youth

Dollars or sense?

Jesse Hawthorne Ficks
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28
Dollars or sense?

rebeccab@sfbg.com

It’s no secret that San Francisco is a particularly costly place to live. It consistently ranks in the top 10 most expensive cities nationwide, and it isn’t uncommon to see people renting out their walk-in closets as makeshift bedrooms to make ends meet.

There’s ample evidence that the city’s market-rate housing is out of reach for many families, middle-class workers, and low-income populations, particularly during the recession. Yet the shortage of affordable housing is a problem that is going largely unaddressed at City Hall.

The city’s General Plan estimates that a full 61 percent of new housing would have to be affordable to satisfy the housing needs of city residents, but even the most demanding development standards fall far short, producing only about half that amount. And while most new affordable housing is built for low-income people, a sizable portion is intended for first-time homebuyers with salaries at the highest threshold of affordability. In recent years, about one-third of new “affordable housing” was built to sell to people with “moderate” incomes.

So as big plans are mapped out for new residential developments composed of mostly market-rate units, what’s the strategy for addressing the underlying affordability gap? And will it ever be enough to keep from further turning San Francisco into a city of rich people while its workers are forced to live elsewhere?

This map, which appears in San Francisco’s Five-Year Consolidated Plan, charts concentrations of low- and moderate-income households in the city using HUD 2000 income data. Under federal guidelines, people with low and moderate income could be eligible for affordable housing.

A San Francisco Unified School District proposal to create new housing for San Francisco teachers underscores just how mismatched housing prices are to income. The National Low Income Housing Coalition (NLIHC) estimates that San Francisco renters paying market rate in 2010 would have to earn $56,240 to afford rent a one-bedroom apartment, $70,400 for a two-bedroom unit, and $94,000 for a three-bedroom unit, assuming they spend no more than about one-third of their income on housing.

A starting teacher’s salary in San Francisco is $50,000, so early-career educators may feel the squeeze. A survey of teachers conducted for the proposal found that 81 percent of respondents were renters, most living with unrelated roommates. More than half had plans to relocate in five years to a city where they could afford to be homeowners.

Housing was a hot-button issue at the Sept. 16 Planning Commission hearing on the environmental impact review for a hospital and housing complex that California Pacific Medical Center wants to build near Van Ness Avenue.

“The CPMC EIR fails miserably to analyze the income of the CPMC work force, and where it’s supposed to be housed,” affordable housing advocate Calvin Welch told the Guardian. “It’s a profoundly important question. If they are [providing] jobs that produce incomes that are insufficient to pay for average market-rate housing in San Francisco, who’s responsibility is it going to be to build housing for that workforce?”

 

WHO CAN AFFORD IT?

San Francisco has a reputation as a diverse, politically engaged hub that supports emerging artists, independent thinkers, and advocates for youth, workers’ rights, healthy ecosystems, protections for the most vulnerable segments of society, and hundreds of other causes. Without economic diversity — which is only possible when housing is available to people with a range of incomes — it might be a different place.

NLIHC estimates that 65 percent of San Francisco households are renters, and a significant number are what the Mayor’s Office of Housing (MOH) calls “cost-burdened,” shelling out more than a third of their incomes on rent. To get by, tenants have been known to cram roommates in like sardines, or cling tenaciously to a rent-controlled unit.

In a thick report outlining affordable housing goals for 2010–14, MOH and two other city agencies clearly articulate the housing challenges facing low-income renters. For one thing, the report says rents are going up despite the economic recession and declining home prices. And most people’s salaries don’t stretch far enough to cover those high prices. Even though there are 16 billionaires and some fabulously wealthy CEOs residing in San Francisco, the majority of people work in more mundane occupations like waiting tables, retail, office work, nonprofit jobs, teaching, health care, or public service.

The MOH report notes that despite the city’s relatively high median income, there’s a widening gap between top earners and people on the lower end of the spectrum, so few households actually wind up in that middle zone. “In fact, over a quarter of San Francisco’s population earns under 50 percent of [area median income],” the report states. For individuals in 2010, this translates to one in four people earning $34,800 or less. Compounding that problem are recent unemployment figures indicating that nearly one in 10 is jobless.

About one half of San Francisco’s population is considered low- or moderate-income, the housing report notes, using the standards used to formulate affordable housing prices. MOH uses a tiered income matrix, calculated using federal guidelines, to determine who could qualify for housing below the market rate. If you make $20,900 or less, you’re counted as “extremely low income.” You’re “very low income” if you make between $21,000 and $34,800, “low income” if you earn between $35,496 and $55,700, and if you make between $56,376 and $83,500, you count as “moderate income.” Even these figures are skewed higher because they include data from wealthy Marin County. As a point of comparison, U.S. Census data estimates that the median income for American workers was $29,530 over the last several years.

Most of the new affordable housing constructed in San Francisco is aimed toward people in the lowest ranges, but in recent years one-third was built for those with moderate incomes, which could gentrify some parts of the city. “Supervisorial Districts 3, 6 and 10 had rates of more than 40 percent extremely low and low-income,” the MOH report notes. “These three districts make up the entire eastern part of the city.”

A Guardian analysis of Bureau of Labor Statistics occupational and wage estimates for 2009 suggests that about 71 percent of people who work in San Francisco (many commute from less expensive places) earned less than that highest “moderate” salary limit of $83,500. It suggests that the vast majority of the workforce could not afford market-rate housing unless they sought it in pairs or groups.

“A big issue is the inability of San Francisco’s employment market to produce jobs that pay people enough to afford housing,” Welch says. “There’s a mismatch between market-rate income and market-rate housing costs. We’re housing somebody else’s workforce.”

Another stab at assessing the affordable housing need gazes into the future. The Housing Element of the San Francisco General Plan includes an estimate for the city’s future housing needs for the better part of the decade. The city should build 31,200 new housing units to meet its need, the General Plan says, and “at least 39 percent of these new units must be affordable to very low and low-income households. Another 22 percent should be affordable to households with moderate incomes.”

What this adds up to is a full 61 percent of new residential development in San Francisco ought to be dedicated to some form of affordable housing. The calculation reveals a lot about the condition San Francisco is in, but it might as well be chalked up as a hollow academic exercise. Indeed, the report deems this goal “unrealistic.” The reality of the market and chronic government deficits ensures that there will not even be an attempt to meet it.

 

IF YOU BUILD IT

The trouble with affordable housing is that developers won’t build it unless there is a financial incentive. “The only way it works is not in the marketplace,” Welch said. “There’s no such thing as affordable land, affordable sheetrock, affordable architects, or affordable engineers. The profound condition … is that the market cannot produce affordable housing.” As long as developers can make higher profits building market-rate, they will.

That’s why government steps in to subsidize or mandate new affordable housing construction or preserve existing stock. Under the Inclusionary Housing Ordinance, if developers decide not to build the required 15 percent of affordable units, they must pay an in-lieu fee that gets funneled into an affordable housing fund.

In a good year, MOH Executive Director Douglas Shoemaker told the Guardian, the city receives $10 to $15 million from these fees, which is used in partnership with developers to build affordable projects. That system hasn’t worked so well lately. Last year funds for affordable housing were depleted instead of bolstered. Developers who paid their fees in anticipation of building new projects requested refunds after their projects were stalled, Shoemaker told the Guardian, so MOH gave back up to $12 million to developers instead of using that money to build new affordable housing.

This year, Mayor Gavin Newsom introduced what he called an “economic stimulus” program that allowed developers to defer payment of in-lieu fees. This guarantees that it will be a long, long time before new affordable housing can be built using those funds. So as it stands, the inclusionary housing law isn’t so effective at producing new affordable housing.

Projects done in conjunction with the San Francisco Redevelopment Agency, meanwhile, do include higher portions of affordable housing. With all of the planned Redevelopment projects combined — Treasure Island, the Hunter’s Point shipyard, and others — the city can expect to see perhaps 7,000 new affordable housing units in coming years, a portion of which will be condos meant for people in the “moderate” income range. It may well be better than other cities have offered, but it doesn’t begin to address the true need for more than 19,000 units outlined in the General Plan.

Shoemaker noted that San Francisco is a cut above the rest when it comes to affordable-housing requirements. “I just don’t think you could find a city that has more aggressive goals,” he said, noting that in major redevelopment areas, “We’re getting like 30 percent of homes to be affordable on some level.” Yet Shoemaker acknowledged, “the need is intense,” and “there’s more people we would like to serve.”

Olson Lee, deputy executive director of the San Francisco Redevelopment Agency, also described San Francisco as taking a very aggressive stance on affordable housing. Redevelopment devotes 50 percent of its tax-increment financing to affordable housing, where the state requires just 20 percent, Lee said. And some Redevelopment project areas include twice as much affordable housing as is required by state law, he added. “The city has done a tremendous amount of affordable housing,” he said. However, “the fact of the matter is, there’s a greater demand for affordable housing than the number of units.”

From 2005 to 2009, there were 3,607 new affordable housing units constructed, mostly for people at the lowest end of the pay scale, MOH reports. But in that same time frame, 3,465 rental units were converted to condominiums. One could argue that the city essentially broke even with its affordable housing stock in a decade where housing prices almost doubled. As San Francisco housing prices skyrocketed, the city’s 170,000 rent-controlled units served as the saving grace for the majority who couldn’t afford market-rate, and condo conversions continue to threaten the erosion of that very significant housing stock.

Debra Walker, a candidate for District 6 and a tenant representative on the Building Inspection Commission, told the Guardian that she believes a new financing system is needed for affordable housing. “The argument for development is that we get affordable housing money out of it,” she said, but “the inclusionary doesn’t get us enough housing. We cannot include affordable in those high-rises, because they’re so expensive to build.”

She has talked up the idea of a real estate transfer tax that would create a dedicated fund that could then be used in partnerships with affordable-housing developers. Shoemaker, for his part, noted that having a dedicated revenue stream for affordable housing would be very helpful. A committee comprised of the San Francisco Planning and Urban Research Association, Welch, developer Oz Erickson, and Shoemaker was formed earlier this year and actually arrived at a deal, but Newsom ultimately rejected it. Other creative solutions, Walker says, might include reusing shuttered commercial properties or building cheaper by design using different building materials. “It’s about looking at what it is we need,” she said, “and realizing people are in a pinch.”

The greatest complicating factor of the current system, in which the city relies on market-rate development to get new affordable housing, is that even though there a some 40,000 new residential units in the pipeline, developers can’t secure financing to start building them. For now, in the down economy, they only exist on paper.

“They’ll never get built,” Welch predicts, and as long as Newsom continues to extend entitlements for those planned projects in hopes that the market will get a jump, “it’s freezing September 2008 conditions, evidently forever,” limiting opportunities to build something more reasonable.

“They’re zombies,” Welch added. “Who the fuck is going to pay $2 million for a new condo when they can buy a $4 million building for $1 million in foreclosure?” But if the need for affordable housing began to be addressed, he said, something might start to happen. “If you converted half the pipeline units to rental,” he theorized, “they might get built.”

Life and death in Sunnydale

Mary Magee
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7

Photographs by Sarah Phelan

On the first Friday afternoon in September, as most folks were trying to get an early start on their Labor Day weekend, C.L.A.E.R. director Sharen Hewitt and her advisory board member Carrie Manuel welcomed friends, family, neighbors—and a handful of D10 candidates—to a basketball hoop dedication ceremony outside C.L.A.E.R.’s office on Brookdale Ave at the heart of the  violence-racked Sunnydale housing project in Visitacion Valley.

By afternoon”s end, Hewitt had managed to get D 10 candidates Malia Cohen, Kristine Enea, Chris Jackson, Tony Kelly and Marlene Tran shooting hoops with a dozen African American youngsters who live in Sunnydale, the city’s largest public housing project, and talking about what they have learned about life and death in this deceptively pleasant-looking sun-and-fog bathed spot that overlooks the Bay, backs onto McLaren Park and the neighboring Gleneagles Golf course–little knowing that within two hours, yet another young black man would be fatally shot one block away from C.L.A.E.R.’s office.

Sunnydale’s appealing geographical location has made it the target of redevelopment plans that seek to rebuild 785 low income unit and add 925 market rate units into the mix—plans that have Hewitt concerned that Sunnydale’s current residents could end up being displaced through a combination of factors, including the San Francisco Housing Authority’s  announcement that many of these residents owe thousands in back rent, and City Attorney Dennis Herrera’s announcement that he is seeking a gang injunction against 41 alleged members of the Down Below Gangsters and the Towerside Gang, who have been engaged in a violent turf war in the Suinnydale for the past three years.

Many of these alleged gang members don’t actually live in Sunnydale, but their friends, families and their own children still do. Currently, seventy-five percent of lease holders in Sunnydale are single female heads of household. And while African Americansaccount for only six percent of San Francisco’s population citywide, black males represent 60 percent of the county jail’s population and feature in disproportionately high numbers in the city’s homicide statistics.

An unfortunate case in point occurred just hours after C.L.A.E.R.’s basketball hoop dedication, when 38 year old Asa Roberts was fatally shot on the first block of Brookdale Avenue, which is a stone’s throw from Hewitt’s office. Found after police responded to a report of gunshots at 8:20 p.m. at the Sunnydale projects, Roberts was pronounced dead at San Francisco General Hospital on what was his 38th birthday, making him the city’s 35th homicide this year.

And at the C.L.A.E.R. ceremony, held at 5:30 p.m. that day, the majority of kids in attendance raised their hands when asked if they knew someone who had been murdered—a shocking illustration of the traumatic stress that these children live with, even as they reside in one of the richest cities in the world

“This is more than just a basketball dedication ceremony and this is hardly just any basketball hoop, this hoop represents a small step toward safety and security for the residents of Sunnydale public housing,” Hewitt told the crowd, just hours before she would find herself rushing around the projects, trying to determine if families and kids in Sunnydale were safe, in the wake of Roberts’ shooting.

“In remembrance of Labor Day, one mother’s labor of love will unite a community under siege,” Hewitt said at C.L.A.E.R.’s 5:30 p.m. hoop dedication, recalling how she had seen Carrie Manuel’s four boys playing basketball against the wall of a public housing unit that was home to an old gas line with pipes that were in dire need of repair. Shocked, Hewitt called upon city partners and C.L.A.E.R. donors in an effort to get these boys a real hoop and thus minimize safety concerns.

“Because the little things change a community, “ Hewitt said.

Hewitt recalled how Sup. Bevan Dufty put her in touch with the Department of Recreation and Parks and the San Francisco Parks Trust, when he heard about the basketball hoop situation, and that these departments helped heed her call to action.

Hewitt also tipped her hat to the five D 10 candidates who attended the hoop dedication: Kristine Enea for being the first to respond to this particular crisis, Malia Cohen for her ongoing support of CLAER’s Brookdale Center, Tony Kelly for his general support of the community, Chris Jackson for connecting Sunnydale residents, including four named in Herrera’s gang injunction, to the Gateway to College program, and Marlene Tran for her work on public safety.

After the dedication, Hewitt paired each D10 candidate with one of the bright-eyed small boys that were eagerly waiting to play ball, as Manuel looked on.

“She’s a woman under siege,” Hewitt said of Manuel, recalling how this woman and her kids witnessed a homicide outside their window, and how Manuel’s 16-year-old son was murdered before his child—her first grandson—was born. “This family has been besieged by no less than three murders, but they don’t even have space to run up and down,” Hewitt observed.

“Look at what we do with nothing,” Hewitt said, pointing to the basketball hoop outside C.L.A.E.R.’s office. “We are not a service provider in a box.”

“Look at this beautiful property,” Hewitt said, pointing to the Bay that sparkled in the distance below and the fingers of  fog that tumbled across the sun-baked hills behind Viz Valley. “But this has not been such a beautiful place. This has been a forgotten district, a forgotten neighborhood, but not in our name.”

“This mother,” Hewitt continued, pointing to Manuel, “must be embraced by all of you. And we must give these boys more options than a cage or a coffin.”

Hewitt was referring to the disproportionately high number of young black males that end up jailed or dead in San Francisco, with many of those arrests and fatalities occurring in and around Sunnydale. But while the City Attorney’s office has responded to this pattern of crime and violence by issuing gang injunctions, Hewitt believes this strategy is a waste of money and resources, given that local non-profits which seek to provide education and restorative justice, have just had their budgets decimated.

Last month, City Attorney Dennis Herrera filed an injunction naming 41 alleged members of the Down Below Gangsters and the Towerside Gang, claiming that the two groups were engaged in turf wars that had terrorized the residents of the Sunnydale housing projects for the last three years. And on Thursday, September 30, Herrera will go to court to try to get a judge to support his injunction request.

But Hewitt fears that Herrera’s injunction will further stress an already fragile community.

“Gang injunctions are plaguing this neighborhood and their families, but we don’t have gangs, we have families,” Hewitt said, as local residents Larry C. Jones of TURF and the Marsha Kyer Foundation, and Robert Cowan, watched the kids and candidates play ball.

After the basket ball game, Hewitt asked the five D10 candidates what they had learned from the C.L.A.E.R-sponsored event

“I’m struck by how strong the entrepreneurial spirit is,” Marlene Tran said, surveying a greeting card business that Sunnydale youth Tyree Vaughan started, under the auspices of C.L.A.E.R. “For 35 years, I was with kids every day,” Tran continued, referring to her career as a teacher. “And when I was 9 years old in Hong Kong, I helped my mother with work, and at 16, I had my own import/export business. So, we should recognize youth, all the positive things they do.”

 

Kristine Enea also praised the entrepreneurial spirit that was evident on the ground in Sunnydale.”Entrepreneurship is a powerful drug,” Enea observed. “Every child should know the joy of holding in your hands a product that started as an idea in your head,”

 

“This neighborhood is getting ready to be demolished,” Hewitt interjected. “What do we have to do with Project Hope?”

Tony Kelly admitted that he had never been to C.L.A.E.R.’s office before.
“But I’ve been involved with Hope SF on Potrero Hill,” Kelly said. “With Hope SF, there’s this weird thing of competition between public housing sites, this, ‘Oh, we can only get one project taken care of,’ and ‘Oh, we can’t get services’  attitude. But this is the largest public housing project in the city. We need complete neighborhoods where we live.”

Chris Jackson complimented C.L.A.E.R. on doing so much with so little.
“When I look at how many millions we spend on community services, but not something as simple as a basketball hoop, which gives a dozen black youth access to exercise, team work and figuring out how to work together, I see that you are doing with $300 what Goodwill and JHS failed to do with millions,” Jackson said.” You have brought the community together.”

Hewitt, who likes to call herself Mini Mouse and isn’t afraid to challenge her biggest supporters, responded by urging the candidates to get more hands on.

“The rhetoric doesn’t bode well for the community,” Hewitt said. “You can’t only come here every six months.”

Malia Cohen, who is on C.L.A.E.R.’s board, expressed her belief that the community needs to do more in terms of giving back.
“This is a partnership, I brought resources here, but people who live here ought to respect the resources, and say, this is our home and we are going to sweep up,” Cohen said, pointing to untended pathways and a couple of wilted potted plants that had died for lack of watering outside C.L.A.E.R.’s office.

“You did this because you are a board member,” Hewitt retorted, giving Cohen, who she supports politically, a predictably hard time.“But where are we collectively in terms of challenging ourselves to respond?”

 “I see great opportunities here, but because of budget cuts, you haven’t had resources,” Cohen continued. “The Department of Children, Youth and Families has been funneling funds to mega-organizations, and not the grassroots.”

“One opportunity is with City College,” Jackson, who counts Hewitt as a mentor, interjected. “And we can give deeper. I believe 20 percent of our participants are from Viz Valley, and we can do a better job of reaching out to the 41 young men listed on gang injunction. It’s something the City Attorney should have talked about before he put in for the gang injunction. A week later, he declares he’s running for mayor, while those of us on the ground are left to clean up.”

“785 units will come back as low-income and there is a zero vacancy rate here, so the one-to-one replacement of the units is not so much the issue as the replacement of the people,” Hewitt told me, as she locked up her office and the rest of the city prepared to enjoy a Labor Day weekend in a world that is not scarred by memories of fblack and brown brothers dying in a hail of bullets in the street.

And as I drove away, towards the bonfire of vanities that is downtown San Francisco, I couldn’t shake the twin images of those young black boys raising their hands when asked if they knew someone who has been murdered, and of Hewitt, fearlessly grilling the D10 candidates, even as she tries to hold together this fragile community of color on a prayer and an increasingly frayed shoelace budget.

Redevelopment throws Arc Ecology under the bus

Mary Magee
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3

No one was really surprised when the Redevelopment Commission voted 4-0 not to renew Arc Ecology’s contract to provide environmental information services regarding remediation plans at Hunters Point Shipyard and award it to Circle Point.

Sad and disgusted, yes. But surprised, no. That’s because everyone expected that Commissioners Leroy King, Darshan Singh, Rick Swig and Francee Covington, who are all appointees of Mayor Gavin Newsom, would throw Arc under the bus as payback for Arc’s decision to comment on the EIR for Lennar’s Candlestick Point/shipyard redevelopment plan and oppose the giving away of state parklands so Lennar could build luxury condos.

“The message was that we shouldn’t have commented ” Arc’s executive director Saul Bloom told the Guardian after the Commission vote went down. “But this you’re-either-on-our-side-or-out-of-a- contract attitude is completely bogus. It’s tactics that Republicans use against Democrats.”

And with the exception of Al Norman (who had the bad manners to burst out laughing when Arc got voted out) and Circle Point staffers, who obviously wanted the contract, those who attended the Commission’s September 21 meeting agreed that the outcome symbolized everything that’s wrong with Redevelopment’s current model of governance, in which political appointees, not elected officials, make decisions that majorly impact the city’s land use.

Thor Kaslofsky, Redevelopment’s shipyard project manager, kicked off the Commission’s contract discussions by explaining why Redevelopment Agency staff were recommending that the Commission award the contract to Arc Ecology.
As Kaslofsky explained, Circle Point received 0.2 points more than Arc from the Agency’s scoring panel, “making it difficult for the panel to determine who is the most qualified.”

Kaslofsky noted that there had been “concerns about Arc Ecology’s multiple roles in the community.”
This was a reference to the fact that, besides, providing independent assessments on the Navy’s clean-up plans, Arc produced “Alternatives For Study,” a report that studied alternatives to a plan that Lennar and the city refused to change–a public-private stubbornness that most recently resulted in a lawsuit from the Sierra Club and the Golden Gate Audubon Society.

“But the panel voted for Arc as the most qualified firm,” Kaslofsky concluded, noting that there were “concerns about Circle Point’s ability to ramp up”—a reference to the fact that though Circle Point has offices in Sacramento and downtown San Francisco, it doesn’t have a presence in the Bayview and little-to-no experience of the military base clean-up process.

Bloom then talked about how Arc has been active in the Bayview for decades.

“We’ve been in the Bayview for 25 years,” Bloom told the Commission. “We’ve read every environmental document that’s been produced. And our office is on Third Street,”
Bloom noted that after Arc scored the highest for Redevelopment’s environmental services contract in 2009, the Agency withdrew its request for proposals (RFP) leaving the community without Arc’s services—and without the services of the Navy’s community-based Restoration Advisory Board—at a time when the Navy was pushing clean-up plans that favor capping the shipyard’s heavily polluted Parcel E-2, rather than digging and hauling out the contamination.

As Bloom noted, the Agency’s contract RFP switcheroo, “caused significant costs to the community because we were unable to provide services at the same time the Navy’s RAB was closed down.”

After Bloom spoke, a stream of Bayview advocates testified in support of Arc.

“Arc is more knowledgeable about clean-up issues than most government regulators,” said Scott Madison, a member of the shipyard’s citizen advisory committee.
“The community asked for—and you granted—an independent contractor, a watch dog, not a lap dog,” Madison continued. “Circle Point may be technically qualified, but they are strangers to the Bayview. The Commission should have the courage to hire a watchdog, even at the risk of a nip at the heels.”

Michael Lynes, conservation director with the Golden Gate Audubon Society, which recently joined the Sierra Club in suing to block the city’s EIR on Lennar’s Candlestick/ shipyard plans, told the Commission that he found “the value provided by Arc to be absolutely essential.”

D10 candidate Eric Smith, a member of the Navy’s now defunct RAB, praised Arc for, “being fantastic in sharing the information.”
“There is no other organization that has their history, has done the work they’ve done, and has the relationship with the community,” Smith said, “With the loss of the RAB, Arc was the only place to go.”

Jackie Phillips of ACCE (Alliance of Californians for Community Empowerment) noted that how a lot of organizations come to the Bayview, but unlike Arc, few stay the course.
“I’ve gone to their workshops,” Phillips said. “They sat us down, they’ve taken us on tours, they’ve taken us to the toxic sites, they have shown us what these changes will mean.”

Phillips also expounded on the difficulty of winning the trust of the Bayview community.
“In the Bayview, we don’t know who to trust, because there have been a lot of broken promises,” Phillips said. “Arc did not try to hide things from us. They have a relationship with the community.”

Next up was Claude Eberhart, who said ordinarily he’d be happy to see Circle Point get the contract, because he likes their staff.
“But by rights, I can’t recommend that,” Eberhart said. “The issue is trust.”
Noting that he has worked with Arc since 1987 when he and Bloom fought plans to homeport the USS Missouri at the shipyard, Eberhart said that in terms of getting “clear, concise and correct information,” Arc is “one environmental organization we can rely on.”

Eberhart also noted that last year, when there was pressure to take a large chunk out of the Candlestick Point State Recreation Area so that the city/Lennar could build luxury condos on state parklands, “Arc stepped forward and provided the information we needed to achieve a community consensus and have the Sierra Club come up with the final deal that allowed for an exchange [of state parklands].”

John Eller, an organizer with ACCE, which co-signed the community benefits agreement that the Labor Council negotiated with Lennar to secure living wages and higher levels of affordable housing, noted that Commission President Rick Swig had spoken earlier in the meeting about how Cohen, Newsom’s former economic advisor, was a consensus builder.

“And that’s exactly what Arc has done over the years,” Eller said.

Kate Kelley, director of the Sierra Club’s San Francisco Bay Chapter, praised Arc’s integrity.
“The information it provided was balanced, responsive and certainly technically competent,” she said.

“This is not a baseball game,” Kelley continued, referring to Circle Point’s understandable claim that it rightfully won the contract based on the Agency’s scoring process. “This is about relationships and trust—and I trust Arc Ecology to do the right thing.”

Al Norman, who heads the Bayview Merchants Association, was the sole dissenter among Bayview residents who spoke at the meeting.
Norman claimed that Arc’s critique of the city’s EIR was somehow “a conflict of interest.”

But instead of providing evidence to support his claims, Norman launched into a personal attack.
“[Bloom] went against this agency and the community, concerning his alternative plan, when we already had a plan in place,” Norman said. “I think Circle Point deserves a chance.”

The son of the late Jesse Mason, who worked for Arc until he died this summer, spoke in support of Arc and Bloom.
“My father believed in Arc, he trusted Arc,” Mason said.

And Christine Johnson, secretary of the shipyard’s Citizen Advisory Committee, spoke of the pressing need in the Bayview for independent review of technical environmental documents.
“We feel it’s imperative to get immediate advice and expert opinion and to properly assimilate information,” Johnson said, referring to the Navy’s shipyard clean-up plans.
‘We’ve been without that advice for nearly a year.”

Terry Ander, whose organization is a member of the Southeast Jobs Coalition, which includes Brightline, Inner City Youth, Visitacion Valley Community Development Coalition and Young Community Developers, spoke highly of Arc.
“Arc Ecology deserves this contract,” Anders said, noting that the Bayview community has been part of “enough neglect and B.S. to last for ten life times.”

And D10 candidate Kristine Enea, a former member of the Navy’s RaB, urged the Commission to “support Arc and focus on the community’s need for information.”

Bayview community advocate Espanola Jackson stressed the need for accurate information from a trusted source, as opposed to politically comfortable lip service.
“We need the correct information and not the lies and the politics that have been played upon my community,” Jackson said.

After 17 folks spoke in favor of Arc, many of them registering surprise that there was talk of taking the contract away from a small Bayview-based non-profit, Bloom sought to correct any misinformation that had been spread about his organization.
Noting that Arc’s Alternative for Studies “was an attempt to do some problem solving,” Bloom observed how, “Instead, we got painted as an opponent to a bridge. We are a strong supporter of the development and we have put 300 people to work in the Bayview.”

But all this support and clarification was not enough to save Arc from being thrown under the bus.

Commissioners Leroy King, Francee Covington and Darshan Singh joined Commission President Rick Swig in calling for Arc’s ouster. And along the way, they variously accused Bloom of disloyalty, dishonesty and expectations of winning the contract. (The latter accusation was a tad ironic given that there are currently no term limits for Redevelopment commissioners, as evidenced by King who has sat on the commission for decades and has just been renominated by Mayor Gavin Newsom to serve yet another term.)

“I’m opposed to giving the contract to Arc,” Commissioner King said. “Each time, [Bloom] spoke opposed to Redevelopment,” King continued, without proffering any details to support his claims, but giving a disturbing insight into how he thinks organizations that contract with Redevelopment for $282,000 a year (the amount Circle Point will be paid for four years for the environmental services contract) should position themselves on all Agency-related issues.

“[Lennar’s] Kofi Bonner called me and said. ‘Will you chance your vote? We need him’” King said, acknowledging that he didn’t want to award the contract to Arc, when it first applied, four years ago.  “But every time [Bloom] was opposed to basic things to fill that shipyard. He talks against Lennar.”

Commissioner Covington confused the audience by pulling out a copy of the city’s response to comments on its EIR for Lennar’s redevelopment plans, even though the Redevelopment contract in question concerns assessing the environmental issues related to the Navy’s shipyard clean-up plans.

Covington then pointed to, but did not identify, letters that she claimed were from individuals who alleged their names were falsely included in a letter supporting Arc’s EIR comments.

Covington then told the audience that the Agency’s 50 percent small business enterprise standard in contract awards “ is a goal but does not apply to non-profits”.

And Commission President Swig, a hotel and tourism industry consultant, sought to frame Arc, which is respected as an independent non-profit, as an ungrateful consultant.
“As a consultant myself, I don’t agree with all my customers, but I don’t bite the hand that feeds me,” Swig said.

And then the Commission voted 4-0 to reject Arc—and award the contract to Circle Point.

Outside the meeting, a black mood reigned.
“It was political payback,” Scott Madison said. “I think the Commission made a bad choice.”

Mike McGowan. Arc’s senior scientist, noted that public support was 17-3 in favor of Arc.
“But I guess only four votes counted,” he observed. “It seemed that Redevelopment’s staff was in favor of Arc, as was the community except for a few voices, but the Commission kept harping on incidental issues. The truth is that there are no holes in our qualifications.”

McGowan noted that the environmental services contract relates primarily to Navy clean-up.
“Arc never got in the way of the development,” McGowan said. “What it did was participate more fully in the EIR process, and, as I understand, Lennar incorporated some of Arc’s suggestions into their design. But by Arc not having its contract for the last 18 months, a lot of misinformation floated to the top.”

McGowan noted that the spirit of the Agency’s policy on small business enterprises is to foster the development of small firms that are disadvantaged and local.
“And Arc definitely is smaller, less advantaged and based in the Bayview, but it seemed like a lot of personal animosity came up,” he said.

Bloom acknowledged that the loss of this contract is a serious economic blow for Arc.
“They screwed a local small non-profit in the face of a multi-million dollar organization that swathed itself in a couple of small Bayview businesses,” Bloom continued, referring to Circle Point’s inclusion of three local SBEs as sub-contractors in its contract proposal.

Others, speaking off the record for fear of political reprisal, told the Guardian that the Commission’s treatment of Arc—and its refusal to listen to community members and community-based organizations that represent many thousands of local residents—calls into question the need for Redevelopment to exist in its present configuration, if the Commission believes its priority is to fire contractors that disagree with its plans in other arenas.

“The Board can eliminate the Redevelopment Agency and/or change its governance,” a Bayview resident said. “The Bayview is the last frontier of the eastern side of San Francisco. It’s a historically neglected neighborhood that many folks in City Hall now see as the next potential gold mine.”

Benefits: Sept. 22-Sept 28

David Talbot
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Benefits: Sept. 22-Sept 28

Ways to have fun while giving back this week


Friday, Sept. 24

Art for AIDS
Attend this charity art auction featuring paintings, sculpture, photography, and jewelry along with food and drink from Bay Area restaurants, caterers, wineries, and breweries. There will also be live music and an auction for travel and adventure prizes. Proceeds to benefit the UCSF AIDS Health Project.
5:30 p.m., $100
The Galleria
101 Henry Adams, SF
www.artforaids.org

Bollywood Disco Ball
If you need an excuse to wear a flashy disco outfit, head to this fundraiser featuring a night of Bollywood disco music video mash ups, live performances, live art, Indian food, and more. Proceeds to benefit Project Ahimsa, a global effort to empower youth through music that distributes music education grants in 14 countries, including programs in the Bay Area.
9 p.m., $125
111 Minna Gallery
111 Minna, SF
www.projectahimsa.org

Concert for Pakistan
Join classical music lovers and others interested in helping victims of this summer’s flood in Pakistan for a night of classical chamber music performed by the San Francisco Academy Orchestra, the Calvary Presbyterian Church chior, and other Bay Area musicans. All donations given during the concert will go to Presbyterian Disaster Assistance: Pakistan.
8 p.m., donations encouraged
Calvary Presbyterian Church
2515 Fillmore, SF
(415) 346-3832

Sunday, Sept. 26

Race for the Cure
The Susan G. Komen Race for the Cure® Series is one of the largest 5K run and fitness walk in the world, raising funds and awareness for the fight against breast cancer, celebrating breast cancer survivors, and honoring those who have lost their battle with the disease. Participate by running, walking, or just donating and help provide breast health research, diagnostics, screening, treatment, services and education for uninsured or underinsured women
9 a.m., $10+
Start and finish at Ferry Building
Embarcadero at Market, SF
www.komensf.org

Support the Red Vic
Join Surfpulse.com for a benefit for the Red Vic, a worker owned and operated movie house since 1980, featuring free food, surf films, DVDs for sale, and a $5 raffle for a Las Olas surfboard and other prizes. $1 from all Sierra Nevada beer sales and a portion of the bar and tips will all be donated to the Red Vic.
6 p.m., free
Joxer Daly’s Irish Pub
46 West Portal, SF
www.surfpulse.com

Chron endorsement dishonestly attacks marijuana measure

Sasha Cuttler
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Chron endorsement dishonestly attacks marijuana measure

Once again proving itself to be an corporate-run embarrassment to a city that has been at the forefront of progressive reform – including the movement to legalize medical marijuana – the San Francisco Chronicle this morning recommended that voters reject Prop. 19, which would allow cities and counties to legalize marijuana use by adults. And it did so with tortured logic and a cowardly, disingenuous claim to support legalizing marijuana.

As a journalist who has covered the medical marijuana industry in the Bay Area, I didn’t recognize the chaos that Chron editorial writers say resulted from the landmark 1996 measure Prop. 215, the medical marijuana measure written right here in San Francisco, home to a well-regulated, professional network of cannabis dispensaries, thanks to the city proactively setting guidelines. The cities cited in the Chron all did nothing to set standards for medical marijuana dispensaries, whereas in cities like San Francisco that did, an increasingly important sector of the local economy flourished with few problems.

Prop. 19 would similarly allow cities and counties to create systems for regulating marijuana for recreational use – or to not allow it if they so chooses. Yet the Chron takes issue with this localized approach, writing, “The measure establishes no state controls over distribution and product standards; it does nothing to help cure the state’s budget deficit.”

Both statements simply aren’t true. The measure explicitly gives the state authority to tax and regulate marijuana, Assembly member Tom Ammiano already has proposed legislation to do so if the Prop. 19 passes, and the California Legislative Analyst’s Office has estimated it could bring in more than $1.5 billion annually into state coffers.

Although the Chron claims “that the ‘war on drugs’ – especially as it applies to marijuana – has been an abject failure,” it bemoans a provision in the measure that prevent employers from firing employees simply for having marijuana in their systems, as it would be if someone smoked a joint three weeks ago, despite having no impact on job performance. “Pre-employment testing would be banned,” the Chron writes, as if that were a bad thing. The editorial also complains that people would be allowed to grow small plots of marijuana in their backyards. Again, and the problem with that is what exactly?

Bottom line: Chron editorial writers fall into the same old tired reefer madness stereotypes that have driven the drug war’s “abject failure,” but they just aren’t honest enough to admit the contradiction with their stated claim that “if this were simple a referendum on the status quo, and the ability of a 21-or-older Californian to possess an ounce or less for personal use, it might be an easy ‘yes’ vote.”

Because the reality is that’s what this measure does, simply lift the prohibition on pot, while also including language supporting local control and basic civil rights. There are some valid arguments against Prop. 19 – such as it lets jurisdictions tax or regulate pot too much – but those honest disagreements weren’t raised by the newspaper.

Instead, the paper made it sound like measure would fill the roads with stoned drivers and every neighborhood with the stench of marijuana, which is laughably alarmist. San Francisco’s experience with medical marijuana should serve as an indicator. This city has been the most accepting and legitimizing of marijuana for decades. It’s part of our culture. But drug surveys from our school district and others show that the rate of marijuana use among young people here is lower than the state average, and we have been at the forefront of world-renowned technological innovation and academic research, so clearly the normalization of marijuana hasn’t corrupted our youth or turned us all into menacing zombies.

The Chronicle’s presentation of the issue, and its recommendation on this measure, are anachronistic throwbacks to another era and should be tossed into the dustbin of history where they belong.

The interview in which cute saves the world

Andrew Lam
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You are perhaps in the market for an accessory statement that mimics pink plastic unicorns jumping through your ears? Maybe a connected  tube top-tutu smattered with a happy orgy of babydolls and hair-bows in the shape of a heart? Fret not, little cream-puff – your kawaii savior, Sebastian Masuda of Harajuku brand 6% DOKIDOKI (it’s name is an onomatopoeia of a beating heart) will be making an appearance at New People’s J-Pop Summit (Weds/15) for a lecture on Tokyo’s “cute culture,” a fashion show featuring members of his store’s famously, fabulously saccharine staff, and a glitz-tastic 6%DOKIDOKI pop-up store. The brand’s focus on wide-eyed adorable and the shockingly juvenile has been termed “happy anarchy” by people that know about these things, so we shot Masuda some questions via email about what the hell he’s up to. His answers were vague — but they include the possibility of world salvation, so you might wanna check them out.

 

San Francisco Bay Guardian: Sebastian, your shop is in the Harajuku district of Tokyo. What kind of influence does the neighborhood [famed for its innovative-freaky youth street culture] have on the 6% DOKIDOKI brand?

Sebastian Masuda: The girls of Harajuku girls have a sense of freedom, and they are challenging tradition or [sic] rules. That kind of attitude influenced 6% DOKIDOKI to become the store we are today.

 

Furry hats got nothing on the cuteness cataclysm Sebastian Masuda’s unleashed on this earth


SFBG: For our readers that are unfamiliar, what is kawaii culture? And is it true you once said “kawaii can save the world?”

SM: Kawaii makes happy, no matter what. One form of happiness. By “kawaii can save the world” I mean, and also hope, that the sense of “kawaii” makes people more happy and feel connected and this feeling will save the world from the grim and dark things that are happening right now. A lot of people are aware of such situations, and I have observed this from our world tour, Harajuku Kawaii Experience 2010. To this day, I strongly believe that “kawaii can save the world.” 

 

SFBG: How have your products sold in the United States? What is the response like that you get here?

SM: We are getting great response, usually because our items are really unique, and people see others wearing the items and ask “where did you get that?” The response is “oh, I got it in Harajuku”, so people are aware that our items came from Harajuku.

 

J-Pop Summit 2010: 6%DOKIDOKI Harajuku Kawaii Experience

Weds/15 7 p.m., $20 for lecture and fashion show

New People

1746 Post, SF

(415) 525-8630

www.newpeopleworld.com

 

 

 

 

 

Golden age remix: Bay graff gets its props

Andrew Lam
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0

Nate1’s business card is totally dope. It’s front depicts a Kry-lon paint can, the brand most used  for graffiti in the days he was coming up as a street writer in 1980s San Francisco. “Back then we used to have to make art with automotive paint,” he tells me at 1AM gallery, where his new show on the golden age of Bay tagging, “The Classics” opens today (Fri/10). “We’re talking about paint to paint red wagons and doors,” he remembers, smiling like a man that didn’t mind too much.

The card is striking because it evokes the sentiment behind this artist and the show he’s thrown up. “The Classics” is about those icons of SF’s early days on the graffiti scene, back before anyone with a few bucks could buy specialized Mammoth paint from 1AM’s retail section, cans specially designed for low pressure artistic liberty – but it’s also about where that art form stands today. 

1AM owner Anna says that before he came up with the inkling for this particular showing, Nate1 would bring around scrapbooks to street art openings, forcing heads to remember the days when. Finally, they hit upon the idea to base a show on these old masterpieces. On the gallery’s walls are seldom-seen photographs of the “Psycho City” wall in SoMa, the only place where young taggers could work on their art in public, in peace from police presence and neighborhood complaint. UB40’s ubiquitous-at-the-time scrawl is present, as is shots of trains painted by King 157, and Rigel’s game-changing robot piece. 

But the show’s no time capsule. What Nate1 wanted to do was pull these works into the present, juxtapose San Francisco relatively (to New York’s) unsung heroes with the realities of today. The artists are adults now, grown community members – Nate1, an original member of the graf crew Masterpiece Creators, has two kids, teaches graffiti art history at 1AM, and owns a clothing company – but they’ve still got skills. Most of the pieces at his show are not classics at all, but mature artists’ reimaginings of the culturally mega works they sprayed onto the sides of buildings and MUNI buses when they were in their teens. The show’s a celebration of where the art form’s been, but also how far it’s come.

“This show was put together by a writer, for a writer.” Nate1 is now addressing a crowd who has assembled the night for a sneak peek tour through the artwork that through months of searching and finding, he has deemed “The Classics.” In the audience are no small amount of writers from the ’80s scene: Rise is here, and Mike Bam. They’re among the artists Nate1 called on to create new pieces for the show. Throughout his tour, they pick up on Nate1’s more obscure points and chime in with clarifications, added bits of information.

“So dope!” Nate1 gets stoked on an original piece at his show “The Classics”

Some of the artists on display, like Rigel with his robot, re-imagined classic works from days of old and put them on canvass to grand affect. Others expanded on long dormant skills with new technology. Nate1 stops in front of a piece by Vogue entitled “Teenage Love.” It’s a painted closeup of Kry-lon cans, the glint of the metal popping in the bright, happy colors of everybody’s youth. “He did that with spray paint,” Nate1 announces to the assembled crowd, staggering backwards as if blown away by the technical mastery involved in this act. “Jesus!”

Still others made pieces of art that reflect the change in their lives, in everybody’s lives since those days of fat laces and “bus hopping” (which Nate1, in his best art history professor’s voice helpfully defines as when a graf artist boards a bus solo or en masse and “you take a tool of your choice to mark the surface”). Rise is called to the front when the corner that houses his work is introduced. A father himself, he has struggled with the “spiritual blackout” of alcoholism, only to finally see the light in a world with strange issues that dwarf running from the cops and fingers covered in aerosol paint. His intricate painting “Heaven Only Knows” shows a rising figure in Masonic imagery, surrounded by social ills, the seven deadly sins inscribed on paint cans, labyrinthine, interlocking words describing the scene, all of it framed by his son’s small hands on a video game controller. He talks about seeing names of military consultants in the credits of his offspring’s game manuals, explaining to his sons that though the games are fun to play, they’re still a tool of social conditioning. “Something that frustrates me is the condition of how things are going,” says Rise, a self-identified conspiracy theory enthusiast.

What may draw street art aficionados to “The Classics” is the promise of a look at the old school “OGs,” as Nate1 puts it. And that’s here: James Prigoff’s vast compendium of snapshots from 1980s taggers and their art has been selectively drawn from by Nate1. There’s a classic framed photo that shows a group of kids falling out the windows of a bus, adrenaline pumping in the aftermath of a writer’s party at the Mission Cultural Center for Latino Arts in honor of the first San Francisco book of street art. The shots serve as a tangible reminder of a time that wasn’t captured in graff mags, not endlessly cataloged on the Internet.

But what one walks away from “The Classics” with is the postmodern riffing images created for the show. It’s the fact that our local street art scene has become a school worthy of imitation, analysis, and homage that impresses. ’80s street artists – those night-crawling, fence-jumping, anti-social social crusaders, have finally and fully been embraced into the world of “art.” And they’ve got the business cards to prove it.

 

“The Classics”

Through Oct. 16

1AM gallery

1000 Howard, SF

(415) 861-5089

www.1amsf.com

Mr. In-Between

Jesse Hawthorne Ficks
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Mr. In-Between

arts@sfbg.com

STAGE During a lively discussion of aesthetics, Lord Henry Wotton (John Fisher) and painter Basil Hallward (Jef Valentine) pry open a Pandora’s box of idolatry, narcissism, and moral quicksand called The Picture of Dorian Gray. Oscar Wilde, author of the novel, is of course the aesthete par excellence. But this genuinely creepy, darkly sexy, and thought-filled Gothic — now imaginatively brought to life on the stage by Theatre Rhinoceros artistic director and playwright-director Fisher (Medea, the Musical) — reminds us that Wilde was a man prone to paradoxes that were anything but facile.

If Wilde was uncompromising in his aestheticism (not to mention his admirable embrace of social frippery), these qualities came charged with a devastating, subversive wit and an unquiet, compassionate intellect prone to probing questions about so-called human nature, as well as the nature of the social world he had inherited (still familiar in its essentials today, a century later). In a way, Dorian Gray is the dark dramatic counterpart to Wilde’s “The Soul of Man under Socialism,” his still must-read essay on the cultivation of the individual as the basis of a just society and vice-versa.

But to the play. The preternaturally beautiful young man of the title (essayed here with the perfect balance of innocence and ruthlessness by a captivating Aaron Martinsen) is a privileged orphan who comes under the wing of a painter, but the hierarchy is immediately inverted: it is Basil who comes under the power of the initially oblivious Dorian. So possessed (as opposed to merely “inspired”) is Basil by his subject that he paints a portrait well beyond his usual powers and jealously guards it from public eyes. Reluctantly introducing the boy to his friend, the consummate aristo-hedonist Lord Henry (played with a slightly brooding manner and delicate raunch by Fisher), Basil loses Dorian to the pull of Watton’s morally unbounded worldview. Soon Dorian utters a fateful wish: his soul in exchange for the eternal youth represented by his portrait. Wish granted, the portrait bears all the scars of aging and debauchery and evil in his stead, as he spirals into a moral abyss that consumes more than one life along the way.

In the principle roles, Fisher, Valentine, and Martinsen are worthy vehicles for the play’s elevated language and heightened realism. Valentine’s smart and engaging performance as Basil carries real weight and is a fresh surprise coming from a talented actor seen more often in drag than “straight” clothes (though even here, his natty, late-19th-century threads and pointed mustachio suggest a refugee from a barber shop quartet). The principals get strong support from Maryssa Wanlass and Celia Maurice in a variety of parts, and inconsistent help from the hard-working but less versatile Stephen Chun and Adam Simpson.

Fisher’s staging is apt and frequently inspired in a manner that suits the idea-driven material. The Eureka’s ample stage remains empty but for the odd chair, with an occasional sheen of light and shadow (from lighting designer Anthony Powers) suggesting the outdoors. This stark approach emphasizes the actors, whose smart period costumes, courtesy of the able Christine U’Ren, do most of the visual work in setting a period mood. The play’s characters are serenely unmoored in a way that compliments the story’s moral drift, swift conflation of time, and ethereally — and sexually — in-between quality.

Balletic, operatic touches (including light but compelling movement from choreographer Lia Metz, amid occasional bursts of Wagner and other Romantics) enhance the more lurid moments lovingly, while filling out the action with the most economical yet graceful of gestures. When modest theater actress Sybil Vane (a sharp and appealing Wanlass), victim of Dorian’s caprice, jumps to her death, the moment shifts from sturm und drang to a tragic tranquility. The actress throws up her hands and recedes slowly backward upstage, already of another world, as the back wall stops her cold, her vertical pose perfectly in line with the audience’s sight line as it follows her down to the ground.

The production has minor flaws. Chun and Simpson speak into offstage microphones to substitute for onstage servants and other minor parts, and the disparities within sound quality and volume, along with the tossed-off line readings, prove jarring. But any missteps are small ones. Moreover, despite a nearly three-hour run time, the play’s length isn’t a problem. Every word of Wilde’s put to use here — and Fisher has elegantly managed to include a lot of them — feels relevant, enticing, and necessary. If anything, the subtlety and thematic density of the speech demands a certain period of adjustment, and the two sets amount to full immersion in the heart of Dorian Gray. *

THE PICTURE OF DORIAN GRAY

Wed.–Sat, 8 p.m.; Sun, 3 p.m.;

(through Sept. 19); $15–$20

Eureka Theatre

215 Jackson, SF

(800) 838-3006

www.therhino.org

Strong Weekend

Jesse Hawthorne Ficks
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Strong Weekend

arts@sfbg.com

MUSIC: THE NEW SHOEGAZE Oh sure, I like to swoon and glide, and I stayed for all of “You Made Me Realize” when the reformed My Bloody Valentine played at the Concourse. But a million easy divers and slow Rides have stretched shoegaze out of shape, forgetting the loaming fury for déjà vu-ridden ecstasy. As with all pseudo-genres in the MySpace era, a premium is placed on affect: the shiny/skuzzy veneer that rewards your click. M83’s admittedly spectacular records (Before the Dawn Heals Us, Saturdays=Youth) were early harbingers of this tendency. Like big-budget fantasies of the early shoegaze sound, their effect is at once lush and deodorized.

That may be a circumspect way of introducing Weekend, but it helps me get a handle on my initial crush on the trio’s “All American”/”Youth Haunts” single (Mexican Summer). Both tracks hitch the familiar layers of ultraviolet feedback to a throbbing, post-punk core—the band approaches shoegaze as a means of attack. The songs are long, but only because they’re stalking another crescendo, like the blizzard of cymbals at the close of “Youth Haunts.”

The striving momentum of those two tracks made even more sense when I saw Weekend perform. Mission of Burma came to mind watching the band make Dionysian waves while remaining buttoned-up and steady. There was much unifying pounding, but at such a volume that the instruments seemed to be discordantly ripping at a beautiful cloud. When I ask bassist and singer Shaun Durkan why their forthcoming album is called Sports (Slumberland), he replies, “Because the record is about episodes of conflict and opposition.” That insight extends to the album’s minimalist cover art, designed by friend and fellow CCA grad Jeff Brush, and redolent of post-punk’s class of ’79.

Weekend plays loud enough to conjure little sonic hallucinations that compliment the band’s subtle, New Order-ish melodies. “We all come from punk and hardcore backgrounds where it’s really not a big deal to have a cranked half-stack,” guitarist Kevin Johnson explains when I meet up with him, Durkan, and drummer Abe Pedroza one sunny afternoon. And yet, the blown-out passages always channel back to the hook that was there all along. “I think that’s been an idea in our band for a long time,” Johnson adds, “having stuff that sounds really abrasive on the surface but that the listener can’t help but find the melody.”

This careful calibration surely owes something to Weekend’s long gestation. Durkan and Johnson first met as sixth graders in Novato, and though Johnson moved to Reno before a band could form, the two remained in close touch, scheming a band. They started Weekend in 2009 with drummer Taylor Valentino, who was replaced by Pedroza when he moved to Boston. Aside from the first single and a split 7-inch with Young Prisms, the band quietly logged weekend sessions toward Sports with local producer Monte Vallier, who played with Durkan’s father in Half Church, one of San Francisco’s early post-punk groups.

The finished album, set for a Nov. 9 release, recalls Sonic Youth’s mid-1980s records in its plateau-hopping sequencing and cohesive instrumental passages. Opener “Coma Summer”‘s wilting chord progression and slashes of noise suggest that while the band still probably sounds best in a basement (“We’ll play your Sweet 16,” Pedroza jokes), they grasp the dramatics required of a larger room. “Monongah, WV” would kill either — it’s one of those charmed post-punk tracks that simultaneously lilts and thrashes, overflowing a tightly wound three minutes. The more self-conscious stabs at transcendence, like slow-churning “Monday Morning” and epic “Veil,” can seem a little ponderous, though the kaleidoscopic fusillade climaxing the latter is worth the wait. Throughout Sports, the rhythm section works a full-court press, a nice counterpoint to the shambling side of the San Francisco sound.

Sports comes out the same day the band opens for the Pains of Being Pure at Heart at the Independent, and the guys are clearly basking in the company of the Slumberland revival. While several of the new additions to Mike Schulman’s label play at fey, Weekend steers back to the edgier sounds of groups like Whorl, the Lilys, the Ropers, and Schulman’s own Powderburns. “It’s a crazy legacy that we’re learning more and more about,” Johnson says. Like all the Slumberland acts, Weekend wears its ’80s and ’90s influences on its sleeves, but I’m struck by Durkan’s answer when I ask about the group’s touchstone albums.

“Most of the records that inspired us are pretty obvious: Loveless, Unknown Pleasures, Disintegration, Psychocandy,” he writes. These records were made painstakingly, and we were inspired by that thoughtful process of creation…. That process of discovering love for a record, having to work at it, always leaves me with more of an appreciation than when I’m instantly won over.” Rearticulating the slow victory of great records is a welcome gesture indeed from a still young Weekend.

WEEKEND

with Tamaryn; DJ sets by oOoOOO, and Nako and Omar

Sept. 15, 9pm, $8

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

Izakaya Sozei

Jesse Hawthorne Ficks
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0
Izakaya Sozei

paulr@sfbg.com

DINE A specter is haunting America — the specter of deflation, according to the worthies at the Fed, who, having played no small role in conjuring said specter, are now kind enough to warn us of it. Let the excellent adventure begin, but first, a stop at Sozai (full name: Izakaya Sozai), a twice-reinvented Japanese restaurant in the mid-Sunset, where the crush of youth is so massive that even the most slithery of specters would have a tough time worming their way in.

One tends to associate youth-crushed restaurants with Valencia Street, those droves of 30-year-olds in jeans and black shoes with disposable incomes adequate to support restaurant-going as a form of entertainment. Irving Street would hardly seem to be a serious competitor to the Mission extravaganza, and Sozai looks demure from the sidewalk: Japanese-style screens over the large windows and modest signage. But once inside, it’s all energy. The space seats only a few dozen, and as we all remember from high-school physics, compression produces heating.

The clientele is substantially Asian, which makes for a complex comment on the food. Despite the name, Sozai is far from a traditional Japanese restaurant. Its nearest relation is Namu, which stitches together Korean, Japanese, and Californian influences into a new piece of small-plate cloth. At both places, overflow spills onto the sidewalk, where wait-listers can be observed in deep communion with their smart phones, fingers jabbing away.

Sozai’s menu does offer a base of recognizably Japanese dishes, including otsumami, sashimi, nimono, and yakitori. The kitsune udon ($7) — fat wheat noodles in broth — is wonderful, despite a difficult-to-eat block of tofu floating on top. But the more exciting action is posted on the chalkboard; there the dishes can slide away from categories, and in some cases from Asian influences altogether.

An octopus ceviche ($8) served in a martini glass, for instance, with a gap-toothed fence of tortilla chips ranged around the lip, was like something you’d find in tony Peruvian or pan-Latino restaurants. The marinade was splendidly tangy; the octopus itself tough. But where would you look to find chunks of boneless, slightly fatty duck meat ($6) grilled on skewers after a bath in blueberry port? The port was vanishingly unpresent, while the meat itself was gamy and chewy, neither pleasant nor unpleasant. Equally oddball were skewers of brussels sprouts ($5) wrapped in bacon and grilled. I am a big believer in both grilling and combining bacon and cruciferous, but here the method — which left the vegetable in a semi-raw state while failing to crisp the bacon — did not impress.

Pulled-pork croquettes ($5) resembled a pair of whole-wheat English muffins but lacked any crust or crispness and, worse, were seriously underseasoned. If it hadn’t been for the side dish of ginger-charged hoisin sauce, we might not have finished them. The bed of daikon threads did offer a subtle heavenly quality and some texture, but no flavor.

The kitchen’s best dishes seem to be the simplest and the most Japanese, and maybe this shouldn’t surprise us. Mackerel, or aji, tataki sashimi ($10) was about as straightforward as it gets, a low heap of fish strips with skin still attached. It looked like a gathering of eels.

A salad of yuzu-dressed mozuku seaweed ($4) couldn’t have been improved upon while acquiring a sheen of elegance from the martini glass it was served in. And a plate of blanched baby yellow carrots ($4) needed only a shallow dish of lumpy miso paste on the side to offer a complete, and remarkably vivid, experience.

Taking chances does raise the risk of failure, and Sozai’s kitchen takes more chances than most, perhaps with the understanding that even serious culinary failures are almost sure to fall well short of inedible disaster. But one of the desserts, fig tempura ($5) arguably crossed the line. It consisted of halved figs, dipped in a light tempura batter and fried just enough to be crisp (why couldn’t the croquettes have been this crunchy?) and arranged around a helmet of vanilla ice cream.

The figs were neither sweet nor mealy inside, so call that a draw. The ice cream was fine. But why oh why drizzle everything with a too-tart balsamic reduction? It looked nice, like chocolate syrup, but knocked the dessert off balance. If not for the ice cream, the figs and balsamic could have been served as an hors d’oeuvre. As a dessert, it left us deflated.

IZAKAYA SOZAI

Dinner: Wed.-Mon., 5:30–11 p.m.

1500 Irving, SF

(415) 742-5122

www.izakayasozai.com

Beer and wine

MC/V

Noisy

Wheelchair accessible

 

Turf politics

Jesse Hawthorne Ficks
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1
Turf politics

arts@sfbg.com

MUSIC Messy Marv, a.k.a. The Boy Boy Young Mess, is probably San Francisco’s most popular rapper. Within the city, fellow Fillmore District native San Quinn remains SF’s icon, but, as Will Bronson, head of SMC Recordings, says: “Once you cross that [Bay} Bridge, it’s Mess.” According to Saeed Crumpler, the rap buyer for Rasputin, the prolific Mess outsells everyone in the Bay save E-40 and The Jacka, often having three or four CDs among the store’s top 20 rap chart. SMC has thus tapped the raspy-voiced gangsta rapper to preside over the just-released compilation Thizz City, first of a Frisco-focused series paralleling the label’s Oakland-oriented imprint Town Thizzness.

“We’re trying to brand the city and showcase the talent and the up and coming talent,” Mess says of Thizz City, a partnership between SMC and Thizz Entertainment, hence the name. “People can get on my promotion as far as where I’m at in my career.”

True to this conception, Thizz City attempts to represent all of the city’s scattered hoods, with a lineup that ranges from enduring O.G.s like Lakeview’s Cellski to new acts like Roach Gigz, a white kid from the Fillmore. Yet behind this apparent display of unity lurks an inconvenient truth: SF rappers don’t get along. By comparison, Oakland is a rap utopia — not that there’s never beef so much as the prominent acts tend to find common cause in the endless quest to make it big.

“In Oakland, they come together,” says Killa Keise, also of Lakeview. Keise, who began recording with Cellski at 12 and later hooked up with Hunters Point’s Guce, is simultaneously a vet and a young act, one of several slated for a Thizz City album later this year. “We just did a video shoot in Oakland for Guce and all the Oakland rappers came out to support it,” Killa says. “But there really wasn’t that Frisco support.”

The lack of camaraderie in SF is evident, and neutrality is frequently not an option. I’ve confirmed stories, off the record, of people being threatened just for recording with another rapper’s rival, and never have I been forced to have so many off-the-record conversations to get a picture of what’s happening. In Oakland, threats are generally reserved for someone who owes someone money, not for guilt by association. But in SF, where the African American population has shrunk from 13 percent to 6.5 percent since 1970 (according to an Aug. 8, 2008 article in the San Francisco Chronicle), street politics tend to exert more pressure on its necessarily smaller rap scene.

 

MESSY SITUATIONS

Mess’s situation is instructive. Currently he’s prepping his first full-blown solo album in several years, Waken Dey Cook Game Up, due this month from his own company, Scalen LLC/Click Clack Records. Produced largely by Mess’s longtime collaborator Sean T, who also made Mac Dre’s classic “Fellin’ Myself,” Waken will be the Fillmore rapper’s first big release as The Boy Boy Young Mess. It’s also a serious bid for chart action, with singles featuring Keyshia Cole (whom Mess discovered in the late 1990s) and Houston rapper Chalie Boy, whose 2009 independent hit “I Look Good” snagged him a deal with Jive. Clearly Mess has similar major label ambitions, and Chalie Boy proves that despite rap’s youth bias, a 30-year-old underground legend like Mess himself can still fulfill them. (In the age of Jay-Z, 30 is the new 25.)

“If one of us makes it from Frisco, we all make it,” says Guce, articulating the regional rap logic that has turned once-fledgling scenes like Houston into national powerhouses. But the SF rap scene hasn’t rallied around Mess the way the entire Bay seemed to support Jacka for last year’s Billboard-charting Tear Gas (SMC). This is partly due to feuds that have divided the Fillmore itself. A vicious beef with San Quinn two years ago has left lingering tension. Their battle was shocking because Quinn and Mess literally grew up under the same roof — Mess lived with Quinn’s family for a time — and the two have recorded together since they were teens.

“It was an ugly fight because they knew too much about each other,” says Fillmore’s Big Rich, who is in the studio working on his new album, Built to Last, with his protégés, Evenodds. “When Rick Ross and 50-Cent beef, they don’t know each other like that. It’s very nonpersonal. But these two brothers, every line they said was real.”

Just as this beef was “officially” squashed, another exploded between Mess and his former associates the Taliban (Young Boo and Homewrecka), which the group airs on Thizz City. The reasons for the dispute are less clear than the duo’s mode of attack, which is to question Mess’ street cred due to his recent absence from the Bay. On probation after his second weapons conviction — one strike away from serious prison time — Mess relocated to Miami in 2008 to focus on his music and his new endeavors Scalen Clothing and Scalen Films.

“When you break away and do other things, you get negative shit: ‘He ain’t fuck with the hood no more. He ain’t got money no more,'<0x2009>” Mess says during our phone interview. “Ain’t nobody run me out of Fillmore. I go wherever the fuck I please. I got out of jail and moved myself because I don’t want to go through that situation no more.”

This is an eternal dilemma, not limited to SF. A gangsta rapper faces an unrealistic if not impossible demand: to maintain credibility, you’re supposed to simultaneously get rich and stay in the hood.

“A lot of my people are brainwashed to believe you’re supposed to be in the hood and stay there,” Mess says. “That’s not what it’s supposed to be. I want to break the cycle. I have a kid. I don’t want him to go through the shit I went through. So I’m doing what I need to do for what’s better for my kid.”

 

WESTERN SUBTRACTION

No rap scene is immune to street politics, but the degree to which they affect SF is more extreme than anywhere else in the Bay. To every rapper I spoke with, I put the same question: why? Big Rich links the widespread volatility to both the depressed economy and drug abuse.

“The turf war in SF hip-hop is because niggas ain’t eatin’ enough,” Rich says. “Only a few of us can live off rap. And a few aren’t livin’ the way they used to because of the economy. That’s problem No 2. Problem No. 1 is drugs. A lot of Frisco rappers do cocaine and ecstasy, and drugs alter your thought process and your actions. So you get the drugs mixed in with the street politics and the lack of money being circulated.”

Another answer comes from the Fillmore’s DaVinci, a rising star originally from Quinn’s Done Deal camp. In March, DaVinci released his debut, The Day the Turf Stood Still (SWTBRDS), one of the most powerful, thought-provoking recent Bay Area albums, using gangsta rap to explore the problems of urban life. (The album is available for purchase or for free at www.swtbrds.com/DaVinci) As on his album, DaVinci suggests that gentrification is the root of many problems that bleed into the SF’s rap scene.

“Not only did gentrification break up families, but families that stayed let personal problems get in the way of coming together,” DaVinci said. “Fillmore used to be a whole, and now it’s broken up into different sections. Families who were keeping it together moved or got bought out of they houses, and we’re left with sprinkles of people who don’t know each other well. Or the second generation from them isn’t able to connect the dots like, ‘Oh, my pops used to go to school with him; he’s cool.’ It wasn’t instantly beef, but it was more like, ‘I ain’t fuckin with them.'<0x2009>”

As the aforementioned Chronicle article notes, SF has the most rapidly dwindling black population in the country, and the Fillmore, prime real estate in the middle of one of the most expensive cities on earth, has particularly felt the squeeze.

“The neighborhood’s shrinking every year,” DaVinci says. “It’s like, first you had two blocks for your territory, now you only got half a block. You do whatever you can to protect your half-block, even if it means you just fuck with these two niggas on your block. People don’t trust each other. And that’s reflected in the music because the music always reflects what’s going on in the neighborhood.”

Everyone I spoke with agrees that the lack of unity in SF rap is a problem. It’s bad for business, even locally. Town Thizzness, for example, has been thriving since 2008 while Thizz City is just getting off the ground, though they were conceived at the same time. “It’s like there’s a dark cloud over the city,” DEO of Evenodds sighs.

Occasionally a ray of light breaks through. Berner, a Mexican Italian SF native whose duo projects with the likes of Jacka also made Billboard noise, recently brokered what seemed impossible: getting Mess and Quinn on the same track — twice! — for his new collaboration with Mess, Blow (Blocks and Boatdocks) from Bern One Entertainment.

“I’m a fan first,” Berner says. “To be able to bring them together after all the problems is the greatest feeling in the world.”

They may have recorded their parts on opposite coasts without personal interaction, but that Mess and Quinn agreed to appear together sends a powerful message. Yet the tension in SF rap runs far deeper than any one dispute and Rich, for one, is tired of it.

“People be like, ‘We need a meeting, all the rappers come out,'<0x2009>” he says. “Every meeting, niggas say ‘This is what we need to do, this is what we gonna do,’ then everyone puts their hand in the circle and we break out the huddle. And niggas go out that room like, ‘Fuck that nigga.’ So I gotta carve my own lane and stay in it.”

On the Cheap listings

David Talbot
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0

On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 1

People in Plazas Various locations, SF; www.peopleinplazas.org. Shows begin at Noon all week, all shows are free. Check out one of the many free concerts in plazas on or surrounding Market street, including Rose Los Santos playing Peruvian music at 525 Market Plaza, SF on Wed/1, Ritmojito playing salsa at Embarcadero Center 3, SF on Thurs/2, Fromagique playing traditional jazz at 101 California Plaza, SF on Fri/3, Steven Espaniola playing Hawaiian music at Rincon Courtyard, SF on Tues/7, and many more.

"Shanghai’s Green Giant" USF Main Campus, Fromm Hall, 330 Parker, SF; (415) 422-6828. 5:45pm, free. Learn about the ongoing construction of the Shanghai Tower, or "The Shanghai Dragon", designed by the San Francisco based design firm, Gensler. Architect Steve Weindel will discuss the crafting of the 121-story, environmentally conscious structure that will be a "vertical city," with eight separate neighborhoods stacked on top on one another. The building is slated for completion in 2014 and will be the tallest building in China. Reservation recommended.

THURSDAY 2

"Everyday" 111 Minna Gallery, 111 Minna, SF; (415) 974-1719. 5pm, free. Attend the opening of this new exhibit showcasing new works by California tattoo artists Shawn Barber, Mike Giant, Mike Davis, Henry Lewis, Daniel Albrigo, and more. Gain insight into the artistic commitment and subculture lifestyle of these artists with displays of tattoo designs, photos, and more that demonstrate shop culture.

"Families, Death Row, and Animation" SOMArts, 934 Brannan, SF; www.somarts.org. 6:30pm, free. Attend this screening of an untitled animated documentary by local artists Dee Hibert-Jones and Nomi Talisman that tells the stories of three families whose loved ones faced a trial for a capital crime, are on death row, or have been executed. The film is in conjuction with the current exhibit, "What Cannot Be Taken Away," a series of collaborative paintings with Evan Bissell and youth in with parents in the legal justice system.

"Over Normal" Fifty24SF Gallery, 218 Fillmore, SF; (415) 312-4120. 7:30pm, free. Attend this opening of this solo exhibition show by Stanley Donwood, inspired billboards in Los Angeles and their use of seven basic colors to attract viewers’ attention in a primal way and the parallel between those colors and the use of words that play on our insecurities in spam emails. Donwood also created a 12 page newspaper and sound installation called "The Overnormaliser" to accompany the exhibit.

Walking Tour of the Ferry Building Meet at the foot of the stairs, Main Entrance, Ferry Building, 101 Embarcadero, SF; www.sfcityguides.org. Noon, free. Join tour guide Patricia Coyle for an hour-long walk through one of San Francisco’s most renowned landmarks and learn about the rise, tragic fall, and rebirth of the building, filled with tales of ferries, freeways, and earthquakes.

SATURDAY 4

Shakespeare in the Park Presidio Main Post Parade Ground Lawn, 34 Graham, SF; www.sfshakes.org. Sat. 7:30pm, Sun. 2:30pm; free. Pack a picnic and enjoy some free professional theater in the Presidio with a performance of William Shakespeare’s Two Gentlemen of Verona with some added 1960’s go-go flair. Director Kenneth Kelleher presents this classic story about a friend who dumps his girl to steal the other’s, causing cross-dressing, misbehaving, and other antics.

SUNDAY 5

BAY AREA

Enkutatash Martin Luther King Jr. Civic Center Park, 2151 Martin Luther King Jr. Way, Berk; (510) 681-5652. 11am-7pm, free. Celebrate Enkutatash, the Ethiopian New Year Festival, a celebration of new life, fresh starts, and Ethiopian culture featuring traditional Ethiopian cuisine, clothing vendors, visual arts, handcrafts, live dance and music performances, and children’s activities.

MONDAY 6

Free Fishing Day Lakes and piers all over the Bay Area, visit www.dfg.ca.gov. All day, free. The Department of Fish and Game is inviting all Californians to fish at any freshwater lake without a fishing license. It’s a great, low-cost way to give fishing a try. Nearby lakes and piers that won’t require a sport fishing license include Lake Merced, Pier 7, Fort Baker Pier, Alameda, Temescal Lake, and more.

TUESDAY 7

"Extreme Animals Sit Down" Southern Exposure, 3030 20th St., SF; (415) 863-2141. 8:30pm, free. Extreme Animals, Jacob Ciocci and David Wightman, present a mash-up of live music, video, staged theatrics, and global meltdowns that delves into the world of tween culture and the current obsession with staying young.

BAY AREA

American Taliban Books Inc. Berkeley, 1760 4th St., Berk.; (510) 525-7777. 7pm, free. Author and founder of the Daily Kos, Markos Moulitsas, will read and discuss his new book that compares the policies and tactics of the Republican Party to those of Islamic radicals, finding many similarities. Moutlitsas calls on the media, progressives, and elected officials to confront the radical right in their jihadist tactics.

Stage listings

David Talbot
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0

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.

THEATER

OPENING

A Picasso Royce Gallery, 2901 Mariposa; (866) 811-4111; www.apicassoonstage.com. $12-28. Previews Thurs/2-Fri/3, 8pm. Opens Sat/4, 8pm. Runs Thurs-Sat, 8pm. Expression Productions presents Jeffery Hatcher’s drama about the authenticity of three Picasso paintings.

Bi-Poseur StageWerx Theatre, 533 Sutter; (800) 838-3006; www.brownpapertickets.com. $20. Opens Thurs/2, 8pm. Runs Thurs-Sat, 8pm. Through Sept 25. W. Kamau Bell directs a solo piece by Oakland native Paolo Sambrano.

Olive Kitteridge Z Space at Theater Artaud, 450 Florida; (800) 838-3006; www.zspace.org. $20-40. Previews Wed/1-Thurs/2, 7pm; Fri/3, 8pm. Opens Sat/4, 8pm. Runs Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through sept 26. Word for Word presents a premiere production of stories from Elizabeth Strout’s award-winning novel.

BAY AREA

Anton in Show Business Marion E. Green Black Box Theater, 531 19th St; (510) 436-5085; www.theatrefirst.com. $10-30. Previews Thurs/2, 8pm. Opens Fri/3, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. TheatreFIRST presents Jane Martin’s theater comedy, under the direction of Michael Storm.

She Loves Me Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek; (825) 943-7469; www.CenterREP.org. $36-45. Previews Fri/3-Sat/4, 8pm; Sun/5, 2:30pm. Opens Tues/7, 7:30pm. Runs Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm. Through Oct 10.Center REPertory company presents a musical choreographed and directed by Robert barry fleming.

 

ONGOING

*Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Oct 2. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

The Glass Menagerie Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Fri/2 and Sat/3, 8pm. The third production in Boxcar Theatre’s trio of Tennessee Williams plays in repertory is the biggest disappointment, not only because director Jessica Holt’s production comes bloated distractingly by “shadow” versions of the principals and other random characters, but because it’s the play that otherwise feels most apt and urgent. The “social background of the play,” as narrator Tom (a generally credible Brian Trybom) describes it, is a landscape characterized by depression at home and revolution abroad, as pent-up American energies shuffle along through hangdog subsistence, shallow hedonism and occasional “labor unrest.” This is the social projection of Tom’s private quandary, but that’s just how this partly autobiographical play speaks so eloquently and subtly to larger themes. When the unhelpful, enervating pantomiming and other stage business dies down a bit, you can see the principal roles—rounded out by Hannah Knapp as Tom’s too fragile sister, Laura, and Suzan A. Kendall as his indomitable mother, Amanda—breath more genuinely and the play actually take shape on the stage. The arrival of the Gentleman Caller (played with winning solidity by Boxcar’s Nick A. Olivero) marks the best part of the evening, even if the gentleman arrives too late to fully redeem the proceeding hour’s misconceived shenanigans. (Avila)

*Dreamgirls Curran Theatre, 445 Geary; (888) SHN-1749, www.shnsf.com. $30-99. Wed, 2 and 8pm; Thurs-Fri, 8pm; Sat, 2 and 8pm, Sun, 2pm; Tues, 8pm. The touring version of director-choreographer Robert Longbottom’s revamped revival of the 1981 Broadway sensation (with book and lyrics by Tom Eyen and music by Henry Krieger, under original direction by A Chorus Line‘s Michael Bennett) is a visually and aurally dazzling spectacle that is also a knowing (if now familiar) take on the history and business of latter-20th-century American pop music from the perspective of African American R&B. The cast, operating with ease against and within a remarkable videoscape projected onto large draped screens center stage, charms from the outset of this story about the rise of a female vocal group called The Dreams (a loose composite of the Supremes and the Shirelles). The first act enthralls with the plot’s gathering possibilities, the sparkling music and the irresistible performances—not least Moya Angela’s unstoppable Effie and Chester Gregory’s heroically soulful, funky Jimmy “Thunder” Early. But the second act stretches things unnecessarily with one too many power ballads (albeit lunged to perfection) and a slowpoke approach to the all but predictable plot resolution. Still, this is a masterful production on many counts and an infectious evening overall. (Avila)

How Lucky Can You Get? New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $20-28. Thurs-Sat, 8pm. Through Sept 11. Darlene Popovic sings Kander and Ebb under the direction of F. Allen Sawyer.

Oscar Wilde’s The Picture of Dorian Gray Eureka Theatre, 215 Howard; 552-4100, www.TheRhino.org. $10-25. Wed-Sat, 8pm (also Sun/ 5, Sept 12, and Sept 19, 3pm). Through Sept 19. John Fisher adapts the Oscar Wilde novel for the stage and directs the production.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through Sun/5. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Mon/6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory (“Peaceweavers”), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of “Esta es Nuestra Lucha” passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

*The Real Americans The Marsh MainStage, 1062 Valencia; (800) 838-3006; www.themarsh.org. $20-50. Wed-Fri, 8pm; Sun, 5pm. The fifth extension of Dan Hoyle’s acclaimed show, directed by Charlie Varon.

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sat/4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ “A Streetcar Named Desire” includes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in “Cat on a Hot Tin Roof,” Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sat/4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

 

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Nov 21. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Sat-Sun, 3pm (also Sun/5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by Ian Tracy.

Into the Woods 142 Throckmorton Theatre, 142 Throckmorton, Mill Valley; 383-9600, www.142throckmortontheatre.org. $14-30. Fri-Sat, 7:30pm, Sun, 2pm. Through Sat/4. Marin Youth Performers present James Lapine’s and Stephen Sondheim’s fractured fairy tale.

The Light in the Piazza TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-67. Tues-Wed, 7:30pm, Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sept 19. TheatreWorks presents Craig Lucas’s tale of love under the Tuscan sun.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). Through Sept 12. Minneapolis’s Joel Sass returns to Cal Shakes to direct Macbeth with a pared down cast of 12, lead by Jud Williford in the title role of the prophesy-driven regicidal social climber and Stacy Ross as his ambitious and then guilt-crazed Lady M. The towering, two-tiered set (by Daniel Ostling) is a suitably eerie, decrepit-looking place, a “murky hell” with a sort of Old World clinical sleaze about it. The three witches come gowned (by costumer Christal Weatherly) in dingy white nurses habits and sickly green surgical gloves with black voids where their faces should be (their spectral speech projected over the audio system). But Cal Shakes’s production doesn’t really measure up to the atmospheric mise-en-scene, being more dutiful than heat-generating. A wily cut-and-paste job with one of the more famous lines doesn’t quite come off either, since it jars by its initial absence and then rings a bit self-consciously when it does surface as a downbeat coda. (Avila)

MilkMilkLemonade La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thurs/26-Fri/27, 8pm. Thurs-Sat, 8pm. Through Oct 2. Impact Theatre presents Joshua Conkel’s off off Broadway play about a lonely gay man trapped in a chicken farm.

*The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $20-25. Dates and times vary. Through Sun/5. Shotgun Players has a way with modern classics like few other theaters its size. When the company gets it right, as not long ago with David Hare’s Skylight, the production can hold its own with just about any other anywhere. Judging by a visit to two of the three plays currently up, this is again the case with the ambitious repertory run of Alan Ayckbourn’s celebrated trilogy, The Norman Conquests, a shrewd and consistently hysterical sex farce about modern romance and relationships with real—but admirably understated—bite. Table Manners and Living Together feature the same brilliant cast (who also reappear in the third play, not yet reviewed, Round and Round the Garden) under astute direction by Joy Carlin and Molly Aaronson-Gelb, respectively. Each play is another vantage on the same rollicking weekend at an English country house, where our philandering hero Norman (a superlative Rich Reinholdt), alternately brooding and expansive, pitches woo with preternatural determination and consummate wit to two sisters-in-law (Zehra Berkman and Kendra Lee Oberhauser) as well as his own frosty wife (Sarah Mitchell), while a brother-in-law (Mick Mize) and a painfully shy local vet (Josiah Polhemus) move about more or less ineffectually. On a set (by Nina Ball) admirably atmospheric in its detailed solidity, the cast enchants from the first with special chemistry and exceptional chops. Reinholdt, however—with saucy beard, bounding playfulness and mischievous glint—is downright revelatory in the titular role, delivering a performance that not only gives boisterous heft to the proceedings but probes the moral dimensions of love in an age of crass individualism and lingering prudery. (Avila)

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

PERFORMANCE/DANCE

“The Extreme Animals Sit Down” Southern Exposure, 3030 20th St; 863-2141; www.soex.org. Free. Tues/7, 9pm. Jacob ciocci and David Wightman of Paper Rad’s new project presents a mashup of live music, video, and theatrics.

The Front Row The Dark Room, 2263 Mission; www.TheFrontRow4.com. Sat/4, 7:30pm. $7. The all-female sketch comedy group is accompanied by Jesse Elias and Donny Davinian.

“RawDance Presents the Concept Series: 7” James Howell Studio, 66 Sanchez; www.rawdance.org. Sat/4, 8pm; Sun/5, 3 and 8pm. Pay what you can. An informal and intimate salon of contemporary dance, complete with popcorn.

School board race shouldn’t be personal

David Talbot
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36

The backroom anti-Brodkin campaign has to stop

EDITORIAL There are plenty of issues to talk about in the San Francisco School Board race. The new student assignment process marks a dramatic shift in the way parents and kids get to choose schools. The district’s decision to pursue federal Race to the Top money was a mistake. There are too many charter schools, and not enough money for basic programs. The district has made great strides in closing the achievement gap, but there’s more to do. Many school facilities still need upgrades, meaning — potentially — more bond acts. The austerity budget has meant teacher layoffs. Overall, the district is in better shape than it was five years ago, but the goal of quality education for all kids is still a long way off.

This is what candidates and interest groups ought to be talking about. Instead, it seems as if the entire race is about one candidate: Margaret Brodkin.

Brodkin, the former director of Coleman Advocates for Children and Youth and former head of the Mayor’s Office of Children, Youth, and Families is by all accounts among the most experienced people ever to run for the office. She’s also strong-willed, forceful, and sometimes difficult. That’s what’s made her such a successful advocate. Over the past 30 years, she’s been involved in almost every progressive cause involving children and youth in the city, from the creation of the Children’s Fund to the battle against privatization in the public schools.

You think she’d at least be considered a serious candidate and that elected officials and political groups would give her the respect she deserves as someone who has devoted her life to activism on behalf of children.

But some incumbent board members have been engaged in a full-scale, anti-Brodkin campaign the likes of which we’ve rarely seen, even in the rough and sometimes brutal politics of this city. It’s mostly quiet, backroom stuff — and as far as we can tell, it’s not about issues. But they’ve approached just about everyone in local politics to badmouth Brodkin.

Let us stipulate: there are issues, real issues, progressives can disagree on with Brodkin. We’ve fought with her ourselves over some of the programs she implemented when she worked in the Newsom administration. Brodkin was far too supportive of former school superintendent Arlene Ackerman, who was secretive and imperious, for far too long. She’s also a close ally of board member Jill Wynns, who was wrong on a lot of issues over the past few years.

Brodkin has extensive proposals about education reform that she has discussed over and over; if you don’t like them, then don’t vote for her. If you think her proposals would be bad for the kids in the public schools — and in the end, that’s what this is all about — then work to elect somebody else. That’s how politics works.

But the misleading whisper campaign annoys us, and is often based on inaccurate information. Brodkin, we’ve been told, opposed voting rights for noncitizens back in 2004. Not true — she personally wrote a ballot argument in favor of the law. She told us, for the record, on tape, that she disagrees with Wynns and opposes JROTC in the public schools.

There’s also the line (and it’s somewhat reminiscent of some of things that were said about Hillary Clinton during the presidential campaign) that she’s hard to get along with, that she won’t be collegial on the board. At her campaign kickoff, incumbent Hydra Mendoza praised the lack of conflict on the current board and said she wanted to preserve that — the implication being that Brodkin would bring disunity.

But unanimity and lack of conflict isn’t always good for a public board. Too much consensus leads to complacency — and that’s always a big problem, particularly when it comes to oversight.

We’ll issue our endorsements Oct. 6, when we’ve had a chance to talk to all the candidates — and right now we’re not ready to give the nod to Brodkin or anyone else. And we’d be the first to say that she has made mistakes and they ought to be taken into account in any endorsement process.

But we don’t like personal attacks, and we don’t like the politics of personal destruction. It’s not good for the schools, not good for democracy, not good for San Francisco. Argue issues, debate public problems — but this nasty whisper campaign has to stop.

School board race shouldn’t be personal

David Talbot
-
4
School board race shouldn’t be personal

EDITORIAL There are plenty of issues to talk about in the San Francisco School Board race. The new student assignment process marks a dramatic shift in the way parents and kids get to choose schools. The district’s decision to pursue federal Race to the Top money was a mistake. There are too many charter schools, and not enough money for basic programs. The district has made great strides in closing the achievement gap, but there’s more to do. Many school facilities still need upgrades, meaning — potentially — more bond acts. The austerity budget has meant teacher layoffs. Overall, the district is in better shape than it was five years ago, but the goal of quality education for all kids is still a long way off.

This is what candidates and interest groups ought to be talking about. Instead, it seems as if the entire race is about one candidate: Margaret Brodkin.

Brodkin, the former director of Coleman Advocates for Children and Youth and former head of the Mayor’s Office of Children, Youth, and Families is by all accounts among the most experienced people ever to run for the office. She’s also strong-willed, forceful, and sometimes difficult. That’s what’s made her such a successful advocate. Over the past 30 years, she’s been involved in almost every progressive cause involving children and youth in the city, from the creation of the Children’s Fund to the battle against privatization in the public schools.

You think she’d at least be considered a serious candidate and that elected officials and political groups would give her the respect she deserves as someone who has devoted her life to activism on behalf of children.

But some incumbent board members have been engaged in a full-scale, anti-Brodkin campaign the likes of which we’ve rarely seen, even in the rough and sometimes brutal politics of this city. It’s mostly quiet, backroom stuff — and as far as we can tell, it’s not about issues. But they’ve approached just about everyone in local politics to badmouth Brodkin.

Let us stipulate: there are issues, real issues, progressives can disagree on with Brodkin. We’ve fought with her ourselves over some of the programs she implemented when she worked in the Newsom administration. Brodkin was far too supportive of former school superintendent Arlene Ackerman, who was secretive and imperious, for far too long. She’s also a close ally of board member Jill Wynns, who was wrong on a lot of issues over the past few years.

Brodkin has extensive proposals about education reform that she has discussed over and over; if you don’t like them, then don’t vote for her. If you think her proposals would be bad for the kids in the public schools — and in the end, that’s what this is all about — then work to elect somebody else. That’s how politics works.

But the misleading whisper campaign annoys us, and is often based on inaccurate information. Brodkin, we’ve been told, opposed voting rights for noncitizens back in 2004. Not true — she personally wrote a ballot argument in favor of the law. She told us, for the record, on tape, that she disagrees with Wynns and opposes JROTC in the public schools.

There’s also the line (and it’s somewhat reminiscent of some of things that were said about Hillary Clinton during the presidential campaign) that she’s hard to get along with, that she won’t be collegial on the board. At her campaign kickoff, incumbent Hydra Mendoza praised the lack of conflict on the current board and said she wanted to preserve that — the implication being that Brodkin would bring disunity.

But unanimity and lack of conflict isn’t always good for a public board. Too much consensus leads to complacency — and that’s always a big problem, particularly when it comes to oversight.

We’ll issue our endorsements Oct. 6, when we’ve had a chance to talk to all the candidates — and right now we’re not ready to give the nod to Brodkin or anyone else. And we’d be the first to say that she has made mistakes and they ought to be taken into account in any endorsement process.

But we don’t like personal attacks, and we don’t like the politics of personal destruction. It’s not good for the schools, not good for democracy, not good for San Francisco. Argue issues, debate public problems — but this nasty whisper campaign has to stop.

Endorsement interviews: Margaret Brodkin

Zelda Bronstein
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7
Endorsement interviews: Margaret Brodkin

Editors note: The Guardian is interviewing candidates for the fall elections, and to give everyone the broadest possible understanding of the issues and our endorsement process, we’re posting the sound files of all the interviews on the politics blog. Our endorsements will be coming out Oct. 6th.

Margaret Brodkin’s spent her entire adult life as an advocate for children, youth and families. She been a nonprofit director (she ran Coleman Advocates for 24 years), a department manager (running the Department of Children, Youth and Families until Gavin Newsom fired her for refusing to go along with his budget plans) and was the author of the legislation that created the Children’s Fund. She has a wealth of knowledge about the school district and is full of ideas about what a 21st century education would look like.

Brodkin talks about big-picture issues — experiential learning, the problems with the Obama Administration’s education policies — and basic local issues (the need for a central kitchen to make healthy school lunches).

You can hear our interview with her here:

mbrodkin by endorsements2010

Endorsement interviews: Glendon “Anna Conda” Hyde

Zelda Bronstein
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2
Endorsement interviews: Glendon “Anna Conda” Hyde

Editors note: The Guardian is interviewing candidates for the fall elections, and to give everyone the broadest possible understanding of the issues and our endorsement process, we’re posting the sound files of all the interviews on the politics blog. Our endorsements will be coming out Oct. 6th.

District 6 candidate Glendon “Anna Conda” Hyde is full of intriguing ideas for how San Francisco can bring greater dignity into people’s lives.

These include a five-year moratorium on condominiums, the establishment of safe injection sites, building a grocery store in the Tenderloin, continuum housing for youth that age out of foster care, the charging of weight-based fees on vehicles that enter the city, and the creation of a theater and cultural district on the mid-Market Street corridor.

“We have been inspiring a whole lot of people that didn’t have a voice,” Hyde, who performs as the drag queen Anna Conda, told us in a conversation that touched on hot-button topics like decriminalizing homelessness, expanding rent control, creating safe and affordable housing, and providing better and basic services for folks in low-income areas,

“I was more into the idea of rent control but people are far more willing to talk about harm reduction and safe injection sites,” Hyde said of life on the campaign trail.

“San Francisco is a magical place that draws people to it, but it’s become the place that forces people out.”

Folks often talk about the divisive rise of NIMBYism in the South of Market, but Hyde thinks there is a way to create a more unified front in the district. “People don’t understand the ramifications of not taking care of the homelessness,” Hyde said. “Your tax is putting people in jail or on the streets, where it will cost twice as much. Three nights in jail equals the cost of an entire month of housing.”

To learn more about how Hyde intends to offer permanent solutions to these challengers, instead of simply sweeping folks from a doorstep to a jail cell, listen to the interview here:

 

glendon by janwend

Herrera’s gang injunction becomes part of D. 10 dialogue

Mary Magee
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0

As stated in this week’s article about City Attorney Dennis Herrera’s Viz Valley gang injunction, Herrera’s move gives D. 10 candidates an opportunity to show they are tracking all the issues in a district that is home to the city’s largest public housing site.

As C.L.A.E.R. Project director Sharen Hewitt put it at a debriefing session about the injunction, “D. 10 has been reduced to the Lennar issue, and that’s what’s criminal.”

And the injunction is becoming part of the dialogue in the D. 10 race, with eleven candidates in that race sounding off on the injunction, many of them critiquing Dennis Herrera’s approach and/or advocating for legal representation for those named in the suit, and more services in this historically neglected district.

Candidates Isaac Bowers, Kristine Enea, Chris Jackson, Nyese Joshua, Steve Moss and Marlene Tran attended Hewitt’s August 12 gang injunction debriefing.

And by meeting’s end, Bowers and Enea said they would help community members get legal representation.
“A lot of people being served, don’t know what an injunction is, or don’t show up at the hearing and then they become subject to the injunction,”  Bowers said.

Enea said she was glad that City Attorney Yvonne Mere clarified at the debriefing that the 41 young men named in Herrera’s filing could not be included in the actual injunction until they have been served.

“It was important to clarify the notice process,” Enea said.

Jackson said he’s committed to helping these men access job and education opportunities.
“If you i.d. folks as low-income gang members, there is a lot more you can do than simply hand over their names to law enforcement,” Jackson said.
“Before the City Attorney puts in a gang injunction, that office should talk about it with the community.” Jackson continued. “Ultimately this is about land use.”

“For the City Attorney to have a top down approach to gang injunctions is unfortunate,” Jackson said, noting that Herrera’s injunctions have been in predominantly
African American and Latino neighborhoods.

“And in terms of taking away people’s civil rights, it’s unacceptable, “ Jackson added, noting that the City Attorney’s list of targeted individuals is public information.

Reached by phone, Moss says he’d like to see a time limit imposed on gang injunctions. Currently, injunctions are indefinite, once they have been granted.

“I haven’t studied the precise details,” Moss said, noting that he went to Hewitt’s debriefing and has leaved through materials the City Attorney’s Office provided.
“Generally, no one likes gang injunctions because they potentially threaten civil liberties and sometimes the city gets it wrong,” Moss said, referring to cases where folks have been wrongly named in previous injunctions. “But in places where injunctions have been brought, they do seem to have reduced the violence and calmed down the district. I’d like there to be a time limit, a sunset clause.”

D. 10 candidate Marlene Tran said she thinks the injunction could help reduce violence in the neighborhood.
“I was trying to listen to the different input at the debriefing session,” Tran said. “But on TV, I heard that when Herrera talked to the Chinese press, he cited some 200 incidents in the proposed safety zone. About 100 of those incidents involved guns, and there have been ten homicides in three years. Those are really glaring statistics. And this morning I read that there is another injunction in Oakland, and they talked about success with gang injunctions in Salinas, where the homicide rate dropped from 50 to 5, compared to 2008/2009.”

Tran, who sits on the Community Advisory Board for the Police Department’s Ingleside Station, said she heard from Ingleside Captain Louis Cassenego that he wants to serve all 41 respondents named in the injunction peacefully.
“If this is done without any casualties to the district and the community, and if it prevents any further violence, then this is the way to go,” Tran said.

Tran expressed some due process concerns.
“If they spend that much personnel and time [on putting the injunction together], it should be done with due process,” Tran said.

But she feels the current level of violence in Viz Valley is unacceptable.
“I’ve lived here for twenty something years, and if you talk to residents and children, who wants to hear gun fire,” Tran said. “So I think we have to work for a peaceful community to prevent these problems. That’s why we call ourselves the emergent district.”

D. 10 candidate Ed Donaldson believes the injunctions are a product of neglect.
“It comes back to a question of overall neglect in the district,” Donaldson explained.  When you have that level of social and economic neglect, gang injunctions become “necessary’. But when you look at the resources coming into the district through local non-profits, which comes, I believe to $110 million a year, 80 percent of which is city money, paid mostly to non-profits that may not be based in the district, you have to ask, Are we getting what we paid for? And do these non-profits have enough integrity to make sure there is a level of impact to transform people’s lives? “

Donaldson says that, given the overall level of neglect in public housing, it’s not surprising the district has challenges.

“So, are we willing to invest in the neighborhood in a very transformative way, or are we going to continue to give money to police and prisons?” Donaldson asked.
He notes that every year, 1,600 men and women return to the southeast side of San Francisco, and there is a 71 percent recidivism rate among these folks.

“Why is this rate so high in a progressive city like San Francisco?” Donaldson said. “Part of the answer lies with our public housing policy: if you can’t get public housing, you can’t apply for a job, you can’t go to school to better yourself.”

Donaldson says there is a direct connection between the district’s homicide rate and the people getting out of prison, returning to the district and re-offending.
“So, what’s so hard about getting our arms around 1,600 people a year and stabilizing them? Because then a lot of stuff about public safety will go away.”

D. 10 candidate Tony Kelly believes that if there were gangs in Viz Valley, then Herrera’s injunction would be valid.
 “There is gang-like activity, but it’s small scale turf wars, shootings and retaliations, and it’s not organized,” Kelly said. “ Instead, you’ve got unorganized young black men with no other options, doing whatever it takes to get ahead. But instead of doing something constructive, the City Attorney calls them gangs.”

Kelly notes that the City Attorney claims that most of the individuals named in the Viz Valley injunction don’t live in the proposed safety zone.
“But according to what I’m hearing on the ground, a bunch of them do live here and/or grew up here,” Kelly said. “So, we want their families to get involved. They need safe havens. But combined with last year’s budget cuts, all this does is criminalize young people and pushes the problem around. As long as we have 40-50 percent unemployment, we are not going to solve our crime problem.”

DeWitt Lacy, also a D. 10 candidate, said he is concerned that gang injunctions are circumventing people’s due process rights.
“In a criminal case, you have the right to an attorney, but that’s not so in a civil action,” Lacy said.

Lacy worries that gang injunctions lend themselves to racial profiling.
“Folks have to stay in their house or quickly go to and fro because they can’t hang out in the neighborhood,” Lacy said. “A smarter approach would be to do community policy that Sup. Ross Mirkarimi introduced in the Western Addition. It’s been shown to have a positive impact on criminal activity. We should have officers walking around in troubled areas. The more we change a foot patrol pilot into citywide policy, the more we actually address serious issues and problems. Everyone understands the value that police bring and everyone wants to be able to rely on them. When we only use police to bring a punitive action it reinforces the notion that they are evil enforcers.”

D. 10 candidate Malia Cohen said she was concerned by Herrera’s approach.
“I think we need a more comprehensive approach, otherwise, we’ll simply be moving crime two blocks over,” Cohen said. “We need long-term, not short-term solutions.”

Cohen noted that there are Chinese and Russian gangs in town, as well as African American ones, and Latino gangs like the Nortenos and Sudenos.
“But the style of how each gang manifests is different, which makes African Americans an easy target. We need to have a uniform approach to how we deal with this.”

The 41 men identified in Herrera’s latest injunction all appear to be African American, and many have family ties and roots in Sunnydale, meaning the injunction impacts a much larger circle of folks than those simply named in Herrera’s filings.
“The impact on families caught up in this can’t be overstated,” Cohen said.  “Either they’ll have to take bus down to court, or drag down and pay hella money for parking, and for food, and even take a day off from work if they are employed. And then there’s the emotional effect. We could be using our resources in a more productive way. I understand that Dennis Herrera is ambitious, but this is playing on people’s racism. It’s tantamount to ethnic cleansing. Maybe Herrera wants to be seen as tough on crime, but ut how about being seen as big on compassion? Or big on fair? This is not going to help people get jobs and housing. And it prevents American citizens from being able to travel.”

Eric Smith, also a D. 10 candidate, says it’s right to question the injunctions.
“David Campos and Eric Quezada both expressed concerns about Herrera’s injunction against the Nortenos, when they were running in the 2008 race for D. 9,” Smith observed.
“They talked about the unintended consequences of that injunction in terms of deporting folks who then train the next generation in the ways of gangs.”

Smith questions how effective gang injunctions are in the long-term.
“They are a band-aid,” Smith said. “This is like putting a finger in the dike, or using a hammer to kill a flea. Because the root causes are not addressed. If you don’t deal with young people’s lack of education and joblessness, their hopelessness, their choicelessness, the gang becomes their family. So, if the city did community policing and had great youth programs, it would help.”

Smith, who is a professional jazz musician, wants to see more music, poetry and spoken word programs and activities in the neighborhood.
“There’s a lot of untapped talent,” he said. “When you have arts, music and theater, those are life-saving opportunities.”

Also a bio-diesel advocate, Smith wants to see people who are returning to the community after a stint inside, being able to access green jobs, instead of doing more of the same stuff, only better, than the activities that landed them inside in the first place.

“I care about everyone in the district, but most of all about those who have been kicked to the curb and end up in gangs, on drugs, or dead.”

And D. 10 candidate Diane Wesley Smith believes there are better solutions than gang injunctions

“African American culture is almost opposite in terms of physical mannerisms and gestures and tone of voice, and that can be scary to someone who is used to being conservative,” Wesley Smith said, speaking to the rising tensions between some black and Asian residents in the district.

“I believe these things could be solved with town hall meetings, where there is food and translators so folks could talk things out, “ she said. “It’s never going to be worked out through the police. Only law enforcement benefits from these kinds of proceedings. We need to reach out and touch each other, so that the Chinese community knows that the black community has the same goals as they do, which are employment, housing and safety.”

“When we talk about violating people’s civil rights, posting people’s pictures on websites, preying on people’s fears, well, that’s how we got into the war,” Wesley-Smith said. “Unemployment. Lack of access to opportunity. Lack of education. No money for our schools, but an increase in spending on our jails. These all send the same message: You are not wanted.”

Wesley Smith is concerned that the gang injunctions will accelerate the mass exodus of blacks and people of color from San Francisco.
“We all want a safe San Francisco,” she observed. “The solution is more jobs, not war. People are just going to go more underground in face of these injunctions. Meanwhile, the kids in my district don’t have toilet paper or computer paper in their schools.”

“I understand that Dennis Herrera is a career politician, and time will tell what his true aspirations are, but this is not legislation we propose in a caring society,” Wesley-Smith concluded. “We’re not showing any of these kids any love. All we need to do is partner with business and government and work this out. Te thought that four men standing on a corner drinking an energy drink could be considered gang members is shocking. That’s how they perpetuated slavery, and that’s why blacks have problems today. All my nephews dress similarly. So, are we going to consider them gang members? The good and the bad kids dress the same. We need people and parents to understand that none of us can be safe, until we take care of those who have the least in our community. I’d venture that everyone who is a safety concern has not pursued their education, has not been assisted in pursuing education, and has not been assisted in pursuing employment.”

D. 10 candidate Lynette Sweet promised to call me back to talk about the gang injunction, and if and when she does, I’ll be sure to include her comments here. The same goes for Nyese Joshua, Geoffrea Morris and Steve Weber  who had not returned my calls as of blog time, and for any other D. 10 candidates that I was unable to reach for this article. So, stay tuned…

Stage listings

David Talbot
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0

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.

THEATER

OPENING

How Lucky Can You Get? New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $20-28. Previews Thurs/26, 8pm. Opens Fri/27, 8pm. Runs Thurs-Sat, 8pm. Through Sept 11. Darlene Popovic sings Kander and Ebb under the direction of F. Allen Sawyer.

Oscar Wilde’s The Picture of Dorian Gray Eureka Theatre, 215 Howard; 552-4100, www.TheRhino.org. $10-25. Previews Thurs/26-Sat/28, 8pm; Sun/29, 3pm. Opens Sept 1, 8pm. Runs Wed-Sat, 8pm (also Sept 5, Sept 12, and Sept 19, 3pm). Through Sept 19. John Fisher adapts the Oscar Wilde novel for the stage and directs the production.

BAY AREA

Into the Woods 142 Throckmorton Theatre, 142 Throckmorton, Mill Valley; 383-9600, www.142throckmortontheatre.org. $14-30. Opens Fri/27, 7:30pm. Runs Fri-Sat, 7:30pm, Sun, 2pm. Through Sept. 4. Marin Youth Performers present James Lapine’s and Stephen Sondheim’s fractured fairy tale.

The Light in the Piazza TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-67. Previews Wed/25-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Tues-Wed, 7:30pm, Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sept 19. TheatreWorks presents Craig Lucas’s tale of love under the Tuscan sun.

MilkMilkLemonade La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thurs/26-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Thurs-Sat, 8pm. Through Oct 2. Impact Theatre presents Joshua Conkel’s off off Broadway about a lonely gay man trapped in a chicken farm.


ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Fri/ 26, 9pm. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

The Glass Menagerie Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Fri/27 (also Sept. 2 and Sept. 3), 8pm. Through Sept 3. The third production in Boxcar Theatre’s trio of Tennessee Williams plays in repertory is the biggest disappointment, not only because director Jessica Holt’s production comes bloated distractingly by "shadow" versions of the principals and other random characters, but because it’s the play that otherwise feels most apt and urgent. The "social background of the play," as narrator Tom (a generally credible Brian Trybom) describes it, is a landscape characterized by depression at home and revolution abroad, as pent-up American energies shuffle along through hangdog subsistence, shallow hedonism and occasional "labor unrest." This is the social projection of Tom’s private quandary, but that’s just how this partly autobiographical play speaks so eloquently and subtly to larger themes. When the unhelpful, enervating pantomiming and other stage business dies down a bit, you can see the principal roles—rounded out by Hannah Knapp as Tom’s too fragile sister, Laura, and Suzan A. Kendall as his indomitable mother, Amanda—breath more genuinely and the play actually take shape on the stage. The arrival of the Gentleman Caller (played with winning solidity by Boxcar’s Nick A. Olivero) marks the best part of the evening, even if the gentleman arrives too late to fully redeem the proceeding hour’s misconceived shenanigans. (Avila)

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun/29, 8pm. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through Sept 5. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory ("Peaceweavers"), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of "Esta es Nuestra Lucha" passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

Skin Tight CounterPULSE, 1310 Mission; www.counterpulse.org. $20 ($35 for gala opening). Thurs-Sat, 8pm. Through August 28. Rapid Descent Physical Performance Company takes its debut bow with Gary Henderson’s oblique portrait of a lifelong love affair, directed and choreographed by Megan Finlay. The couple, the vivacious Elizabeth (Beth Deitchman) and her gentle but quick-witted childhood sweetheart (and later war veteran) Tom (Nathaniel Justiniano) tumble, wrestle and entwine in playful lovemaking and painful heartache across a stage largely bare but for a bathtub set prominently upstage and center, and a white-clad trumpet player (composer-performer Aaron William Priskorn) who observes and accompanies them at close quarters throughout as an invisible muse or piece of mobile furniture. The acting is strong and committed—Deitchman’s sharp and vibrant Elizabeth balances well with the brawny Justiniano’s slyly self-effacing Tom, and both are lithesome in the physically demanding staging—but the dramatic content is thin and hampered by a sentimental storyline that feels precious rather than genuinely romantic or truthful. Moreover, the movement, central to the piece, remains fitfully effective and repetitious. But there’s a promising intelligence at work throughout the production that makes Rapid Descent a welcome arrival. (Avila)

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sept 4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ "A Streetcar Named Desire" includes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in "Cat on a Hot Tin Roof," Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sept 4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

This World Is Good Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Thurs-Sat, 8pm. Through Sat/28. $18-24. The 1990s are giving way to a millennial moment of anti-climax known as Y2K, but the anxiety and dread are real, and the bloodiest century in human history looks poised to be outdone by the doom-drones of the next. Making at least academic sense of all that angst is Ally (Dina Percia), a brilliant young Latina writing her doctoral dissertation on Grunge and its landscape of youth alienation. Her best friend and occasional lover is a smitten young English prof (Damian Lanahan-Kalish), a dork with a degree and the pet name Scrotum Face. But as she delves into the world of ideas, Ally loses track of her family: single mother Emmy (Tessa Koning-Martinez) and, more tragically, talented but emotionally tortured younger brother Sam (Shoresh Alaudini), whose battered mind and compassionate heart craft a graphic story around a new "super hero" with no costume, no parallel identity, and indeed no special powers. When her family collapses, Ally reassembles the pieces from a new vantage, outside the ivory tower, where she makes art from a sort of crystalline "ordinariness" that complements her brother’s all-too-ordinary super hero. This World Is Good is the opening gambit in a new trilogy by local playwright J.C. Lee called This World and After, all being presented by Sleepwalkers Theatre this season. Artistic director Tore Ingersoll-Thorp helms a competently acted production, which helps lend Lee’s ambitious scope its tangible human proportions, though in truth the characters do not always feel fully drawn. There’s a fine monologue from Sam, both chilling and exhilarating, but also a proclivity throughout for awkwardly poetical speeches over dialogue. Still, there’s subtlety and real humor in the best parts, and enough here to want to see more. (Avila)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Sept 12. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Sat-Sun, 3pm (also Sept 5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by Ian Tracy.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). Through Sept 12. Minneapolis’s Joel Sass returns to Cal Shakes to direct Macbeth with a pared down cast of 12, lead by Jud Williford in the title role of the prophesy-driven regicidal social climber and Stacy Ross as his ambitious and then guilt-crazed Lady M. The towering, two-tiered set (by Daniel Ostling) is a suitably eerie, decrepit-looking place, a "murky hell" with a sort of Old World clinical sleaze about it. The three witches come gowned (by costumer Christal Weatherly) in dingy white nurses habits and sickly green surgical gloves with black voids where their faces should be (their spectral speech projected over the audio system). But Cal Shakes’s production doesn’t really measure up to the atmospheric mise-en-scene, being more dutiful than heat-generating. A wily cut-and-paste job with one of the more famous lines doesn’t quite come off either, since it jars by its initial absence and then rings a bit self-consciously when it does surface as a downbeat coda. (Avila)

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Dates and times vary. Through Sept 5. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

PERFORMANCE/DANCE

"Buddy Club Children’s Shows" Botanical Garden, 9th Ave and Lincoln; (510) 236-7649, www.TheBuddyClub.com. Sun/29, 11am-noon, $5-10. Robert Strong performs magic.

"New Choreography" The Garage, 975 Howard; 518-1517, www.975howard.com Fri/27-Sat/28, 8pm. SPF5 presents two nights of dance.

Penny Dreadful Project Studio Theatre, Creative Arts Bldg, San Francisco State University, 1600 Holloway; 338-2467, www.creativearts.sfsu.edu. Wed/25-Sat/28, 8:30pm; free. A dark tale about an unnamed woman and three versions of her son, directed and co-written (with Alex peri) by Mario El Caponi Mendoza.

"San Francisco Circus Center Showcase" San Francisco Circus Center, 755 Frederick; www.brownpapertickets.com. Fri/27, 7pm; Sat/28 2 and 7pm; Sun/29, 2pm; $10-20. The Circus Center presents its annual showcase.

Sci-Fi Burlesque DNA Lounge, 375 11th; www.superhappyfuntimeburlesque.com. Thurs/26, 9pm; $10-15. Six-person Michigan burlesque group puts on a show.

BAY AREA

Stage Listings

Jesse Hawthorne Ficks
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0

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

THEATER

OPENING

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Previews Fri/20-Sun/22, 8pm. Opens August 28, 8pm. Runs Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Opens Sat/21, 3pm. Runs Sat-Sun, 3pm (also Sept 5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by ian tracy.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Previews Wed/18-Fri/20, 8pm. Opens Sat/21, 8pm. Runs Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). California Shakespeare Theater presents the tale of unbridled ambition and its consequences, directed by Joel Sass.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Previews Fri/20-Sat/21 and Tues/24, 8pm; Sun/22, 2pm. Opens August 26, 8pm. Run Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

 

ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Thurs/19, August 26, 9pm. Through August 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Divalicious New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-28. Wed-Sat, 8 p.m.; Sun, 2pm. Through Sun/22. Leanne Borghesi takes on the music of legends ranging from Garland to Midler.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun, 8pm. Through August 29. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through August 29. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory (“Peaceweavers”), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of “Esta es Nuestra Lucha” passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

Sex Tapes for Seniors Victoria Theatre, 2961 16th; (800) 838-3006. $20-40. Fri-Sat, 8pm; Sun, 2pm. Through Sun/22. Older people have sex. It’s a revelation, incredibly, for the new, blandly do-goody yoga instructor (Erin Reis) at a retirement village called Shambhala Springs in the premiere of Mario Cossa’s sweet, sassy, but somewhat sterile and long-winded new musical. It’s maybe an eye-opener too for anyone in the audience too young to remember doing it in the Sixties—let alone in your sixties—and by eye-opener we mainly mean the ability to keep at least one eye open the entire show. Older audiences may find more to appreciate here. The odd cast of characters includes three couples—one straight (Charmaine Hitchcox and Terry Stokes), two gay (Phillipe Coquet and John Hutchinson; Rebecca Mills and Carolyn Zaremba), and a single widow (Nancy Helman Shneiderman) who dates but keeps another marriage at bay. (I promised myself I wouldn’t use the word feisty, but she is, as are several of the others.) They come up with a plan to make and sell the titular product, much to the horror of relatives and some other residents. But the storyline has more do to with individual relationships and the challenges of aging gracefully and living well. Performances are uneven, entrances routinely late, but there’s a built-in charm to that. Tyler Flanders’ music, however, generally limps along (despite dutiful treatment by a three-piece band) and Cossa’s lyrics only rarely stir. Although at least once all hell breaks loose: in the rousing, if not exactly arousing, number devoted to the fellatic benefits of dentures. Indeed, this play should probably have an NC-71 rating. (Avila)

*Show and Tell Thick House, 1695 18th St; (800) 838-3006, www.symmetrytheatre.com. Thurs-Sat, 8pm; Sun, 5:30 pm. Through Sun/22. $25. Symmetry Theatre Company, an impressive new group dedicated to addressing gender disparity in the casting of professional actors, makes a memorable debut with this expertly crafted, sinuous drama about the psychological aftermath—and tangled social roots—of a bombing in a small-town schoolroom from playwright (and former SF rez) Anthony Clarvoe (Control+Alt+Delete). The sole survivor of the horrific and mysterious attack is the stunned, deeply perplexed teacher (an affecting, quietly intense Chloe Bronzan), soon surrounded by grief-stricken parents demanding their childrens’ remains and a tight-knit, jaded forensics team led by a gradually smitten FBI agent (a suavely imposing Robert Parsons). Julia Brothers, Wylie Herman, Jessica Powell, and Erika Salazar round out a strong ensemble under the assured direction of Laura Hope, whose engaging production leaves much to think about in the realm of private turmoil and public chaos—including the nature of grief, modernity’s systemic violence, and the disorder generated and managed by the self-same state. Kate Boyd’s lush, strikingly ambiguous video design (featuring a set of evocative childrens’ drawings) and Cliff Caruthers’ beautifully spare and haunted sound (featuring a delicate stream of child voices) add measurably to the expanse of the play’s existential and political universe. (Avila)

Skin Tight CounterPULSE, 1310 Mission; www.counterpulse.org. $20 ($35 for gala opening). Thurs-Sat, 8pm. Through August 28. Rapid Descent Physical Performance Company presents the SF premiere of Gary Henderson’s play.

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sept 4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ “A Streetcar Named Desire” includes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in “Cat on a Hot Tin Roof,” Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sept 4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

This World Is Good Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Thurs-Sat, 8pm. Through August 28. $18-24. The 1990s are giving way to a millennial moment of anti-climax known as Y2K, but the anxiety and dread are real, and the bloodiest century in human history looks poised to be outdone by the doom-drones of the next. Making at least academic sense of all that angst is Ally (Dina Percia), a brilliant young Latina writing her doctoral dissertation on Grunge and its landscape of youth alienation. Her best friend and occasional lover is a smitten young English prof (Damian Lanahan-Kalish), a dork with a degree and the pet name Scrotum Face. But as she delves into the world of ideas, Ally loses track of her family: single mother Emmy (Tessa Koning-Martinez) and, more tragically, talented but emotionally tortured younger brother Sam (Shoresh Alaudini), whose battered mind and compassionate heart craft a graphic story around a new “super hero” with no costume, no parallel identity, and indeed no special powers. When her family collapses, Ally reassembles the pieces from a new vantage, outside the ivory tower, where she makes art from a sort of crystalline “ordinariness” that complements her brother’s all-too-ordinary super hero. This World Is Good is the opening gambit in a new trilogy by local playwright J.C. Lee called This World and After, all being presented by Sleepwalkers Theatre this season. Artistic director Tore Ingersoll-Thorp helms a competently acted production, which helps lend Lee’s ambitious scope its tangible human proportions, though in truth the characters do not always feel fully drawn. There’s a fine monologue from Sam, both chilling and exhilarating, but also a proclivity throughout for awkwardly poetical speeches over dialogue. Still, there’s subtlety and real humor in the best parts, and enough here to want to see more. (Avila)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Blithe Spirit Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkely.org. $12-15. Fri-Sat, 8pm; also Thurs/19, 8pm. Through Sat/21. Actors Ensemble of Berkeley essays the eternal Noel Coward comedy, about a (naturally) Coward-esque writer (Stanley Spenger) who for the purposes of research and any passing amusement it may provide invites over a celebrated medium (an amusingly puffed-up Chris Macomber), only to have her inadvertently summon the ghost of his ex-wife (Erin J. Hoffman), who mischievously begins to drive a wedge between him and his new wife (Shannon Veon Kase). Director Hector Correa’s not-always-fitting casting choices contribute to a drearily perfunctory tone at the outset, which makes the first scenes somewhat painful going. However, Spenger proves admirably dry and restrained in the lead, and things pick up measurably with the arrival of the titular ghost, played with playful, bounding energy and notable grace by Hoffman. (Avila)

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Sept 12. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*Machiavelli’s The Prince Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centralworks.org. $14-25. Thurs-Sat, 8 p.m.; Sun, 5pm. Through Sun/22. Set in an intimate salon-space in the Berkeley City Club, this stage adaptation of one of the most famous documents on political power ever written gains a certain conversational quality. In fact, the script, penned by Gary Graves, is really just one long conversation—an imagined encounter between Nicolo Machiavelli and the man he dedicated his treatise to, Lorenzo de Medici II. Machiavelli (Mark Farrell) has been called by de Medici (Cole Alexander Smith) to possibly regain favor in his court after a long banishment. With him he brings a notebook of his musings on gaining and retaining political power, which he bestows on Lorenzo for him to read. As the Duke of Florence, Smith plays his character with the measured dignity and watchful countenance of a career mobster. He protests the extremism of his former teacher’s philosophy of rule even as he is casually seduced by its implications. Farrell’s Machiavelli tries to play his position with calculated Mephistopheles cool. However, he cannot escape the obvious taint of his own failures, and eventually, for all his talk of power, he is revealed to be ultimately powerless, though his ideas remain with de Medici, long after he himself is let go. (Gluckstern)

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Dates and times vary. Through Sept 5. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

PERFORMANCE/DANCE

Bay Area Rhythm Exchange War Memorial and Performing Arts Center, Herbst Theatre, 401 Van Ness; 392-4400, www.stepology.com. Fri/20-Sat/21, 8pm. $17-25. Bay Area Tap Festival artists perform.

“Disoriented” Stage Werx Theater, 533, Sutter; www.brownpapertickets.com. Thurs/19, 8pm, $20. A trio of solo performances by Zahra Noorbakhsh, Colleen “Coke” Nakamoto, and Thao P. Nguyen.

“House Special” ODC Dance Commons, 351 Shotwell; www.odctheater.com. Sat/21, 8pm, $15. New work by Pearl Ubungun, Jesseilto Bie, and others.

Landscape With the Fall of Icarus Climate Theater, 470 Florida; www.brownpapertickets.com. Fri/20-Sat/21, 8pm, $15. Samauel Topiary presents an evening-length performance work.

“Sinners and Salivation-Themed Drag King Contest” DNA Lounge, 375 11th; www.sfdragkingcontest.com. Fri/20, 8pm (band) and 10pm (show), $20-35. The 15th annual contest, with special guest Jane Wiedlin, benefiting PAWS.

BAY AREA

“New Works Festival” Lucie Stern Theatre, 1355 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Dates and times vary. Through August 22. $15-25 ($75 for festival pass). TheatreWorks presents its ninth annual festival.

On the Cheap Listings

Jesse Hawthorne Ficks
-
0

On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 18

“El Grito de la Mission” Southern Exposure, 3030 20th St., SF; (415) 863-2141. 6pm, free. Join Southern Exposures and the youth, artists, and community partners who participated in the Mission Voices Summer program for a final exhibition featuring new work, installations, interactive performance, food, and refreshments.

Hear It Local 111 Minna Gallery, 111 Minna, SF; (415) 974-1719. 6:30pm, free. Celebrate the San Francisco launch of www.hearitlocal.com, which provides a community-building platform for the local, independent music scene. Featuring performances by the Nice Guy Trio, Quinn Deveaux, and Kelly MacFarling, a music photography exhibit by Niall David and Audra Marie Dewitt, and more.

NASA Space Telescope Randall Museum, 199 Museum Way, SF; (415) 554-9600. 7:30pm, free. Astrophysicist Bryan Mendez will tell all there is to know about NASA’s new Wide-field Infrared Survey Explorer (WISE) telescope, launched unmanned in 2009 to search for asteroids, stars, the origins of stellar and planetary systems, and anything else the galaxies could reveal.

THURSDAY 19

Chrome Chrome Retail, 580 4th St., SF; (415) 820-5070. Noon, free. All Chrome products will be 30% off all day while all proceeds from the Noon-3 BBQ and the 4pm-8pm dollar beer happy hour will benefit the San Francisco Bike Kitchen.

Drunken Dish Asian Art Museum, 200 Larkin, SF; (415) 581-3500. 5pm, $10. Head to this month’s installment of Matcha, the Asian Art Museum’s monthly late night discounted party, for a talk and demonstration on Shanghai cuisine, specifically, how to make drunken chicken. Also featuring special gallery tours, cocktails, DJ music, and more.

Jaws Hyde Street Pier, 2905 Hyde, SF; (415) 561-6662. 7:30pm, $5 suggested donation. If you thought Jaws was frightening to watch on land, see if you can survive watching it on the Eureka, “the longest floating wooden ship on Earth.” Part of the San Francisco Maritime Nat’l Park Association’s film series to raise money to benefit their education and preservation programs.

“Persistent Voices” Magnet, 4122 18th St., SF; (415) 581-1600. 8pm, free. Inspired by the anthology, Persistent Voices: Poetry by Writers Lost to AIDS, poets will read and perform works from the anthology in addition to some new pieces inspired by the book. Featured readers include Judy Grahn, Kevin Killian on Steve Abbott, Jaime Cortez, Thandiwe Thomas, and more.

SF Jazz Summerfest Union Square, Geary at Powell, SF; www.sfjazz.org. 6pm, free. Heat up your foggy summer blues with a free jazz concert in the park with Lavay Smith and Her Red Hot Skillet Lickers, known for performing classic jazz and blues mixed with big band, salsa grooves.

SATURDAY 21

Dahlias Hall of Flowers, 9th Ave. at Lincoln, SF; (415) 994-2448. Sat. 10am-5pm, Sun. 10am-4pm; free. Did you know that the Dahlia is San Francisco’s official flower? The Dahlia Society of California, responsible for the planting and upkeep of Golden Gate Park’s Dahlia Dell, is holding it’s annual show and exhibition of these fantastic flowers.

Hello Kitty Must Die San Francisco Public Library, Chinatown branch, 1135 Powell, SF; (415) 355-2888. 2:30pm, free. Hear author Angela S. Choi read from and discuss her new book, that rips into stereotypes about the well-groomed, well-behaved Asian wife with a tale about a serial killer happy to teach others how to get rid of unwanted fiancés and bosses.

Hot Glass Cold Beer Public Glass, 1750 Armstrong, SF; (415) 671-4916. 6pm; $25 donation, includes glass and beer. Take in an evening of glassblowing demonstrations by artists Paul DeSomma, Marsha Blaker, and Jeff Rogers while listening to live music and enjoying cold beer in your new one-of-a-kind, hand blown drinking glass.

SF Street Food Fest Folsom between 25th and 26th St., SF; (415) 824-2729 ext. 303. 11am-7pm, free. Enjoy some casual, affordable, delicious food made by San Francisco food entrepreneurs. Hosted by La Cocina, this Street Food Festival aims to further advocate for the creation of policies that support the formalization of mobile food vending to connect communities to a food from all classes and cultures.

BAY AREA

Art and Soul Frank H. Ogawa Plaza, City Center, 14th St. and Broadway, Oakl.; (510) 444-CITY. Sat.-Sun. noon-6pm, $10. Celebrate the past, present and future music of Oakland at this two-day concert and marketplace featuring music performances by Cake, En Vogue, Tony! Toni! Toné!, MC Hammer, Pete Escovedo, The Bittersweets, Lenny Williams, and more. Also featuring an Artisan Marketplace, with crafts and art for purchase, food vendors offering multicultural menus, dance performances, and activities.

SUNDAY 22

Sunday Streets John F. Kennedy Drive and MLK Drive, Golden Gate Park, SF; Great Highway from Lincoln to SF Zoo, SF; www. sundaystreetssf.com. 10am-3pm, free. Take to the streets for a day of healthy, family-friendly activities. This month’s street closure is “Penguins to penguins,” or Golden Gate Park to the SF Zoo.

TUESDAY 24

“Microscopic Giant” Space Gallery, 1141 Polk, SF; www.bucktoothmechanics.blogspot.com. 8pm, free. A night of local creativity with spoken word performances, storytelling, and poetry by Tracy Jones, April Wolfe, Steven Gray, Charlie Getter, and the host of NPR’s Snap Judgment Glynn Washington, open mic, live painting by artists Aaron Lawrence, Nolan Yelonek, and Noa- , and live music by DigDug.

Music Listings

Jesse Hawthorne Ficks
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0

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

WEDNESDAY 18

ROCK/BLUES/HIP-HOP

Black Francis, Roy Zimmerman Great American Music Hall. 9pm, $21.

Bodeans, Dan Navarro Independent. 8pm, $20.

Brothers Comatose, Escalator Hill, We Is Shore Determined Hotel Utah. 9pm, $6.

Casiokids, Light Pollution, K. Flay, Einar Stokka Café Du Nord. 9pm, $10.

Greg Davis, Aures, Mololy-Nagy Hemlock Tavern. 9pm, $7.

Ha Ha Tonka, Red Light Mind, Buxter Hoot’n Elbo Room. 9pm, $8.

Craig Horton Biscuits and Blues. 8 and 10pm, $15.

Brian McKnight Yoshi’s San Francisco. 8 and 10pm, $35-45.

Rantouls, Lateenos, Larry and the Angriest Generation, Jinxes Thee Parkside. 8pm, $8.

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

Wavves Rickshaw Stop. 7:30pm, $14.

Woven Bones, Sandwitches, Splinters Bottom of the Hill. 9pm, $10.

DANCE CLUBS

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

Breezin Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. With DJs Amy A and Brynnie Mac spinning rock and 70s.

45 Club Knockout. 9pm, $6. Rock n’ soul with Honey, Blasted Canyons, and DJs dX the Funky Granpaw, Dirty Dishes, and English Steve.

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

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

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

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

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

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

THURSDAY 19

ROCK/BLUES/HIP-HOP

Abriel, Imperfect Deity, To Memory and Me DNA Lounge. 5:30pm, $12. With the Light Iris, Our Living Memory, Falling to Pieces, Mirros, Apothesary, and A Moment of Clarity.

Catholic Radio, Smile Brigade, Spiral Agnew Kimo’s. 9pm.

Clipd Beaks, Moccretro, Hollow Hearth, Hans Keller Café Du Nord. 9pm, $10.

Darker My Love, Sonny and the Sunsets Independent. 8pm, $14.

Brandon Flowers Slim’s. 9pm, $27.50.

Grand Lodge, Lijie Hotel Utah. 8pm, $7.

Hot Hot Heat, 22-20s, Hey Rosetta! Rickshaw Stop. 8pm, $15.

Hunx and His Punx, Shannon and the Clams, Okmoniks, Goochi Boiz, Miss Chain and the Broken Heels Thee Parkside. 9pm, $10.

Ida, Michael Hurley, Westwood and Willow Bottom of the Hill. 9pm, $12.

Lickets, Odd Owl, Tied to the Branches Hemlock Tavern. 9pm, $7.

Brian McKnight Yoshi’s San Francisco. 8 and 10pm, $35-45.

Darrell Scott, Elliot Randall Great American Music Hall. 8pm, $21.

Wild Things, Lens, Greg Ashley Knockout. 9:30pm, $7.

FOLK/WORLD/COUNTRY

Estamos Ensemble New Frequencies, YBCA Sculpture Court, 701 Mission, SF; (415) 978-2787. 8pm, $25

Hot Club of Cowtown, Whiskey Richards, B Stars Amnesia. 8:30pm, $10.

Claudio Santomé and Marcello Puig Red Poppy Art House. 8pm, $12-15.

Steel Pulse Fillmore. 9pm, $35.

Tipsy House Plough and Stars. 9pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-7. DJs Pleasuremaker and Señor Oz spin Afro-tropical, samba, and funk.

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

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

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

Electric Feel Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

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

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

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

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

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

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

SOL Club 525, 525 Harrison, SF; www.sol2010.eventbrite.com. 9pm, $15. With DJs Andy P., Skander and Sohrab, Rhetoric, Sepehr, and more spinning house, tech, and tribal.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

Tropicana Madrone Art Bar. 9pm, $5. With DJs Don Bustamante, Apocolypto, Sr. Saenz and guests spinning salsa, cumbia, reggaeton, and merengue.

FRIDAY 20

ROCK/BLUES/HIP-HOP

Blisses B, Be Brave Bold Robot, Grownup Noise Kimo’s. 9pm.

Crooked Still, Jesse DeNatale Great American Music Hall. 8pm, $16.

Excuses for Skipping, Cliks, Killola, Hunter Valentine Milk. 8:30pm, $10.

Gentleman Jesse and His Men, Personal and the Pizzas, Barreracudas, Wrong Words, Meercaz Thee Parkside. 9pm, $10.

Ghostland Observatory Warfield. 9pm, $25.

Jogger, We Are the World, Shlohmo, Matthewdavid Rickshaw Stop. 8:30pm, $12.

Morlocks, Hot Lunch Hemlock Tavern. 9:30pm, $10.

New Orleans Bingo! Show, Kim Boekbinder Independent. 9pm, $15.

Persephone’s Bees, Soft White Sixties, Angel Island, DJ Omar Café Du Nord. 9:30pm, $12.

Pinkerton, Hot Toddies, As A People Bottom of the Hill. 10pm, $10.

Polkacide, Khi Darag, Loop Station, Space Blaster Blue Macaw, 2565 Mission, SF; (415) 920-0577. 9pm, $10.

Johnny Rawls Biscuits and Blues. 8 and 10pm, $20.

Still Time, Shamblers, John Howland Slim’s. 9pm, $15.

Ttotals, Diego Gonzalez Hemlock Tavern. 6pm, $5.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

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

David Belove Trio Art Tap, Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787, www.ybca.org. 6pm, free.

Eleven Eyes Coda. 10pm, $10.

Jacqui Naylor Quartet Rrazz Room, Hotel Nikko, 222 Mason, SF; www.therrazzroom.com. 9pm, $35.

Lisa Engelken Band Red Poppy Art House. 9pm, $12-20.

Marlena Teich and group Savanna Jazz. 7:30pm, $8.

FOLK/WORLD/COUNTRY

Charanga Habanera Yoshi’s San Francisco. 8 and 10pm, $20-26.

“Cuba Afro Rock Revolution” Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 8pm, $28-$50. With X Alfonso, Osamu, and special guest Pedro Calvo.

Toshio Hirano Mercury Café, 201 Octavia, SF; (415) 252-7855. 7:30pm, free.

Hot Club of Cowtown, Lady A and the Heel Draggers, Betty Soo Amnesia. 9pm, $10.

Lagos Roots Afrobeat Ensemble Elbo Room. 9:30pm, $12. With DJ Shawna, Tribal Fusion Bellydance, and Deb Rubin.

Summer Samba Party Il Pirata, 2007 16th St., SF; (415) 626-2626. 10pm, $10. With Pagode de Mesa, Jorge Alabe, Claudinho Sorriso, Brian Moran, and guests.

Bucky Walters, Snap Jackson, The Knock on Wood Players Plough and Stars. 9pm.

DANCE CLUBS

Afrobeat No Go Die Madrone Art Bar. 9:30pm, $5. With DJs Jeremiah and the Afrobeat Nation and Jose Rivera.

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Dirty Bird Mezzanine, 444 Jessie, SF; (415) 625-8880. 9pm, $20. With DJs Claude Von Stroke, Juston Martin, Christian Martin, and Worthy.

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

Episco Disco Grace Cathedral, 1100 California, SF; (415) 869-7817. 7pm, free. With live music by Coconut, Paradise Now, and Aero-Mic’d and art by Land and Sea and Sean McFarland.

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

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

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

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

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

Oldies Night Knockout. 9pm, $2-4. One-hit wonders and scratchy soul with DJs Primo, Daniel, and Lost Cat.

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

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

“SF Drag King Contest” DNA Lounge. 9pm, $25-35. With MCs Fudgie Frottage and Sister Roma, plus special guest Jane Wiedlin.

Sisters of the Underground Club Six. 9pm, $5. With DJs Shortee, Lady Fingaz, Pony P, Celskii and Deeandroid, and many more spinning hip hop.

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

SATURDAY 21

ROCK/BLUES/HIP-HOP

Chris Cain Band Biscuits and Blues. 8 and 10pm, $20.

Cool Water Canyon, Vintage Music Collective Independent. 9pm, $15.

Hepcat, Inciters, Selecter DJ Kirk Slim’s. 9pm, $23.

“Joe Strummer Tribute” Bottom of the Hill. 9pm, $10. With Armagideons, Hooks, Monkey, Sistas in the Pit, Stigma 13, and Interecords.

Man/Miracle, Slang Chickens, Yellow Dress Hemlock Tavern. 9:30pm, $7.

No Alternative, VKTMS Bender’s, 806 S. Van Ness, SF; www.bendersbar.com. 10pm, $5. Benefit for the Haight Ashbury Homeless Youth Alliance.

Nobunny, Mean Jeans, Anomalys, Charlie and the Moonhearts Thee Parkside. 9pm, $10.

Return to Mono, Foreign Cinema, Sentinel, Bring the Tiger Red Devil Lounge. 8pm, $10.

Sons of Doug, Steve Pile Band, Jeremy D. Antonio Hotel Utah. 9pm, $7.

Sputterdoll, Pedro Gil, Skyflakes, Rocking Kids Sing-A-Long, Keenwild Thee Parkside. 3pm, free.

Tussle, Sword and Sandals, ASSS Amnesia. 9pm, $5.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Ensemble Mik Nawooj Red Poppy Art House. 9pm, $15-20.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Giovenco Project Coda. 7pm, free.

Jacqui Naylor Quartet Rrazz Room, Hotel Nikko, 222 Mason, SF; www.therrazzroom.com. 9pm, $35.

Lucky Stars, B Stars Verdi Club, 2424 Mariposa, SF; www.oldtimey.net. 9:30pm, $12.

Suzanna Smith and group Savanna Jazz. 7:30pm, $8.

FOLK/WORLD/COUNTRY

Charanga Habanera Yoshi’s San Francisco. 8 and 10pm, $20-26.

“Cuba Afro Rock Revolution” Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 8pm, $28-$50. With X Alfonso, Osamu, and special guest Pedro Calvo.

Maurice Tani, Jenn Courtney, 77 El Deora, Misispi Rider Noe Valley Ministry, 1021 Sanchez, SF; (415) 454-5238. 8:15pm, $17.

Tito Garcia y su Orquesta Internacional The Ramp, 855 Terry Francois, SF; (415) 621-2378. 5pm.

Tornotics Plough and Stars. 9pm, $6-$10 sliding scale.

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

DANCE CLUBS

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

Bootie DNA Lounge. 9pm, $6-12. Mash-ups with DJ Ajax vs. Ryan Lendt, plus residents Adrian and Mysterious D.

Booty Bassment Knockout. 10pm, $5. Hip-hop with DJs Ryan Poulsen and Dimitri Dickenson.

Club 1994 Paradise Lounge. 10pm, $10. Presented by Jeffery Paradise and Ava Berlin, featuring 90’s music, themed photo booth, fashion show, and more.

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

Fire Corner Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.

Fringe Madrone Art Bar. 9pm, $5. With DJs Blondie K and subOctave spinning indie music videos.

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

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

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

Paint Factory Club Six. 9pm, $5. With DJs Romanowski, Centipede, and Mr. Robinson spinning house, downtempo, and hip hop and live painting by Nome Edonna and Ian Ross.

Prince vs. Michael Madrone Art Bar. 8pm, $5. With DJs Dave Paul and Jeff Harris battling it out on the turntables with album cuts, remixes, rare tracks, and classics.

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

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

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

Wet and Wild Club 8, 1151 Folsom, SF; (415) 431-1151. 10pm, $8. With DJs Techminds and Kipp Glass.

SUNDAY 22

ROCK/BLUES/HIP-HOP

“Battle of the Bands” DNA Lounge. 5:30pm, $12. With Boondock Squad, Thanks for Leaving, Out for Blood, and more.

“Bay Vibes Summer Musicfest 3” Café Cocomo. Noon-2am, $35. Two stages of music with Isabella, Native Elements, Dogman Joe, My Peoples, Afrolicious, and more.

Butlers, Only Sons, Burnt House Bottom of the Hill. 5:30pm, $8.

Mike Coykendall and the Golden Shag, Brian Belknap, Tom Heyman Make-Out Room. 8pm, $8.

Horde and the Harem, Aimless Never Miss, Buttercream Gang, And I Was Like, What? Rickshaw Stop. 7pm, $10.

Sarah Jaffe, Glassines, Kristy Kruger Hemlock Tavern. 8pm, $8.

Lazy Loper, Con Brio, Shake Well Amnesia. 9:30pm, $8-10.

Moonlight Orchestra, Stormy California Thee Parkside. 8pm, $7.

“Rock Make Street Festival” Treat and 18th St, SF; www.rockmake.com. 11am-6pm, free. With Tartufi, AB and the Sea, Still Flyin’, Leopold and His Fiction, and more.

Summer Twins, Twinks, Danger Babes, Omni, DJ Neil Martinson Knockout. 9pm.

They Might Be Giants, Rogue Wave Sigmund Stern Grove, 19th Ave at Sloat, SF; www.sterngrove.org. 2pm, free.

JAZZ/NEW MUSIC

Ernie Small Memorial Big Band Savanna Jazz. 7:30pm, $5.

Sunday Sessions Madrone Art Bar. 6pm, free. With organist Will Blades leading a jazz jam session.

FOLK/WORLD/COUNTY

Annete A. Aguilar and Stringbeans Coda. 8pm, $10.

Back 40, Carburetors Thee Parkside. 4pm, free.

Charanga Habanera Yoshi’s San Francisco. 6 and 8pm, $20.

Charity and the JAMband, Elizabeth Mitchell Park Chalet, 1000 Great Highway, SF; (415) 386-8439. 3pm, free. An outdoor family concert.

Crow Quail Night Owls Amnesia. 6-9pm, $8-10.

Gente do Samba The Ramp, 855 Terry Francois, SF; (415) 621-2378. 5pm.

Queen Makedah Café Cocomo. 5pm, $25-$60.

John Sherry, Kyle Thayer and friends Plough and Stars. 9pm.

DANCE CLUBS

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

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Ludachris, and guest Bella.

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

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

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

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

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

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

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

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

MONDAY 23

ROCK/BLUES/HIP-HOP

Crowded House, Lawrence Arabia Warfield. 8pm, $45-62.50.

Decapitated, Faceless, All Shall Parish, Red Chord, Veil of Maya, Cephanic Carnage Fillmore. 3:30pm, $25. With Decrepit Death, Carnifex, Animals as Leaders, and Vital Remains.

Girl in a Coma, Gringo Star, Agent Ribbons Bottom of the Hill. 9pm, $12.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

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

Karaoke Killed the Cat Elbo Room. 9pm, $5. Karaoke.

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

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

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

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

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

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

TUESDAY 24

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8 and 10pm, $15.

Audacity, Todd C and the Clown Sound, Mill Valley’s Most Honest Men Hemlock Tavern. 6pm, $5.

Bad Brains, Broun Fellinis Slim’s. 9pm, $26.

La Corde, Cat Party, Dadfag, DJs Deadbeat and Yule Be Sorry Knockout. 9:30pm, $5.

Eastern Conference Champs, Voxhaul Broadcast Hemlock Tavern. 9pm, $6. Grand Lake, It’s for Free Grace, Sean Smith and the Present Moment, James and Evander Café Du Nord. 9pm, $10. Psalm One, Open Mike Eagle, League510 Elbo Room. 9pm, $8. Scene of Action, Paper Sons, Pebble Theory Bottom of the Hill. 9pm, $8. Shaimus, Star Anna and the Laughing Dogs Hotel Utah. 8pm, $8. Something Corporate Warfield. 8:30pm, $30. DANCE CLUBS Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ D-runk and D. Jake. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx

Alerts

Jesse Hawthorne Ficks
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0

alert@sfbg.com

THURSDAY, AUG. 19

 

Celebrating Young Activists

Mingle with environmental activists and community group members of all ages at the networking event Celebrating Young Activists: Building a Green Movement and Changing the World. The event features talks by inspirational young leaders, winners of the Brower Youth Awards, environmental and social justice organization information tables, and live jazz.

6:30 p.m., $10–$20

Richard and Rhoda Goldman Theater

David Brower Center

2150 Allston, Berk.

(510) 859-9100

SATURDAY, AUG. 21

 

Shoot Hoops, Not Guns

Commemorate the 25th birthday of Elliot Jemar Noble, who was killed by an Oakland police officer in 2005, at this combination march, basketball tournament, and gospel concert. The event is a benefit for the Elliot J. Noble Multiservice Family Organization, a nonprofit that provides support for families affected by violence. The parade begins at 10 a.m. at Eldridge and Darien streets, progresses to a 1 p.m. basketball tournament where players assume the names of slain or incarcerated loved ones, and ends with a gospel concert at 6 p.m.

10 a.m., $5–$10 for the concert

Ira Jinkins Recreation Center

9175 Ededs, Oakl.

(510) 895-5234

SUNDAY, AUG. 22

 

Tour Alameda Naval Air Station

Find out more about Alameda’s Naval Air Station, which closed in 1997 and remains the subject of much controversy and public debate over what to do with this prime piece of real estate. This guided tour combines a two-hour bus tour followed by a self-guided walking tour of the businesses engaged in adaptive reuse of the buildings. Reservations required.

1 p.m., 3 p.m.; $10

Meet in front of Alameda Naval Air Museum

2151 Ferry Point Road, Alameda

(510) 479-6489

 

Mobilization for Climate Justice

Get involved in the effort to stand up to big oil companies by attending this public action planning meeting for an Aug. 30 march and protest on the five-year anniversary of Hurricane Katrina. The protests will target the offices of BP and Chevron for their roles in environmental and community destruction in the gulf, the Bay Area, and around the world.

Noon, free

Mission Cultural Center

2868 Mission, SF

www.actforclimatejustice.org/west

 

Nuevos Horizontes

Attend a benefit dinner and show for Nuevos Horizontes, a domestic violence shelter in Guatemala that provides long-term housing, psychological counseling, legal advice, job training, and health care for women and children. There will be vegan and vegetarian options for dinner, bands, and speakers.

6 p.m., $8–$10

Call (510) 878-8879 or e-mail bigcavecomix@live.com for Oakland location

www.ahnh.org

 

Street Food Conference

Following the San Francisco Street Food Fest, attend this conference dedicated to the exploration of food, policy and economics. Participants will engage in discussions about the creation of viable economic models that allow small-scale food entrepreneurs to bring the foods they love to the cities in which they live.

Sat. Noon-5pm, Sun. 9 a.m.–3:30 p.m., $20–$50

Hotel Vitale

8 Mission, SF

sfstreetfoodconference.eventbrite.com

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

 

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