his reality show, Mr. Ghetto Celebrity, whose trailer can be seen on his Web site, scalenllc.com. He’s got dudes like Big Boi wearing Scalen t-shirts and plans to launch two lines in the fall: Cupcakes (for women) and Slick Talk (for men). But the most immediate project is a 12-disc, limited edition set of Mess’s back catalog, Project Suppastarr, due April 1. Priced at $50 and including a Scalen shirt and autographed posters, the project is designed “to give the consumers something for their money.” (“It’s a $340 value,” he claims on his Web site infomercial.)

As we wrap up, I ask Mess about the Fillmore controversy. Two Fillmore rappers formerly on Click Clack Records, Young Boo and M-Kada, have released a harsh diss video, “Last of Us,” challenging Mess’ hood credentials. It’s included on Where’s Messy Marv? (Homewrecka Ent., 2010), an entire DVD devoted to Mess bashing. All this is on top of a major beef last year with his childhood friend and collaborator, San Quinn, which, despite being quashed, has left lingering ill-will in Fillmore. Mess, however, just laughs at the turmoil.

“You grow out of situations,” he says. “This is based on me growing up, and a lot of people don’t understand that. I just look at it like promotion — they my street team. I’m not paying for once.”

Nonetheless, Mess wants to leave the drama behind, going so far as to rebrand himself as the Boy Boy Young Mess for this new stage of his career. “I’ve transformed into another person. I’m a whole new entertainer, man, father. I’ll still always be ‘Messy Marv.’ But a lot came with that name, so I’m going to leave it where it is.”

Our Weekly Picks

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THURSDAY 1

FILM

Gumby Dharma

When he created the characters Gumby and Pokey in the 1950s, Art Clokey indelibly imbedded himself into modern pop culture, making a lasting and loving impression on generations of fans. That magical connection is chronicled in the Emmy-winning 2005 documentary Gumby Dharma, which delves into the beloved animator’s long life, canvassing the more well-known side of Clokey and his artistic triumphs, as well as several personal tragedies and his search for a spiritual path. Clokey, who passed away in January, had a studio in Sausalito for many years, and his life and creations will be celebrated tonight at a screening of the wonderful documentary, with its producers and several special guests in attendance. (Sean McCourt)

7 p.m., $6.50–$9

Balboa Theater

3630 Balboa, SF

(415) 221-8184

www.balboamovies.com

www.gumbydharma.com

 

EVENT

Craft Bar

Oh, the infamous Bill Cosby sweater — that oversized knit with a plethora of shapes and colors that makes you cringe at the sight of it. Yeah, that one. Well, now you can air that old thing out and put it to some use at Craft Bar. Enjoy a night of dexterity and drinks as DIY virtuoso Katy Kristin demonstrates how to chop up that old throw and create plush stuffed animals and snuggly beer cozies. Before you know it, you’ll be downing tall cans at Zeitgeist with your new cozy. (Elise-Marie Brown)

6 p.m., $5 (free with student ID)

Museum of Craft and Folk Art

51 Yerba Buena Lane, SF

(415) 227-4888

www.mocfa.org

 

DANCE/PERFORMANCE

Reggie Wilson and Andréya A Ouamba: The Good Dance—Dakar/Brooklyn

Reggie Wilson’s San Francisco debut in 2007 disappointed because it only presented a few short pieces he had created in the 1990s. But at least it whetted the appetite for more substantial work similar to what he had presented in other Bay Area venues. Now all is forgiven. The Good Dance—Dakar/Brooklyn, co-commissioned by YBCA, is a full-evening dance theater piece by Wilson and Senegalese choreographer Andréya Ouamba that explores a mutual preoccupation: the continued presence of the past in our lives. The Mississippi and the Congo serve as the central metaphors for this cross-cultural collaboration of dance, text, and vocals by Wilson’s Fist & Heel Performance Group and Ouamba’s Compagnie 1er Temps. (Rita Felciano)

8 p.m. (through Sat/3), $25–$30

Yerba Buena Center for the Arts

700 Howard, SF

(415) 978-ARTS

www.ybca.org

 

VISUAL ART

“A Dog’s Life (with a Special Appearance by Cats)”

A collection of funny cartoons focusing on man’s best friend — along with some pals in the feline world — the new exhibit “A Dog’s Life (with a Special Appearance by Cats)” draws from the Schmulowitz Collection of Wit and Humor at the San Francisco Public Library. Among the selections on display are works from artists such as James Thurber, George Booth, and Charles Schulz. Snoopy is in the house. (McCourt)

9 a.m.–8 p.m. (through May 31), free

San Francisco Public Library

Skylight Gallery, sixth floor

100 Larkin, SF

(415) 557-4277

www.sfpl.org

 

COMEDY

Marga’s Laugh Party: April Fools Edition!

Marga Gomez threw an uproarious laugh party in February. Now she’s back to host another night of laughter, dancing, and, of course, boozin’. Special guest W. Kamau Bell is celebrating the release of his new comedy CD, Face Full of Flour (Rooftop Comedy Productions). Other comedians on the bill include Gomez, Yayne Abeba, Tessie Chua, Loren Kraut, and Bucky Sinister, while DJ Sammy Franco brings the music. (Brown)

8 p.m., $10

Cafe du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

FRIDAY 2

EVENT/VISUAL ART

“A Benefit for Ed Hannigan: WonderCon Weekend Party”

As an artist for DC and Marvel comics back in the 1970s and ’80s, Ed Hannigan helped bring to life titles such as Batman, Green Arrow, Spider Man, and more. Now suffering from multiple sclerosis, Hannigan is getting help from some superheroes. The nonprofit Hero Initiative takes care of ailing artists, many of whom have spent their careers as contractors and have no pensions or retirement funds. Tonight the organization is sponsoring a benefit party to raise money for Hannigan’s care, with several artists, such as Sergio Aragones (MAD, Groo), in attendance. The festivities include an auction of rare items. (McCourt)

8 p.m., $10–$35 sliding scale

Cartoon Art Museum

655 Mission, SF

(415) 227-8666

www.cartoonart.org

 

EVENT/VISUAL ART

Lower Haight Art Walk

Art openings and events are notorious for their intimidating nature. The art might be hard to “get,” and the elitists might challenge you on the difference between modern and postmodern perspectives when the reason you went in the first place was to snack on the free-range chicken tacos and sip homemade kombucha. The Lower Haight Art Walk, on the other hand, won’t give you a headache. Expect an evening of bar-hopping, live music, dancing, and — of course — art shows sprinkled throughout a four-block stretch in the Haight. Who knows, you might even like what you see and buy a piece or two. (Brown)

7 p.m., free

400–700 Haight, SF

www.lowerhaight.org

SATURDAY 3

 

COMEDY

Mo’nique

In Anthony Hamilton’s “Sister Big Bones” video, the R&B singer makes an ass of himself for Mo’nique’s curves, donning disguises and crashing his cruiser bike just to get closer to the bodacious lady’s heat. He’s not the only one with a crush. The stand-up comedian has made some of the bravest career choices in the business, augmenting her BET talk show with TV specials in which she talked with women in federal prison and, most famously, her role in last year’s Precious as the most horrific mother of all time — which made her a lock for the Best Supporting Actress Oscar. It’s easy to forget that on top of everything, she’s real funny too. Check her stand-up act this weekend — just be prepared to walk away with some more unrequited love in your life. (Caitlin Donohue)

8 p.m., $39.50–$59.50

Paramount Theater

2025 Broadway, Oakl.

(800) 745-3000

www.paramounttheatre.com

 

MUSIC/CLUB

Hard French

Look, hot queers into anything but ancient circuit techno and contemporary plasticene ladybots: I adore your Sunday beer busts, your Friday happy hours, your Monday-night free-for-alls (and all-for-mes). But when it comes to a jam-packed Saturday-afternoon dance party rocking girl groups, boogaloo, and garage stompers, it’s finally oui the hard way — Hard French, that is, a raucous party filling the weekend void with BBQ animals on the grill, marinated animals on the patio and dance floor, and DJ Carnitas and Brown Amy on the tables. DJ Bus Station John joins them this time around for some meaty amuse-bouches. My only quibble? It’s only once a month. Hélas! (Marke B.)

3–8 p.m., $5

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

 

EVENT

Vinyl Addiction Launch Party

Vinyl toys — they’re surprisingly intriguing, aren’t they? Cute little round-headed rabbits and bears, baby dolls and yetis, usually with some subversive detail. That baby doll cranks its mouth open in a scream, and on closer inspection, the rabbit appears to be a necro-bunny, back from the grave. Maybe your little yeti’s sheer smoothness freaks you out after a while. What do they get up to on their shelves, late at night? Jesse Hernandez is on a mission to figure it out. The artist’s new online show, Vinyl Addiction, focuses on the creators of these little monsters, which are popping up all over as offshoots of the manga and graffiti scenes. Watch the premiere in New People’s trippy theater and celebrate the birth of something different in the art world. (Donohue)

7–10 p.m., free

New People

1746 Post, SF

(415) 525-8630

www.vinyladdiction.tv

 

SUNDAY 4

MUSIC/EVENT

Nobunny’s 9th Annual Easter Egg Bash

Can you imagine performing in a stinky, sweaty bunny mask for nine-plus years? Well, I guess you still wouldn’t have it as bad as Buckethead. Nobunny is garage-punker Justin Champlin, and this bunny shows no sign of giving up his floppy-eared head anytime soon, going so far as to stand in for the Easter Bunny himself at today’s Easter Egg Bash. Known for singing pants-less and drunk — often into a microphone shaped like a carrot — Nobunny puts on a show for those of us who like a little spectacle with our music. Go ahead and give a Muppet a hug — just don’t get any yolk in your hair. (Peter Galvin)

With the Bananas, Mayyors, Rantouls, Splinters, and Sir Lord Von Raven

8 p.m., $10

New Parish

579 18th St., Oakl.

(510) 444-7474

www.thenewparish.com

 

MUSIC

Hot Air Music Festival

Easter in San Francisco may mean hunky Jesi and egg-rolling nunnery, but we contemporary music lovers will be squealing “Good Lord” all day (polymodally chromatically, of course) at the San Francisco Conservatory of Music’s Hot Air marathon. Three wide-eared conservatory graduates — Matthew Cmiel, Andrew Meyerson, and Carolyn Smith — have put together eight straight hours’ worth of rare live aural pyrotechnics, including works by lionized off-beaters Steve Reich, Gyorgy Ligeti, and Lou Harrison, as well as wonderful newbies Mason Bates, Missy Mazzoli, and Luciano Chessa. Add in puppets, the Picasso Quartet, and local bass clarinet duo SQWONK, and that bunny is cooked. We’re stayin’ indoors. (Marke B.)

2–10 p.m., free

SF Conservatory of Music

50 Oak, SF

(415) 864-7326

www.hotairmusic.org

 

MONDAY 5

EVENT/FILM

“SFFS Film Arts Forum: Tales from Terror Town”

The premiere of Peaches Christ’s feature-length directorial debut, All About Evil, is just around the corner, and to whet everyone’s appetite for the nail-polish-hued blood, Christ herself — a.k.a. Joshua Grannell — is on hand tonight to discuss the perils and pleasures of making a movie with more talent (including Mink Stole, Natasha Lyonne, and teen idol Thomas Dekker) than money. Christ will be joined by the Butcher Brothers, whose new movie, The Violent Kind, is a biker bloodbath. (Johnny Ray Huston)

7 p.m., $8 ($5 for members)

Mezzanine

444 Jessie, SF

(925) 866-9559

www.sffs.org

 

TUESDAY 6

EVENT/VISUAL ART

“The Roadmap to Extinction: Are Humans Disappearing?”

Every once in a while, a wise man I know will tire of the endless discussion about the impending death of Earth. “It’s not going to be the end of the planet; it’s just going to be the end of us!” he is wont to exclaim. Truly, our global importance wanes as our carbon emissions wax. This self-extermination is the subject of a photo exhibit at this info night–reception for the Global Justice Ecology Project, an organization that works on the topics of climate justice and forest protection. In a uniquely San Franciscan convergence, the night’s learning is going down at Good Vibrations — a store whose arsenal of procreation-inspiring implements might huskily whisper “no” to the photo exhibition’s pressing query. (Donohue)

5:30–7:30 p.m., free

Good Vibrations

1620 Polk, SF

(415) 345-0400 www.globaljusticeecology.com www.goodvibes.com The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Alerts

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alert@sfbg.com

WEDNESDAY, MARCH 31

Ecology Emerges


Join panelists Sam Schuchat (California Coastal Conservancy), Kristen Schwind (Bay Localize), and Harold Gilliam (SF Chronicle, SF Examiner) to discuss Bay Area-based experiments that shaped national and international ecological movements. The forum is part of the Ecology Emerges lecture series, a discussion series focusing on the history of Bay Area ecological activism.

6 p.m., free

San Francisco Main Library

Koret Auditorium

100 Larkin, SF

www.shapingsf.org

THURSDAY, APRIL 1

CounterPULSE Artists in Residence


See new works from CounterPULSE’s Winter 2010 artists in residence. Kendra Kimbrough Barnes examines the effects of incarceration on families in a dance piece and Jose Navarrete and Violeta Luna address the ill effects of water privatization in a production that includes dance, performance art, music, installation, and video.

8 p.m., $15–$20

CounterPULSE

1310 Mission, SF

(415) 626-2060

FRIDAY, APRIL 2

Women in Black vigil


Join this weekly vigil to protest Israel’s occupation of Palestine and continued U.S. funding of the Israeli Army. Make a statement that Jerusalem should be a shared capitol for all people of Israel and Palestine by calling or faxing the Consul General at the Israeli Consulate at (415) 844-7501 or fax (415) 844-7555.

Noon, free

Bancroft at Telegraph, Berk.

(510) 548-6310

SATURDAY, APRIL 3

Pacific Center community meeting


Attend an informational meeting about the future of the Pacific Center, the third-oldest LGBTQ Community Center in the U.S. as its supporters consider options for relocating in July when their landlord plans to sell the building they’ve occupied since 1973. Protesters of the center will be present to demand that the Pacific Center offer more services to homeless people in the queer community.

11 a.m., free

Pacific Center

2712 Telegraph, Berk.

(510) 548-8283

Plant your activism


Attend this roundtable discussion about the use of plants and chemicals from around the world, prohibited or not, and how they have influenced cultures past and present.

1:30 p.m., free

Long Haul

3124 Shattuck, Berk.

(510) 540-0751

SUNDAY, APRIL 4

Homes Not Jails rally


Make a statement that people’s rights should come before property rights at this rally and march to a building takeover site in support of seizing vacant houses for people living on the streets.

Noon rally, march to follow; free

Rally at 24th St. at Mission, SF

www.homesnotjailssf.org

TUESDAY, APRIL 6

Save Emeryville Child Development Center


Attend this Emeryville city council meeting where members will vote on the proposed plan to outsource ECDC’s services and fire all of ECDC’s teachers. ECDC has been providing children four months old to pre-K with a state-subsidized neighborhood program for 31 years.

6 p.m., free

Emeryville City Hall

1333 Park, Emeryville

Contact members at (510) 596-4376 2

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Lawsuit could expose SFPD-ABC collaboration

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Imminent legal actions against San Francisco, its Police Department, and the California Department of Alcohol Beverage Control could reveal whether a pair of undercover agents went rogue in harassing nightclubs and aggressively busting parties or whether they were acting at the direction of top officials.

Attorney Mark Webb – whose work on a racketeering lawsuit against the policing agencies was the subject of cover stories in the Guardian and the SF Weekly – told us that on Monday, he plans to file that racketeering claim against the city (which will then become a lawsuit if the city rejects it, as it routinely does) and a related lawsuit in Superior Court involving the rough, unnecessary arrest of bartender Javier Magallon and harassment of Mike Quan, owner of The Room, Playbar, and Mist. Narrated surveillance video associated with the case was posted on YouTube yesterday.

Central figures in the lawsuit are SFPD Officer Larry Bertrand and ABC agent Michelle Ott, plain-clothes partners in an aggressive crackdown on nightlife over the last year. Webb said he plans to immediately seek police records and communications and to depose Bertrand and Ott to try to determine who ordered the crackdown, why, and when higher-ups became aware of their aggressive tactics.

“I would like to know if Bertrand is being sent places or if he’s just a lone wolf, and the CADs will show that,” Webb said, referring to computer-assisted dispatch reports that track activities and communications involving individual officers. Those and other records that Webb can access through the court-ordered discovery process could finally shed light on what’s behind the crackdown.

Webb had sought to have Mayor Gavin Newsom mediate this dispute before the cases were filed, saying the racketeering lawsuit will be expensive and divisive, and all the nightlife community really wants is an end to the harassment and assurance that it wouldn’t restart once the media attention passes. And Webb did have conversations with top Newsom aide Mike Farrah and with Nicolas King, Newsom’s liaison to the SFPD, but neither indicated that Newsom was willing to get personally involved. Newsom spokesperson Tony Winnicker also told us Newsom preferred to let Police Chief George Gascon handle the matter.

So Webb said he now plans to move forward with litigation. “If they’re not answering the call at City Hall, let’s get into the arena,” Webb told us.

Webb is an experienced litigator who has won multi-million judgments and who started his career in New York City helping prosecute Racketeer Influenced and Corrupt Organizations (RICO) Act cases against the mob, and now he plans to use RICO laws against what he says is a city-state enterprise to interfere with lawful nightlife activities in San Francisco.

“Webb gets it. It’s a weird mentality, the really good trial attorneys, and Webb is that,” said attorney Mark Rennie, who has spent decades working with the city’s entertainment industry and has helped advise Webb on the case.

Among the parties involved in the RICO claim are those involved in Webb’s other lawsuit against the city, as well as Club Caliente, its owner Maurice Salinas, Azul, its owner John Bauer, New York nightclub owners Phillipe Rieser and David Brinkley, Vessel, and Siobhan Hefferman, who was arrested by Bertrand and Ott at a private party. Others may be added soon.

Great American Music Hall, Slims, and DNA Lounge also claim to have been harassed by the ABC and have been involved in several meetings that led up to Webb’s lawsuit, but they’re not taking part in the lawsuit yet, partially because they fear retribution from the ABC.

“I probably would have jumped in, but I don’t want to walk into a hearing suing the ABC,” Slims and GAMH general manager Dawn Holliday told us, referring to Slims’ April 1 appeals hearing stemming from noise complaint citations triggered by one particularly cranky neighbor.

DNA Lounge, which has regularly documented the harassment campaign on its blog, decided to wait with the other two clubs before joining the suit. “We thought it was important to stand as a community and there were too many venues that were worried about retribution from the police or ABC if they joined the suit,” DNA general manager Barry Synoground told us. 

But Synoground said he’s anxious to see what Webb’s suit unearths, noting that Bertrand and Ott haven’t been visible in recent weeks as complaints against them went public, and saying he thinks Commander James Dudley and other top SFPD brass are really driving this crackdown: “We may have taken one of his tools off the street, but he’ll find another.”

Synoground said most SFPD officers are very professional and they have no problem working with them, but Bertrand and Ott have unnecessarily and aggressively interfered with their business. Holliday goes even further in praising the SFPD, saying she has a good relationship with Bertrand and everyone in Southern Station, blaming her clubs’ troubles on the ABC and the unwillingness of top city officials to stand up for them.

So the internal SFPD communications, and those between the city and the ABC, could prove revealing. “On April 17, I can send out subpoenas to the cops and I can take Bertrand’s deposition 30 days from Monday,” Webb said, citing statutory response periods.  

Webb expressed confidence in his case and said the police shakedowns and harassment fit well with the RICO statute, which has been used against a wide variety of enterprises over the years, including government agencies.

In fact, an American Bar Association book, “Civil RICO: A definitive guide,” by Gregory P. Joseph, seems to support Webb’s confidence. “Any person injured in his business or property by reason of a violation of Section 1962 of this chapter may sue therefore in any appropriate United States district court and shall recover threefold the damages he sustains and the costs of the suit, including reasonable attorney fees.’ This simple sentence has generated an avalanche of litigation,” the book begins.

It makes clear the intent of Congress that RICO laws “shall be liberally construed to effectuate the remedial purposes” of targeted individual seeking protection from harassment. A 1981 U.S. Supreme Court ruling (U.S. vs. Turkette) made clear even legitimate enterprises such as government agencies could be sued, and a 1994 ruling (NOW vs. Scheidler) settled a long dispute over whether the racketeering needed to be economically motivated, finding that it doesn’t.

Racketeering was defined by Congress as simply committing any of a long list of “predicate acts,” which include violence or the threat of violence, kidnapping (including false arrest), extortion, physical interference with business, malicious prosecution, and abuse of authority, all of which Webb says apply in his case. He is also reviewing the Guardian’s Death of Fun coverage from the last four years to find more examples of predicate acts involving the SFPD.

The hardest part of proving his case could be to show that it interfered with interstate commerce, although Webb said that’s met by efforts by Bertrand and Ott to prevent Rieser and Brinkley from transferring a liquor license from New York. But “Civil RICO” also said caselaw has established that “RICO requires no more than a slight effect upon interstate commerce,” citing the 1989 case U.S. vs. Doherty.

Like many who have had run-ins with Bertrand and Ott, Webb said he’s anxious to see what he finds in discovery: “What’s fascinating about this is you can uncover the whole system.”

Video game review: “Yakuza 3”

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By Peter Galvin

Yakuza 3
(CS1 Team, Sega)
PS3

Yakuza 3 is a Japanese import title that recalls a time when our game consoles were dominated by similarly wacky culture-clash experiences instead of the American-made games that dominate the charts today. In the late 90s, it seemed every other game released was from Japan, and the bumping and grinding of East meets West was a large part of the enjoyment of these games. A game from this era that springs to mind is 1999’s Shenmue, the story of a Japanese boy setting out to avenge his father’s death. It was largely story-centric, free-roaming and often criticized for encouraging players to bask in the mundanities of modern Japanese life.

Well if you weren’t a Shenmue fan, steer clear of Yakuza 3, because the game offers another chance to experience an incredibly foreign culture by engaging in such daily Japanese life-activities as batting practice, blogging, mahjong and beating the crap out of Tokyo gangsters. You play as Kazuma Kiryu, ex-Yakuza who now tends to a group of orphans in Okinawa, and who is thrust back into the lifestyle when a Yakuza land deal threatens to destroy his orphanage. With more twists, betrayals and “are they or aren’t they dead”s than a weekday soap, the story could have sagged under the pressure but instead remains surprisingly complex. It’s Yakuza 3’s strongest feature.

However, Yakuza 3 is also reminiscent of Sega’s past action titles in its gameplay department: clunky movement, lots of loading, and fight sequences that more than anything recall 1991’s Streets of Rage. It also has a knack for interrupting the seat-of-your-pants thrills that make the story so compelling by forcing you to spend nearly as much time bandaging boo-boos at the Okinawa orphanage as you do kicking butt. If it weren’t for its thoroughly cinematic feel and a perspective that is wildly different from anything else on the market right now, I’m not sure Yakuza 3 could hang with triple-A games like Grand Theft Auto or Mass Effect, but in this instance the well-written story and sheer amount of stuff to do make it a worthwhile package.

Japanese avant-garde, Tropicalismo, and North Korean ideology — onscreen at SxSW

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Just as Downtown 81 is worth watching for its live DNA footage, the Japanese avant-garde music documentary We don’t care about music anyway… is worth a look for the five minutes of two-piece noise rock band Umi No Yeah!. The boy/girl duo jams on a trash-filled beach in Tokyo- — he bent over an old Casio and drum machine and her flailing in a silver body suit while thrashing on a blown-out guitar. The song begins in a swell of noise and ends with an intoxicating dance groove and the girl shed to a polka-dot bikini bottom. The rest of Cédric Dupire’s and Gaspard Kuentz’s documentary intersperses the John Cage-like practice of various male musicians with Koyaanisqatsi-like clips of Tokyo’s industrialized megapolis. Interesting reinterpretations of instruments are revealed — a human heart gets used as a signal and the cello is reclaimed from the bourgeois — but it’s the bikini that distorts the dryness usually associated with avant-garde music.

Beyond Impanema will be fun for anyone who’s still naive to Tropicalia music. Guto Barra’s film has a rich blend of live footage and interviews with the originators from the late-1960’s movement, but for those already convinced and obsessed, it provides little more than a Wikipedia-type history gloss with cool YouTube-like clips. Your enjoyment depends on how difficult it is to find those clips — the ones of Carmen Miranda and Os Mutantes being some of the best — and how much you’re interested in hearing about the import of Tropicalia to America via David Byrne and Arto Lindsay. I could have done with a little more rigor and a little less CSS, Bonde Do Role, and MIA, but because of the great Tom Zé interview three-quarters through, I can’t complain.

North Korea is disturbing. Everyone from CNN to Vice Magazine has revealed this fact with video coverage from inside the Hermit Kingdom. In Red Chapel, Danish journalist and film director Mads Brüger takes this realization a step further by exposing the ideological insides through comedy. Accompanied by two Danish-Koreans — one disabled, the other sumo-wrestler fat — Brüger convinces the DPRK to not only let them into their country but also welcome and embrace them with an open, breast-filled hug that only a desperate, lonely mother could provide. The result is both terrifying and beautiful: blinding naïveté and endearing sincerity get exposed via irony and socio-political concern. Red Chapel goes beyond the pointed-finger approach of “OMG, look at those N. Korean crazies and their anti-US terrorist campaign” and into a genuine, individualized concern that offers a priveleged glimpse into the contradictions of both Cold War-retained communism and post-modern democratic capitalism.

Think About Life and dance real hard

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A quality, happy-wild dance band like Think About Life—playing Fri/26 at Bottom of the Hill— is a gem to be treasured, or as the band themselves might say, “a pearl in my heart” or “the golden seashell in my dreams.” No matter how you quantify your sacred jewels, you had better put them deep in your fifth-pocket or that shit’s gonna fly out when the beat starts– arms and legs automatically doing half-cartwheels on the dance floor. 

Hailing from Montreal, Think About Life is a four-some of adorable nerds who don’t just come out of their shells onstage, they bust out, sending bits of energy and bedazzled hearts into the crowd for a set that will melt any and all dance-related inhibitions. Their latest album, Family [Alien8 Records, 2009] is jammed with front-man Martin Cesar’s bright vocals, hard bass beats and catchy melodies that race, skip rope, and double-dutch. 

 

I particularly enjoy the track “Sweet Sixteen” and its super geeky video. Pay close attention to bassist/vocalist Caila Thompson-Hannant’s sexy dance moves— looks quite similar to the show my aunt recently put on at a family wedding. Hotttie! 

<\p>

 

Think About Life

w/The Heavenly States and Kill Moi

Fri/26, 8:30pm, $10

Bottom of the Hill

1233 17th Street, SF

www.bottomofthehill.com


From Russia with … mutants?

0

Metro: 2033

(4A Games, THQ); Xbox360, PC

GAMER Ukrainian developer 4A Games is a minnow in an industry dominated by krakens, so it’s heartening to see a small, Old World studio deliver engrossing product in the form of Metro: 2033. Based on a novel by Russian author Dmitry Glukhovsky, Metro takes place in a postapocalyptic future. Nuclear winter has driven the population of Moscow underground, into the city’s vast subway system, and the survivors are beset from all sides by Communist fanatics, neo-Nazis, and bloodthirsty mutated beasts.

4A’s homebrewed game engine is a little rough around the edges, but it does an impressive job rendering the junk-strewn, densely populated Metro stations and the haunting, pitch-black tunnels that connect them. The title makes good use of the source material to create a convincing, cohesive atmosphere, drawing on local voice actors and maintaining a firm commitment to first-person storytelling reminiscent of Valve’s Half-Life series.

The voice-acting is just one component of the game’s excellent sound design, which cannily reinforces the eerie atmosphere. Whether it’s the unexpected howl of a mutant leaping at your throat, the off-key singing of a Communist guard about to get a throwing knife in the back, or the cacophony of haggling voices that welcome you a populated station, the game’s auditory cues can be almost as important as its visual wizardry.

Working in concert, audio and video can make Metro: 2033 a terrifying experience indeed. During intermittent visits to the city’s bombed-out surface, the player must wear a gas mask. Spend too much time breathing Moscow’s toxic atmosphere, and you will soon notice your character’s ragged, wheezy breathing as the air filters start to give out. If you’re attacked while wearing the mask, it will crack, impairing your vision, and soon you’ll find yourself battling enemies while staving off asphyxiation, unable to see them through your cracked, foggy gas mask — not for the faint of heart.

Unique touches like the gas mask, the hand-powered generator that juices your flashlight, and the pneumatically-pumped silent sniper rifle add convincing weight to the game’s dystopian world. The latter is particularly useful due to the game’s heavy emphasis on stealth — running and gunning through the Metro is a good way to get killed. This is partly due to a design decision, and partly due to the game’s wonky shooter mechanics. Some enemies require an exorbitant amount of ammo (which is doubly frustrating — ammo doubles as in-game currency), and it’s often difficult to tell whether or not a shot aimed at a fast-moving target has hit or missed. But these and other qualms are eminently forgivable in a first-time developer. Despite the game’s flaws, 4A definitely hits the target.

Endless hookup

0

arts@sfbg.com

MUSIC Where are the turntablist masters of yore? They’ve gone missing, replaced by the likes of the Hood Internet.

It’s true. The art of the hip-hop mix, once protected by the Skratch Piklz and the X-Men (a.k.a. X-ecutioners) and the Beat Junkies and Triple Threat, has returned to the province of the sound editors, just like in the early 1980s. The problem was the turntable itself. A painful lesson of the ugly aughts was to never trust technology. Hardware emerges, changes, and is destroyed according to consumerist tastes. The alchemical idea may be subject to manipulation by the likes of Steve Jobs, Rupert Murdoch, and Eric Schmidt, but it is eternal in its adaptability to any mechanical form.

So while scratch DJs take to message boards and cry over Panasonic allegedly discontinuing its Technics 1200 line (which turned out be a false rumor), rockists and electronic heads open their laptops, launch Serato and Reason software, and get to mixing. It’s not like those turntable masters aren’t missed, though. While they spun and cut soul, funk, and hip-hop with finely nuanced techniques, like 16th century woodblock cutters, the new editors and mashup artists skip stones across genres, leaving small ripples of pop delight that quickly dissipate.

It’s a different aesthetic, that’s for sure. The Hood Internet consists of Chicago-based musicians Aaron Brink and Steve Reidell. Both moved there after finishing college — Brink at the University of Michigan and Reidell at University of Wisconsin, Madison. Initially they formed May or May Not, a “noisy pop band,” as Reidell called it, and made beats on the side for rappers “you would have never have heard of” until producers like Girl Talk and Them Jeans inspired them to create the Hood Internet Web site in 2007. Using Acid Pro and Ableton Live, they flooded the Web with smart, imaginative mashups of the Shins vs. Crime Mob, and Jim Jones vs. Daft Punk. It was a hobby: Reidell was an art director for Smart Bar, and the site’s array of cheeky collages is testament to his superior design skills. Brink is a clinical psychologist. They’ve performed around town and occasionally landed spot gigs on the weekend, but this spring marks their first extended national tour.

“I left my job earlier this year to be able to focus on the Hood Internet,” Reidell says. He’s calling from a video set in Chicago, and the resulting clip will be for “Chicago 3016,” a new single the Hood Internet produced with local MC Kid Static. It’s a reference to Chicago’s failed bid for the 2016 Summer Olympics. “There’s a great hip-hop scene here right now, from Kid Static to the Cool Kids and Kidz in the Hall. Freddie Gibbs, he’s from Gary, Indiana, but he’s basically Chicago since we’re such close neighbors.”

Unless they’re showing some hometown love — they recently mashed together buzzing Chi-town newcomers Bin Laden Blowin’ Up’s “Chi Don’t Dance” with Broken Bells’ “Citizen” — the Hood Internet tends to use radio hits, flipping recognizable raps over rock and dance tracks. Hence, The Hood Internet Mixtape Vol. 4 includes “Bring the Tabloid Sores,” where Chuck D.’s stentorian boom from “Bring the Noise” rides over Nosaj Thing’s eerie electronic remix of Health’s “Tabloid Sores.” Less brilliantly, it also includes “Swaggin’ Out,” which pairs Soulja Boy’s muttering boast from “Turn My Swag On” with Joe Jackson’s smooth jazz-pop “Steppin’ Out.” “There’s a handful of irony in what we do. The mashup itself is an ironic form of music,” Reidell says. “We live in an age where anyone can do it if you’ve got Garageband and download some a cappellas.”

The Hood Internet operates in a pop context. It isn’t simply plundering black music for source material and reshaping it for white hipsters. Collected into the ongoing Hood Internet Mixtape series, these sounds represent how much of the audience, black and white, consumes music today. To the duo’s credit, their approach is more innovative than the hordes of mixtape DJs that artlessly smack Lil Wayne “exclusives” together with little care for flow or context, or even the old-school jocks who scratch and blend like it was still the ’90s. But these tracks also demonstrate how hip-hop has been reduced by much of its audience into a series of sugary sensations — again, the skipping stones analogy. It’s music for partying, getting laid, and working out at the gym, not for intellectual exploration. You can’t blame the Hood Internet’s clever and innovative response for the current pop miasma, though.

“In recent months I’ve digested the new Freeway & Jake One album, Pill’s 4180 mixtape and Freddie Gibbs’ mixtapes as intensely as the CFCF and Caribou album,” Reidell answers when asked if he takes hip-hop seriously. “That said, a lot of pop music — and a lot of hip-hop falls into that being that it’s popular — is disposable. It’s not because it’s hip-hop, it’s because a lot of pop music is disposable. The Hood Internet mixes a lot of that stuff. But while we might mix Gucci Mane one day, we’ll mix a really thoughtful Anti-Pop Consortium track the next day.

“I think there’s some value to it because it’s introducing people to things they might not otherwise have heard,” he continues. “It’s time-stamped to a certain degree, and it’s for partying. But there’s value to that, too. People like to have a good time.”

THE HOOD INTERNET

With Tobacco (of Black Moth Super Rainbow) and the New Slave

Sat/27, 10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Past, present, future

0

arts@sfbg.com

MUSIC Am I the only one who feels an overwhelming sensation of near implosion when listening to Flying Lotus? I’m not talking about Steven Ellison’s crackling, low-end production that leans on off-kilter percussion while swerving on warm synth melodies like the late great J Dilla tipping on trucks (although that liquidic soul is mad electrifying too). Ellison also summons this other lunatic style that seeps into my android brain right when I least expect. It’s a sort of smattering mercury-noise that builds to the point of maximum intensity and then falls away suddenly, disclosing a clearing of purplish-orange haze.

All that cyberkinetic production, however, works in tandem. Ellison’s gift is not so much that he can shock and awe with singular frenetic beats, but that he can craft a holistic mood that engages, holds, and in the thick of its hypnotic momentum, casts an entrancing spell. I’d make the case that the effect is a movement of dislocation and reembodiment, parallel to the transcendental objectives behind experimental forms of both spiritual and space jazz recorded in the late 1960s and ’70s. There’s no question that Ellison channels the celestial blood of Alice Coltrane (his great-aunt and perhaps greatest muse) in his testament. And just as those avant-garde jazz legends made headway finding musical freedom within intergalactic space-ways (the infinite within), Ellison charts something of a fractured spatio-temporal exploration himself.

I’m going to take a leap (if you will allow a journalist such an experiment) and tentatively pretend that the titles for Fly Lo’s records map the spiritual blueprint shaping his music. We’ll see if we can make some progress with this approach.

Ellison’s first full-length record, 1983 (Plug Research, 2006), marks the temporal origin of the 27-year-old and a return to a certain aesthetic sphere of possibilities. Ellison graces this effort with video game bleeps and zaps, that stark retro-futuristic sound of 1980s sci-fi film and monstrous joystick machines. But the drenched robotics nourishing “Massage Situation” and the warped sonic bits that weave through arresting drum programming in “Vegas Collie” don’t mine nostalgia. Instead, Ellison recontextualizes familiar sounds in magnetic ways, breathing life into vacuous drones from the past. History is revived to reimagine the future and overlay a richness of sensual value onto the present.

In 2008, Flying Lotus made ground with Los Angeles (Warp), a pioneering effort that won the ears of hip-hop heads, pitch-forking indie rockers, and electronic bass fiends/geeks alike. The record seems to have quickly become one of those pivotal works of art that serve as a reference point for nearly everything new school in electronic music. And Los Angeles, the city itself, the last stop on the New World’s burdened journey for Manifest Destiny, has also become such a symbolic environment for today’s musical wanderers. It’s a city of tense contradictions: endless opportunity and suffocation, cosmopolitan diversity and isolating segregation, an artificial neon-lit haven placed in a sun-choked desert by the sea. It’s not so different perhaps from that Old Word paradise mucked with broken dreams — Jerusalem. Such is the spatio-origin and milieu for Flying Lotus’ second full-length, as we hop on a sizzling “Camel” and “Melt!”; disintegrate into fuzz-drenched traffic on “Orbit 405”; and open our new metallic bodies in the whirlwind swamps around a “Parisian Goldfish.”

The third record on the horizon, Cosmogramma (Warp), set for release in the U.S. on May 4, breaks away from particular spatio-temporal signifiers to reach for the universal. Ellison baptized the record as a “cosmic drama,” and the title itself suggests nothing less than a grammar of infinitum. The single “Computer Face//Pure Being” is perhaps the best example yet of the antagonistic force that fuels Flying Lotus’ adventurous work. It incites a centrifugal experience — perilous and transformative — out of malfunctioning and utterly animate computer jazz. Yes, the age of machines with soul has dawned.

FLYING LOTUS

With Kode9

Sat/27, 9 p.m., $17.50

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

The new War on Fun

46

news@sfbg.com

For several years, the Guardian has been running regular stories chronicling what we’ve dubbed the Death of Fun, a trend of official crackdowns and shakedowns on people who throw parties and festivals in San Francisco. In the last year, that trend has started to morph into an often brutal War on Fun, with a growing list of atrocities and casualties associated with this overzealous new approach to killing the city’s entertainment industry.

Why this is happening is baffling to those most affected: nightclub owners and workers, party promoters, DJs and VJs, fundraising activists, and people just out to have a good time without being harassed by a cop. But in recent months, we’ve learned much more about what’s happening and who the main perpetrators are.

Two undercover enforcers have been at the center of just about every recent case of nightclubs or private parties being raided without warrants and aggressively shut down, their patrons roughed up (see “Fun under siege,” 4/21/09) and their money, booze, and equipment punitively seized “as evidence” (see “Police seize DJs laptops,” 11/24/09) even though few of these raids result in charges being filed in court.

Officer Larry Bertrand of the San Francisco Police Department’s Southern Station and Michelle Ott, an agent with the California Department of Alcoholic Beverage Control, are plainclothes partners who spend their weekends undercover, crashing parties, harassing disfavored nightclubs, brutalizing party-goers, and trying to send the unmistakable message that they’re in charge of San Francisco nightlife. Neither responded to our interview requests.

Isolated incidents of intolerant cops and NIMBY citizens who repeatedly complain about certain clubs or festivals has been a problem for years (see “Death of fun,” 5/24/06 and “Death of fun, the sequel,” 4/24/07). Top city officials have opted to cancel events such as Halloween in the Castro District rather than try to manage them better, and the nightlife community has tried to organize in defense of its interests (see “Fighting for the right to party,” 7/1/08) with mixed results.

But the personal War of Fun by Bertrand and Ott seems to have galvanized and united the nightlife and festival community like never before, leading to the creation of a new California Music and Culture Association and prompting threats of a federal lawsuit alleging the ABC-SFPD collaboration is a racketeering scheme designed to harass, disrupt, and extort people engaged in otherwise lawful activity.

The myriad horror stories associated with Bertrand and Ott have also finally begun to draw attention from the Mayor’s Office, which has quietly pushed the SFPD to rein in Bertrand and change its policies on raiding parties and seizing property. State Sen. Mark Leno also has gotten involved, brokering a March 12 meeting between club owners and Steve Hardy, director of ABC (which, in addition to cracking down on nightclubs — see “Busting bars,” 6/23/09 — has recently announced a campaign against fruit-infused liquor).

“They were going to see how they could unwind this a bit,” Leno told us, adding that he was “infuriated” by stories of abusive treatment of the public. “The fear that it spreads through the community is unacceptable.”

The question now is what Hardy, Mayor Gavin Newsom, and Police Chief George Gascón — who has ordered some crackdowns and wants greater authority to discipline problem officers — is going to do about it.

 

CHAOS AT A STUDENT PARTY

It was after midnight on Jan. 31 when Krystal Peak, a journalist with San Francisco State University’s Golden Gate Xpress, received a call from her managing editor. There was a commotion and a swarm of police cars outside a student party at Seventh and Minna streets near her home, and she was asked to investigate.

She came upon the aftermath of a melee between police and partygoers that had taken place after a fundraising event at a SoMa warehouse art space was upended. The benefit was organized to raise legal funds for students who staged a building occupation at the University of California at Berkeley, in defiance of budget cuts.

The event was clearly chaotic, and it’s hard to sort out exactly what happened and when. City officials say the partiers were throwing bottles and firecrackers at the police; people at the event say the cops started it all.

But the tales partygoers tell about the behavior of Bertrand and Ott, the undercover enforcers, are similar to a series of other stories involving the pair, stories published in the Guardian and elsewhere.

There had been multiple arrests by the time Peak arrived on the scene. Numerous witnesses asserted that things were going along without incident until a fire marshal arrived in response to a complaint, and in short order, two officers who’d been there in plainclothes for hours — Bertrand and Ott — began shouting, tackling people, and kicking in doors.

Police Chief George Gascón acknowledged that the department has been targeting underground parties. “We get a lot of resident complaints about it,” he said in a recent Guardian interview. “We’re talking about a lot of the underground parties, or the parties where the promoters are exceeding their authorities to a number of people.”

Several hundred attended this particular party. Of the 11 people arrested, eight were either detained or cited and released. None faced underage drinking or drug charges. At least five were charged with resisting arrest. One individual was charged with vandalism, two were charged with battery on an officer, and two detained for being drunk in public.

Peak began photographing the scene: busted-up chairs, uniformed officers guarding the entrance, police cars everywhere. She zoomed her lens to capture the wreckage inside. None of the uniformed officers seemed to have a problem with her — but when she spotted the undercover officers with exposed badges, that changed.

The cops broke through the door, yelling. “They said, ‘This is an investigation, you’re not allowed to be here.'<0x2009> she said. “We told them we were with the press.” They threatened to arrest her.

Shortly after, the plainclothes officers crossed in front of her to an unmarked car. She took another picture. Bertrand, a tall guy with a shaved head, allegedly turned and grabbed her arm, and both officers shouted at her. “[Ott] said to me, ‘Your flash has impeded my investigation,'” Peak recounted. She was cuffed and arrested on the spot, and her camera was confiscated.

She was cited for obstruction of justice, but the charges were dropped. And she got her camera back — but says the SD memory card, where all the photos were stored — was missing.

“I flipped [the camera] open … and found the SD card was missing,” she said. She asked Bertrand where it was. “He said, ‘I don’t know what you’re talking about,'” Peak recalled. Bertrand, she recalled, then looked around at a group of officers watching the exchange, and announced, “This woman is refusing to leave. I’m going to have to re-arrest her.” Ott appeared, according to Peak, and insisted that there was no evidence the memory card had been in the camera in the first place.

“My camera will not ignite a flash unless there’s a memory card in there,” Peak explained. In the end, she left empty-handed — without photos of the undercover officers.

 

BUSTING DOORS

Earlier, when the party was in full swing, a 24-year-old California State University, Fullerton student visiting from Los Angeles says when the fire marshal entered, Bertrand flashed his badge, yelling at everybody to get out. “It was really aggressive from the get-go,” said the Fullerton student, who spoke on condition of anonymity because he had a pending legal case. “It’s very hard for me to describe the intensity to which this guy was busting down doors.”

Later, the young man from L.A. said, he was following people who left in a rush, and ran to catch up. “Shortly after, I felt a blow to the back right of my head,” he said. “My glasses flew off, and I was tackled to the ground. My forehead was being pushed straight into the ground and they were holding my hair. I kept repeating … please, I can’t see — I’m legally blind. I thought three or four officers were on top of me, and they were saying, ‘Fuck you, you little anarchist punk.'<0x2009>”

That’s when he said he felt a sensation like “a bunch of really intense bee stings on my left side, just above my hipbone.” He thought he was Tasered — and photos he showed us depict a skin burn. SFPD officers are not authorized to carry Tasers.

“It sounds like a stun gun, not a Taser gun,” Ken Cooper, a firearms and Taser instructor based in New York, noted when the incident was described to him.

When we shared the photos with SFPD’s media relations department, Lt. Lyn Tomioka noted, “I can tell you that we do not have any tool that would produce the type of wounds shown in the picture that you attached, or produce a stinging sensation.”

The L.A. visitor said he was delivered this explanation from an officer while in the holding cell: “One of your anarchist buddies must’ve had a Taser, ran over to you trying to get one of our officers, got you instead, and ran away.”

Cooper Brislain, a Web developer from Santa Cruz, told us his iMac was destroyed that night. A friend of the owners of the art space, he was there doing video mixing for the party, he explained. After the trouble started, he began carrying his computer and mixing equipment toward the door. “The uniformed officers were going to let me go. I told them, ‘I just came here to perform.’ They seemed OK,” he said. Then he encountered Bertrand.

He … grabbed me by the collar, led me over toward the wall, and sat me down,” Brislain told us. He says Bertrand and Ott seized his computer. Brislain says no charges were filed against him.

The morning after, he found that his computer had been smashed up. His friends found it in pieces at the bottom of the stairs. To this day, he says he has not been able to retrieve his ID, which was seized that night. “I tried calling [Bertrand] on his extension to leave a message and never heard back,” he says. “They told me he probably wouldn’t return voicemails.” The District Attorney’s Office has a different perspective. D.A. spokesperson Brian Buckelew said the partygoers were drunk and “going nuts on police.” People were throwing firecrackers, he said. “It obviously got out of hand, and people were throwing bottles at police,” he said.

The student from L.A. allegedly shoved a female officer, Buckelew said. According to the report, he said, police officers were taking someone into custody, and he tried to pull them free.

Nevertheless, even Chief Gascón agrees that it’s not okay to destroy someone’s personal property. “If in fact the allegations were proven to be the case that an officer took somebody’s laptop and threw it down the stairs,” Gascón told us, “that would be inappropriate, and that officer would be sanctioned accordingly.” He noted that he met with an attorney from the Electronic Frontier Foundation about a recurring trend of officers — Bertrand in particular — seizing DJ laptops at underground parties. “We’ve met with them and we’ve agreed to actually tighten up the protocols in how this would be handled,” Gascón noted.

 

A RICO SUIT

The list of local nightclub clubs that have been recently targeted by Bertrand and Ott or subjected to ABC sanctions is long. It includes Great American Music Hall, Slim’s, DNA Lounge, Mist, Whisper, the Room, Vessel, Azul, Butter, and Club Caliente (which closed down after its mostly Latino customers were scared away by repeated raids).

“Using the now familiar pattern and ruse of ABC authority, these raids have been without warrant and without probable cause, under the pretext of finding liquor violations,” attorney Mark Webb wrote in a claim against the city, describing the harassment of Caliente owner Maurice Salinas and later adding, “Despite numerous raids, the invading officers [Bertrand and Ott] managed to ‘uncover’ a single infraction: one customer used his brother’s ID card, claiming he was over 21 to gain entry. For this reason, Mr. Salinas was cited and fined, bullied, intimidated, and yelled at on the spot.”

Webb said such behavior isn’t legitimate police work, but unlawful harassment. In fact, this experienced litigator said it’s far closer to the shakedowns and extortion rackets familiar to him from the start of his legal career in the late 1970s prosecuting organized crime cases in New York City.

That’s why he’s threatening to bring a novel lawsuit against the city and ABC under federal Racketeer Influenced and Corrupt Organization (RICO) Act, a law designed go after the mob, but which has since been adapted to target entities ranging from the tobacco industry to the Los Angeles Police Department.

Webb told us that interference with legitimate business operations, such as running a nightclub, is the essence of RICO suits. As part of the case, Webb plans to submit a surveillance video that shows Bertrand kneeling on the neck of bartender Javier Magallon from The Room and twisting his arm. Webb gave us a copy of the video.

Another element of making a RICO case is the use of intimidation and retaliation against those who complain — which was central to a March 17 SF Weekly story about promoter Arash Ghanadan being inappropriately singled out for arrest by Bertrand as retaliation for filing a complaint against the officer with the Office of Citizen Complaints.

Webb says he has a strong case that he intends to file soon, but that most of his clients just want the SFPD to rein in Bertrand and stop facilitating ABC actions. “I want to have a sit-down with Gavin Newsom,” Webb said. “I am calling on Mayor Newsom to come in and mediate what would be an expensive, divisive fight that will generate national interest … I think this thing can go way quickly without litigation.”

Newsom press secretary Tony Winnicker, who said Newsom has brought concerns about Bertrand to the chief’s attention, didn’t immediately embrace Webb’s offer. “The mayor would rather leave it to the chief,” Winnicker said.

So the question for Gascón is whether he’s willing to take on the cowboy cops within the SFPD’s ranks. After all, Bertrand is also on the San Francisco Police Officers Association Board of Directors.

The nightlife community is organized like never before and plotting its next move in fighting a war it didn’t initiate and barely understands. Whether that war continues now seems to be a question for the party crashers and their supervisors.

Snap Sounds: YACHT

0

YACHT

The Afterlife

(DFA)

YACHT is to the river as an Oreo cookie is to a tall glass of milk– fully dunked and soggy. The newly released video for “The Afterlife” is alllll about the Portland electro-pop duo gettin’ baptized and cleansed. River baptisms, bathtub renditions, slow-mo and even reverse baptisms. Were they naughty?

I always thought this religious endeavor was all about regaining purity, but they look so innocent in their draping white robes, complete with fancy gold accents, water dripping down their thin noses. According to my trusty ol’ friend, Wikipedia, “Lutherans confess that baptism “works forgiveness of sins, delivers from death and the devil, and gives eternal salvation.” Regardless of what you think remains to be discovered in the afterlife, know that these two are soaked in preparation. 

 

In the wake of March 4, education battles continue

Two weeks after protests against cuts to education filled Bay Area streets (and one freeway) on March 4, employees in the public-education sector are still engaged in a fight against budgetary rollbacks. But it’s an uphill battle, as was made clear at a briefing organized by United Educators of San Francisco at City College of San Francisco March 18.

At El Dorado Elementary School in the Bayview, 11 of 15 teachers were issued pink slips, according to elementary school teacher Megan Caluza (featured in the video above). While this doesn’t mean all 11 teachers are on their way out the door, it does mean that none of them knows for sure whether there’s a guaranteed job in the school district in the coming year. Since the budget cuts hit, Caluza says she’s been spending just as much time “fighting to teach” as she has in the actual classroom.

Elementary schools aren’t the only places being hit hard. Statewide, more than 23,000 layoff notices were sent to K-12 teachers recently, with no one knowing for sure which recipients will stay or face job losses.

“What is more important to you, corporate tax loopholes, or teachers in your daughter’s classroom?” asked Dennis Kelly, president of United Educators of San Francisco. “A college education for your son to get ahead, or tax breaks for the wealthiest Californians?”

Meanwhile, community colleges throughout the state face fee hikes even as classes are being cancelled, summer programs are being scaled back or eliminated altogether, and staff faces layoffs and furloughs. According to AgainstCuts.org, a group that was instrumental in organizing March 4 activities, the student population at California community colleges is comprised of more than 50 percent women and people of color, with around 80 percent of students working while taking classes. Blows to this educational system impedes opportunities for career advancement for the nearly 3 million community college students, which is bad news not just for students with lifelong dreams and high hopes, but California’s economy as a whole.

On Monday, March 22, more than 3,000 students, faculty members and others from City College of San Francisco plan to hold a march and rally in Sacramento to highlight the impact of cuts to community colleges. Around 62 buses will be leaving SF early in the morning to arrive in Sacramento for a 10 a.m. rally on the steps of the State Capitol Building.

Joining students and teachers at CCSF yesterday was a representative from Californians for Democracy, an organization that is pushing a November ballot initiative, authored by University of California Berkeley Professor George Lakoff, that would change the two-thirds majority vote requirement for the state Legislature to pass a budget or raise taxes to a simple majority vote. While the initiative is still circulating petitions to gather signatures, it seems to have found allies in the growing movement against cuts to education.  

March 4 represented “the first time we’ve ever done an all-education action,” Joan Berezin, a faculty member at Berkeley City College for 20 years, told the Guardian. “We’re trying to build the broadest coalition possible.”

The incredibly filthy truth

0

arts@sfbg.com

MUSIC Since Xiu Xiu’s Fabulous Muscles came out six years ago, the indie press circuit has settled in to give the group a long run of 4-or-5-star, 7.5-to-10-point, and good-to-very-good ratings. It’s the 2000s’ equivalent of 1970s major label benign neglect, which allowed nominally successful artists to go weird in plain sight.

Xiu Xiu has never not been weird, but it’s a deep and personally honest weirdness that, while acknowledged, is rarely unpacked. Critically, it simply has room to exist, but listening to fans, it seems like this band could save your life. Though they are clearly pop — something band leader Jamie Stewart insists on — dusting off the surface reveals a network of underground reference points that actually have the power to shock the middle class.

If those terms — underground, middle class — seem old-fashioned, that’s because they have the potential to describe life as it’s lived, something Xiu Xiu is clearly going for. These terms might be misapplied to indie rock, but Xiu Xiu’s decadence is a moral one beneath the veneer of self-indulgence. Bright red stickers on Xiu Xiu jewel cases contain descriptions of the charitable organizations that the band contributes part of the profits to, not critical plaudits.

Though Xiu Xiu’s personnel fluctuates, Stewart works best with a female counterpoint. Romantic partner Angela Seo has stepped up as muse and collaborator on the band’s latest record, Dear God, I Hate Myself (Kill Rock Stars). Inside, reference points speak not just to Stewart’s personal obsessions — and Xiu Xiu is nothing if not an intensely personal project — but also reveal what’s really at stake in songs that can seem comically self-loathing and also authentically therapeutic.

As with previous releases, everything that happens on Dear God, I Hate Myself can be unpacked from its poppiest song. To my ears, that’s "Chocolate Makes You Happy." It has many of the elements that make up the Xiu Xiu profile: there’s an outsize chorus, a combination of sturdy electronic beats and destabilizing live percussion, and lyrics that are simultaneously moving and outrageous. Seven albums in, Stewart’s breathy voice is still pushing lyrics like "Chocolate makes you happy/As you deign to sing along/When you thrust your fingers down your throat/And wash away what’s wrong," then pivoting seconds later to deliver something like "out of your mind with whoreishness, incredibly young, incredibly filthy."

Musically, Stewart is sticking with the influences he named years ago: Henry Cowell’s dissonant tone clusters and bisexuality, the Cure’s bedroom catharsis and ill-managed longing, the guilelessness of video game music. Equally important, though, are writers like Dennis Cooper and Peter Sotos, gay writers often categorized as "transgressive" for their fiction’s (though Sotos’ writing takes the form of metareportage of pedophilic crime) interest in distinguishing between fantasy and reality. The impulse seems like a moral one; it’s how they draw that line that gets attention. Sotos is certainly the more underground of the two — press photos of an earlier lineup had Xiu Xiu’s faces partially obscured by books, including Sotos’ 2000 Index — and his way of presenting the intolerable has a few less narrative safe-words than Cooper’s.

The reason Xiu Xiu exists, as Stewart has written on the band’s blog, is to be "blunt about awful shit" — awful shit that Stewart or his loved ones have experienced. The personal register distinguishes it from Sotos’ newsprint-stained writings, but both have a narrative technique easily mistaken for no technique, a kind of narrative edge-play. What makes the band so compelling and relevant and seemingly ill-understood is that they take the plunge into being ridiculous, outrageous, and over-the-top — labeling them "confessional" is selling them seriously short. Lyrics and music put the listener close to soiled underwear and civilian corpses, atrocities that take place in the family den or in Fallujah.

Talking openly and achingly about things painfully hidden acknowledges the manipulation and artifice of pop music and, in doing so, puts more faith in its power. Xiu Xiu inspires testimonials because their music creates a place for collective grief. As a result, their music’s catharsis is a personal and political one. And though not every listener has a need for it, in doing what it does naturally, the band takes indie rock snake oil and turns it into chocolate.

XIU XIU

With tUnE-YaRdS and Noveller

Sat/20, 10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Pool loops

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superego@sfbg.com

SUPER EGO “Don’t you think that scratching records might annoy the people who spent a long time in the studio making them?”

I’m snickering at a jaw-droppingly antiquated — yet actually quite relevant — video from 1983 titled “1st UK DJ to Mix Live on TV.” It features famous, fresh-faced turntablist Greg Wilson, gracefully fending off tin-eared questions from Tube program host Jools Holland while demonstrating to an antsy, angular-haired audience what this whole “mixing records” thing is about.

The scratching bit’s a hoot because Wilson — who recently emerged from an 18-year retirement and will be performing at Triple Crown on Friday — isn’t scratching at all. He’s merely cueing up the record, a simple act that draws gasps. “Well, that’s it, that’s the danger,” Wilson replies to Holland, poker-faced, his soft brown Afro unshaken. “But when a record’s been played in the club for a long time, people get a bit fed up hearing it, and it’s nice to hear it in a different way. And that’s why I kind of … play about with them a bit.”

Wilson goes on to blow post-punk minds by phasing on two — two — tables at once. Then he takes it to a whole other level by revving up his trademark, Steampunk-prophesying Revox B77 reel-to-reel effects machine, real-time sampling David Joseph’s Jheri curl-slick classic “You Can’t Hide (Your Love From Me),” filling out the back-end with sly loops and layering on psychedelic dub echoes. It’s a wondrous bit of analog theater that I imagine, in this “digital age” I keep hearing about, would cause the same kind of pop-culture rupture if played out on American Idol today.

Or maybe not so much. Two of the big nightlife media hooks of the past few years have been the disco revival and the vinyl resurgence — twinned digital-reactionary movements that recall the late-1990s hip-hop and soul crate-digging of hometown heroes like DJ Shadow and Ren the Vinyl Archeologist, a fruitful response to the CD reissue mania of that time. Every technology carves out an implicit niche for its own backlashes. Now, it swallows them too. Despite all the retro nostalgia, DJs need the Internet to get their mixes out and research rare tunes. Plastic and silicon moving in tandem — it’s a real mishmash.

Wilson, who spent his decks hiatus pursuing his production career, may still keep one hand on the vintage — that Revox B77 still travels with him — but he’s made no secret of his enthusiasm for new fad gadgets, and felt that with the simultaneous rise of disco re-fever and software hijinks, a comeback was due.

“I think it’s an exciting time,” he e-mailed me from Australia, in the midst of a bonkers world tour to support his latest compilation of rejiggers, Credit to the Edit, Vol. 2 (Tirk). “Some people pine for the old days. But great as they were, I don’t like to dwell on the past too much in a nostalgic way, but use it to inform the future. I like the way younger people, who didn’t directly experience the original disco era, are drawing influence from it, reshaping it from their own perspective here and now. For me, music — no matter how old it might be — is always alive and evolving, so I’m all for bringing it into a new context.”

Wilson made his name in the ’70s and ’80s by birthing the electro-funk movement in the U.K. (www.electrofunkroots.co.uk), which pipelined many hard-to-find American dance releases to British crowds, and he came of age in a world of DJ record pools — strategic vinyl-sharing cabals that hooked cash-strapped DJs up with record companies eager to get their releases heard. Record pool culture opened the doors for innumerable disco and funk edits: DJs wanted to sound unique, so they mixed (or had someone else mix) their own versions of hits, stamping them with an individual sonic imprint. Thus the hugely influential edit scene was born, paving the way for a spectrum of club remixes from genius and egregious.

No one handled edits quite like Wilson, whose pitch-perfect additions, stretches, and overlaps and live technique proved to be a bulletproof blueprint. The disco edit scene, a subsection of disco revivalism that also digs up more contemporary “lost” tracks, keeps looping back into view, the most recent fanatic attack including acts like Wolf + Lamb, Soul Clap, Les Edits Du Golem, and Tensnake, and labels like Rong, Wurst, and Ugly.

Our very own rulers of the local edit scene are King & Hound (www.myspace.com/garthgrayhound), a collaborative effort between two SF DJ legends, Garth and James Glass, on the Golden Goose label. The two met in the early ’90s at the notorious Record Rack music store and have lately released tasty versions of David Ian Xtravaganza’s kiki 1989 “Elements of Vogue” and Can’s space-groovy “A Spectacle.”

“I have quite a few of Greg’s records,” Garth told me over e-mail. “I recently rediscovered one of his early hip-hop records called ‘We Don’t Care’ by Ruthless Rap Assassins, which I bought in 1987!” Glass joined in, “I grew up in London listening to Greg’s mixes and I’d hear him out and about.” Both of them shake off suggestions of Wilsonian influence, however. “But we’re all doing the same thing — taking out the cheese and respecting the quality,” Glass said.

Wilson’s brilliant 2009 Essential Mix mix for the U.K.’s BBC1 radio found Massive Attack and Talking Heads sharing space with Geraldine Hunt and Chic, and reintroduced him to American ears (“I think that mix illustrates what I always strive for: connecting back but moving on,” he told me. “I was shocked at the overwhelmingly positive response.”) But to Bay players he was always in the loop, working with the invaluable Anthony Mansfield of the Green Gorilla crew and Qzen and even visiting Haight Street a few years back to feed his ’60s obsession.

I recently had the opportunity to explore a bit of the Bay Area’s record pool and disco edit past with DJ Jim Hopkins of the ubiquitous Twitch Recordings, and who currently spins eclectic sets at venues like 440 Castro and Trax. He’s no stranger to the edit scene, becoming one of the youngest edit contributors in the early ’80s to San Francisco disco and Hi-NRG record pool Hot Tracks and later, after Hot Tracks owner Steve Algozino passed away from AIDS, Rhythm Stick, helmed by Algozino’s protégée Jenny Spiers. (He also namechecks the Bay’s Disconet and New Wave-friendly Razor Maid.) Hopkins got his edit start as a teen in the ’70s, using the pause button on his dad’s tape deck to make his own edits, and soon grabbed professional attention. “Record companies wanted several versions of their records available for DJs, and record pools wanted to put out compilation issues for subscribers that featured unique takes on tracks, so I happily provided,” he told me. “It’s funny that those things are worth a fortune today.”

Hopkins just started an online organization called the San Francisco Disco Preservation Society (find it at www.twitchrecordings.com) to collect and celebrate Bay-centric edits and reel-to-reel mixes. “As for the edit scene now, there seem to be two kinds being produced. There are easy-sounding ones that just extend the good parts. Then there are more serious ones that take the original and make it into something new and more moody. I think that’s good for the future — because sometimes I have to laugh. Disco kids these days are pulling anything out of vinyl resale bins from 20 years ago and calling it ‘classic’ when most of it is crap. It was crap back then, too. Making it into anything different is doing it a favor, really.”

Read Marke B.’s full interview with Greg Wilson here.

GREG WILSON: CREDIT TO THE EDIT TOUR

Fri/19, 10 p.m.–4 a.m., $15/$20

Triple Crown

1772 Market, SF

www.triplecrownsf.com

HONEY SUNDAYS PRESENTS JIM HOPKINS

Sun/21, 10 p.m., $3

Paradise Lounge

1501 Folsom, SF

www.paradisesf.com


Stage listings

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

THEATER

OPENING

Baby: A Musical Off-Market Theatres, 965 Mission; 1-800-838-3006, www.roltheatre.com. $20-32. Previews Thurs/18, 8pm. Opens Fri/19, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through April 18. Ray of Light Theatre performs a comedy about pregnancy.

Ramble-Ations: A One D’Lo Show Brava Theater Center, 2781 24th St; 647-2822, www.brava.org. $10-25. Opens Wed/17, 8pm. Runs Thurs-Sat, 8pm; Sun, 3pm. Through April 3. Performance artist D’Lo offers up a comedic solo show from a unique (gay, Hindi, Sri Lankan, SoCal, hip-hop) perspective.

Truce Noh Space, 2840 Mariposa; 826-1958. $10-25. Previews Wed/17, 8pm. Opens Thurs/18, 8pm. Runs Wed-Sat, 8pm. Through April 3. Playwright-performer Marilee Talkington stars in Vanguardian Productions’ presentation of her autobiographical work about a woman struggling with impending blindness.

ONGOING

…And Jesus Moonwalks the Mississippi Cutting Ball Theater, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Opens Fri/19, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. Through April 11. Cutting Ball presents this deeply personal fantasy play inspired by the myth of Demeter and Persephone and directed by Amy Mueller.

Caddyshack: Live! Dark Room, 2263 Mission; 401-7987, www.brownpapertickets.com/event/99361. $20. Fri-Sat, 8pm. Through March 27. The Dark Room presents Jim Fourniadis’ live adaptation of the iconic movie.

Death Play EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. $15-20. Thurs-Sat, 8pm. Through March 27. Thunderbird Theatre Company presents the third installment in the comedy series by Sang S. Kim.

*Den of Thieves SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40. Tues, 7pm; Wed-Sat, 8pm (also Sat, 3pm). Through April 17. Stephen Adly Guirgis has been good to SF Playhouse. The company already scored big with two of the New Yorker’s gritty, dark and sharply funny plays, Our Lady of 121st Street and Jesus Hopped the ‘A’ Train. Director Susi Damilano continues the streak with SF Playhouse’s latest, the less heavy but very funny Den of Thieves, about an unlikely foursome of inept bandits caught trying to heist a Mafioso’s safe under a discotheque in Queens — a simple tale that gives plenty of scope to Guirgis’s muscular way with dialogue and the clash of characters. The story opens on a depressed recovering kleptomaniac, Maggie (an affectingly understated Kathryn Tkel), and her 12-step sponsor Paul (the excellent Casey Jackson), a nerdy fast-talking mixed-race former safecracker, whose Jewish grandfather headed up a famous crime ring that robin-hooded their take to library construction for kids in the neighborhood. Enter Maggie’s former boyfriend, a Puerto Rican tough named Flaco (a hilariously spot-on Chad Deverman), with his new squeeze, erotic dancer Boochie (a deftly comic Corinne Proctor), and a lead on a large traceless sum of cash. Suddenly the smell of big money sends recovery out the window and makes uneasy bedfellows of the motley, hostile bunch. Enter angry but softhearted mobster Little Tuna (Ashkon Davaran), his sadistic sidekick Sal (Peter Ruocco), and big gun Big Tuna (Joe Madero). Facing mob vengeance, it’s time for some fast-talking and deal making among the mini-den, and all bets are off. The ending seems to have eluded Guirgis a little, but the way there makes for meaty comedy, while the exceptional cast sells the conceit so beautifully they make it a crime to miss. (Avila)

Desperate Affection Royce Gallery, 2901 Mariposa; www.expressionproductions.com. $28. Thurs-Sat, 8pm. Through April 10. Expression Productions presents a dark comedy by Bruce Graham.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed, 8pm. Through April 28. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

*Juliet Little Theatre, Creative Arts Bldg, San Francisco State University, 1600 Holloway; http://creativearts.sfsu.edu/events/1412/juliet. $8-12. Thurs/18-Sat/20, 8pm; Sun/21, 2pm. Can a cast of seven Juliets a Romeo and Juliet make? Very much so. In fact, this devised work, directed by Mark Jackson and beautifully brought to life by an exceptional student cast from SF State’s theater department, conveys not just the poetry but the sheer energy, surprise, and shock of living — at the very heart of the work — better than any recent straight-ahead production in recent memory. This vibrant, movement-based, and repeatedly stunning postmodern Juliet retains the dramatic arc of Shakespeare’s tragedy, yet runs another parallel arc of its own, exploring the perspective of Juliet as an extremely intelligent, vital and growing young woman by ingeniously refracting her through the lives and memories of seven actors, six female (Arisa Bega, Charlotte Gulezian, Meredith, Frannie Morrison, Megan Trout, Mai Kou Vang) and one male (Dara Yazdani). The results are not to be missed, providing something truly unique as well as one of the most compelling ways into a text that refuses to die despite a million bad productions. Excellent scenic and lighting designs (by Hannah Murray and Clyde Sheets, respectively) and a truly outstanding sound design by Matt Stines offer fine mood-casting support throughout. (Avila)

KML Preaches to the Choir Jewish Theater, 470 Florida; www.killingmyblobster.com. $15-20. Thurs-Fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through March 28. The award-winning sketch comedy group takes aim at the higher powers in this piece directed by Paco Romane.

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through April 11. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky, and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. (Avila)

*Mirrors In Every Corner Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. $15-25. Thurs/18-Sun/21, 8pm. Try to ask someone who’s ever felt marked by the color (any color) of their skin if they believe in a post-racial society, and see what kind of a response you elicit. That there is no tidy answer to this potentially messy question is a conundrum well-illustrated by playwrite Chinaka Hodge’s hypothetical fable of a white-skinned baby born into an African-American family. Each member of the family has a different reaction to and relationship with the mysterious blonde-haired changeling Miranda, dubbed "Random". Her father, who dies when she is young, is reported to have hated her. Her oldest brother Watts (Daveed Diggs) claims to understand her best, but in trying to get her to unravel what it means to be "black" vs. "white", reveals himself to be as confused as anyone by the lack of a single definition. Her mother Willie—played tough and no-nonsense by Margo Hall (who also plays the teenaged Miranda)—loves her unconditionally, yet ultimately sacrifices her for the well-being of the greater family unit. Hodge’s first full-length play, Mirrors succeeds in strong performance, warm humor, and crackling, poetic dialogue, but fails to adequately resolve how it is that the otherwise uncompromising Willie lets the low card of an unfortunate accident trump her otherwise strong hand of "colorblind" maternal loyalty. With Dwight Huntsman and Traci Tolmaire. (Gluckstern)

Now and at the Hour EXIT Stage Left, 156 Eddy; 673-3847, www.theexit.org. $15-25. Fri-Sat, 8pm. Through March 27. EXIT presents the subtly unnerving show by theatrical magician Christian Cagigal.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Sat, 8pm; Sun, 7pm. Through April 24. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $18-50. Wed-Fri, 8pm (April 16, show at 9pm; starting April 24, no Fri shows except May 28, 8pm); Sat, 5pm; Sun, 3pm. Through May 30. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Shopping! The Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.brownpapertickets.com. $27-29. Fri-Sat, 8pm. The musical is now in its fifth year at Shelton Theater.

Something You Might Want Stagewerx Theatre, 533 Sutter; www.catchynametheatre.org. $16. Fri-Sat, 8pm; Sun, 3pm. Through March 28. CatchyNameTheatre presents this dark comedy written and directed by Jim Strope.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-35. Thurs-Sat, 8pm. Through March 27. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

The Sugar Witch New Conservatory Theatre Center, 25 Van Ness; 861-4914, www.nctcsf.org.

Wed-Sat, 8 pm; Sun, 2pm. Through April 4. NCTC presents the premiere of Nathan Sanders’ crime story.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-27. Days and times vary. Through April 11. Berkeley Rep presents a sexy and intriguing new show from Naomi Iizuka.

*East 14th Laney College Theatre, 900 Fallon St, Oakl; www.east14thoak.eventbrite.com. $10-50. Fri-Sat, 8:30pm. Through March 28. Also at the the Marsh Berkeley in March. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

Handless Central Stage, 5221 Central, Richmond; 1-800-838-3006, www.raggedwing.org. $15-30. Thurs-Sat, 8pm. Through March 27. Ragged Wing Ensemble presents Amy Sass’ re-invention of the folk-tale The Handless Maiden.

*Learn to be Latina La Val’s Subterranean, 1834 Euclid, Berk. impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 27. Impact Theatre continues its 14th season with the world premiere of Enrique Urueta’s play.

Singin’ in the Rain Julia Morgan Center for the Arts, 2640 College, Berk; (510) 665-5565, www.berkeleyplayhouse.org. $19-28. Fri/19, 7:30pm; Sat/20, 2 and 7pm; Sun/21, 1 and 6pm. Berkeley Playhouse presents this classic musical.

PERFORMANCE

"All Star Magic & More" SF Playhouse, Stage Two, 533 Sutter; 646-0776, www.comedyonthesquare.com. Sun, 7pm. Ongoing. $20. Magician RJ Owens hosts the longest running magic show in San Francisco.

"Bananaritis!" CounterPULSE, 1310 Mission; 1-800-838-3006, www.brownpapertickets.com. Sat, 8pm. $20. Tim Rubel Human Shakes presents a performance piece that examines queer relationships.

BATS Improv Theatre Bayfront Theater, Fort Mason Center, B350 Fort Mason; 474-6776, www.improv.org. Fri-Sat, 8pm. $17-20. The Theatresports show format treats audiences to an entertaining and engaging night of theater and comedy presented as a competition.

"The Cat’s Pajamas" Make-Out Room, 3225 22nd St; www.makeoutroom.com. Mon, 8pm. $5. This month’s installment of the performance series hosts the Revolutionary Poets Brigade, among other acts.

"HyperReal" Yerba Buena Center for the Arts Forum, 701 Mission; 978-ARTS, www.ybca.org. Thurs-Sat, 8pm. $25. Bay Area artist Sara Kraft debuts her tech-vs-mind exploration, a fusion of text, song, sound, movement, and video.

PianoFight Studio 250 at Off-Market, 965 Mission; www.pianofight.com. Mon, 8pm. Through March 29. $20. The female-driven variety show Monday Night ForePlays returns with brand-new sketches, dance numbers, and musical performances.

"Sheherezade X: A Year in Review (2009)" Phoenix Theatre, 414 Mason; 885-8526. Fri-Sat, 8pm. Through March 27. $25. Short plays by local writers take on topics as varied as Muni and Bernie Madoff.

"Two on a Party" Artaud Theater, 450 Florida; 1-800-838-3006. Sat-Sun, 8pm. $18-20. Word for Word performs the Tennessee Williams work before they head off to present it in France.

VergeFest Garage, 975 Howard; 885-4006. Fri-Sun, 8pm. $10-20. Featuring contemporary dance, improvisation, and performance.

Virgin Play Series Magic Theatre, Fort Mason Center, Bldg D, Marina at Laguna, SF; 240-4454, http://magictheatre.org. Mon, 6pm. Free (reservations recommended). Through March 29. Magic Theatre presents Martha Heasley Cox’s series of staged readings of works currently in development. This week: Ryan Purcell’s Brazilian musical Marinheiro.

Hot sex events this week: March 17-23

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Break out the green latex, St. Patty’s day has unleashed an Irish car bomb of sex events. So whether you’re in the mood to perfect your rub skills, bid high for a quality sub, or land you a chubby hubby, the following events will have you dancing a jig. You know, a sexy jig.

Sex Workers’ writing workshop

No matter if you’re out on the street or breathing heavy on the phone line, if you’re a sex worker, you have a story to tell. Learn the skills you need to bare all (on paper) in the supportive environment of this regular workshop at CSC.

Wed/17 6-8 p.m., $10-20 sliding scale

Center for Sex & Culture

1519 Mission, SF

(415) 255-1155

www.sexandculture.org

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Discover the Beauty of your Body: the “Ins and Outs” of Female Masturbation

Breath: essential to life, a calming force, an orgasm upgrade. Learn how your breathing can enhance your self lovin’, and get the inside scoop on technique, toys and ambience from Good Vibes staffer Lolo Winters.

Wed/17 8-10 p.m., $25-30

Good Vibrations

603 Valencia, SF

(415) 522-5460

www.goodvibes.com

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Kumimonster’s St. Patty’s Day Massacre

Fetish muse Kumimonster is celebrating her birthday in style- she’ll be performing the American debut of her new bondage routine with Midori and will be accompanied by a full slate of aerial performers, burlesquers and all manner of fetish pleasing wonders.

Wed/17 8 p.m., $10-20

Glas Kat Supper Club

520 4th St., SF

(415) 495-6620

www.glaskat.com

www.fetishmuse.com

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Kinky Knitters

So at long last your crocheted ball gag is almost ready- you just can’t figure out that last drop stitch. Blast! Never fear, for this naughty sewing circle at SF’s sex positive coffeehouse assembles just the crafters to ask.

Thurs/18 7-10 p.m., free

Wicked Grounds

289 8th St., SF

(415) 503-0405

www.wickedgrounds.com

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Master’s Den Auction

Stefano and Chey, SF’s “king and queen of the perverts,” supervise this male dom- female sub playground, which begins with separate briefings for the sexes on protocol, and features an auction of lovely lady submissives up for sale to their most compatible master.

Fri/19 7:15 p.m.-1 a.m., $20-30

SF Citadel

1277 Mission, SF

(415) 626-1746

www.sfcitadel.org

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Jamie Gillis memorial

Jamie Gillis’ memory won’t be fading anytime soon. The 470 pornos he acted in over the course of his life- not to mention his kinky and gonzo directing credits- pretty much guarantee that, but that’s no reason to miss this weekend’s tribute to the man. Bring your video clips and memories to share.

Sat/20 3-6 p.m., free

Center for Sex & Culture

1519 Mission, SF

(415) 255-1155

www.sexandculture.org

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Big

Big boys get their due at this monthly party, where the jelly bellies and the boys that love them mix and mingle. Plus, the first half of the night is happy hour!

Sun/21 6-11 p.m., $5

Stud

399 9th St., SF

www.studsf.com

www.phattestevents.com

 

On excessive usage of flat screens and greased up women

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It’s a good week for hip-hop. After my interview with Chilean rapera Ana Tijoux, I caught this vid, thanks to the homeboys over at Mission Mission.

So thanks to you, Seattle based beat box yuckster Reggie Watts, for reaffirming my sense that hip-hop is alive, well, and still has a sense of humor about it all. In this video, he releases an extensive daisy chain of expletives onto walls and into glass bowls, then nicely illustrates and explicates the consumerism and chauvinism in mainstream rap/muck. It’s nice, you’ll like it.

 

 

Rapera rules everything around her: Ana Tijoux rising

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As ever and ever the divide grows between what we hear on the radio versus what’s truly fly in hip hop these days, Ana Tijoux plots her coming to America. Born to Chilean parents who fled from the brutal reign of Augusto Pinochet, the MC’s life reads as the manifesto for the counterculture universality of hip hop. How to express the feelings stirred up by moving across the world at 14? How about coming to a country whose democratically elected president was slaughtered, replaced by a dissident-torturing dictator, that happens to be where your parents grew up? Tijoux found her anger reflected in the rhymes of the American rappers of the early ’90s- and shortly after, used their “force” to raise her own voice. She’s been a player on the South American hip hop scene ever since, and is releasing her second solo album, 1977, which may be her most personal project yet, looping scenes from a remarkable life story with her direct, staccato flows. Here in the Bay, we’re getting a chance to catch her beats live (Thurs/25, La Peña Cultural Center), not too long after her debut among the gringos at South by Southwest. She wanted me to tell you that if you were born in 1977, you get into the Berkeley show for free. Read on to our telephone chat with Tijoux, an awesome conversation tweaked but a little by the intricacies of chatting with a translator and my own gradually stiffening Spanish.

San Francisco Bay Guardian: Your family fled Chile to escape Pinochet’s dictatorship. How old were you when your family moved back to? What led them to move back at that time?

Ana Tijoux: I was born in Peru, but after the coup my parents moved to France. I was 14, and it was 1990 when we moved back to Chile. It was always our plan that when we could come back to Chile, we would come back as a family. My childhood was fantastic, but all I knew of Chile were the stories my parents had told me. I had an image of the country, but when I got back, it was very different. There was another way for everything, another way to go to school. Now that I’m older, though, I can see that [adjusting to my new life] was one the things that made me strong.

SFBG: Tell me about how you got involved in hip hop.

AT: I began to rhyme in Chile, but when we lived in France my mother used to work with [homeless teenagers], who loved to listen to hip hop. I used to go with mother to her work and listen to NWA and other hip hop groups from France. I began to listen to hip hop thanks to my mother! In Chile I found the way to say everything that I was feeling through rhyming. I began to rhyme when I was 18 or 19.

 

Dig Tijoux’s life, animated- and the sexiest Public Enemy tee ever- on the video from 1977’s title track

 

SFBG: What was the hip hop scene like in Chile back in those days?

AT: What happened with Chile in hip hop, the scene is very strong in relation to the rest of Latin America. It was very strong then, but it’s even bigger now.

 

SFBG: What, if any, challenges did being a rapera in a budding hip hop scene bring?

AT: There were none. I always felt the support of my friends. I never felt different because I was a female. Maybe there was more respect, they wouldn’t say bad words in front of me. My colleagues were proud there was a woman on stage.

 

SFBG: Your upcoming tour will be the first time you’ve performed in the United States. What are your feelings on bringing your music up here?

AT: I’m happy and more anxious than nervous, because whenever I travel to another country there’s a new energy. I’ve toured in France, Spain, Switzerland, Argentina, Venezuela, Cuba, Mexico- all over.

 

SFBG: Is hip hop culture different here in the States?

AT: Of course it will be different- different and similar. But it will be the same music and the same energy.

 

SFBG: You mentioned in one article I read that you wanted to bring back the hip hop of ’92-’95- what is it about that era that you like?

AT: I feel that hip hop was more simple then, more to the point. It was more personal, the golden age of hip hop. For me, all the albums from that time are classic. I like the force and anger. I’m sure it’s nostalgic too- those were the years I learned I could make something, say what I was thinking. One of my favorite albums is Enter the Wu Tang (36 Chambers), but there are so many good ones.

 

SFBG: What shows will you be checking out when you’re not performing at South by Southwest?

AT: Flying Lotus.

 

SFBG: Why’d you name your album 1977— I know that’s the year of your birth, what were you trying to say by invoking that time?

AT: That’s also the name of a song on the album. I wanted to make a number in the album.

 

ANA TIJOUX

Thur/25 8 p.m., $12-15

La Peña Cultural Center

3105 Shattuck, Berkeley

(510) 849-2568

www.lapena.org

Gav’s running for (lite) guv!

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It’s not any big surprise that Gavin Newsom is officially running for lieutenant governor; we all knew that was in the cards. Newsom’s downtown allies don’t want him running, because he might win — which would mean a vacancy in the mayor’s office. But it’s really all about Newsom, and he doesn’t want to be termed out with nowhere to go.


Calitics makes the point that


In many ways, this race will showcase the future leadership of California Democrats. The winner of the primary will go on to defeat Abel Maldonado and will be a top contender to be the next governor, whether they succeed Jerry Brown or (god forbid) Meg Whitman. It’s to the benefit of Democrats and progressives that this race be issue-oriented, and free of the unfortunate personal attacks that would undermine all the candidates involved.


And Newsom loves the idea of being showcased as the future leader of California Democrats.


Newsom got a big bounce the moment he announced, when state Sen. Dean Florez, one of two other Democratic candidates for the office, dropped out and endorsed Newsom.


That leaves just Newsom and Janice Hahn, a Los Angeles City Council member who’s got an aggressive campaign (featuring Garry South, the asshole political consultant who used to work for Newsom).


Newsom starts off with a major lead; all the money he spent campaigning for governor gave him significant name recognition, and in a Democratic primary for a low-profile office, that makes a lot of difference. And his likely opponent in November is Abel Maldonado, a not-terribly-appealing Republican.


So the talk in San Francisco is all about who becomes the next mayor if Newsom wins — and already, the Newsom strategists are trying to figure out how to prevent the progressive district-elected board from appointing his replacement. The latest strategy: A Charter amendment establishing that a vacancy in the Mayor’s Office has to be filled in a special election.


Hard to argue against that — except that the special election would be in the spring of 2011, and the general election would be that fall, meaning two expensive elections (one of them guaranteed to have low turnout) in the course of 11 months.


There’s no way Newsom’s getting six votes on this board for his idea, which means he’s going to have to raise the money to gather 47,000 signatures. And if he does, the supervisors ought to respond with their own Charter amendment — establishing that vacancies on the Board of Supervisors (now filled by a mayoral appointment) also require a special election. That’s only fair.


And while Newsom and his allies talk about how unfair it is to have district supervisors, some of whom were elected with as few as 10,000 votes, decide on the next mayor, it’s worth thinking through what a special election for mayor would look like. For starters, a lot of people would probably run — and the results would be utterly unpredictable. Suppose everyone who really wants to be mayor jumped in: Leland Yee, Dennis Herrera, Aaron Peskin, Ross Mirkarimi, Bevan Dufty, maybe Michela Alioto-Pier, maybe Sean Elsbernd, maybe even Mark Leno … and the turnout will be ultra-low, and, well, the next mayor’s going to be elected with a remarkably small number of votes.


Assume a turnout of 100,000 — high for a special election. And assume seven candidates (there would probably be a lot more). That means the winner would be unlikely to have more than 20,000 first-place votes.


If it’s a ranked-choice voting situation, any of the above could pull it off. If it’s a simple plurality, hey: someone like Chris Daly, who has a small but highly devoted constituency, would have as good a chance as anyone.


The bottom line is that a special election doesn’t guarantee anything — in fact, it could turn out to be downtown’s worst nightmare.


Here’s the letter Newsom sent to potential supporters:


I didn’t come to this decision easily, but, after a great deal of consultation with my family, constituents and supporters, I believe that the best way for me to serve is by taking all of the many things that are right about California and applying them to fixing what’s wrong in Sacramento.  


The issues I fought for when I ran for Governor last year haven’t changed: our state still faces a massive budget crisis, painful unemployment, and rising student fees that threaten the stability and accessibility of our University system.  Too many Californians lack access to quality health care and too many schools are overcrowded and underfunded.


But, despite our challenges, I will always believe in California – the dynamism of its past and the promise of its future.  I’m also convinced that those of us who love this state have both an obligation and the capacity now to reform it and make it better. To do that, we need to embrace a new way of doing things in Sacramento and we need new leaders who are willing to stand up and change state government.


I’m proud that I have the support of Speaker Nancy Pelosi, Senate President Darrell Steinberg, Assembly Speaker John Perez, Sacramento Mayor Kevin Johnson, United Farm Workers co-founder Delores Huerta and California Nurses and teachers and I hope I can count on your support too.


And here’s some of the press coverage:


LA Times on Newsom run, including information on early fundraising.


Calitics on Florez’s exit from the race, including text of Florez
message and press release.



Newsom announces his candidacy in an interview with reporter Phil
Matier
on CBS 5. (video)

 Chronice on Newsom’s chances.


 Willie Brown on who will succeed Newsom as mayor.
 
Chronicle speculates on who will replace Newsom, specifically on the
possibility of David Chiu becoming mayor.

LA Observed on Gary South vs. Newsom.


LA Times blog on awkward Newsom-Brown pairing.

Owen Pallett deals with rain, spectacularly

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The official video for Canadian Owen Pallett‘s (aka Final Fantasy) gossamer-gutwrench “Lewis Takes Off His Shirt” from the new Heartland is a Ryan Trecartin-esque romp with witchy hats, hockey masks, Balloon Boy, Orange Crush, jumbly geometrical soap sculpture, and self-stabbing.

But this live vid of the song, from a downpour at the Hillside Festival in Guelph, Ontario last June, shows that the effervescent one-man band needs no electro-conceptual props to get the joy across. (He’ll be here May 5 at the Independent — indoors, alas.)

OWEN PALLETT (FINAL FANTASY)
Wednesday, May 5, 8pm, $16
The Independent
628 Divisadero,SF
www.theindependentsf.com

 

Snap Sounds: Yeasayer

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YEASAYER
Odd Blood
(Secretly Canadian)

A creepy terminator-type robot dude rolls up to the hottest party in a cage you’ve never even been privileged enough to attend. Damn, I wish I could stumble upon a get-down like Yeasayer throws — swimming ninjas, neon martinis, laser orgies, and magical board games would definitely be something I could get into on a regular weekend basis.

It’s hard to remember you’re listening to “O.N.E.,” a track off the Brooklyn psychedelic band’s second release Odd Blood, put out earlier this year; the video is just that good. Odd Blood is lined with crazy beats, a melting pot of genres — “O.N.E.” is no different. African, disco, electro-tropix will squeeze your inner parts and beg you to groove alongside the web of lasers and glowing windbreakers featured in this stellar video.

http://vimeo.com/10044003

Yeasayer
Sat., April 17, 9pm
The Fillmore
1805 Geary, SF
www.thefillmore.com