Sunshine

Theater Listings: April 9 – 15, 2014

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

THEATER

OPENING

Fences Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Previews Thu/10-Sat/12, 8pm; Sun/13, 7pm. Opens Tue/15, 8pm. Runs Tue and Thu-Sat, 8pm (also April 19, May 3, and May 10, 2pm; April 24, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through May 11. Marin Theatre Company performs August Wilson’s Pulitzer- and Tony-winning drama, with an all-star cast of Bay Area talent: Carl Lumbly, Steven Anthony Jones, and Margo Hall.

Smash Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $30. Previews Thu/10, 8pm. Opens Fri/11, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through May 4. Dragon Theatre performs Jeffrey Hatcher’s political comedy.

Tribes Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Previews Fri/11-Sat/12 and Tue/15, 8pm; Sun/13, 7pm. Opens April 16, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Berkeley Rep performs Nina Raine’s family drama about a young deaf man who comes of age.

ONGOING

Bauer San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/13, 2pm. Through April 19. San Francisco Playhouse presents the world premiere of Lauren Gunderson’s drama about artist Rudolf Bauer.

E-i-E-i-OY! In Bed with the Farmer’s Daughter NOHSpace, 2840 Mariposa, SF; www.vivienstraus.com. $20. Fri-Sat, 8pm. Through May 10. Vivien Straus performs her autobiographical solo show.

Every Five Minutes Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Tue, 7pm; Fri-Sat, 8pm (also Wed/9, 2:30pm); Sun, 2:30pm. Through April 20. Magic Theatre presents the world premiere of Linda McLean’s drama about a man’s homecoming after years behind bars.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm. Extended through May 4. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Habit of Art Z Below Theatre, 470 Florida, SF; www.therhino.org. $15-25. Wed/9-Sat/12, 8pm; Sun/13, 3pm. Theatre Rhinoceros performs a “very British comedy” by History Boys author Alan Bennett.

Hundred Days Z Space, 450 Florida, SF; www.zspace.org. $10-100. Thu/10-Sat/12, 8pm; Sun/13, 7pm. Married musical duo the Bengsons (Abigail and Shaun) provide the real-life inspiration and guiding rock ‘n’ roll heart for this uneven but at times genuinely rousing indie musical drama, a self-referential meta-theater piece relating the story of a young couple in 1940s America who fall madly in love only to discover one of them is terminally ill. As an exploration of love, mortality, and the nature of time, the story of Sarah and Will (doubled by the Bengsons and, in movement sequences and more dramatically detailed scenes, by chorus members Amy Lizardo and Reggie D. White) draws force from the potent musical performances and songwriting of composer-creators Abigail and Shaun Bengson (augmented here by the appealing acting-singing chorus and backup band that also feature El Beh, Melissa Kaitlyn Carter, Geneva Harrison, Kate Kilbane, Jo Lampert, Delane Mason, Joshua Pollock). Playwright Kate E. Ryan’s book, however, proves too straightforward, implausible, and sentimental to feel like an adequate vessel for the music’s exuberant, urgent emotion and lilting, longing introspection. Other trappings of director Anne Kauffman’s elaborate production (including an inspired set design by Kris Stone that echoes the raw industrial shell of the theater; and less-than-inspired choreography by the otherwise endlessly inventive Joe Goode) can add texture at times but also prove either neutral figures or distracting minuses in conveying what truth and heft there is in the material. Ultimately, this still evolving world premiere has a strong musical beat at its core, which has a palpable force of its own, even if it’s yet to settle into the right combination of story and staging. (Avila)

I Never Lie: The Pinocchio Project Phoenix Theatre, 414 Mason, SF; www.99stockproductions.org. $15. Thu/10-Sat/12, 8pm. 99 Stock Productions performs Meredith Eden’s bold fairytale retelling.

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu/10-Fri/11, 8pm; Sat/12, 8:30pm. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

Painting the Clouds With Sunshine Eureka Theatre, 215 Jackson, SF; www.42ndStMoon.org. $25-75. Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also Sat/12, 1pm); Sun, 3pm. Through April 20. 42nd Street Moon performs a world premiere, a first for the company: Greg MacKellan and Mark D. Kaufmann’s tribute to songs from 1930s movie musicals.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Through May 31. Thrillpeddlers present the fifth anniversary revival production of its enormously popular take on the 1971 Cockettes musical.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Thu-Fri, 8pm; Sat, 5pm. Through April 18. In his latest solo show, Brian Copeland (Not a Genuine Black ManThe Waiting Period) explores an infamous crime in his hometown of San Leandro: the 2000 murder of three government meat inspectors by Stuart Alexander, owner of the Santos Linguisa Factory. The story is personal history for Copeland, at least indirectly, as the successful comedian and TV host recounts growing up nearby under the common stricture that “rules are rules,” despite evidence all around that equity, fairness, and justice are in fact deeply skewed by privilege. Developed with director David Ford, the multiple-character monologue (delivered with fitful humor on a bare-bones stage with supportive sound design by David Hines) contrasts Copeland’s own youthful experiences as a target of racial profiling with the way wealthy and white neighbor Stuart Alexander, a serial bully and thug, consistently evaded punishment and even police attention along his path to becoming the “Sausage King,” a mayoral candidate, and a multiple murderer (Alexander died in 2005 at San Quentin). The story takes some meandering turns in making its points, and not all of Copeland’s characterizations are equally compelling. The subject matter is timely enough, however, though ironically it is government that seems to set itself further than ever above the law as much as wealthy individuals or the bogus “legal persons” of the corporate world. The results of such concentrated power are indeed unhealthy, and literally so — Copeland’s grandmother (one of his more persuasive characterizations) harbors a deep distrust of processed food that is nothing if not prescient — but The Scion’s tale of two San Leandrans leaves one hungry for more complexity. (Avila)

She Rode Horses Like the Stock Exchange Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Wed/9-Sat/12, 8pm. Crowded Fire offers a fine West Coast premiere of a clever if less than satisfying satire of the nouveaux riche and pauvre by American playwright Amelia Roper, in which two married couples meet on the grass of their neighborhood park and unravel their tangled, starkly childlike relations and dreams. Amy (a sharp and spirited Zehra Berkman) is a smart and restless woman who knows what she wants and can get it too, but without the slightest idea of how to sit comfortably still and enjoy a sunny Sunday morning. Her husband, Henry (a droll, unfussy, good-natured George Sellner), is clearly the antidote to the corporate jungle Amy works in, an agreeably boyish nurse and nurturer, who alleviates the stress of his own workweek in a children’s cancer ward with a scoop of strawberry-flavored ice cream on a cone. Soon they are sharing their modest picnic blanket with a bounding, slightly older couple, well-pampered housewife Sara (Marilee Talkington, alternately splendid and deflated in a beautifully modulated performance) and bank-owning breadwinner Max (an equally dynamic Kevin Clarke, outwardly suave yet reveling in Ubu-esque paroxysms of infantile yearning). Against a backdrop of post-pastoral suburban ease (succinctly evoked in scenic designer Maya Linke’s dangling mobiles, a lovely abstraction of dappled light and trees), we see the couples first commiserate then trade places, like pirate ships on the high seas of finance capitalism. Yet their viciousness has a gentleness around it too, like children playing pirates. In their jockeying, they seem both utterly willful and beyond their ken, while the triumphs and possibilities of a bygone innocence reassert themselves in unguarded moments like a lost Eden. If anything, the play hits its themes (including this sandbox metaphor) a little too forcefully even for satire, and its fleet 80 minutes get only so far in producing a sense of personal and systemic exhaustion as well as transcendence. The play’s agile humor and director M. Graham Smith’s strong and astute cast make the going a pleasure, however, even if we leave wanting a deeper excavation of that pristine lawn. (Avila)

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $70 (gambling chips, $5-10 extra; after-hours admission, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Extended through May 24. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

“Standing On Ceremony: The Gay Marriage Plays” New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through April 27. New Conservatory Theatre Center performs short plays about marriage equality by Mo Gaffney, Neil LaBute, Wendy MacLeod, Paul Rudnick, and others.

Top Girls Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $15-35. Thu/10-Sat/12, 8pm; Sun/13, 7pm. Custom Made Theatre Company performs Caryl Churchill’s celebration of powerful women.

The Two Chairs Bindlestiff Studios, 185 Sixth St, SF; www.performersunderstress.com. $10-30. Thu/10-Sat/12, 8pm; Sun/13, 2pm. In this world premiere by Performers Under Stress of its co-founder Charles Pike’s play, two chairs, per title, come matched with two cameras projecting two angles on two characters — He (Vince Faso, alternating nights with Duane Lawrence) and She (Juliana Egley, alternating nights with Valerie Fachman) — who sit at right angles to one another in a series of terse, vaguely clinical encounters. Introduced and concluded each time with cheeky inter-titles (à la Beckett) and the sound of a buzzer (à la Beckett — pretty much everything here is à la Beckett), their interactions unfold as progressive variations on a theme, freighted with references to the Goldberg Variations and other pretentious class markers (belied somewhat by the characters’ less than wholly sophisticated demeanors). Each mysterious not to say unorthodox session also concludes with a limp slap and the exchange of an envelope, as a banal male heterosexual masochist fantasy is jokily and tediously pursued to the point of He’s final erasure. Directed by PUS’s Scott Baker, the production adds a generational variation too across the alternating casts. But at least with the younger cast (Faso and Egley), the exploration comes across as glib and lifeless, and Pike’s self-conscious regression to an old-school avant-garde style feels too ersatz to be persuasive. (Avila)

Venus in Fur Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Wed/9-Sat/12, 8pm (also Sat/12, 2pm); Sun/13, 7pm. American Conservatory Theater performs a new production of David Ives’ 2012 Tony-nominated play.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Extended through May 25. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Accidental Death of an Anarchist Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Tue and Thu-Sat, 8pm (no show April 18; also Sat and April 17, 2pm); Sun, 2 and 7pm. Through April 20. Berkeley Rep presents comic actor Steven Epp in Dario Fo’s explosive political farce, directed by Christopher Bayes.

Arms and the Man Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $13-26. Thu/10, 7:30pm; Fri/11-Sat/12, 8pm; Sun/13, 2pm. Ross Valley Players perform George Bernard Shaw’s romantic comedy.

The Coast of Utopia Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35 (three-show marathon days, $100-125). Part One: Voyage runs through April 17; Part Two: Shipwreck runs through April 19; Part Three: Salvage runs through April 27. Three-play marathon April 26. Through April 27. Check website for showtime info. Shotgun Players performs Tom Stoppard’s epic The Coast of Utopia trilogy, with all three plays performed in repertory.

East 14th Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Fri, 8pm; Sat, 8:30pm. Through April 26. Don Reed’s hit autobiographical solo show returns to the Marsh Berkeley.

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu, 8pm; Sat, 5pm. Through April 26. Geoff Hoyle moves his hit comedy about aging to the East Bay.

The Hound of the Baskervilles Mountain View Center for the Performing Arts, 500 Castro, SF; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through April 27. TheatreWorks performs Stephen Canny and John Nicholson’s comedic send-up of Sherlock Holmes.

Johnny Guitar, the Musical Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. $22. Fri-Sat, 8pm; Sun, 2pm. Through April 26. Masquers Playhouse performs the off-Broadway hit based on the campy Joan Crawford Western.

Sleuth Center REPertory Company, 1601 Civic, Walnut Creek; www.centerrep.org. $33-54. Wed, 7:30pm; Thu-Sat, 8pm (also April 26, 2:30pm); Sun, 2:30pm. Through April 26. Center REPertory Company performs Anthony Shaffer’s classic, Tony-winning thriller.

The 25th Annual Putnam County Spelling Bee Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $18-60. Fri, April 24, and May 1, 7pm; Sat, 1 and 6pm; Sun, noon and 5pm. Through May 4. Berkeley Playhouse performs the Tony-winning musical comedy.

Vampire Lesbians of Sodom and Sleeping Beauty or Coma Live Oaks Theater, 1301 Shattuck, Berk; www.viragotheatre.org. $28. Thu-Sat, 8pm; Sun, 2pm. Through April 19. Virago Theatre Company performs Charles Busch’s outrageous double bill.

Wittenberg Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Previews Wed/9, 8pm. Opens Thu/10, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through May 4. Aurora Theatre Company performs David Davalos’ comedy about reason versus faith.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. $20. “Super Scene,” Fri, 8pm. Through April 25. “Spring Musical,” Sat, 8pm. Through April 26.

“The Big Gay Comedy Show” Marines’ Memorial Theater, 609 Sutter, SF; www.richmondermet.org. Sun/13, 7:30pm. $35-70. Benefit for the Richmond/Ermet AIDS Foundation with Bruce Vilanch, Marga Gomez, Shann Carr, Ali Mafi, and others.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/12, April 19, 30, May 4, 10-11, 17, and 25, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“CubaCaribe Festival of Dance and Music” Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri/11-Sat/12, 8pm; Sun/13, 7pm. $27. “Week One: Moving Forward” with Alafia Dance Ensemble (Haiti), Alayo Dance Company (Afro-Cuban), Cunamacué (Peru), Duniya Dance and Drum Company (West Africa), Las Que Son Son (Cuba), Las Puras (US), and Nicole Klaymoon’s Embodiment Project (African Diaspora).

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/9, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. Fri/11, 8pm. $60-75. Joan Collins in “One Night with Joan.”

“Invidious” Private Mission District home, SF; www.brownpapertickets.com. Thu/10-Sun/13, 6:30 and 9pm. $40. Contemporary dance company FACT/SF performs a new, site-specific work.

“The Life You’ll Never Have” Stage Werx Theatre, 446 Valencia, SF; www.foulplaysf.com. Wed/9, 7pm writing party; 8pm performance. $20. The audience crafts each evening’s soap opera-inspired play at this interactive, immersive performance by Exquisite Corpse Theatre.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Mischief” Skylark Bar, 3089 16th St, SF; www.hunnybunnyburlesque.com. Fri/11, 8pm. Free. Burlesque and variety show.

“Mission in Motion” Brava Theater Center, 2781 24th St, SF; www.brava.org. Sun/13, 3pm. $5-10. Mission Academy for the Performing Arts presents a showcase and benefit for Brava youth performing arts programs.

“Mortified” DNA Lounge, 375 11th St, SF; www.getmortified.com. Fri/11, 7:30pm. $21. Also Sat/12, 8pm, $20, Uptown, 1928 Telegraph, Oakl. Fearless storytellers share their most adorably embarrassing childhood writings.

“Rotunda Dance Series” San Francisco City Hall, 1 Carlton B. Goodlett Place, SF; www.dancersgroup.org. Fri/11, noon. Free. This month, the Tiruchitrambalam School of Dance performs classical Indian dance.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. $5-10. “New Talent Show,” Wed-Thu, 7. Ongoing. “The Cellar Dwellers,” stand-up comedy, Wed-Thu, 8:15pm and Fri-Sat, 7:30pm. Ongoing.

“Shotz: EarthTax” Tides Theatre, 533 Sutter, SF; www.amiosnyc.com. Tue/15, 8pm. $10. Seven plays, five minutes each, created in less than a month, and united under the theme “EarthTax.”

Terminator Too: Judgment Play DNA Lounge, 373 11th St, SF; www.dnalounge.com. May 1, 9pm. $25-50. The creators of Point Break Live! take on James Cameron’s 1991 sci-fi classic, with an audience member picked on the night of the show to embody Schwarzenegger’s iconic role.

“Yuri and Friends presents Thai Rivera” Punch Line Comedy Club, 444 Battery, SF; www.punchlinecomedyclub.com. Tue/15, 8pm. $15. Stand-up comedy.

BAY AREA

AXIS Dance Company Malonga Casquelourd Center for the Arts, 1428 Alice, Oakl; axisdance.brownpapertickets.com. Fri/11-Sat/12, 8pm; Sun/13, 2pm. $10-25. The company performs Yvonne Rainer’s iconic Trio A.

Diablo Ballet Hillbarn Theatre, 1285 E. Hillsdale, Foster City; www.diabloballet.org. Fri/11-Sat/12, 8pm. $45. The company’s 20th season continues with Emotions into Movement.

“IMPACT” Odell Johnson Theater, Laney College, 900 Fallon, Oakl; www.destinyarts.org. Fri/11-Sat/12, 7:30pm (also Sat/12, 2pm). $13-30. Destiny Arts Youth Performance Company celebrates the youth arts and violence prevention organization’s 25th anniversary with this world-premiere show, a mix of dance, theater, spoken word, rap, and song.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“A Month in the Country” Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. Tue/15, 7pm. $20. Staged reading of Ivan Turgenev’s play presented by Shotgun Players.

“Stand-Up Sit-Down” La Peña Cultural Center, 3105 Shattuck, Berk; www.lapena.org. Fri/11, 8pm. $15. Comedy and interview show with Karinda Dobbins and Dhaya Lakshminarayanan.

*

 

Theater Listings: April 2 – 8, 2014

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

E-i-E-i-OY! In Bed with the Farmer’s Daughter NOHSpace, 2840 Mariposa, SF; www.vivienstraus.com. $20. Opens Fri/4, 8pm. Runs Fri-Sat, 8pm. Through May 10. Vivien Straus performs her autobiographical solo show.

Painting the Clouds With Sunshine Eureka Theatre, 215 Jackson, SF; www.42ndStMoon.org. $25-75. Previews Wed/2-Thu/3, 7pm. Opens Fri/4, 8pm. Runs Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also April 12, 1pm); Sun, 3pm. Through April 20. 42nd Street Moon performs a world premiere, a first for the company: Greg MacKellan and Mark D. Kaufmann’s tribute to songs from 1930s movie musicals.

BAY AREA

The Hound of the Baskervilles Mountain View Center for the Performing Arts, 500 Castro, SF; www.theatreworks.org. $19-73. Previews Wed/2-Fri/4, 8pm. Opens Sat/5, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through April 27. TheatreWorks performs Stephen Canny and John Nicholson’s comedic send-up of Sherlock Holmes.

The 25th Annual Putnam County Spelling Bee Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $18-60. Previews Sat/5, 1pm. Opens Sat/5, 6pm. Runs Fri, April 24, and May 1, 7pm; Sat, 1 and 6pm; Sun, noon and 5pm. Through May 4. Berkeley Playhouse performs the Tony-winning musical comedy.

Wittenberg Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Previews Fri/4-Sat/5 and April 9, 8pm; Sun/6, 2pm; Tue/8, 7pm. Opens April 10, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through May 4. Aurora Theatre Company performs David Davalos’ comedy about reason versus faith.

ONGOING

Bauer San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); April 13, 2pm. Through April 19. San Francisco Playhouse presents the world premiere of Lauren Gunderson’s drama about artist Rudolf Bauer.

Every Five Minutes Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Previews Wed/2, 8pm. Opens Thu/3, 8pm. Runs Tue, 7pm; Fri-Sat, 8pm (also April 9, 2:30pm); Sun, 2:30pm (also Sun/6, 7pm). Through April 20. Magic Theatre presents the world premiere of Linda McLean’s drama about a man’s homecoming after years behind bars.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm. Extended through May 4. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Habit of Art Z Below Theatre, 470 Florida, SF; www.therhino.org. $15-25. Wed-Sat, 8pm; Sun, 3pm. Through April 13. Theatre Rhinoceros performs a “very British comedy” by History Boys author Alan Bennett.

Hundred Days Z Space, 450 Florida, SF; www.zspace.org. $10-100. Wed/2 and Sun/6, 7pm; Thu/3-Sat/5, 8pm. Married musical duo the Bengsons (Abigail and Shaun) provide the real-life inspiration and guiding rock ‘n’ roll heart for this uneven but at times genuinely rousing indie musical drama, a self-referential meta-theater piece relating the story of a young couple in 1940s America who fall madly in love only to discover one of them is terminally ill. As an exploration of love, mortality, and the nature of time, the story of Sarah and Will (doubled by the Bengsons and, in movement sequences and more dramatically detailed scenes, by chorus members Amy Lizardo and Reggie D. White) draws force from the potent musical performances and songwriting of composer-creators Abigail and Shaun Bengson (augmented here by the appealing acting-singing chorus and backup band that also feature El Beh, Melissa Kaitlyn Carter, Geneva Harrison, Kate Kilbane, Jo Lampert, Delane Mason, Joshua Pollock). Playwright Kate E. Ryan’s book, however, proves too straightforward, implausible, and sentimental to feel like an adequate vessel for the music’s exuberant, urgent emotion and lilting, longing introspection. Other trappings of director Anne Kauffman’s elaborate production (including an inspired set design by Kris Stone that echoes the raw industrial shell of the theater; and less-than-inspired choreography by the otherwise endlessly inventive Joe Goode) can add texture at times but also prove either neutral figures or distracting minuses in conveying what truth and heft there is in the material. Ultimately, this still evolving world premiere has a strong musical beat at its core, which has a palpable force of its own, even if it’s yet to settle into the right combination of story and staging. (Avila)

I Never Lie: The Pinocchio Project Phoenix Theatre, 414 Mason, SF; www.99stockproductions.org. $15. Fri-Sat and April 10, 8pm; Sun, 5pm. Through April 12. 99 Stock Productions performs Meredith Eden’s bold fairytale retelling.

Lottie’s Ghosts Brava Theater Center, 2781 24th St, SF; www.brava.org. $20. Thu/3-Sat/5, 8pm; Sun/6, 3pm. Dancer, storyteller, and Brava artist-in-residence Shakiri presents a new work based on her novel of the same name.

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 8:30pm. Extended through April 12. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Through May 31. Thrillpeddlers present the fifth anniversary revival production of its enormously popular take on the 1971 Cockettes musical.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Thu-Fri, 8pm; Sat, 5pm. Through April 18. In his latest solo show, Brian Copeland (Not a Genuine Black ManThe Waiting Period) explores an infamous crime in his hometown of San Leandro: the 2000 murder of three government meat inspectors by Stuart Alexander, owner of the Santos Linguisa Factory. The story is personal history for Copeland, at least indirectly, as the successful comedian and TV host recounts growing up nearby under the common stricture that “rules are rules,” despite evidence all around that equity, fairness, and justice are in fact deeply skewed by privilege. Developed with director David Ford, the multiple-character monologue (delivered with fitful humor on a bare-bones stage with supportive sound design by David Hines) contrasts Copeland’s own youthful experiences as a target of racial profiling with the way wealthy and white neighbor Stuart Alexander, a serial bully and thug, consistently evaded punishment and even police attention along his path to becoming the “Sausage King,” a mayoral candidate, and a multiple murderer (Alexander died in 2005 at San Quentin). The story takes some meandering turns in making its points, and not all of Copeland’s characterizations are equally compelling. The subject matter is timely enough, however, though ironically it is government that seems to set itself further than ever above the law as much as wealthy individuals or the bogus “legal persons” of the corporate world. The results of such concentrated power are indeed unhealthy, and literally so — Copeland’s grandmother (one of his more persuasive characterizations) harbors a deep distrust of processed food that is nothing if not prescient — but The Scion’s tale of two San Leandrans leaves one hungry for more complexity. (Avila)

She Rode Horses Like the Stock Exchange Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Wed-Sat, 8pm. Through April 12. Crowded Fire offers a fine West Coast premiere of a clever if less than satisfying satire of the nouveaux riche and pauvre by American playwright Amelia Roper, in which two married couples meet on the grass of their neighborhood park and unravel their tangled, starkly childlike relations and dreams. Amy (a sharp and spirited Zehra Berkman) is a smart and restless woman who knows what she wants and can get it too, but without the slightest idea of how to sit comfortably still and enjoy a sunnySunday morning. Her husband, Henry (a droll, unfussy, good-natured George Sellner), is clearly the antidote to the corporate jungle Amy works in, an agreeably boyish nurse and nurturer, who alleviates the stress of his own workweek in a children’s cancer ward with a scoop of strawberry-flavored ice cream on a cone. Soon they are sharing their modest picnic blanket with a bounding, slightly older couple, well-pampered housewife Sara (Marilee Talkington, alternately splendid and deflated in a beautifully modulated performance) and bank-owning breadwinner Max (an equally dynamic Kevin Clarke, outwardly suave yet reveling in Ubu-esque paroxysms of infantile yearning). Against a backdrop of post-pastoral suburban ease (succinctly evoked in scenic designer Maya Linke’s dangling mobiles, a lovely abstraction of dappled light and trees), we see the couples first commiserate then trade places, like pirate ships on the high seas of finance capitalism. Yet their viciousness has a gentleness around it too, like children playing pirates. In their jockeying, they seem both utterly willful and beyond their ken, while the triumphs and possibilities of a bygone innocence reassert themselves in unguarded moments like a lost Eden. If anything, the play hits its themes (including this sandbox metaphor) a little too forcefully even for satire, and its fleet 80 minutes get only so far in producing a sense of personal and systemic exhaustion as well as transcendence. The play’s agile humor and director M. Graham Smith’s strong and astute cast make the going a pleasure, however, even if we leave wanting a deeper excavation of that pristine lawn. (Avila)

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $70 (gambling chips, $5-10 extra; after-hours admission, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Extended through May 24. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

“Standing On Ceremony: The Gay Marriage Plays” New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through April 27. New Conservatory Theatre Center performs short plays about marriage equality by Mo Gaffney, Neil LaBute, Wendy MacLeod, Paul Rudnick, and others.

Tipped & Tipsy Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-50. Sat/5, 5pm; Sun/6, 7pm. Last fall’s San Francisco Fringe Festival began on a high note with Jill Vice’s witty and deft solo, Tipped & Tipsy, and the Best of Fringe winner is now enjoying another round at solo theater outpost the Marsh. Without set or costume changes, Vice (who developed the piece with Dave Dennison and David Ford) brings the querulous regulars of a skid-row bar to life both vividly and with real quasi–Depression-Era charm. She’s a protean physical performer, seamlessly inhabiting the series of oddball outcasts lined up each day at Happy’s before bartender Candy — two names as loaded as the clientele. After some hilarious expert summarizing of the do’s and don’ts of bar culture, a story unfolds around a battered former boxer and his avuncular relationship with Candy, who tries to cut him off in light of his clearly deteriorating health. Her stance causes much consternation, and even fear, in his barfly associates, while provoking a dangerous showdown with the bar’s self-aggrandizing sleaze-ball owner, Rico. With a love of the underdog and strong writing and acting at its core, Tipsy breezes by, leaving a superlative buzz. (Avila)

Top Girls Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $15-35. Thu-Sat, 8pm; Sun, 7pm. Through April 13. Custom Made Theatre Company performs Caryl Churchill’s celebration of powerful women.

Twisted Fairy Tales Shelton Theater, 533 Sutter, SF; www.leftcoasttheatreco.org. $15-25. Thu/3-Sat/5, 8pm. Left Coast Theatre Co. performs the world premiere of seven one-act LGBT-themed plays based on classic children’s stories.

The Two Chairs Bindlestiff Studios, 185 Sixth St, SF; www.performersunderstress.com. $10-30. Thu-Sat, 8pm; Sun, 2pm. Through April 13. In this world premiere by Performers Under Stress of its cofounder Charles Pike’s play, two chairs, per title, come matched with two cameras projecting two angles on two characters — He (Vince Faso, alternating nights with Duane Lawrence) and She (Juliana Egley, alternating nights with Valerie Fachman) — who sit at right angles to one another in a series of terse, vaguely clinical encounters. Introduced and concluded each time with cheeky inter-titles (à la Beckett) and the sound of a buzzer (à la Beckett — pretty much everything here is à la Beckett), their interactions unfold as progressive variations on a theme, freighted with references to the Goldberg Variations and other pretentious class markers (belied somewhat by the characters’ less than wholly sophisticated demeanors). Each mysterious not to say unorthodox session also concludes with a limp slap and the exchange of an envelope, as a banal male heterosexual masochist fantasy is jokily and tediously pursued to the point of He’s final erasure. Directed by PUS’s Scott Baker, the production adds a generational variation too across the alternating casts. But at least with the younger cast (Faso and Egley), the exploration comes across as glib and lifeless, and Pike’s self-conscious regression to an old-school avant-garde style feels too ersatz to be persuasive. (Avila)

Venus in Fur Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Wed-Sat and Tue, 8pm (also Sat, 2pm); Sun, 7pm. Through April 13. American Conservatory Theater performs a new production of David Ives’ 2012 Tony-nominated play.

The World of Paradox Garage, 715 Bryant, SF; www.paradoxmagic.com. $12-15. Mon/7, 8pm. Footloose presents David Facer in his solo show, a mix of magic and theater.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Extended through May 25. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

Wrestling Jerusalem Intersection for the Arts, 925 Mission, SF; www.theintersection.org. $20-30. Thu/3-Sat/5, 7:30pm; Sun/6, 2pm. Intersection for the Arts presents Aaron Davidman in his multicharacter solo performance piece about Israel and Palestine.

BAY AREA

Accidental Death of an Anarchist Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Tue and Thu-Sat, 8pm (no show April 18; also Sat and April 17, 2pm); Sun, 2 and 7pm. Through April 20. Berkeley Rep presents comic actor Steven Epp in Dario Fo’s explosive political farce, directed by Christopher Bayes,

Arms and the Man Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $13-26. Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through April 13. Ross Valley Players perform George Bernard Shaw’s romantic comedy.

Bread and Circuses La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $20-25. Thu/3-Sat/5, 8pm; Sun/6, 7pm. Impact Theatre performs “a cavalcade of brutal and bloody new short plays” by various contemporary playwrights.

The Coast of Utopia Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35 (three-show marathon days, $100-125). Part One: Voyage runs through April 17; Part Two: Shipwreck runs through April 19; Part Three: Salvage runs through April 27. Three-play marathon, Sat/5 and April 26. Through April 27. Check website for showtime info. Shotgun Players performs Tom Stoppard’s epic The Coast of Utopia trilogy, with all three plays performed in repertory.

East 14th Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Fri, 8pm; Sat, 8:30pm. Through April 26. Don Reed’s hit autobiographical solo show returns to the Marsh Berkeley.

Fool For Love Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu/3-Sat/5, 8pm; Sun/6, 2pm. Pear Avenue Theatre performs Sam Shepard’s iconic play, about a pair of former lovers who reunite at a lonely desert motel.

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu, 8pm; Sat, 5pm. Through April 26. Geoff Hoyle moves his hit comedy about aging to the East Bay.

Johnny Guitar, the Musical Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. $22. Fri-Sat, 8pm; Sun, 2pm. Through April 26. Masquers Playhouse performs the off-Broadway hit based on the campy Joan Crawford Western.

Sleuth Center REPertory Company, 1601 Civic, Walnut Creek; www.centerrep.org. $33-54. Wed, 7:30pm; Thu-Sat, 8pm (also April 26, 2:30pm); Sun, 2:30pm. Through April 26. Center REPertory Company performs Anthony Shaffer’s classic, Tony-winning thriller.

Vampire Lesbians of Sodom and Sleeping Beauty or Coma Live Oaks Theater, 1301 Shattuck, Berk; www.viragotheatre.org. $28. Thu-Sat, 8pm; Sun, 2pm. Through April 19. Virago Theatre Company performs Charles Busch’s outrageous double bill.

PERFORMANCE/DANCE

“California Dreamin’, A Musical Celebration of our Golden State” Ebenezer Herchurch, 678 Portola, SF; www.sflgfb.org. Sun/6, 4pm. Free. The San Francisco Lesbian/Gay Freedom Band performs. Check website for info on Davis and Woodland concerts.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/6, April 12, 19, 30, May 4, 10-11, 17, and 25, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Conjuring Wonder” Prescott Hotel, 545 Post, SF; www.miraclemagic.com. Thu/3, 7pm. (Ongoing first Thursday of every month). $35. Dennis Kyriakos performs close-up magic to a small audience; advance ticket purchase recommended.

“Dance Discourse Project #18: Exploring Choreographic Thinking” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thu/3, 7:30pm, Free. CounterPULSE and Dancers’ Group present a panel discussion exploring “choreographic thinking.” Participants include moderator Megan Nicely and choreographers Christian Burns and Christy Funsch, and dancer-scholar Rebecca Chaleff.

“Drone Magic: San Francisco Bagpipe Festival” Croatian American Cultural Center, 60 Onondaga, SF; www.croatianamericanweb.org. Sun/6, 2-6pm. $15 (children free). With bagpipe music from around the world.

“Dying While Black and Brown” ZACCHO Studio, 1777 Yosemite #330, SF; www.zaccho.org. Fri/4, 8pm; Sat/5, 2pm. Free. ZACCHO Dance Theatre presents two free performances of Joanna Haigood’s San Francisco Equal Justice Society-commissioned work investigating capital punishment and incarcerated people of color.

“Falsehoods & Fairytales” Exit Theater, 156 Eddy, SF; www.mindofkevin.com. Fri/4-Sat/5, 8pm. $20. Kevin Ferguson — “mind-screwer, thought-fiddler, and perception-twiddler” — performs his new magical stage show.

“The Flow Show” Dance Mission Theater, 3316 24th St, SF; www.theflowshow.org. Fri/4, 8pm. $20. “A cutting-edge showcase of object manipulation” with dance, circus acts, and more.

“Interlace” ODC Dance Commons, 351 Shotwell, SF; www.odctheater.org. Sat/5, 8pm; Sun/6, 4 and 7pm. $10-15. Teen dancers performs works by KT Nelson, Kimi Okada, and others in this 17th season of the ODC Dance Jam.

Morgan James Venetian Room, Fairmont San Francisco, 950 Mason, SF; www.bayareacabaret.org. Sun/6, 7:30pm. $48. The Broadway and jazz singer performs.

“The Life You’ll Never Have” Stage Werx Theatre, 446 Valencia, SF; www.foulplaysf.com. April 8-9, 7pm writing party; 8pm performance. $20. The audience crafts each evening’s soap opera-inspired play at this interactive, immersive performance by Exquisite Corpse Theatre.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

Margaret Jenkins Dance Company Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Thu/3-Sat/5, 7:30pm; Sun/6, 3pm. $30-35. The company marks its 40th anniversary season with the West Coast premiere of Times Bones, plus a collaboration with Kolben Dance Company of Jerusalem, The Gate of Winds.

“Mi Corazón es tu Piñata” Stage Werx Theatre, 446 Valencia, SF; www.corazonpinata.com. Fri/4-Sat/5, 8pm. $16-20. Fully improvised telenovela (in English) based on audience suggestions.

“Mutiny Radio Comedy Showcase” Mutiny Radio, 2781 21st St, SF; www.mutinyradio.fm. Fri/4, 8pm. $10. Also Sat/5, 5pm, $10, Purple Onion at Kells, 530 Jackson, SF; www.mutinyradio.fm. Local comedians perform.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Fri/4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“Schubertiade” Salle Pianos, 1632 C Market, SF; modernschubertiade.brownpapertickets.com. Fri/4, 8pm. $30. Kathryn Roszak’s Danse Lumière performs an updated version of an 1820s salon, with music, dance, and poetry.

“Strange Things” One Grove Street, SF; www.ftloose.org. Sat/5, 8pm. $20-30. Magician Christian Cagigal and mentalist Paul Draper perform together.

Terminator Too: Judgment Play DNA Lounge, 373 11th St, SF; www.dnalounge.com. Thu/3 and May 1, 9pm. $25-50. The creators of Point Break Live! take on James Cameron’s 1991 sci-fi classic, with an audience member picked on the night of the show to embody Schwarzenegger’s iconic role.

BAY AREA

Alvin Ailey American Dance Theater Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk; www.calperformances.org. Wed/2-Sun/6, 8pm. $30-92. The company performs new works by top choreographers, as well as company classics, as part of its annual Cal Performances residency.

“Feisty Old Jew” Osher Marin JCC, 200 N. San Pedro, San Rafael; www.marinjcc.org. Sun/6, 2pm. Free. Charlie Varon performs his latest solo, a fictional comedy about “a 20th century man living in a 21st century city.” Opening the show is Maxine Epstein’s 15-minute monologue, Pushin’ the Pushka.

“IMPACT” Odell Johnson Theater, Laney College, 900 Fallon, Oakl; www.destinyarts.org. Fri/4-Sat/5 and April 11-12, 7:30pm (also April 12, 2pm). $13-30. Destiny Arts Youth Performance Company celebrates the youth arts and violence prevention organization’s 25th anniversary with this world-premiere show, a mix of dance, theater, spoken word, rap, and song.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests. *

 

Yee had a reputation for political corruption even before the federal indictment

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Long before Sen. Leland Yee’s surprise arrest and arraignment on federal corruption charges today, Yee already had a reputation for, at best, political pandering and influence peddling; or at worst, corruption, a label for Yee long used in private conversations among figures in the local political establishment.

It was usually assumed to be the kind of low-level, quasi-legal corruption that is endemic to the political system: voting against one’s values and constituent interests in order to curry favor and financial contributions from wealthy special interests. In Yee’s case, his recent voting record seems to indicate that he was cultivating support from landlords and the pharmaceutical, banking, oil, and chemical industries for his current campaign for the Secretary of State’s Office.

But today’s indictment — which is expected to be released at any minute, and which we’ll detail in a separate post — seems to go much further, the culmination of a four-year FBI investigation tying Yee to notorious Chinatown gangster Raymond “Shrimp Boy” Chow, who was also arrested today. They and 24 others arrested in the case today are now being arraigned in federal court.  

The Bay Guardian has covered Yee throughout his 26-year political career, and we wrote a comprehensive profile of this controversial figure when he ran for mayor in 2011. More recently, in September, we wrote about some of his suspicious votes and refusal to offer credible explanations for them to activists he’s worked with before.

After that article, confidential sources contacted us urging us to investigate a series of strange votes Yee had cast in the last year, and we’ve been holding off on publishing that until Yee would sit down to talk to us about them. But each time we scheduled an interview with him, starting in November, he would cancel them at the last minute.

Maybe he was aware of the federal criminal investigation, or perhaps he had just decided that he not longer needed to cooperate with the Guardian as he sought statewide office, but he became increasingly hostile to our inquiries. Last month, when Yee saw San Francisco Media Co. (which owns the Guardian) CEO Todd Vogt having dinner with Board of Supervisors President David Chiu in a local restaurant, Vogt said Yee angrily accused the Guardian of being motivated by an anti-Asian bias in our inquiries and criticism, an incident that Vogt described to us as bizarre.

Guardian calls to staffers in Yee’s office, today and in recent weeks, haven’t been returned.

Yee has been a champion of sunshine (last week, the Society of Professional Journalists NorCal gave him a James Madison Freedom of Information Award for defending the California Public Records Act) and gun control, last year getting three such bills signed into law. SB 755 expands the list of crimes that would disqualify and individual from owning a gun, SB 374 prohibited semiautomatic rifles with detachable magazines, and SB 53 made background checks a requisite step in purchasing ammunition.

But he’s disappointed liberal and progressive constituencies — renters, environmentalists, seniors, students, the LGBT community — in San Francisco and beyond with most of his other votes, some of which ended up killing important legislation.

Yee voted against SB 405, which would have extended San Francisco’s plastic bag ban statewide. He also said no to regulating gasoline price manipulation by voting against SB 441, siding with the Big Oil over his constituents. And then he sided with Big Pharma in voting against SB 809, which would have taxed prescription drugs to help fund a state program designed to reduce their abuse, partially by creating a database to track prescriptions.

In addition to the Pharma-loving, ocean-shunning, oil-chugging votes Yee has cast, he has also turned a cold shoulder towards the elderly (by voting against SB 205, a bill that would make prescription font larger or, as the elderly would like to say, “readable”), the LGBTQ community (by voting against SB 761, which protects employees that use Paid Family Leave), students (by abstaining from a vote on AB 233, which would allow debt collectors to garnish the wages of college students with outstanding student loans), and tenants (by voting against the SB 510, the Mobile Home Park Conversion bill, and SB 603, which protects tenants from greedy landlords).

This year, as San Francisco’s other legislative representatives — Sen. Mark Leno and Assemblymembers Tom Ammiano and Phil Ting — announced efforts to reform the Ellis Act to address the escalating eviction epidemic in San Francisco, Yee has pointedly refused to support or even take a position on the effort.

In 2013, Yee sided with the Republican Party nine times on key votes, earning the scorn of many of his Democratic Party colleagues. Yee even voted for SCR 59, which would have created highway signs honored former Sen. Pete Knight, the late conservative Republican who authored Prop. 22 in 2000, strengthening California’s stand against same-sex marriage at the time.

Since we ran our “The real Leland Yee” article on Aug. 30, 2011, Yee has voted on 88 “key” pieces of legislation, according to the non-partisan, non-profit educational organization Project Vote Smart, and his final recorded vote has been “Yea” 80 times. He has abstained from voting six times, and has voted “Nay” just twice.

One of those votes came in response to a bill that was deemed “unnecessary” by Gov. Jerry Brown, but the other bill, SB 376, would have prohibited the harvesting and sale of shark fins in California.

In 2013, his voting record more closely aligns with Sen. Mark Wyland, a Republican from Carlsbad, than it does with any other Democrat on the Senate, finishing just ahead of Sen. Ron Calderon, the Southern California Democrat who was also indicted by the federal government on corruption charges last month after allegedly accepting bribes from an undercover FBI agent.

Throughout his legislative career, Yee has regularly supported Pacific Gas & Electric’s stranglehold on San Francisco’s energy market and benefitted from the company’s corrupting largesse. None of this may have crossed the line into actual criminal conduct — but for those familiar with Yee and his transactional approach to politics and governance, today’s indictment isn’t a huge surprise. 

Momofuku crack for Pi Day? Geometrelicious.

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Drop that protractor and grab a fork — tomorrow is Pi Day (3/14, heh). And for a mere $3.14, you can get a slice of fantastic, and fantastically named, pie, 3:14pm-7pm at Dear Mom, courtesy of a startup pop-up.

Some of these pies on offer are pretty famous, and no I’m not going to make a Piethagorus joke here. Nerd! (Just Euclidding.)

Full crumbly-crusted release, with mouthwatering pieday rundown, after the jump.


SAN FRANCISCO, CA – Goldbely, the popular gourmet food delivery startup, will celebrate PI Day this Friday, March 14, with a pop-up at Dear Mom (2700 16th St.) featuring a selection of thirteen pies freshly sourced from nine exceptional regional American bakeries, including three offerings from Christina Tosi’s Momofuku Milk Bar in New York and Twedes Cafe’s “Twin Peaks Cherry Pie,” a Washington state favorite made famous by David Lynch’s “Twin Peaks” TV series.

To celebrate the day’s mathematical roots, all slices will be sold for $3.14, and will come with one drink ticket redeemable for a complementary craft cocktail paired specifically to the chosen slice (limited to one drink per person, though multiple pie slices may be purchased). The pop-up begins at 3:14pm and ends at 7pm, or when supply runs out. In addition, Goldbely.com will also be running a day-long promotion: for every whole pie purchased online, customers will have the option to ship a second to a friend for $3.14.

The pies on offer include such highlights as: Momofuku Milk Bar’s “Crack Pie” (New York, NY) A deceptively simple concoction that features common pantry items, like vanilla and cream, in a delicious oat cookie crust for a rich and buttery experience that’s as addictive as its name suggests. Twedes Cafe’s “Twin Peaks Cherry Pie” (North Bend, WA) The pie that ABC’s “Twin Peaks” made famous. Its delicate and flakey crust holds a warm and jammy filling of Washington-sourced sweet cherries. As Special Agent Dale Cooper would say, it’s “one damn good cherry pie.” Mike’s Pies’ “Killer Key Lime Pie” (Tampa, FL) A true key lime pie from the Sunshine State. This four-time National Pie Championship winner has earned its place as one of the best, with a crunchy graham cracker crust and a tart, custard-smooth filling flavored with juice from Florida key limes.

Full menu:
Momofuku Milk Bar “Crack Pie” (New York, NY)
Momofuku Milk Bar “Grasshopper Pie” (New York, NY)
Momofuku Milk Bar “Candy Bar Pie” (New York, NY)
Achatz Handmade Pie Co. “Crumb Michigan 4-Berry Pie” (Chesterfield, MI)
Achatz Handmade Pie Co. “Caramel Nut Apple Pie” (Chesterfield, MI)
Twedes Cafe “Twin Peaks Cherry Pie” (North Bend, WA)
Nick’s Kitchen “Hoosier Sugar Cream Pie” (Huntington, IN)
Goode Co. “Brazos Bottom Pecan Pie” (Houston, TX)
Mike’s Pies “Killer Key Lime Pie” (Tampa, FL)
Mike’s Pies “REESE’S Peanut Butter Pie” (Tampa, FL)
Dutch Haven “ShooFly Pie” (Ronks, PA)
Kern’s Kitchen “Derby Pie” (Louisville, KY)
Nikki J’s “Sweet Potato Thang” (Rowlett, TX)

Goldbely pops up for PI Day

Friday, March 14, 2014

3:14pm-7pm

Dear Mom (2700 16th St, SF)

Cost: $3.14 per slice

Music Listings: March 19-25, 2014

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WEDNESDAY 19
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. Yellow Ostrich, Pattern Is Movement, Paint the Trees White, 9pm, $12-$14.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Thumpers, Solwave, 9pm, $10.
The Chapel: 777 Valencia, San Francisco. Sam Roberts Band, Kris Orlowski, 9pm, $15-$18.
Hemlock Tavern: 1131 Polk, San Francisco. Hellbeard, Serial Hawk, Sludgebucket, 8:30pm, $7.
The Knockout: 3223 Mission, San Francisco. Terra Moans, The Krypters, My Name Is Joe, 9:30pm, $6.
Slim’s: 333 11th St., San Francisco. Me First & The Gimme Gimmes, La Plebe, The Joey Show, DJ Big Nate, 9pm, sold out.
Thee Parkside: 1600 17th St., San Francisco. Spirit Caravan, Pilgrim, Waxy, 8pm, $15.
DANCE
Beaux: 2344 Market, San Francisco. “BroMance: A Night Out for the Fellas,” 9pm, free.
The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8pm, free.
Club X: 715 Harrison, San Francisco. “Electro Pop Rocks: EPR’s Spring Break,” 18+ dance night with Frank Nitty, D Menis, DJ Audio1, more, 9pm
DNA Lounge: 375 11th St., San Francisco. Go Chic, Blok, Violent Vickie, 9pm, $10-$12.
F8: 1192 Folsom, San Francisco. “Housepitality,” w/ Kenneth Scott, Max Gardner, Sean Murray, Tony Watson, 9pm, $5-$10.
Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10pm
Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7pm, free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9pm, free.
Make-Out Room: 3225 22nd St., San Francisco. “Burn Down the Disco,” w/ DJs 2shy-shy & Melt w/U, Third Wednesday of every month, 9pm, free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10pm, free.
Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9pm, $3.
Showdown: 10 Sixth St., San Francisco. “Nokturnal,” w/ DJs Coyle & Gonya, Third Wednesday of every month, 9pm, free.
HIP-HOP
Neck of the Woods: 406 Clement, San Francisco. “Over the Hump,” w/ Children of the Funk, 10pm, free.
Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9pm, $5.
ACOUSTIC
Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7pm, free.
Hotel Utah: 500 Fourth St., San Francisco. Jeb Havens & Tawnee Kendall, Lee Aulson, 8pm, $10.
Plough & Stars: 116 Clement, San Francisco. Michael Mullen, 9pm
The Rite Spot Cafe: 2099 Folsom, San Francisco. Goh Nakamura, 9pm, free.
JAZZ
Balancoire: 2565 Mission, San Francisco. “Cat’s Corner,” 9pm, $10.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6pm, free.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Jack Mosbacher Duo, 8pm
Club Deluxe: 1511 Haight, San Francisco. Patrick Wolff Quartet, 9pm, free.
Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Fran Sholly, 8pm
Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30pm, $5.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Four80East, Matt Marshak & Marcus Anderson, 8pm, $21.
Zingari: 501 Post, San Francisco. Chris Duggan, 7:30pm, free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Baobab!,” timba dance party with DJ WaltDigz, 10pm, $5.
Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7pm, $5-$10.
The Independent: 628 Divisadero, San Francisco. Ana Tijoux, Kumbia Queers, Como Asesinar a Felipe, 9pm, $15.
Pachamama Restaurant: 1630 Powell, San Francisco. Cafe Latino Americano, 8pm, $12.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Tommy Odetto, 7:30 & 9:30pm, $15.
Pier 23 Cafe: Pier 23, San Francisco. Wendy DeWitt, 6pm, free.
The Saloon: 1232 Grant, San Francisco. Craig Horton, 9:30pm
SOUL
Monarch: 101 Sixth St., San Francisco. “Color Me Badd,” coloring books and R&B jams with Matt Haze, DJ Alarm, Broke-Ass Stuart, guests, Wednesdays, 5:30-9:30pm, free.
The Royal Cuckoo: 3202 Mission, San Francisco. Freddie Hughes & Chris Burns, 7:30pm, free.

THURSDAY 20
ROCK
Boom Boom Room: 1601 Fillmore, San Francisco. Lonesome Locomotive, Twin Engine, 9:30pm, $5-$7.
Bottom of the Hill: 1233 17th St., San Francisco. Skaters, Team Spirit, Panic Is Perfect, 9pm, $10-$12.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. CAAMFest Directions in Sound: Korean Showcase, w/ Love X Stereo, Rock n Roll Radio, Glen Check, No Brain, Kero One (host), DJ Relic, 9pm, $20.
DNA Lounge: 375 11th St., San Francisco. Truckfighters, Crobot, The Devil in California, Blackwülf, 8:30pm, $10-$12.
Hemlock Tavern: 1131 Polk, San Francisco. Nubs, Atlantic Thrills, Scraper, 8:30pm, $7.
Hotel Utah: 500 Fourth St., San Francisco. The English Language, The Lolos, 9pm, $8.
The Knockout: 3223 Mission, San Francisco. Iron Chic, The Shell Corporation, Civil War Rust, 10pm, $8.
Milk Bar: 1840 Haight, San Francisco. Haight-Ashbury Street Fair Fundraiser: Battle of the Bands #1, w/ Kingsborough, Battery Powered Grandpa, High & Tight, Them Creatures, 9pm, $5.
Rickshaw Stop: 155 Fell, San Francisco. “Popscene,” w/ The Lonely Forest, Semi Precious Weapons, Breakdown Valentine, DJ Aaron Axelsen, 9:30pm, $10-$12.
S.F. Eagle: 398 12th St., San Francisco. The Whoa Nellies, Muñecas, Thith, 9pm, $5-$7.
Slim’s: 333 11th St., San Francisco. The Sword, Big Business, O’Brother, 8pm, $21.
The Stud: 399 Ninth St., San Francisco. Starbeast II, Grendel’s Claw, Kurly Something, 9pm, $5.
Thee Parkside: 1600 17th St., San Francisco. Disappearing People, Wreck & Reference, Hollow Sunshine, So Stressed, 9pm, $8.
DANCE
1015 Folsom: 1015 Folsom, San Francisco. Autojak’d Tour, w/ Autoérotique, Uberjak’d, Frank Nitty, Krishna Lee, DJ Audio1, 10pm, $10 advance.
Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10pm, free.
Beaux: 2344 Market, San Francisco. “Men at Twerk,” 9pm, free.
The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9pm, $5.
Cat Club: 1190 Folsom, San Francisco. “Class of 1984,” ’80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9pm, $6 (free before 9:30pm).
The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10pm, $5.
Club X: 715 Harrison, San Francisco. “The Crib,” 9:30pm, $10, 18+.
DNA Lounge: 375 11th St., San Francisco. Go Gold, Childhood cancer research benefit party with Lazy Rich, Paul Anthony, DJ Denise, Forest Green, Carlos Alfonzo, Ross.FM, John Beaver, Infected Frequencies, The Doctor, Arize, Adept, and more., 8pm, $15-$20.
Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and guests, 9:30pm, $5-$8.
F8: 1192 Folsom, San Francisco. “Beat Church,” w/ resident DJs Neptune & Kitty-D, Third Thursday of every month, 10pm, $10.
Harlot: 46 Minna, San Francisco. Bloody Mary & Jozif, 9pm, free.
The Independent: 628 Divisadero, San Francisco. Break Science, ChrisB., 9pm, $15-$17.
Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10pm, $10.
Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9pm, $5 after 10pm
Mezzanine: 444 Jessie, San Francisco. “House of Mezzanine,” w/ Marc “MK” Kinchen, Matrixxman, Epicsauce DJs, 9pm, $10.
Monarch: 101 Sixth St., San Francisco. “Hey Young World,” w/ Soul Clap & Nick Monaco, 9:30pm, $15 advance.
Public Works: 161 Erie, San Francisco. “Deep Blue,” w/ Marco Carola, Rooz, Bo, 9pm, $15-$25.
Raven: 1151 Folsom, San Francisco. “1999,” w/ VJ Mark Andrus, 8pm, free.
Ruby Skye: 420 Mason, San Francisco. “Awakening,” w/ GTA, What So Not, 9pm, $25-$35 advance.
Underground SF: 424 Haight, San Francisco. “Bubble,” 10pm, free.
Vessel: 85 Campton, San Francisco. “Base,” w/ H.O.S.H., 10pm, $5-$10.
HIP-HOP
Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9pm, free.
Showdown: 10 Sixth St., San Francisco. “Tougher Than Ice,” w/ DJs Vin Sol, Ruby Red I, and Jeremy Castillo, Third Thursday of every month, 10pm
ACOUSTIC
Amoeba Music: 1855 Haight, San Francisco. Chuck Ragan, 6pm, free.
Atlas Cafe: 3049 20th St., San Francisco. Bermuda Grass, 8pm, free.
Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7pm
The Chapel: 777 Valencia, San Francisco. Bear’s Den, 9pm, $12-$15.
Plough & Stars: 116 Clement, San Francisco. John Caufield, 9pm
The Rite Spot Cafe: 2099 Folsom, San Francisco. Devine’s Jug Band, 8pm, free.
JAZZ
Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30pm, free.
Cafe Claude: 7 Claude, San Francisco. Nova Jazz, 7:30pm, free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, First and Third Thursday of every month, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30pm
The Lucky Horseshoe: 453 Cortland, San Francisco. Ralph Carney’s Serious Jass Project, 9pm
Pier 23 Cafe: Pier 23, San Francisco. Citizen’s Jazz, 7pm, free.
The Royal Cuckoo: 3202 Mission, San Francisco. Charlie Siebert & Chris Siebert, 7:30pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with David Byrd, 7pm, $5.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30pm, $10.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. NaJe, in Yoshi’s lounge, 6:30pm, free.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30pm
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10pm, $5.
Cafe Cocomo: 650 Indiana, San Francisco. VibraSÓN, El DJ X, 8pm, $12.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Carlitos Medrano Quartet, 8pm
Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8pm
Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9pm, $10-$15.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Dudu Tassa & The Kuwaitis with Yair Dalal, 8pm, $30-$32.
REGGAE
Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9pm, free.
BLUES
50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30pm, free.
Biscuits and Blues: 401 Mason, San Francisco. Bill Magee, 7:30 & 9:30pm, $20.
The Saloon: 1232 Grant, San Francisco. Chris Ford, Third Thursday of every month, 4pm; Cathy Lemons, 9:30pm
COUNTRY
The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7pm, free.
EXPERIMENTAL
The Luggage Store: 1007 Market, San Francisco. Gosling, Gestaltish, 8pm, $6-$10.
SOUL
Amnesia: 853 Valencia, San Francisco. Baby & The Luvies, The Ironsides with Gene Washington, 8pm, $7-$10.
Make-Out Room: 3225 22nd St., San Francisco. “Soul: It’s the Real Thing,” w/ The Selecter DJ Kirk & Jon Blunck, Third Thursday of every month, 10pm, free.

FRIDAY 21
ROCK
50 Mason Social House: 50 Mason, San Francisco. Spidermeow, Shot in the Dark, Gnarboots, Be Brave Bold Robot, The Bottle Kids, 8pm
Bottom of the Hill: 1233 17th St., San Francisco. Guy Fox, Big Tree, The Districts, Young Moon, 8:30pm, $10-$12.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. The Family Crest, Milagres, 9pm, $12-$14.
The Chapel: 777 Valencia, San Francisco. Bart Davenport, Danny James, Anna Hillburg, DJ Robert Spector, 9pm, $12-$15.
El Rio: 3158 Mission, San Francisco. Friday Live: The Ghost Ease, DJ Emotions, 10pm, free.
Elbo Room: 647 Valencia, San Francisco. The Asteroid No. 4, Joel Gion & The Primary Colors, Daydream Machine, DJ Jodie Artichoke, 9:30pm, $5-$8.
Hemlock Tavern: 1131 Polk, San Francisco. Rykarda Parasol, The Tunnel, So What?, 9pm, $8.
Hotel Utah: 500 Fourth St., San Francisco. JoyCut, Running in the Fog, Feral Fauna, 9pm, $10.
Milk Bar: 1840 Haight, San Francisco. The Belle Game, Ski Lodge, Lords of Sealand, 9pm, $8-$10.
Neck of the Woods: 406 Clement, San Francisco. Heavenly Beat, Seatraffic, Survival Guide, on the upstairs stage, 9pm, $10-$12.
Rickshaw Stop: 155 Fell, San Francisco. Perfect Pussy, Wild Moth, Happy Diving, 9pm, $10-$12.
The Riptide: 3639 Taraval, San Francisco. The Ray City Rollers, Powder, 8pm, free.
Slim’s: 333 11th St., San Francisco. Lacuna Coil, Kyng, Eve to Adam, Nothing More, 8pm, $21.
Sub-Mission Art Space (Balazo 18 Gallery): 2183 Mission, San Francisco. Safe & Sound, Singled Out, Eternal Sleep, Stay Scared, Dust Off, 7:30pm, $8.
Thee Parkside: 1600 17th St., San Francisco. Shake Before Us, The Arabs, Greg Hoy & The End, 9pm, $7.
DANCE
1015 Folsom: 1015 Folsom, San Francisco. “Witness 5.0,” w/ Juan Atkins, Kastle, Le Youth, Djemba Djemba, Sweater Beats, Touch Sensitive, Krampfhaft, Kit Clayton, J-Boogie, Mikos Da Gawd, MPHD, Chris Clouse, more, 10pm, $15-$25 advance.
Audio Discotech: 316 11th St., San Francisco. Uner, Shonky, Glade Luco, Marija Dunn, 9pm, $10 advance.
BeatBox: 314 11th St., San Francisco. “U-Haul: Bromance Edition,” w/ DJs China G & Ms. Jackson, 10pm, $5-$10.
Beaux: 2344 Market, San Francisco. “Manimal,” 9pm
Cat Club: 1190 Folsom, San Francisco. “Dancing Ghosts: 7-Year Anniversary,” w/ DJs Xander, Daniel Skellington, Melting Girl, and Owen, 9:30pm, $7 ($3 before 10pm).
DNA Lounge: 375 11th St., San Francisco. “Band Saga,” w/ Metroid Metal, Rekcahdam, Anova, Kozilek, 8pm, $8-$13.
The EndUp: 401 Sixth St., San Francisco. “Trade,” 10pm, free before midnight.
Infusion Lounge: 124 Ellis, San Francisco. “Flight Fridays,” 10pm, $20.
Lookout: 3600 16th St., San Francisco. “HYSL: Handle Your Shit Lady,” 9pm, $3.
Mercer: 255 Rhode Island, San Francisco. “SoulHouse,” w/ Jeremiah Seraphim, Didje Kelli, Jaime James, Dylan Mahoney, 9pm, $10-$15.
Mezzanine: 444 Jessie, San Francisco. “Lights Down Low,” w/ Tensnake, Huxley, Cooper Saver, Brian Tarney, Split, 9pm, $20-$22.
Mighty: 119 Utah, San Francisco. “Set,” w/ John Digweed, Atish, Matt Hubert, 10pm, $35-$40 advance.
Public Works: 161 Erie, San Francisco. Crossfire: Synaptic Equinox, Flaming Lotus Girls benefit with DJs Aaron Pope, Billy Seal, Brad Robinson, Cosmic Selector, Darren Grayson, Drew Drop, Dulce Vita, J-Rod, Kapt’n Kirk, Layne Loomis, Matt Kramer, and Shissla., 9:30pm, $15-$20 advance.
Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9pm, $3.
Ruby Skye: 420 Mason, San Francisco. Syn Cole, Human Life, DJ Vice, 9pm, $20 advance.
Supperclub San Francisco: 657 Harrison, San Francisco. “The Midas Touch,” w/ Gavin Hardkiss, Michael Anthony, The Golden Gate Dolls, more, 7pm
Temple: 540 Howard, San Francisco. “Resonance,” w/ Alex M.O.R.P.H., Mitka, Jake DeSilva, more, 10pm, $20.
Underground SF: 424 Haight, San Francisco. “Studio 3AM,” w/ Michael Perry, Darrell Tenaglia, Soft & Crispy, 10pm, free.
Vessel: 85 Campton, San Francisco. Kryder, 10pm
HIP-HOP
John Colins: 138 Minna, San Francisco. “Juicy,” w/ DJ Mark DiVita, 10pm
Showdown: 10 Sixth St., San Francisco. “Fresh to Def Fridays: A Tribute to Yo! MTV Raps,” w/ resident DJs Boom Bostic, Inkfat, and Hay Hay, Third Friday of every month, 10pm
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Emily Zisman & Marty Atkinson, 7pm
Dolores Park Cafe: 501 Dolores, San Francisco. Storm Florez, 7:30pm
Pa’ina: 1865 Post, San Francisco. Ben Ahn, 7pm, free.
Plough & Stars: 116 Clement, San Francisco. “Bluegrass Bonanza,” w/ The Bearcat Stringband, 9pm, $6-$10.
JAZZ
Atlas Cafe: 3049 20th St., San Francisco. Jazz at the Atlas, 7:30pm, free.
Cafe Royale: 800 Post, San Francisco. Cyril Guiraud Trio, 9pm
The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Bill Kwan, 7:30pm, $8.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Steve Snelling Quartet, 9pm
INTERNATIONAL
Asiento: 2730 21st St., San Francisco. “Kulcha Latino,” w/ resident selectors Stepwise, Ras Rican, and El Kool Kyle, Third Friday of every month, 9pm, free.
Cafe Claude: 7 Claude, San Francisco. Trio Garufa, 7:30pm, free.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Montuno Swing, 10pm
The Emerald Tablet: 80 Fresno, San Francisco. Flamenco del Oro, 8pm, $15 suggested donation.
Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15pm, $15-$18.
Pier 23 Cafe: Pier 23, San Francisco. Danilo y Universal, 8pm, free.
Slate Bar: 2925 16th St., San Francisco. “Chevere: 4-Year Anniversary,” w/ DJs WaltDigz, Epic, and Leydis, 9:30pm
REGGAE
Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30pm, free.
The Independent: 628 Divisadero, San Francisco. The Wailers, 9pm, sold out.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Chris Cain, 7:30 & 10pm, $22.
Lou’s Fish Shack: 300 Jefferson, San Francisco. Robert “Hollywood” Jenkins, 6pm
The Royal Cuckoo: 3202 Mission, San Francisco. Big Bones & Chris Siebert, 7:30pm, free.
The Saloon: 1232 Grant, San Francisco. West Coast Blues Revue, 4pm; Chris Cobb, 9:30pm
FUNK
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Sinbad with Memphis Red & The Stank Nasty Band, 8 & 10pm, $35.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. The Nibblers, The Mark Sexton Band, DJ K-Os, 9:30pm, $10-$15.

SATURDAY 22
ROCK
Amnesia: 853 Valencia, San Francisco. “Rajeev’s Big Night Out,” w/ We Will Be Lions, The Cuss, Rafa’s One Man Band, plus stand-up comedy, 9pm, $7-$10.
Bender’s: 806 S. Van Ness, San Francisco. Lecherous Gaze, Dirty Fences, Buffalo Tooth, 10pm, $5.
Bottom of the Hill: 1233 17th St., San Francisco. DonCat, Split Screens, Scary Little Friends, 9:30pm, $10.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Wakey!Wakey!, Jillette Johnson, 9pm, $12.
The Chapel: 777 Valencia, San Francisco. Lost in the Trees, Icy Demons, 9pm, $12-$15.
Connecticut Yankee: 100 Connecticut, San Francisco. The Wearies, The Sweet Bones, Modern Kicks, 10pm
El Rio: 3158 Mission, San Francisco. White Cloud, Talk of Shamans, DJ Awnode, 9pm, $2-$5.
Hemlock Tavern: 1131 Polk, San Francisco. Kids on a Crime Spree, Yea-Ming & The Rumours, Eternal Drag, 9pm, $6.
Hotel Utah: 500 Fourth St., San Francisco. Abatis, The Straight Ups, Alabasta Jack, 9pm, $8.
The Knockout: 3223 Mission, San Francisco. Fracas, VKTMS, RocketShip RocketShip, Kick Puppy, 4pm, $6.
Milk Bar: 1840 Haight, San Francisco. Keystone Revisited, Pam, Just Passing Through, 9pm, $10.
Rickshaw Stop: 155 Fell, San Francisco. Weekend, Cities Aviv, Surf Club, 9pm, $12-$14.
Slim’s: 333 11th St., San Francisco. INVSN, Wax Idols, 9pm, $13-$15.
Thee Parkside: 1600 17th St., San Francisco. Great Apes, Hard Girls, Canadian Rifle, Acid Fast, 9pm, $7.
DANCE
Audio Discotech: 316 11th St., San Francisco. Goldfish, 9pm, $20-$25.
BeatBox: 314 11th St., San Francisco. “Chaos,” w/ DJs Dan DeLeon & Erik Withakay, 9pm, $10-$20.
DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ Pepperspray, A+D, Haute Mess, Marky Ray, Keith Kraft, Lucio K, more, 9pm, $10-$15.
The EndUp: 401 Sixth St., San Francisco. Shangri-La, Asian queer dance party., Fourth Saturday of every month, 10pm, $15-$20 (free before 11pm).
Harlot: 46 Minna, San Francisco. “Set,” w/ Hernan Cattaneo, Pedro Arbulu, Franccesco Cardenas, Zita Molnar, 9pm, $15-$25.
Infusion Lounge: 124 Ellis, San Francisco. “Set,” Fourth Saturday of every month, 10pm, $20.
The Knockout: 3223 Mission, San Francisco. “Galaxy Radio,” w/ PlaZa, Roche, Smac, Lel Ephant, Holly Bun, 10pm, free.
Lookout: 3600 16th St., San Francisco. “Bounce!,” 9pm, $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Blunted Funk,” w/ resident DJs Sneak-E Pete & Chilipino, Fourth Saturday of every other month, 9pm, $5 (free before 10pm).
Mighty: 119 Utah, San Francisco. Nightmares on Wax, Bläp Dëli, Mophono, 9pm, $15 advance.
Monarch: 101 Sixth St., San Francisco. Jimmy Edgar, Danny Daze, Papa Lu, 9:30pm, $25-$30.
Public Works: 161 Erie, San Francisco. “Dance Mania,” w/ Paul Johnson, Jammin Gerald, Parris Mitchell, more (in the main room), 9pm, $15 advance; “Mister Saturday Night,” w/ Eamon Harkin, Justin Carter, more (in the OddJob Loft), 9pm, $15 advance.
Ruby Skye: 420 Mason, San Francisco. Fedde Le Grand, Cazzette, Moguai, DJ Zya, 9pm, $50+ advance.
S.F. Eagle: 398 12th St., San Francisco. “Sadistic Saturday,” w/ Mystic Ray, 9pm
Slate Bar: 2925 16th St., San Francisco. “Electric WKND,” w/ The Certain People Crew, Fourth Saturday of every month, 10pm, $5.
The Stud: 399 Ninth St., San Francisco. “Planet Squrrrl,” w/ DJs Trevor Sigler, Joe Pickett, and Ben Holder, 9pm, $5.
Temple: 540 Howard, San Francisco. “Life,” w/ Feldy, Animal Control, Christophe, Jeff Morena, Glade Luco, more, 10pm, $20.
Vessel: 85 Campton, San Francisco. Scooter & Lavelle, 10pm, $10-$30.
W San Francisco: 181 Third St., San Francisco. “Spring: Celebrating the Persian New Year,” w/ DJ Aykut, Dr. T, Nitro, 9pm, $10-$25.
HIP-HOP
111 Minna Gallery: 111 Minna, San Francisco. CAAMFest Directions in Sound: Here Comes Treble, w/ Suboi, Rocky Rivera, Cynthia Lin & The Blue Moon All-Stars, DJ Umami, DJ ThatGirl, DJ Roza, 9:30pm, $20.
John Colins: 138 Minna, San Francisco. “Nice,” w/ DJ Apollo, Fourth Saturday of every month, 10pm, $5.
Showdown: 10 Sixth St., San Francisco. BYOB Live Beat Battle, w/ Ghettosocks & Timbuktu, 9pm, $7-$10.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. “Sing Out of Darkness: The Return of the Bird,” American Foundation for Suicide Prevention benefit with Julie Mayhew and many musical guests, 10am-10pm
Make-Out Room: 3225 22nd St., San Francisco. Chris Mills & The Distant Stars, Chris von Sneidern, 7:30pm, $8.
Plough & Stars: 116 Clement, San Francisco. Savannah Blu, 9pm
The Riptide: 3639 Taraval, San Francisco. The Lady Crooners, 9:30pm, free.
Steven Wolf Fine Arts: 2747 19th St., San Francisco. A Record Is a Record: Bill Orcutt, 6pm, free.
JAZZ
Cafe Claude: 7 Claude, San Francisco. Terrence Brewer Trio, 7:30pm, free.
Peacock Lounge: 552 Haight, San Francisco. Leon Joyce Jr., 6pm, $15.
The Royal Cuckoo: 3202 Mission, San Francisco. Steve Lucky & Carmen Getit, 7:30pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. David Byrd Ensemble, 7:30pm, $8.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9pm
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Kurt Elling, 8 & 10pm, $24-$28.
Zingari: 501 Post, San Francisco. Anya Malkiel, 8pm, free.
INTERNATIONAL
1015 Folsom: 1015 Folsom, San Francisco. “Pura,” 9pm, $20.
Cafe Cocomo: 650 Indiana, San Francisco. Pacific Mambo Orchestra, 8pm, $15.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Latin Rhythm Boys, 10pm
El Rio: 3158 Mission, San Francisco. “Mango,” Fourth Saturday of every month, 3pm, $8-$10.
OMG: 43 Sixth St., San Francisco. “Bollywood Blast,” Fourth Saturday of every month, 9pm, $5 (free before 10pm).
Roccapulco Supper Club: 3140 Mission, San Francisco. Hector Acosta, 8pm, $55.
Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30pm
St. Gregory’s Church: 500 De Haro, San Francisco. Veretski Pass, 8pm, $30.
REGGAE
The Independent: 628 Divisadero, San Francisco. The Wailers, 9pm, sold out.
Neck of the Woods: 406 Clement, San Francisco. One Drop, Midnight Raid, Saane, on the upstairs stage, 9pm, $10-$12.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Delta Wires, 7:30 & 10pm, $22.
Lou’s Fish Shack: 300 Jefferson, San Francisco. Willie G, 6pm
The Saloon: 1232 Grant, San Francisco. Dave Workman, Fourth Saturday of every month, 4pm; Ron Hacker, 9:30pm
EXPERIMENTAL
Noisebridge: 2169 Mission, San Francisco. Godwaffle Noise Pancakes, noon.
FUNK
Mezzanine: 444 Jessie, San Francisco. Rebirth Brass Band, The Loyd Family Players, 9pm, $25.
Pa’ina: 1865 Post, San Francisco. Chocolate Rice, 7pm, free.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. Wicked Mercies, DJ K-Os, 9:30pm, $10 advance.

SUNDAY 23
ROCK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Future Twin, Daydream Machine, DJ Joel Gion, 8pm, $7-$10.
The Chapel: 777 Valencia, San Francisco. Death, Audacity, 8pm, $22-$25.
DNA Lounge: 375 11th St., San Francisco. Broken Hope, Oceano, Fallujah, Rivers of Nihil, Kublai Khan, 6pm, $13-$15.
El Rio: 3158 Mission, San Francisco. The Desert Line, The Night Falls, Phosphene, 8pm, $8.
Hemlock Tavern: 1131 Polk, San Francisco. Religious Phase, Cloud Becomes Your Hand, Jordan Glenn, 8:30pm, $6.
Hotel Utah: 500 Fourth St., San Francisco. Andy Suzuki & The Method, The Weather Machine, 8pm, $10.
The Independent: 628 Divisadero, San Francisco. Toadies, Supersuckers, Battleme, 8pm, $22.
Slim’s: 333 11th St., San Francisco. The Orwells, Twin Peaks, Criminal Hygiene, 8pm, $14-$16.
DANCE
Audio Discotech: 316 11th St., San Francisco. “London Calling: Chapter 3,” w/ D’Julz, Ben Annand, Bells & Whistles, Nikita, more, noon, $10 advance.
Beaux: 2344 Market, San Francisco. “Full of Grace: A Weekly House Music Playground,” 9pm, free.
The Chapel: 777 Valencia, San Francisco. “Sunday Mass,” 9pm
The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8pm
Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ Jahdan Blakkamoore, Relic Secure, Deejay Theory, DJ Sep, 9pm, $11-$14.
F8: 1192 Folsom, San Francisco. “Stamina,” w/ Lukeino, Jamal, guests, 10pm, free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10pm
Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9pm, $5 (free before 11pm).
The Parlor: 2801 Leavenworth, San Francisco. “Sunday Sessions,” w/ DJ Marc deVasconcelos, 9pm, free.
Q Bar: 456 Castro, San Francisco. “Gigante,” 8pm, free.
S.F. Eagle: 398 12th St., San Francisco. “1982,” w/ DJs Ben Holder & Chaka Quan, 7pm, $5.
The Stud: 399 Ninth St., San Francisco. “Cognitive Dissonance,” Fourth Sunday of every month, 6pm
Temple: 540 Howard, San Francisco. “Sunset Arcade,” 18+ dance party & game night, 9pm, $10.
Wish: 1539 Folsom, San Francisco. “Electric B.A.S.E.,” w/ Beau Kelly, Anya Timofeeva, Remy J, 7pm, free.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30pm, free.
Bottom of the Hill: 1233 17th St., San Francisco. K.Flay, Air Dubai, Itch, 9pm, $12-$14.
Mezzanine: 444 Jessie, San Francisco. Bun B & Kirko Bangz, 8pm, $22.
Thee Parkside: 1600 17th St., San Francisco. Astronautalis, Playdough, Transit, Low Country Kingdom, 8pm, $14.
ACOUSTIC
The Lucky Horseshoe: 453 Cortland, San Francisco. Bernal Mountain Bluegrass Jam, 4pm, free.
Plough & Stars: 116 Clement, San Francisco. Seisiún with Marla Fibish, Erin Shrader, and Richard Mandel, 9pm
JAZZ
Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4pm, free/donation.
The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30pm, free.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Kurt Elling, 7 & 9pm, $24.
Zingari: 501 Post, San Francisco. Hubert Emerson, 7:30pm, free.
INTERNATIONAL
Amnesia: 853 Valencia, San Francisco. Sol Tevél, 8pm
Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30pm, free.
Cana Cuban Parlor: 500 Florida St., San Francisco. “La Havana,” w/ resident DJs Mind Motion, WaltDigz, and I-Cue, Sundays, 4-9pm
El Rio: 3158 Mission, San Francisco. Salsa Sundays, Second and Fourth Sunday of every month, 3pm, $8-$10.
BLUES
Lou’s Fish Shack: 300 Jefferson, San Francisco. Sam Johnson, 4pm
The Saloon: 1232 Grant, San Francisco. Blues Power, 4pm; The Door Slammers, Fourth Sunday of every month, 9:30pm
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8pm

MONDAY 24
ROCK
The Independent: 628 Divisadero, San Francisco. Japan Nite 2014: Happy, Zarigani$, Vampilla, Jungles from Red Bacteria Vacuum, 8pm, $15.
The Knockout: 3223 Mission, San Francisco. Guantanamo Baywatch, Courtney & The Crushers, 10pm, $5.
DANCE
DNA Lounge: 375 11th St., San Francisco. “DGXXI: Death Guild 21st Anniversary,” w/ DJ Decay, Melting Girl, Joe Radio, Sage, Lexor, Intoner, Identity Theft, Veil, RPTN, Daniel Skellington, 9pm, $5-$21.
Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9pm, free.
Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10pm, free.
ACOUSTIC
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Jeremy Messersmith, The Parmesans, 9pm, $10-$12.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30pm, free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Open Mic with Brendan Getzell, 8pm, free.
Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7pm, free.
The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4pm
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8pm
Zingari: 501 Post, San Francisco. Nora Maki, 7:30pm, free.
REGGAE
Bissap Baobab: 3372 19th St., San Francisco. “Raggada,” 9pm, $5.
Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10pm, free.
BLUES
The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30pm
SOUL
Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8pm, free.

TUESDAY 25
ROCK
Amnesia: 853 Valencia, San Francisco. Cellar Doors, Cool Ghouls, 9:15pm continues through, $7-$10.
Bottom of the Hill: 1233 17th St., San Francisco. Sea Knight, Babes, Wag, 9pm, $8.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. High Cliffs, The Wave Commission, Yours, 8pm, $5-$8.
The Chapel: 777 Valencia, San Francisco. Daniel Rossen, 9pm, $20-$22.
El Rio: 3158 Mission, San Francisco. Hungry Skinny, Saturn Cats, The Impersonations, 7pm, $6.
The Knockout: 3223 Mission, San Francisco. Musk, Freak Vibe, Burning Curtains, DJ Tosh, 9:30pm, $6.
Rickshaw Stop: 155 Fell, San Francisco. Small Black, Snowmine, Yalls, 8pm, $12-$14.
DANCE
1015 Folsom: 1015 Folsom, San Francisco. Annie Mac, Skream, Jacques Greene, 10pm, $12-$15 advance.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10pm, $2.
Monarch: 101 Sixth St., San Francisco. “Soundpieces,” 10pm, free-$10.
Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9pm, $3.
Underground SF: 424 Haight, San Francisco. “Shelter,” 10pm, free.
Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8pm, free.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. Vokab Kompany, Tropo, 9:30pm, $7 advance.
Double Dutch: 3192 16th St., San Francisco. “Takin’ It Back Tuesdays,” w/ DJs Mr. Murdock & Roman Nunez, Fourth Tuesday of every month, 10pm, free.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Lonnie Lazar, 7pm continues through.
Plough & Stars: 116 Clement, San Francisco. Song session with Cormac Gannon, Last Tuesday of every month, 9pm
The Rite Spot Cafe: 2099 Folsom, San Francisco. Toshio Hirano, 8pm, free.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7pm
Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7pm, free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6pm, free.
Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7pm
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7pm
Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Michael Parsons, 8pm
Tupelo: 1337 Green, San Francisco. Mal Sharpe’s Big Money in Jazz Band, 6pm
Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9pm, $10-$12.
Wine Kitchen: 507 Divisadero St., San Francisco. Hot Club Pacific, 7:30pm
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Roberta Gambarini, 8pm, $24-$29.
Zingari: 501 Post, San Francisco. Brenda Reed, 7:30pm, free.
INTERNATIONAL
Cafe Cocomo: 650 Indiana, San Francisco. Salsa Tuesday, w/ DJs Good Sho & El de la Clave, 8:30pm, $10.
The Cosmo Bar & Lounge: 440 Broadway, San Francisco. Conga Tuesdays, 8pm, $7-$10.
F8: 1192 Folsom, San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9pm, $5 (free before 9:30pm).
REGGAE
Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10pm
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Two-Tone Steiny & The Cadillacs, 7:30 & 9:30pm, $15.
The Saloon: 1232 Grant, San Francisco. Powell Street Blues Band, 9:30pm
EXPERIMENTAL
Center for New Music: 55 Taylor, San Francisco. sfSoundSalonSeries, w/ Benjamin Kreith & Travis Andrews Duo, Matt Ingalls, 7:49pm, $10-$15.
SOUL
Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30pm, free. 2

Glimmers of sunshine

3

rebecca@sfbg.com

For 29 years, San Francisco Bay Area journalists have gathered in mid-March — around the birthday of founding father and free-press advocate James Madison — to recognize reporters, attorneys, citizens, and others who fight to shake or keep information free.

The act of standing up to defend the principle of freedom of information can be rather unglamorous, sometimes leading to grueling lawsuits. It’s grown even more complicated with the rise of the Internet, the decline of traditional newspapers, and the dawn of an Information Age that delivers instantaneous material that is at once more slippery and abundant than ever.

And yet, the digital realm has opened up a whole new battlefield in the fight for open access to relevant information the public needs to know. This year, the Northern California chapter of the Society of Professional Journalists’ Freedom of Information Committee took the rare step of granting a posthumous Public Service James Madison Award to Internet activist Aaron Swartz.

As a leader in the digital rights movement, Swartz, who died at the age of 26 by taking his own life, was on the forefront of a movement that fought to uphold open access to information in the face of a corporate power grab that threatened to result in online censorship.

The fight against SOPA (the Stop Online Piracy Act) and PIPA (the Protect Intellectual Property Act) in early 2012 marked just one of Swartz’s accomplishments as he fought for free and open access to information. Among his other contributions was RECAP, an online listing of court materials that allowed free access to documents held in the federal, paywall-protected court filing system called PACER.

To commemorate Swartz’s work, the Bay Guardian presents in this issue an illustrated history of his activism. While recipients of James Madison Awards have typically been individuals who took on government bureaucracies to wrest information out of the shadows and into the public eye, Swartz’s battle revolved around freeing information that is locked up by private interests, or protected by copyright.

“We need to take information, wherever it is stored, make our copies and share them with the world,” he wrote in a 2008 essay titled “Guerilla Open Access Manifesto.” “We need to take stuff that’s out of copyright and add it to the archive. We need to buy secret databases and put them on the Web. We need to download scientific journals and upload them to file sharing networks.”

But first, here are a few updates on the fight for open access to information in San Francisco and beyond.

 

NO SHINING EXAMPLE

In 1999, San Francisco voters enacted a law to strengthen citizens’ access to government records and public meetings. To ensure that the open-access law was properly upheld, it also created a local body called the Sunshine Ordinance Task Force.

At each meeting, San Franciscans frustrated by their inability to get the information they sought from city bureaucracies appear before the board to air their grievances, in the hopes that the decisions to withhold documents will be reversed. Typically, citizens lodge around 100 complaints per year, according to task force clerk Victor Young.

But the Sunshine Ordinance Task Force has not been going at full speed for some time now. There’s a backlog of 62 cases, in part because the body could not legally meet for five months in 2012 because it did not have a member who was physically disabled, in accordance with the law establishing criteria for who can serve. (The previous member to meet the criteria, Bruce Wolfe, was denied reappointment. In an op-ed published in political blog Fog City Journal, task force member Rick Knee links this and the Board of Supervisors’ general foot-dragging on Sunshine with a political skirmish dating back to 2011, when the task force found the Board of Supervisors to be in violation of the Sunshine Ordinance.)

There have been two vacant seats on the task force for around two years, as well as two holdover members whose terms have technically expired. Applicants have sought out those seats, but the Board of Supervisors Rules Committee hasn’t gotten around to appointing new members; the most recent appointment was made in October of 2012, according to Alisa Miller, Rules Committee clerk.

Come April 27, meanwhile, all of the current task force members’ terms will expire. Miller said she expects the Board of Supervisors to revisit nominations before the end of April. There are a grand total of 10 applications for all 11 seats. Given all of this, plus a lawsuit revolving around the city’s refusal disclose how the City Attorney’s Office advises agencies on Sunshine Ordinance interpretations, San Francisco is going through some dark days for open government.

 

NAVIGATING FOIA

Anyone who’s ever tried to request public documents from government officials under the Freedom of Information Act knows that it feels more like a bureaucratic nightmare than a federal right. But a new project from the Center for Investigative Reporting is hoping to streamline the entire process into a (relatively) painless procedure.

FOIA Machine (foiamachine.org) is a website to request public documents at the federal, state, or local level, and is described by its creators as the “TurboTax for government records.”

“We wanted to make the FOIA experience better for journalists,” said Shane Shifflett, a data reporter at The Huffington Post who helped build the tool. “We built up a prototype and applied for grants. Then we put it on Kickstarter and it went crazy. That gave us a lot of confidence to see it through to the end.”

On Kickstarter, FOIA Machine raised over $53,000 from more than 2,000 backers, more than triple its goal.

FOIA Machine allows registered users to prepare requests, search a database of contacts, track the status of a request, and work with a community of fellow users.

Shifflett considers the community aspect to be the site’s strongest feature. “It’s crowdsourcing, so as people create requests, they can add contacts into the database. Now there will be a history of who worked with who, and it makes the process of figuring out where to send requests so much simpler.”

The site is still in development, and users who try to register promptly receive an email asking them to “stay tuned” for information in the coming weeks and months. Shifflett said that the group hopes for FOIA Machine to be up and running by June.

 

LEAK US YOUR DOCUMENTS

From time to time, sources have told us at the Bay Guardian that they would love to share sensitive information for news articles, but fear they would be retaliated against or even terminated from employment if they were to do so.

We have found a way around that.

Sources who wish to retain their anonymity while sharing information they believe the public has a right to know now have the option of using an encrypted submission system to anonymously send documents to our news team.

Created by Bay Area technologists in partnership with the San Francisco Bay Guardian, BayLeaks uses the latest cryptography software to protect the identities of our sources. This is a secure, anonymous way for concerned citizens to communicate with journalists to release information.

Our system uses SecureDrop, a whistleblowing platform managed by the Freedom of the Press Foundation, and Tor, an online anonymity network that has gained the trust of Internet users around the world.

To learn more, visit sfbg.com/bayleaks-intro

 

MONEY IN POLITICS

It’s not really a secret that big money has a colossal influence on politics, but the groups and individuals that write those hefty checks to lawmakers often prefer to stay secret themselves. And while political donations aren’t illegal, most voters would like to know exactly who is funding a piece of legislation or a political campaign, and where that money is coming from.

Fortunately for us in California, we already have a resource to easily find that information.

“There’s a collective influence of money in our political system,” said Pamela Behrsin, spokesperson for MapLight, a nonpartisan research organization based in Berkeley that tracks the influence of money in politics. “Our founders said, ‘Look at all this money, and how this legislator voted on this bill. Do you think the money had any influence on how the legislator voted?'”

Through the website, users can also search by bill or proposition to find, for example, that big companies such as Philip Morris spent nearly $48 million to defeat Prop. 29, a proposed cigarette tax in California, on the June 2012 ballot. Supporters of the tax, such as the American Cancer Society and Lance Armstrong Foundation, could only muster a quarter of that amount.

“There’s a whole breadth of people wanting to understand the problem of money and politics,” Behrsin said. “This is one of the largest issues in our democracy right now. People are starting to stand up and say unless we get money out of our system, it’s going to be that much more difficult to fix.”

Watchdogs in action

1

news@sfbg.com

The Society of Professional Journalists, Northern California, will honor the following James Madison Freedom of Information Award winners during a March 20 banquet. Details on their work and the dinner are available at www.spjnorcal.org.

 

VOICE FOR PRISONERS

Throughout his 29-year journalism career, Peter Sussman, a retired San Francisco Chronicle editor, advocated for greater media access to prisoners and fought to uphold the rights of inmate journalists. In the 1980s, federal prison officials cracked down on inmate Dannie “Red Hog” Martin for writing to Sussman to share what life was like behind bars.

The retaliation spurred an epic battle over free speech within prison walls, and Sussman responded by publishing Martin’s regular writings about prison life, and later co-authoring a book with him titled Committing Journalism: The Prison Writings of Red Hog.

In the mid-’90s, Sussman fought state prison officials’ restrictions on media interviews with prisoners. He also helped write and sponsor statewide legislation to overturn limits restricting media access to prisons. Sussman will receive the Norwin S. Yoffie Award for Career Achievement.

 

GUIDING ASPIRING JOURNALISTS

Beverly Kees Educator Award winner Rob Gunnison is a former instructor and administrator at UC Berkeley’s Graduate School of Journalism, where he arrived after spending 15 years covering government and politics in Sacramento for the San Francisco Chronicle.

As a longtime instructor of a course called “Reporting and Writing the News,” Gunnison has continued to educate hungry young journalists on how to seek public records and carry out investigative reporting projects.

 

EXPOSING ATROCITIES

Peter Buxton will be honored with the FOI Whistleblower/Source Award. In 1972, Buxton played a key role in alerting the press to the ongoing operation of the Tuskegee syphilis experiments, where African American sharecroppers were intentionally exposed to the disease, without treatment or their knowledge, so researchers could study its progression.

By the time the story was related to the press, 28 men had died of syphilis, and 100 others had died of related complications. That leak helped spur Congressional hearings on the practice beginning in 1973, ultimately spurring a complete overhaul of federal regulations. A class-action lawsuit was filed, resulting in a $10 million settlement.

 

EXPOSING BART’S SCHEME

Reporter Tom Vacar of KTVU pushed for records determining whether replacement drivers that BART was training to help break last year’s labor strike were qualified to safely operate the trains, eventually finding that they had been simply rubber-stamped by the California Public Utilities Commission.

Those findings proved gravely significant on Oct. 21 when two workers on the tracks were killed by a BART train operated at the time by an uncertified trainee, an accident still being investigated by the National Transportation Safety Board.

 

STANDING FOR SUNSHINE

California Sen. Leland Yee is once again being honored by SPJ Norcal for his work on sunshine issues, including last year criticizing Gov. Jerry Brown and other fellow Democrats who had sought to weaken the California Public Records Act, instead seeking to strengthen the ability of the courts to enforce the law.

 

FIGHTING THE CITY

Freelance journalist Richard Knee’s Distinguished Service Award caps a 12-year fight for open government in a city eager to stash its skeletons securely in closets.

Knee is a longtime member of the San Francisco’s Sunshine Ordinance Task Force, created in 1994 to safeguard the city’s Sunshine Ordinance, and he has fought to maintain its power and relevance.

Over the years, many city agencies have fought against the task force, from the City Attorney’s Office to a group of four supervisors who claimed the task force was wasting public money, a struggle that is still ongoing.

 

BADGES AND ACCOUNTABILITY

The Lake County News and its co-founders Elizabeth Larson and John Jensen will received a News Media Award for a protracted legal battle with local law enforcement for a simple journalistic right: interview access.

The scrappy local paper detailed allegations that Lake County Sheriff Frank Rivero and his deputies wrongfully detained suspects on trumped up charges, made threats, conducted warrantless home searches, and violated suspects’ civil rights.

Rivero’s office responded by blacklisting the paper from interviews, a fundamental building block of news coverage. The paper sued the Lake County Sheriff’s Department, eventually winning its battle to obtain the right to keep asking the sheriff the tough questions.

 

PROTECTING THEIR SOURCES

When Saratoga High School student Audrie Potts committed suicide in September 2012, her parents alleged she was pushed over the edge by cyber bullying over photos of Potts at a party. High school journalists Samuel Liu, Sabrina Chen, and Cristina Curcelli of The Saratoga Falcon scooped the sensational national media outlets that descended on the story, but they were subpoenaed by the Potts family to reveal their sources.

They refused, citing California’s shield law in a successful legal defense that strengthened the rights of student journalists. As Liu said, “We are not willing to destroy our journalistic integrity by giving up our confidential sources, we got this information on the condition of anonymity, from people that trusted us.”

 

BUYING FRIENDS AT CITY HALL

Bay Guardian News Editor Rebecca Bowe and Reporter Joe Fitzgerald Rodriguez are being honored with a Journalist Award for “Friends in the Shadows,” (10/8/13) our investigation of the shady ways that developers and other powerful players buy influence at City Hall.

“Their detailed and thorough account explored a trail of money through myriad city agencies and departments,” the awards committee wrote, noting how the paper “used public records, interviews and independent research to probe how developers, corporations and city contractors use indirect gifts to city agencies to buy influence.”

 

NEWS FROM INSIDE

For accomplishing “extraordinary journalism under extraordinary circumstances,” The San Quentin News is being honored with a News Media Award. It is California’s only inmate-produced newspaper, and one of the few in existence worldwide.

The San Quentin News publishes about 20 pages monthly, and has a press run of 11,500 for inmates, correctional officers, staff, and community members. It’s distributed to 17 other prisons throughout California.

Under the scrutiny of prison authorities, the inmate journalists and volunteers wound up covering a historic prison hunger strike, the overcrowding of the prison population, and the denial of compassionate release for a dying inmate, an octogenarian with a terminal illness.

 

EXPOSING TORTURERS

The Western Hemisphere Institute for Security Cooperation (WHINSEC), better known as the name it held prior to 2001, the School of the Americas, is a combat training school for Latin American soldiers and commanders, with many graduates going on to commit human rights atrocities.

School of the Americas Watch founder Judith Litesky, a former nun, and Theresa Cameranesi, filed a lawsuit in federal court in San Francisco seeking the list of those who had gone though courses that include counter insurgency techniques, sniper training, psychological warfare, military intelligence and interrogation tactics.

Last year, the pair won a significant victory when a federal judge in Oakland ruled that the government could not cite national security reasons in withholding the names. Although the case is ongoing, they are being honored with a Citizen Award.

 

FIGHTING CORPORATE SNOOPS

In 2008, journalists from The New York Times and BusinessWeek looked to Terry Gross of Gross Belsky Alonso for legal counsel in a case against Hewlett-Packard. In a staggering display of corporate snooping, the tech giant had illegally obtained private telephone records of the journalists, in an attempt to gain access to the identities of their sources.

Gross has also defended journalists against police in cases regarding media access for breaking-news events, and he’s helped to expand the rights of online journalists. This year, Gross will receive the FOI Legal Counsel Award.

 

BAD BRIDGE, GOOD JOURNALIST

Sacramento Bee Senior Investigative Reporter Charles Piller will be honored with a Journalist Award for exposing corrosion problems in the long delayed, cost-plagued eastern span of the San Francisco-Oakland Bay Bridge. His breaking story and subsequent follow-ups revealed Caltrans’ inadequate corrosion testing, as well as inadequate responses to bridge inspectors who for more than two years warned Caltrans of water leaks and corrosion — only to go unheeded.

 

SUNSHINE COLUMNIST

Editorial and Commentary Award winner Daniel Borenstein, who writes for the Bay Area News Group, issued a strong response to a legislative attack on California’s Public Records Act last year, ultimately helping to defeat proposed changes that would have gutted the law.

“Without the state Public Records Act, we would never know about the Oakley City Manager’s $366,500 taxpayer-funded mortgage scheme, the Washington Township hospital CEO’s $800,000-plus annual compensation or the retired San Ramon Valley fire chief’s $310,000 yearly pension,” Borenstein wrote in one of his columns. “We would be ignorant of broken bolts on the Bay Bridge, the cover-up of Moraga teachers sexually abusing students, a BART train operator who collected salary and benefits totaling $193,407, the former BART general manager who received $420,000 the year after she was fired or the Port of Oakland executives who spent $4,500 one night at a Texas strip club.”

Bleached brings the sunshine at the Rickshaw Stop

3

It’s no question that Bleached has come into success within the past year with the release of its debut album, Ride Your Heart, on record label Dead Oceans. But how does the band gauge its success? By a younger man sneaking into their green room, which apparently didn’t happen the last time Bleached played San Francisco.

This time Bleached brought along power-punks Terry Malts, psych rockers Mystic Braves and dark psych band Tropical Popsicle for a packed Noise Pop show at the Rickshaw Stop.

Initially seeing the name “Tropical Popsicle” on the bill, I tossed the band off as another kitschy garage-rock creation. But I was wrong. Despite it’s name that evokes visions of summer and dessert, Tropical Popsicle veers to the darker side of things.

As the band started its set on a dimly lit stage, a post-punk synth tune reminiscent of New Order played. As the set wore on, Tropical Popsicle picked up the pace slightly with spooky and moody psych tunes.

tropical popsicle
Tropical Popsicle

Then Mystic Braves walked on the stage, some members clad in floppy sun hats that could have graced the heads of many grandmothers in the ‘70s. Going for a contemporary psych-rock vibe, the band is in the same vein as Allah-Las and Froth. Mystic Braves showed great musical prowess, playing intricate and fuzzed-out riffs amongst shallow, subdued vocals.

Next up was Terry Malts, the only band boasting Bay Area “citizenship” on the bill. Playing what they call “chainsaw pop,” the Berkeley based band plays distorted, up-tempo power-punk with deadpan vocals.

Just like the speed of its music, Terry Malts barreled through its set. Vocalist and bassist Phil Benson was reluctant to play “I Do,” off the band’s 2012 effort, Killing Time. He was caught saying, “Well, I guess we’re playing this song” in an exasperated and apathetic-sounding voice. But that could very well be Benson’s normal voice.

terry malts
Terry Malts

As Bleached finally went on stage, the front of the room was packed, leaving very little space for breathing.

Before I delve into the exacts of the show, here’s a little background information on Bleached. The band is well known for having sisters Jennifer and Jessica Clavin in the mix. But before Bleached was even a glint in Clavin sisters eye(s), they were in a Los Angeles post-punk band, Mika Miko. Though Mika Miko may be gone and a thing of the past, the sisters Clavin have regrouped to form Bleached — a band decidedly more wholesome, hook-filled and poppy than its predecessor.

Playing a slew of songs that share common themes of having fun, boys, and causing a ruckus, Bleached whipped the audience into a frenzy in record time. It was only a few songs into the set before people started in with stage dives.

bleached
Bleached, from above

Clear-cut crowd favorites, such as “No Friend of Mine” and “Think of You”, were played. The band also lended it’s way in performing a few sonic treats, such as a cover of the Misfits’ “Hybrid Moments” and previously unreleased song “For the Feel.”

With three-quarters of the bands on the bill based in Los Angeles, sunny Southern California was brought to a dreary and rainy San Francisco, if only for a night. And boy, was it good.

@erindage

Music Listings: Feb 12-19, 2014

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WEDNESDAY 12

ROCK

Boom Boom Room: 1601 Fillmore, San Francisco. The Coffis Brothers & The Mountain Men, Evan & The Eccentrics, 9:30 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. Desert Noises, Buckeye Knoll, City of Women, 9 p.m., $10.

Elbo Room: 647 Valencia, San Francisco. Bonnie & The Bang Bang, Owl Paws, Popgang DJs, 9 p.m., free.

Hemlock Tavern: 1131 Polk, San Francisco. Annie Girl & The Flight, Balms, Everyone Is Dirty, 8:30 p.m., $7.

The Knockout: 3223 Mission, San Francisco. “Disorder,” w/ Bestial Mouths, All Your Sisters, Cry, DJs Russell Butler & Nako Hszm, 10 p.m., $7.

Slim’s: 333 11th St., San Francisco. Touche Amore, MewithoutYou, Seahaven, Drug Church, 7:30 p.m., $16.

DANCE

111 Minna Gallery: 111 Minna, San Francisco. “Qoöl,” w/ DJs Zach DeVincent, The Ride, Marc Fong, Will Spencer, Dan Sherman, and Spesh, 5-10 p.m., $5.

Beaux: 2344 Market, San Francisco. “BroMance: A Night Out for the Fellas,” 9 p.m., free.

The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8 p.m., free.

Cat Club: 1190 Folsom, San Francisco. “Bondage A Go Go,” w/ DJs Damon, Tomas Diablo, & guests, 9:30 p.m., $5-$10.

Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance night, 9 p.m., $15-$20.

Edinburgh Castle: 950 Geary, San Francisco. “1964,” w/ DJ Matt B & guests, Second and Fourth Wednesday of every month, 10 p.m., $2.

F8: 1192 Folsom, San Francisco. “Housepitality,” w/ Corey Black, Mike Bee, Joel Conway, Sharon Buck, Fil Latorre, more, 9 p.m., $5-$10.

The Independent: 628 Divisadero, San Francisco. BoomBox, 9 p.m., $16-$18.

Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10 p.m.

Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9 p.m., free.

MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10 p.m., free.

Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9 p.m., $3.

HIP-HOP

Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9 p.m., $5.

Slate Bar: 2925 16th St., San Francisco. “Special Blend,” w/ resident DJs LazyBoy & Mr. Murdock, 9 p.m., free.

ACOUSTIC

50 Mason Social House: 50 Mason, San Francisco. Tyler Weiss, Brandon Eardley, Sweet Water, 8 p.m., free.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Gangstagrass, Shovelman, 9 p.m., $10-$13.

Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7 p.m., free.

Club Deluxe: 1511 Haight, San Francisco. Happy Hour Bluegrass, 6:30 p.m., free.

Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, Every other Wednesday, 9:30 p.m., free/donation.

Plough & Stars: 116 Clement, San Francisco. Actual Wolf, 9 p.m.

JAZZ

Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7 p.m., free.

Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.

Cigar Bar & Grill: 850 Montgomery, San Francisco. DU UY Quintet, 8 p.m.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7 p.m., free.

Meridian Gallery: 535 Powell, San Francisco. Meridian Composers in Performance: Joshua Allen, 7:30 p.m., $10.

Pier 23 Cafe: Pier 23, San Francisco. Mike Lipskin Group, 6 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. Michael Parsons Trio, Every other Wednesday, 8:30 p.m., free/donation.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30 p.m., $5.

Zingari: 501 Post, San Francisco. Sherri Roberts, 7:30 p.m., free.

INTERNATIONAL

Bissap Baobab: 3372 19th St., San Francisco. “Baobab!,” timba dance party with DJ WaltDigz, 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10.

Pachamama Restaurant: 1630 Powell, San Francisco. Cafe Latino Americano, 8 p.m., $12.

SFJAZZ Center: 205 Franklin, San Francisco. Bassekou Kouyaté & Ngoni Ba, 7:30 p.m., $25-$45.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. HowellDevine, 7:30 & 9:30 p.m., $15.

The Royal Cuckoo: 3202 Mission, San Francisco. Big Bones & Chris Siebert, 7:30 p.m., free.

The Saloon: 1232 Grant, San Francisco. Leah Tysse, 9:30 p.m.

COUNTRY

The Lucky Horseshoe: 453 Cortland, San Francisco. The Lucky Horseshoe House Band, 8:30 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Junior Brown, 8 p.m., $26-$30.

FUNK

Vertigo: 1160 Polk, San Francisco. “Full Tilt Boogie,” w/ KUSF-in-Exile DJs, Second Wednesday of every month, 8 p.m.-1:30 a.m., free.

 

THURSDAY 13

ROCK

Amnesia: 853 Valencia, San Francisco. “Spaceship Chaos,” w/ Rafa’s One Man Band, Not Robots, Borrowed Trouble, 8 p.m., $5-$10.

Bottom of the Hill: 1233 17th St., San Francisco. Sylvan Esso, Pixel Memory, Kitten Grenade, 9 p.m., $12.

The Chapel: 777 Valencia, San Francisco. Royal Teeth, Chappo, Blondfire, 8 p.m., $13-$15.

Hemlock Tavern: 1131 Polk, San Francisco. Sandy’s, Elle Bell, Rustangs, 8:30 p.m., $6.

The Knockout: 3223 Mission, San Francisco. Li Xi, The Pen Test, Brian Tester, DJ Mashi Mashi, 9:30 p.m., $6.

Make-Out Room: 3225 22nd St., San Francisco. Golden Void, Pontiak, Cy Dune, 7:30 p.m., $8-$10.

Milk Bar: 1840 Haight, San Francisco. Turtle Rising, Eyes on the Shore, KnightressM1, 8:30 p.m., $8.

S.F. Eagle: 398 12th St., San Francisco. Bronze, Sam Flax, Screature, Woman, 9 p.m., $8.

SFSU Campus, Cesar Chavez Student Center: 1650 Holloway, San Francisco. Hundred Acre Good, Stoics, Balms, Dark Satellite, 6 p.m., free.

Slim’s: 333 11th St., San Francisco. Breathe Carolina, Mod Sun, Ghost Town, Lionfight, 8 p.m., $15.

Thee Parkside: 1600 17th St., San Francisco. Hazzard’s Cure, Lord Dying, Hornss, 9 p.m., $10.

DANCE

Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10 p.m., free.

Audio Discotech: 316 11th St., San Francisco. Mark Knight, Pheeko Dubfunk, Festiva, 9:30 p.m., $20 advance.

Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9 p.m., $5-$7.

Beaux: 2344 Market, San Francisco. “Men at Twerk,” 9 p.m., free.

The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9 p.m., $5.

Cat Club: 1190 Folsom, San Francisco. “Throwback Thursdays,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9 p.m., $6 (free before 9:30 p.m.).

The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10 p.m., $5.

Club X: 715 Harrison, San Francisco. “The Crib,” 9:30 p.m., $10, 18+.

Danzhaus: 1275 Connecticut, San Francisco. “Alt.Dance,” Second Thursday of every month, 7 p.m., $7, 18+.

Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and guests, 9:30 p.m., $5-$8.

Harlot: 46 Minna, San Francisco. “You’re Welcome,” w/ Mr. C, Matrixxman, Benjamin K, 9 p.m., free.

Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10 p.m., $10.

Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9 p.m., $5 after 10 p.m.

Q Bar: 456 Castro, San Francisco. “Throwback Thursday,” w/ DJ Jay-R, 9 p.m., free.

Raven: 1151 Folsom, San Francisco. “1999,” w/ VJ Mark Andrus, 8 p.m., free.

Ruby Skye: 420 Mason, San Francisco. “Awakening,” w/ Congorock, 9 p.m., $15-$20 advance.

Temple: 540 Howard, San Francisco. “Decibel,” w/ Joe Nice, Sam Supa, Max Ohm, Octopod, Groucho, 10 p.m., $15.

The Tunnel Top: 601 Bush, San Francisco. “Tunneltop,” DJs Avalon and Derek ease you into the weekend with a cool and relaxed selection of tunes spun on vinyl, 10 p.m., free.

Underground SF: 424 Haight, San Francisco. “Bubble,” 10 p.m., free.

Vessel: 85 Campton, San Francisco. “Base,” w/ Chris Liebing, Alessandro, 10 p.m., $5-$10.

HIP-HOP

Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9 p.m., free.

John Colins: 138 Minna, San Francisco. DJ Sticky Ricardo, 10 p.m.

Mezzanine: 444 Jessie, San Francisco. DJ Qbert, Del the Funky Homosapien, Dan the Automator, Peace, Bambu, 9 p.m., $10-$20.

Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/ lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10 p.m., free.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7 p.m.

The Lucky Horseshoe: 453 Cortland, San Francisco. Windy Hill, The Oly Mountain Boys, 8:30 p.m.

Plough & Stars: 116 Clement, San Francisco. Tipsy House, 9 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Lee DeWyze, 8 p.m., $22-$26.

JAZZ

Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30 p.m., free.

Boom Boom Room: 1601 Fillmore, San Francisco. Victor Little’s Big Hit, 9:30 p.m., $8.

Brickhouse Cafe: 426 Brannan, San Francisco. Marlina Teich Trio, 7 p.m., free.

Cafe Claude: 7 Claude, San Francisco. Dick Fregulia’s Good Vibes Trio, 7:30 p.m., free.

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 8 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, Second Thursday of every month, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30 p.m.

Pier 23 Cafe: Pier 23, San Francisco. Primavera, 7 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Charlie Siebert & Chris Siebert, 7:30 p.m., free.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30 p.m., $10.

Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.

INTERNATIONAL

Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. N’Rumba, DJ Good Sho, 8 p.m., $12.

Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. Makrú, Sol Tevél, benefit concert for the Red Poppy Art House, 7 p.m., $10-$100 sliding scale.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8 p.m.

Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9 p.m., $10-$15.

REGGAE

1015 Folsom: 1015 Folsom, San Francisco. Tarrus Riley & Dean Fraser with the Black Soil Band, DJ Smoky, Polo Mo’Quuz, Green B, 8 p.m., $20-$40.

Make-Out Room: 3225 22nd St., San Francisco. “Festival ‘68,” w/ Revival Sound System, Second Thursday of every month, 10 p.m., free.

Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9 p.m., free.

BLUES

50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30 p.m., free.

Biscuits and Blues: 401 Mason, San Francisco. Brad Wilson Blues Band, 7:30 & 9:30 p.m., $15.

The Saloon: 1232 Grant, San Francisco. Jose Simioni, 4 p.m.; Chris Cobb, 9:30 p.m.

COUNTRY

Atlas Cafe: 3049 20th St., San Francisco. Jinx Jones & Jessica Rose, 8 p.m., free.

The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7 p.m., free.

EXPERIMENTAL

Exploratorium: Pier 15, San Francisco. Resonance: Unheard Sounds, Undiscovered Music, w/ The Freddy McGuire Show (Anne McGuire & Wobbly), 7 p.m., $15.

The Luggage Store: 1007 Market, San Francisco. Reconnaissance Fly, WhatUke, 8 p.m., $6-$10.

SOUL

Cigar Bar & Grill: 850 Montgomery, San Francisco. Big Blu Soul Revue, Second Thursday of every month, 7:30 p.m., free.

The Independent: 628 Divisadero, San Francisco. Alice Smith, Destani Wolf, 8 p.m., $22.

 

FRIDAY 14

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Quilt, The Spyrals, Wymond Miles, 9:30 p.m., $10.

DNA Lounge: 375 11th St., San Francisco. The Warlocks, The Shivas, Cellar Doors, Denney Yoints, 8:30 p.m., $10-$13.

El Rio: 3158 Mission, San Francisco. Friday Live: Thith, DJ Emotions, 10 p.m., free.

Hemlock Tavern: 1131 Polk, San Francisco. CCR Headcleaner, Quaaludes, Mane, 9 p.m., $5.

Make-Out Room: 3225 22nd St., San Francisco. Bermuda Triangle Service, A Carnival of Hours, 7:30 p.m., $8.

Milk Bar: 1840 Haight, San Francisco. I Haight Valentine’s Day, With music by The Fire Department, The Go Ahead, and SolGanix., 8:30 p.m., $7-$10.

Rickshaw Stop: 155 Fell, San Francisco. Valentine’s Day with The Lovemakers, Manics, Everyone Is Dirty, DJ Aaron Axelsen, 9 p.m., $12.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. T.E.N.: Thomas Pridgen, Eric McFadden, and Norwood Fisher (performing the Jimi Hendrix album Axis: Bold as Love), in Yoshi’s lounge, 10:30 p.m., $16-$19.

DANCE

1015 Folsom: 1015 Folsom, San Francisco. Lonely Hearts Club, With music by Kaytranada, Sango, Falcons, Starship Connection, Iman Omari, Shift K3y, Insightful, Running in the Fog, and more., 10 p.m., $17.50 advance.

Amnesia: 853 Valencia, San Francisco. “Indie Slash,” w/ DJs Danny White & Rance, 10 p.m., $5.

Audio Discotech: 316 11th St., San Francisco. “Summertime, All the Time,” w/ Viceroy, Penguin Prison (DJ set), Surf Ambassador Hendo, 9 p.m., $15-$20 advance.

BeatBox: 314 11th St., San Francisco. As You Like It: A Special Valentine’s Love Affair, With music by Slow Hands, Worst Friends, Bells & Whistles, and Dao & Pwny., 9 p.m., $10-$20.

Beaux: 2344 Market, San Francisco. “Manimal,” 9 p.m.

Cafe Flore: 2298 Market, San Francisco. “Kinky Beats,” w/ DJ Sergio, 10 p.m., free.

The Cafe: 2369 Market, San Francisco. “Boy Bar,” w/ DJ Matt Consola, 9 p.m., $5.

Cat Club: 1190 Folsom, San Francisco. Dark Shadows: Vampire Valentine, With DJs Daniel Skellington, Melting Girl, Unit 77, and Starr., 9:30 p.m., $7 ($3 before 10 p.m.).

The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10 p.m.

The EndUp: 401 Sixth St., San Francisco. “Trade,” 10 p.m., free before midnight.

The Grand Nightclub: 520 Fourth St., San Francisco. “We Rock Fridays,” 9:30 p.m.

Harlot: 46 Minna, San Francisco. “Love Bitten x Love Smitten: A DJ Fueled Dance Affair,” w/ DJ Don Lynch, M.O.M. DJs, 9 p.m.

Infusion Lounge: 124 Ellis, San Francisco. “Bitter Ball,” w/ Bebe Rexha, DJ Cobra, 99.7 NOW’s Fernando & Greg, 10 p.m.

Lone Star Saloon: 1354 Harrison, San Francisco. “Cubcake,” w/ DJ Medic, Second Friday of every month, 9 p.m.

Lookout: 3600 16th St., San Francisco. “HYSL: Handle Your Shit Lady,” 9 p.m., $3.

Manor West: 750 Harrison, San Francisco. “Fortune Fridays,” 10 p.m., free before 11 p.m. with RSVP.

MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9 p.m.

Mezzanine: 444 Jessie, San Francisco. “Dirtybird Players,” w/ Justin Martin, Christian Martin, J.Phlip, Worthy, 9 p.m., $10-$20.

Mighty: 119 Utah, San Francisco. “Vinyl Affair,” w/ Mark Farina, Pezzner, Lurob, 10 p.m., $15-$20 advance.

Monarch: 101 Sixth St., San Francisco. Green Gorilla Lounge: Valentine’s Day Discotech, With music by Tim Sweeney, Anthony Mansfield, and DJ M3., 9:30 p.m., $8-$15.

Project One: 251 Rhode Island, San Francisco. “Eightfold,” w/ DJs Augustine, Dave Mak, Dano, and Tuhin Roy, 9 p.m., $8 (free before 10 p.m.).

Public Works: 161 Erie, San Francisco. “Garage Mahal: Caravan of Love,” w/ Dusty, Laura McGourty, Deckard, Tamo, ViaJay, Mancub, Shooey, DingDong, Mace, more, 9:30 p.m., $10-$15.

Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9 p.m., $3.

Ruby Skye: 420 Mason, San Francisco. Bad Boy Bill, Tommie Sunshine, 9 p.m., $20 advance.

S.F. Eagle: 398 12th St., San Francisco. “Pound Puppy: Puppy Love,” w/ DJs Taco Tuesday, Chip Mint, and CarrieOnDisco, 9 p.m.

Slide: 430 Mason, San Francisco. “E2F,” Second Friday of every month, 9 p.m.

Supperclub San Francisco: 657 Harrison, San Francisco. Love Me: A Second Base Valentine’s Event, With music by Phutureprimitive, Jocelyn, Dulce Vita, Dutch, Neptune, Baron Von Spirit, and more., 9 p.m., $15-$30.

Temple: 540 Howard, San Francisco. “Red, White, and Sexy,” w/ Rainbow Party, Reflkta, Sebastian Concha, Mikey Tan, Hardy, 10 p.m., $15.

Underground SF: 424 Haight, San Francisco. “Bionic,” 10 p.m., $5.

Vessel: 85 Campton, San Francisco. “Sound Addiction,” w/ Techminds, Felnlove, DJ Nile, Sam F, 10 p.m., $10-$30.

W San Francisco: 181 Third St., San Francisco. Valentine’s Day Dance Party with DJ Aykut & Dr. T, 9 p.m., $10-$20.

Wish: 1539 Folsom, San Francisco. “Bridge the Gap,” w/ resident DJ Don Kainoa, Fridays, 6-10 p.m., free.

HIP-HOP

Elbo Room: 647 Valencia, San Francisco. Hellfyre Club Night, w/ Busdriver, Milo, Open Mike Eagle, Nocando, 9 p.m., $15.

EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9 p.m.

John Colins: 138 Minna, San Francisco. “Heartbeat,” w/ resident DJ Strategy, Second Friday of every month, 9 p.m., $5 (free before 11 p.m).

Slate Bar: 2925 16th St., San Francisco. “The Hustle,” w/ DJs Sake One & Sean G, Second Friday of every month, 9 p.m.

Slim’s: 333 11th St., San Francisco. Blackalicious, Jahi & The Life, Antique Naked Soul, 9 p.m., $25.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Valentine’s Day Special: Bad Relationships & Breakup Songs, Hosted by Tommy P., 7 p.m.

Plough & Stars: 116 Clement, San Francisco. “Hillbilly Robot: An Urban Americana Music Event,” w/ The James King Band, Windy Hill, 9 p.m., $10-$15.

The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10 a.m., $5.

JAZZ

Atlas Cafe: 3049 20th St., San Francisco. Jazz at the Atlas, 7:30 p.m., free.

Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Johnny Smith, 8 p.m., free.

Bird & Beckett: 653 Chenery, San Francisco. Jimmy Ryan Quintet, Second Friday of every month, 5:30 p.m., free.

Biscuits and Blues: 401 Mason, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7:30 & 10 p.m., $24.

Cafe Claude: 7 Claude, San Francisco. Lori Carsillo, 7:30 p.m., free.

Cafe Royale: 800 Post, San Francisco. Tristan Norton Quartet, 9 p.m.

Center for New Music: 55 Taylor, San Francisco. Best Coast Jazz Composers Series #4: Ben Goldberg, 7:30 p.m., $12-$15.

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 7 & 9:30 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.

The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Steve Lucky & Carmen Getit, 7:30 p.m., free.

Savanna Jazz Club: 2937 Mission, San Francisco. Valentine’s Day Party with Jeri Brown & Woody Woods, 7:30 p.m., $10.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9 p.m., $10.

Zingari: 501 Post, San Francisco. Joyce Grant, 8 p.m., free.

INTERNATIONAL

Amnesia: 853 Valencia, San Francisco. The Petrojvic Blasting Co., 7 p.m., $7-$10.

Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30 p.m., $15 (free entry to patio).

Cigar Bar & Grill: 850 Montgomery, San Francisco. Mazacote, 10 p.m.

Cliff House: 1090 Point Lobos, San Francisco. Orquesta Conquistador Quartet, 7 p.m.

Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15 p.m., $15-$18.

Red Poppy Art House: 2698 Folsom, San Francisco. Janam, 7:30 p.m., $15-$20.

REGGAE

Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30 p.m., free.

BLUES

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Little Wolf & The HellCats, 6 p.m.

The Saloon: 1232 Grant, San Francisco. Jinx Jones & The KingTones, Second Friday of every month, 4 p.m.; Delta Wires, 9:30 p.m.

Tupelo: 1337 Green, San Francisco. Marshall Law Band, 9 p.m.

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. RonKat Spearman’s Valentine Luv Fest with Katdelic, Pamela Parker, DJ Be Smiley, 9:30 p.m., $12-$15.

The Independent: 628 Divisadero, San Francisco. The Pimps of Joytime, Solwave, 9 p.m., $20-$22.

Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, and Tom Thump, 10 p.m., $5-$10.

SOUL

Brick & Mortar Music Hall: 1710 Mission, San Francisco. The Seshen, Zakiya Harris, Okapi Sun, 9 p.m., $12-$15.

Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10 p.m., free.

The Knockout: 3223 Mission, San Francisco. “Nightbeat,” w/ DJs Primo, Lucky, and Dr. Scott, Second Friday of every month, 10 p.m., $4.

Madrone Art Bar: 500 Divisadero, San Francisco. “Yo Momma: M.O.M. Weekend Edition,” w/ DJ Gordo Cabeza, Second Friday of every month, 9 p.m., $5 (free before 10 p.m.).

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Valentine’s Weekend with Irma Thomas, Feb. 14-15, 8 & 10 p.m., $24-$49.

 

SATURDAY 15

ROCK

Bender’s: 806 S. Van Ness, San Francisco. Mondo Generator, White Barons, Turbonegra, 10 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. The Summer Set, acoustic performance of Legendary, 8 p.m., $20.

The Chapel: 777 Valencia, San Francisco. Secret Chiefs 3, Mirthkon, 9 p.m., $20-$22.

Hemlock Tavern: 1131 Polk, San Francisco. Aa, Alan Watts, Wand, Violent Vickie, 9 p.m., $8.

Neck of the Woods: 406 Clement, San Francisco. Charmless, The Skinny Guns, The Tenderloins, on the downstairs stage, 9 p.m., $5.

Slim’s: 333 11th St., San Francisco. Zepparella, Skip the Needle, 9 p.m., $18.

Thee Parkside: 1600 17th St., San Francisco. First Annual Bay Area Record Label Fair (B.A.R.F.), featuring live music by Dog Party, Cocktails, Twin Steps, and Al Lover, plus record label merch from Fat Wreck Chords, Castle Face, Polyvinyl, Slumberland Records, Alternative Tentacles, 1-2-3-4 Go!, Tricycle, Loglady, Empty Cellar, Father/Daughter, Moon Glyph, Antenna Farm, and more, 12-5 p.m., free.

DANCE

Amnesia: 853 Valencia, San Francisco. “Pance Darty,” w/ Jjaaxxnn & Duke, Third Saturday of every month, 9 p.m., $7.

Audio Discotech: 316 11th St., San Francisco. Treasure Fingers, Dr. Fresch, Sunwoo, 9 p.m., $10 advance.

BeatBox: 314 11th St., San Francisco. “Sandstorm: The Official Afterparty of Oasis,” w/ DJ Tristan Jaxx (starts 4 a.m. Sunday morning), $15-$20; “Bearracuda Goes Pop,” w/ DJs Rotten Robbie & MC2, 9 p.m., $6-$10.

Cafe Flore: 2298 Market, San Francisco. “Bistrotheque,” w/ DJ Ken Vulsion, 8 p.m., free.

Cat Club: 1190 Folsom, San Francisco. “New Wave City: New Romantic Night,” w/ DJs Skip, Shindog, Low-Life, and Danny White, 9 p.m., $7-$12.

DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ A+D, DJ Dcnstrct, Becky Knox, DJ MC2, Guy Ruben, Myster C, Mr. Washington, drag performances by The Monster Show, more, 9 p.m., $10-$15.

The EndUp: 401 Sixth St., San Francisco. “The Show: Superfreq,” w/ David Scuba, Ben Seagren, Dean Samaras, Alex Windsor, Lick the DJ, 10 p.m., $10-$20.

F8: 1192 Folsom, San Francisco. Saint Pepsi, Glenn Jackson, Hawtline, Cool Greg, Pyramids, Bobby Peru, Neto, Witowmaker, 9 p.m., $10-$15 advance.

Infusion Lounge: 124 Ellis, San Francisco. “Social Addiction,” Third Saturday of every month, 10 p.m., $20.

Lexington Club: 3464 19th St., San Francisco. “S.O.S. Saturday,” w/ DJ Footy, 9 p.m., free.

Lookout: 3600 16th St., San Francisco. “Bounce!,” 9 p.m., $3.

Madrone Art Bar: 500 Divisadero, San Francisco. “Fringe,” w/ DJs Blondie K & subOctave, Third Saturday of every month, 9 p.m., $5 (free before 10 p.m.).

Mezzanine: 444 Jessie, San Francisco. “Oasis,” w/ Mickey Friedmann, Misha Skye, Maya Simantov, 9 p.m., $45.

Mighty: 119 Utah, San Francisco. Bass Cabaret: Bonnie & Clyde’s Valentine, With music by Lafa Taylor, VibeSquaD, Jocelyn, and more., 10 p.m., $22 advance.

Milk Bar: 1840 Haight, San Francisco. “The Queen Is Dead: Second Annual ‘I Know You’re Unloveable’ Ball,” w/ DJs Jacob Fury, Mario Muse, and Maren Christensen, 9 p.m., $5.

Monarch: 101 Sixth St., San Francisco. “No Way Back,” w/ Legowelt, Xosar, Conor, Solar, 10 p.m., $15.

Powerhouse: 1347 Folsom, San Francisco. “Beatpig,” Third Saturday of every month, 9 p.m.

Public Works: 161 Erie, San Francisco. “Electric Nostalgia,” w/ DJ Dials (LCD Soundsystem DJ set) and Motion Potion (Talking Heads DJ set), 9 p.m., $6-$10; “Icee Hot,” w/ John Talabot, Galcher Lustwerk, Ghosts on Tape, Shawn Reynaldo, DJ Will (in the main room), 10 p.m., $5-$15 advance.

Ruby Skye: 420 Mason, San Francisco. Dannic, Trevor Simpson, 9 p.m., $20-$30 advance.

S.F. Eagle: 398 12th St., San Francisco. “UnderBear: The Cubhouse,” 9 p.m., free.

Slate Bar: 2925 16th St., San Francisco. “Electric WKND,” w/ The Certain People Crew, 10 p.m., $5.

Slide: 430 Mason, San Francisco. “Luminous,” w/ DJ Zhaldee, Third Saturday of every month, 9 p.m.

Temple: 540 Howard, San Francisco. “The Fourth Annual Carnaval Circus,” w/ The Funk Phenomenon (Lucas Med & Bryan Boogie), Reggie Soares, Fausto Sousa, Roberto Martins, DJ Bizkit, 10 p.m., free.

Vessel: 85 Campton, San Francisco. Tall Sasha, 10 p.m., $10-$30.

HIP-HOP

111 Minna Gallery: 111 Minna, San Francisco. “Shine,” Third Saturday of every month, 10 p.m.

Beaux: 2344 Market, San Francisco. “Swagger Like Us,” 9 p.m., $3.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Craig G, Scarub, Eddie K, Gigio, Telli Prego, AgentStrik9, Spank Pops, DJ T.D. Camp, 9 p.m., $8-$12.

John Colins: 138 Minna, San Francisco. “The Bump,” w/ The Whooligan, Third Saturday of every month, 10 p.m., free.

The Knockout: 3223 Mission, San Francisco. “The Booty Bassment,” w/ DJs Dimitri Dickinson & Ryan Poulsen, Third Saturday of every month, 10 p.m., $5.

Showdown: 10 Sixth St., San Francisco. “Purple,” w/ resident DJs ChaunceyCC & Party Pablo, Third Saturday of every month, 10 p.m.

Skylark Bar: 3089 16th St., San Francisco. “Night Swim,” w/ resident DJ Mackswell, Third Saturday of every month, 10 p.m.

ACOUSTIC

Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco and/or Meredith Axelrod, Saturdays, 4-6 p.m., free.

Bazaar Cafe: 5927 California, San Francisco. Jordan Singh VanderBeek, 7 p.m.

The Lucky Horseshoe: 453 Cortland, San Francisco. High Country, The Lucky Horseshoe Bluegrass Band, 8:30 p.m.

Plough & Stars: 116 Clement, San Francisco. The Bombadils, 9 p.m.

Thee Parkside: 1600 17th St., San Francisco. “Hillbilly Robot: An Urban Americana Music Event,” w/ Big Jugs, Wolf Hamlin & The Front Porch Drifters, Kemo Sabe, Three Times Bad, 9 p.m., $13.

Tupelo: 1337 Green, San Francisco. Shantytown, 9:30 p.m.

JAZZ

Cafe Claude: 7 Claude, San Francisco. The Monroe Trio, 7:30 p.m., free.

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 7 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. Sophisticated Ladies, 7:30 p.m., $15-$20.

Savanna Jazz Club: 2937 Mission, San Francisco. Byrds of a Feather, 7:30 p.m., $8.

SFJAZZ Center: 205 Franklin, San Francisco. Kate McGarry & Keith Ganz, in the Joe Henderson Lab, 7 & 8:30 p.m., $30.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9 p.m.

Zingari: 501 Post, San Francisco. Chris Duggan, 8 p.m., free.

INTERNATIONAL

1015 Folsom: 1015 Folsom, San Francisco. “Pura,” 9 p.m., $20.

Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. Pepe y Su Orquesta, DJ EMV, 8 p.m., $15.

Cigar Bar & Grill: 850 Montgomery, San Francisco. Orquesta La Clave, 10 p.m.

Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5 before 11 p.m.

Pachamama Restaurant: 1630 Powell, San Francisco. Eddy Navia & Pachamama Band, 8 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. Go Van Gogh, Third Saturday of every month, 9 p.m., free/donation.

The Riptide: 3639 Taraval, San Francisco. The Mano Cherga Band, 9:30 p.m., free.

Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30 p.m.

REGGAE

Make-Out Room: 3225 22nd St., San Francisco. Titan Ups, Burnt, 7:30 p.m., $8.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Rick Estrin & The Nightcats, 7:30 & 10 p.m., $22.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Robert “Hollywood” Jenkins, 6 p.m.

The Saloon: 1232 Grant, San Francisco. Tony Perez & Second Hand Smoke, Third Saturday of every month, 4 p.m.; Curtis Lawson, 9:30 p.m.

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. Wicked Mercies, Eliquate, DJs Lydia & Mike, 9:30 p.m., $10-$15.

The Independent: 628 Divisadero, San Francisco. The Pimps of Joytime, Myron & E, 9 p.m., $20-$22.

SOUL

Elbo Room: 647 Valencia, San Francisco. “Saturday Night Soul Party,” w/ DJs Lucky, Phengren Oswald, and Paul Paul, Third Saturday of every month, 10 p.m., $10 ($5 in formal attire).

The Royal Cuckoo: 3202 Mission, San Francisco. Freddie Hughes & Chris Burns, 7:30 p.m., free.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Valentine’s Weekend with Irma Thomas, Feb. 14-15, 8 & 10 p.m., $24-$49.

 

SUNDAY 16

ROCK

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Jesus Sons, Down & Outlaws, Psychic Jiu-Jitsu, 9 p.m., $5-$7.

DNA Lounge: 375 11th St., San Francisco. Gorilla Music Battle of the Bands: Finals, w/ Mythra, The Only Ocean, Nightrail, They Went Ghost, As Small As Giants, Flip & The European Mutts, Pyrite Sidewalk, Wonderland Syndrome, The Guverment, Vulturegeist, Maxwell Powers, 5:30 p.m., $10-$12.

El Rio: 3158 Mission, San Francisco. Violent Change; Turner; The Reds, Pinks, and Purples, 9 p.m., $3.

The Independent: 628 Divisadero, San Francisco. New Politics, Magic Man, Sleeper Agent, 8 p.m., sold out.

Milk Bar: 1840 Haight, San Francisco. Surf Music Extravaganza with The Deadlies & The Reefriders, 3 p.m., free.

DANCE

Audio Discotech: 316 11th St., San Francisco. “Fools in the Night,” w/ Bag Raiders, The Schmidt, 9 p.m., $20-$25 advance.

BeatBox: 314 11th St., San Francisco. “Discothèque,” w/ DJs Razor & Guido and David Harness (starts 3 a.m. Monday morning), $15-$20; “Union,” w/ DJs Steve Sherwood & Craig Gaibler, 5-10 p.m., $5; “Honey Soundsystem: President’s Day,” 10 p.m., $10-$20.

Beaux: 2344 Market, San Francisco. “Full of Grace: A Weekly House Music Playground,” 9 p.m., free.

The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9 p.m., free.

The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8 p.m.

Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ Roommate, DJ Sep, DJ Beset, 9 p.m., $6-$9.

The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.

F8: 1192 Folsom, San Francisco. “Stamina,” w/ Yutaka, Joanna O, Kimba, Jamal, Lukeino, 10 p.m., free.

The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10 p.m., free.

Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8 p.m., $2.

MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10 p.m.

Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9 p.m., $5 (free before 11 p.m.).

The Parlor: 2801 Leavenworth, San Francisco. “Sunday Sessions,” w/ DJ Marc deVasconcelos, 9 p.m., free.

Q Bar: 456 Castro, San Francisco. “Gigante,” 8 p.m., free.

S.F. Eagle: 398 12th St., San Francisco. “Disco Daddy,” w/ DJ Bus Station John, 7 p.m.

The Stud: 399 Ninth St., San Francisco. “Massive: S.F. Bear Weekend 2014,” w/ DJs Mike Biggz & LoonETech, 6 p.m., $5.

Temple: 540 Howard, San Francisco. “Sunset Arcade,” 18+ dance party & game night, 9 p.m., $10.

HIP-HOP

Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30 p.m., free.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Frank Fairfield, Devine’s Jug Band, Meredith Axelrod, 8 p.m., $10.

Bazaar Cafe: 5927 California, San Francisco. Olivia Clayton, Jeremy Hatch, Travis Barnes, 6 p.m.

Bottom of the Hill: 1233 17th St., San Francisco. Peter Bradley Adams, Ghost & Gale, 7 p.m., $12.

The Lucky Horseshoe: 453 Cortland, San Francisco. Bernal Mountain Bluegrass Jam, 4 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Spike’s Mic Night,” Sundays, 4-8 p.m., free.

Pier 23 Cafe: Pier 23, San Francisco. The Barren Vines, 5 p.m., free.

Plough & Stars: 116 Clement, San Francisco. Seisiún with Jack Gilder, Kevin Bernhagen, and Richard Mandel, 9 p.m.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Snow Angel, 8 p.m., free.

St. Luke’s Episcopal Church: 1755 Clay, San Francisco. “Sunday Night Mic,” w/ Roem Baur, 5 p.m., free.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Piers Faccini, Dom La Nena, 7 p.m., $20-$24.

JAZZ

Feinstein’s at the Nikko: 222 Mason, San Francisco. Paula West, 7 p.m., $35-$50.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4 p.m., free/donation.

The Riptide: 3639 Taraval, San Francisco. The Cottontails, Third Sunday of every month, 7:30 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30 p.m., free.

SFJAZZ Center: 205 Franklin, San Francisco. Kate McGarry & Keith Ganz, in the Joe Henderson Lab, 5:30 & 7 p.m., $25.

Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.

INTERNATIONAL

Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($18-$25 with dance lessons).

Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30 p.m., free.

Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30 p.m.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Jason King Band, 7:30 & 9:30 p.m., $15.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Sam Johnson, 4 p.m.

The Saloon: 1232 Grant, San Francisco. King Perkoff, 4 p.m.; Silvia C, Third Sunday of every month, 9:30 p.m.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8 p.m., free.

Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9 p.m.

SOUL

Delirium Cocktails: 3139 16th St., San Francisco. “Heart & Soul,” w/ DJ Lovely Lesage, 10 p.m., free.

 

MONDAY 17

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. The Lawrence Arms, Nothington, Great Apes, 8 p.m., $20.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Waters, Farallons, Mornings, 9 p.m., $6.

DANCE

DNA Lounge: 375 11th St., San Francisco. “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30 p.m., $3-$5.

Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9 p.m., free.

Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10 p.m., free.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Windy Hill, Third Monday of every month, 9 p.m., free.

The Chieftain: 198 Fifth St., San Francisco. The Wrenboys, 7 p.m., free.

Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30 p.m., free/donation.

Hotel Utah: 500 Fourth St., San Francisco. Open Mic with Brendan Getzell, 8 p.m., free.

Make-Out Room: 3225 22nd St., San Francisco. “Sad Bastard Club,” Third Monday of every month, 7:30 p.m., free.

Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7 p.m., free.

The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4 p.m.

JAZZ

Cafe Divine: 1600 Stockton, San Francisco. Rob Reich, First and Third Monday of every month, 7 p.m.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7 p.m., free.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8 p.m.

Zingari: 501 Post, San Francisco. Marilyn Cooney, 7:30 p.m., free.

INTERNATIONAL

Elbo Room: 647 Valencia, San Francisco. Zili Misik, 9 p.m., $8.

REGGAE

Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10 p.m., free.

BLUES

The Chapel: 777 Valencia, San Francisco. Jeremy Spencer & Band, 8 p.m., $22-$25.

The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30 p.m.

COUNTRY

Make-Out Room: 3225 22nd St., San Francisco. “Whiskey River,” w/ DJ Handlebars & Pretty Ricky, Third Monday of every month, 10 p.m., free.

SOUL

Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8 p.m., free.

TUESDAY 18

ROCK

Amnesia: 853 Valencia, San Francisco. Bill Baird, Brova, The Dirty Snacks Ensemble, Beast Nest, 9 p.m.

Boom Boom Room: 1601 Fillmore, San Francisco. Island of Black & White, Mosshead, Mondo Deco, 9:30 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. The Lawrence Arms, Nothington, Great Apes, 8 p.m., $20.

The Chapel: 777 Valencia, San Francisco. Converse Rubber Tracks Live: Bl’ast!, Lecherous Gaze, Hot Lunch, 8 p.m., free with RSVP.

DNA Lounge: 375 11th St., San Francisco. American Head Charge, Righteous Vendetta, Catharsis, 7 p.m., $12-$15.

El Rio: 3158 Mission, San Francisco. Foli, Animal Eyes, We Are the Men, 7 p.m., $5.

Hemlock Tavern: 1131 Polk, San Francisco. Couches, Fish Breath, Command Control, 8:30 p.m., $6.

The Knockout: 3223 Mission, San Francisco. A Million Billion Dying Suns, The Tropics, Buzzmutt, 9:30 p.m., $6.

DANCE

Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10 p.m., $2.

Monarch: 101 Sixth St., San Francisco. “Deep, Dark, and Dangerous,” w/ Youngsta, Truth, Vilify, 10 p.m., $15.

Otis: 25 Maiden, San Francisco. “Vibe,” w/ Binkadink, Third Tuesday of every month, 6 p.m., free.

Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9 p.m., $3.

Underground SF: 424 Haight, San Francisco. “Shelter,” 10 p.m., free.

Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8 p.m., free.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Paige Clem, continues through Feb. 25.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Noah Gunderson, Carly Ritter, 8 p.m., $10-$12.

Plough & Stars: 116 Clement, San Francisco. Seisiún with Autumn Rhodes & Pat O’Donnell, 9 p.m.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Drizzoletto, 8 p.m., free.

JAZZ

Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7 p.m.

Biscuits and Blues: 401 Mason, San Francisco. The Robert Stewart Experience, 7:30 & 9:30 p.m., $15.

Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7 p.m., free.

Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.

Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7 p.m.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m.

Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free; Panique, Third Tuesday of every month, 8:30 p.m., free/donation.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Sharman Duran, 8 p.m.

Tupelo: 1337 Green, San Francisco. Mal Sharpe’s Big Money in Jazz Band, 6 p.m.

Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9 p.m., $10-$12.

Wine Kitchen: 507 Divisadero St., San Francisco. Hot Club Pacific, 7:30 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8 p.m., $22.

Zingari: 501 Post, San Francisco. Emily Hayes, 7:30 p.m., free.

INTERNATIONAL

Cafe Cocomo: 650 Indiana, San Francisco. Salsa Tuesday, w/ DJs Good Sho & El de la Clave, 8:30 p.m., $10.

The Cosmo Bar & Lounge: 440 Broadway, San Francisco. Conga Tuesdays, 8 p.m., $7-$10.

Elbo Room: 647 Valencia, San Francisco. “Porreta!,” all night forro party with DJs Carioca & Lucio K, Third Tuesday of every month, 9 p.m., $7.

F8: 1192 Folsom, San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9 p.m., $5 (free before 9:30 p.m.).

REGGAE

Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10 p.m.

BLUES

The Saloon: 1232 Grant, San Francisco. Lisa Kindred, Third Tuesday of every month, 9:30 p.m.

EXPERIMENTAL

Center for New Music: 55 Taylor, San Francisco. sfSoundSalonSeries, w/ Natural Artefacts, Tim Perkis, Lucie Vitkova, 7:49 p.m., $10-$15.

SOUL

Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free. 2

This Week’s Picks: February 12 – 18, 2014

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WEDNESDAY 12

When The Landscape Is Quiet Again: North Dakota’s Oil Boom

In a land far, far away, the greedy hands of oilmongers are ripping apart Sarah Christianson’s home state. “Almost every local person I spoke with out there expressed some version of this sentiment: ‘I’m so glad so-and-so is dead, so they don’t have to see what’s happened to this place,'” says the photographer. Over the past year, Christianson documented the consequences of North Dakota’s newest oil boom: oil wells built on her parent’s mineral acres, drilling rigs planted on desolate horizons, natural gas flare pits disrupting untouched valleys. Her latest project, “When the Landscape is Quiet Again” hosted by SF Camerawork through April 19, examines the lasting repercussions of North Dakota’s 1973 oil boom, the new damages being inflicted today and the dichotomous effects on this economically depressed region. Opening reception will be held the following day at 6pm. (Laura B. Childs)

Free

SFCamerawork

1011 Market, 2nd floor, SF

www.sfcamerawork.org

 

Octopalooza

Are you a two-fisted drinker? Think you can keep up with an eight-armed party animal? Tonight’s your chance to do exactly that, and drink like a fish — literally! Head down to the waterfront tonight for “Octopalooza,” an SF Beer Week event celebrating cephalopods that will allow people to eat, drink and dance, all under the water. Featuring beers from San Francisco’s Pacific Brewing Laboratory (with labels such as “Squid Ink” and “Nautilus”) the fete will also include food from Pier 39 restaurants, octopus talks, squid dissections, squid ink block printing and a silent disco. Price of admission includes four drink tickets. (Sean McCourt)

6:30-9:30pm, $35

Aquarium of the Bay

Pier 39, SF.

www.aquariumofthebay.com

(415) 623-5300


THURSDAY 13

Breakfast: A History

Many modern Americans might have struggled with breakfast in the mid-1800’s, according to author Heather Arndt Anderson: “Bacon and eggs, pancake with syrup, and hot coffee were now considered as ‘injurious’ to one’s health as masturbation.” Anderson explains in her book Breakfast: A History how Americans’ healthy living attitudes at that time spurred the development of granola as a popular food. Anderson’s origin stories and accessible anthropological analysis showcase how the early day cuisine from different eras shape what we eat today. “Breakfast” also explores how culture, linguistics, religion and mass media elevated the morning meal’s status to the most important meal of the day. (Kevin Lee)

6:30pm-7:30pm

Omnivore Books

3885 Cesar Chavez, SF

(415)282-4712

www.omnivorebooks.com

Free

 

Valentine’s Day Gay Romance from Cleis Press

Don’t mind the fogged-up windows at Books Inc. in the Castro on Wednesday night. Cleis Press has a steamy evening in store for you! This pre-Valentine’s Day book reading will celebrate the best parts of gay romance with tales of first times, young love, and longtime commitments. The independent queer publishing company has lined up three celebrated gay erotica authors for a night of hot-and-heavy prose followed by a book signing. Rob Rosen will share a titillating excerpt from one of his recent erotic novels, while Felice Picano and Lewis DeSimone will read from Best Gay Romance 2014, a sexy and lustful anthology that tackles all matters of the heart, soul, and bedroom. (Laura B. Childs)

7:30pm, free

Books Inc. The Castro

2275 Market, SF

www.booksinc.net

 

FRIDAY 14

Thao and The Get Down Stay Down

Hometown hero Thao Nguyen has been very busy of late, touring her band’s newest album We the Common, writing and recording short films with the likes of Ira Glass for Funny or Die, shooting music videos (and getting shut down by the SFPD) on the new Bay Bridge, and volunteering frequently for the California Coalition for Women Prisoners. Thao and the Get Down Stay Down’s music, a folk-rock blend, is simultaneously intimate and socially conscious, with her most recent work featuring themes of community and gratitude. Nguyen has been playing San Francisco shows semi-frequently for years, but this night will see her headlining the beloved and historied Fillmore for the first time, so this gig is sure to be electric. (Haley Zaremba)

With Sonny and the Sunsets

9pm, $20

The Fillmore

1805 Geary, SF

(415) 346-3000

www.thefillmore.com

 

CCR Headcleaner

Does your ideal Valentine’s Day date entail seeing a mixture of psych-infused sludge rock and girl-dominated punk bands, all for thecost of $5? If yes, then consider your plans made. CCR Headcleaner, Quaaludes and Mane are throwing a bash during everybody’s favorite Hallmark holiday at Hemlock Tavern. Local raucous rockers CCR Headcleaner recently made waves with its split EP alongside Ty Segall’s stoner garage rock band, Fuzz, for the “Less Artists More Condos” 7″ series. Playing with CCR Headcleaner is Quaaludes, a San Francisco punk girl band that draws influences from the likes of grunge and riot grrrl. Opening is ’80s goth-tinged post-punk girl band, Mane. Though each band draws from different influences, each band brings an unfiltered, raw quality to its performance. So grab your partner, sweetie, S.O. – or whatever you call them – and march on over to the Hemlock for a grimy punk show. (Erin Dage)

With Quaaludes, Mane

9pm, $5

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

Hubba Hubba Revue

Looking for a Valentine’s event that’s sure to blow all the others away? Slip into the world of scandalous speakeasies, flirtatious flappers and gun-toting gangsters tonight when Bay Area burlesque group Hubba Hubba Revue presents a special “St. Valentine’s Day Massacre” themed show. Enjoy bootlegged beverages while watching a bevy of beauties from around the world perform on stage, including Lilly Tiger from Berlin and Fever Blister from LA — expect spats to be stripped, and fedoras to be flung — all giving a racy take on romance from the roaring twenties. (Sean McCourt)

9pm, $15-$30

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

www.hubbarevue.com

 

Company C Contemporary Ballet

Some 12 years ago, Company C Contemporary Ballet started modestly with student performers; it now has a fine group of professional dancers and an infrastructure that supports it. After this season they’ll change to a “project-based” format that is less financially demanding and artistically more flexible. Artistic Director Charles Anderson has always had a knack for programming his own pieces in conjunction with intriguing works by other. That’s not likely to change. His is and will remain a ballet company featuring choreography that showcases 21st century dance. Among two of Anderson’s works, this program features Charles Moulton’s ingenious Nine Person Precision Ball Passing; Susan Jaffe’s Weather — who knew that the great ABT Ballerina choreographed? — and Yuri Zhukov’s expanded Railroad Joint. (Rita Felciano)

Feb. 13 and 14, 8pm. $25-48

Feb. 15, 6pm Gala. Feb. 16, 3pm

YBCA, LAM Research Center Theater, SF

(415) 978-2787

www.ybca.org

 

SATURDAY 15

Myron & E

The Stones Throw record label is sort of the indie Motown of the 21st century, and their latest output, Myron and E, has instantly become some of the coolest cats on the LA-based cadre of vinyl evangelists. The deliciously soulful duo will be bringing its spunky horns, soothing rhythms, and hypnotic vocals to the Independent in support of their debut LP Broadway. The lead single “If I Gave You My Love” showcases the duo’s one-two punch of Barry White-esque vocals on the chorus, surrounded by peppy falsetto. Myron and E got together in the Bay after Myron escaped from LA, where he was working on the sketch comedy show “In Living Color.” If there ever was an occasion to bust out your special bowtie and fancy dancing shoes, it’s this show. (George McIntire)

9pm, $20 adv, $22 door

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

 

B.A.R.F.

February 15 is the date that many people will join in one area for their common love of BARF (Bay Area Record Label Fair). Vomit word-play aside, here are the details: local organizations Father/Daughter Records and Professional Fans have come together to spearhead the first annual event honoring record labels across the Bay Area. Labels such as Polyvinyl, Castle Face, 1-2-3-4 Go! Records, Slumberland, and many more will be selling their music all under one roof for such an occasion. To sweeten the deal, uber-talented bands representing local labels such as “difficult” punks Twin Steps, pop-punk sister duo Dog Party, power-pop sensations Cocktails, and psych-rocker Al Lover will be performing at the gig! And the best part about this event? There’s no need to cough up cash to get in. (Erin Dage)

With Twin Steps, Dog Party, Cocktails, Al Lover

12pm, Free

Thee Parkside

1600 17th St, SF

(415) 252-1330

www.theeparkside.com

 

John Talabot at Icee Hot

After slow simmering yet heavy hitting releases like ‘Sunshine,’ John Talabot released his debut ƒIN in 2012 to crossover attention. Add in a single live performance with collaborator Pional leading to touring with The xx, the only question would be what 2013 bring. The answer: an equally lauded entry into DJ-Kicks mix series, with Talabot taking his ability to sustain an emotional moment in time — dark, melancholic, tender, whatever — and extended it into a career-up to-here defining set. It’s perhaps the best entry yet into his sound, as much forward looking (including new songs “Without You” and “Siderall”) as tied to the past, with obscurities like Jurgen Paape’s remix of “Kron” by Sillikron reaching back to nights spent as a windowlicking trainspotter in Barcelona clubs, notebook in hand. (Ryan Prendiville)

With Galcher Lustwerk, Ghosts on Tape, Shawn Reynaldo, DJ Will

10pm-4am, $5-15 presale

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SUNDAY 16

East Bay Comic Con

You don’t have to go all the way down to San Diego this year to get your comic book and pop culture fix — just check out East Bay Comic Con, a brand new event that will feature a host of comic book vendors along with several special guests including Richard Kiel (who played “Jaws,” the towering villain with metal teeth in two James Bond films) and John Stanley (author and host of KTVU’s classic TV show “Creature Features”). James O’Barr, the creator of The Crow, will also be on hand, and will kick off the party with a screening of the film based on his comic the night before. (Sean McCourt)

Movie screening and Q&A

7pm Sat/15, Free for first 350 fans

Brenden Theater

1985 Willow Pass Rd., Concord

East Bay Comic Con

10am-4:30pm, $5 (children 8 and under free)

Concord Hilton 1970 Diamond Blvd., Concord

www.eastbaycomiccon.com

 

TUESDAY 18

“Committed Cinema: Tony Buba” Braddock, Penn., got its big-screen moment last year with the release of Out of the Furnace, Scott Cooper’s occasionally overwrought tale of two brothers battling grim destinies in the crumbling steel town. As it turns out, documentarian Tony Buba has been lensing his blue-collar hometown for decades, and the filmmaker dubbed “a national treasure” by the Anthology Film Archives is coming to Berkeley to share his work and converse with USF education professor Rick Ayers. Tonight, “The Braddock Chronicles” compiles shorts from 1972-85. More shorts precede screenings of narrative Lightning Over Braddock: A Rustbowl Fantasy (1988), and his most recent doc, 2013’s We Are Alive! The Fight to Save Braddock Hospital, on consecutive nights. (Cheryl Eddy)

Feb 18-20, 7pm, $5.50-$9.50

Pacific Film Archive

2575 Bancroft, Berk.

bampfa.berkeley.edu

Sue Hestor’s 70th birthday party: “We Shall Overcome.”

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By Bruce B. Brugmann

Plus: Tim Redmond reports on Sue Hestor and her environmental legacy on his new local  website 48 Hills.org.  

How do you say happy birthday to a San Francisco icon like Sue Hestor?

Some 200 of her friends, allies, pro bono legal clients, political heavies, and fellow warriors against big developers and their pals in City Hall gathered Saturday at Delancey Street for a surprise party to celebrate Sue’s 70th birthday.

When she arrived, she was obviously surprised to find a band playing “We shall overcome” and her friends standing, clapping, cheering, and singing  in admiration for a woman who has spent more than four decades as a citizen activist and attorney fighting for one good cause after another, usually at bad odds against the big guys, often for clients without pay. It was truly a historic moment in the history of San Francisco politics. 

I first knew Sue when she popped up as a feisty volunteer in the Alvin Duskin anti-high rise campaign of the the early 1970s. The Bay Guardian was doing an investigative book, “The Ultimate HIghrise,” on the impact of highrises on the city. She pitched in on the project and was in the book’s  staff photo, jauntily wearing her trademark straw hat, standing next to the hole in the ground for the Yerba Buena Center development.

 We billed a central feature of the book as “the world’s first comprehensive study of the true cost of skyscrapers.” Our research group demonstrated that highrises cost much more in services than they bring back in revenue,  a finding that infuriated the Chamber of Commerce because they could never effectively refute it. We also laid out in detail for the first time the power structure behind pellmell Manhattanizaton, how destructive those policies are, how they shift the tax burden from dowotown to neighborhoods and small business, who profits from them, why there are more muckmakers than muckrakers. Our talented art director Louis Dunn provided brilliant graphics that drove home the damaging points about highrises.

Our conclusion was most prophetic: “The most disturbing finding can’t be quantified–but it should be shouted to the heavens.  It is this: unless the city of San Francisco reverses past practice and immediately enacts an ironclad land-use policy such as Duskin’s proposed height limit, the long scoffed at ‘Manhattanization’ of the entire city is a surefire, 100%-guaranteed inevitability.” 

I like to think this project and its results were a fitting start to Sue’s career in land use litigation and terrorizing big developers, City Hall enablers, and their ever more virulent forms of Manhattanization. 

In the early l990s, I called on Sue again, this time to be the founding chair of the spanking new Sunshine Task Force. It was a new task force formed to enforce the Sunshine Ordinance, which gave citizens the right to make complaints about government secrecy and its tradition of keeping City Hall safe for PG&E, big landlords, and developers etal. The task force would, I knew, drive the bureaucrats nuts and  it thus needed a strong attorney as chair who would be smart enough and tough enough to go up against the city attorney and the crocodiles in the back bays of City Hall.

 The neat thing was that nobody could kick Sue off the task force.  She was one of two members who were “grandfathered” in by the ordinance–an attorney (Sue)  and a media rep (B3) –who were selected by the Northern Chapter of the Society of Professional Journalists, not the supervisors. She performed admirably and got the task force on a firm footing as the first and still the best local open government task force in the country, if not the world. 

Through the years of development battles, it was often Sue and Calvin, Calvin and Sue.  Calvin being Calvin Welch, a crafty environmental and neighborhood strategist who worked with Sue and others in developing counters and initiatives and all kinds of hellish moves to beat or slow down and mitigate development.  He said Sue’s career could be summed up in two words: “cumulative impacts.”  The good thing was that we all knew, when the developers brought up their heavy artillery or their sneaky back alley maneuvers, Sue and Calvin would be there to blow the whistle and take on the fight. Call Sue, call Calvin was the watchword but they usually called us first at the Bay Guardian. 

Let me call now on Tim Redmond, a Guardian reporter who covered Sue and Calvin and the highrise battles from 1982 on, to explain what Calvin meant.  Tim laid out the political points in his piece, “Sue Hestor’s birthday and a lesson in SF environmental history,” on his new local  website “48 Hills.org.”  Read Tim’s first paragraphs for the fun stuff on Sue and the last paragraphs for the really important contributions she has made to the city and urban planning, as explained by Calvin.

As Tim concludes, “In 1964, Hestor, representing San Franciscans for Reasonable Growth, sued and won a stunning decision in the California Court of Appeal mandating that the city start studying the cumulative impacts of development. As Welch noted, ‘there was an obligation for developers to prioritize mitigations.’ That’s where the affordable housing program, the transit-impact fees–and the entire concept of analyzing development on the macro, not the micro level emerged.  That was the idea behind the 1986 measure Prop. M, which included no height limits at all–but did include programs and policies designed to protect neighborhoods from the effects of unlimited growth.” 

Well, the Hestor faithful may not have “overcome” the big developers and their latest monstrous Manhattanization plans.   But they have come pretty damn close. On Sunday, the day after Sue’s party, the Warriors caved on its waterfront project and Matier and Ross did a Chronicle column with the head, “Warriors call for timeout on Waterfront arena plan.” And on Monday, the waterfront warriors marched triumphantly into City Hall and, as the  Chronicle’s John Cote reported,  “turned in more than double the number of signatures needed to qualify a measure for the June 3 ballot that would require voter approval for any development on the San Francisco waterfront to exceed existing height limits.”

That could kill the massively inappropriate project.  “If passed,” the Chronicle continued, “the measure would put a check on high-rise hotels and condo towers along the bay and require voter approval for height increases for three major waterfront development plans, the Golden State Warriors’ proposal for an 18,000-seat arena complex, the San Francisco Giants’ plan for an urban neighborhood on what is their main parking lot and the development of the industrial Pier 70 area.”

Whew! That’s what I call a nifty bit of Hestoring and Calvinizing.   b3

If you don’t like the news, go out and make some of your own. (Wes “Scoop” Nisker on KSAN radio during the dark days of the Vietnam War.) 

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the Bay Guardian.  He is the former editor and co-founder and co-publisher of the Bay Guardian with his wife Jean Dibble, from 1966 to 2012.)

 

 

 

  


 


 




 


 

Psychic Dream: January 22-28, 2014

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ARIES
March 21-April 19
It’s unwise to expect others to change more than do Aries. You don’t need to lead by example per se, but sitting around and waiting for others to do what you want while you don’t give an inch isn’t likely to work out either. Be an active part of the growth that you are so keen to have in your life this week.
­

TAURUS
April 20-May 20
When you’re sitting alone in a comfy chair it’s much easier to check in and listen to the voice of your gut instincts than it is when you’re around other people and embroiled in relationship dynamics. This week you are being challenged to be grounded enough to stay in touch with yourself, be damned any distractions.

GEMINI
May 21-June 21
Fear is a long armed monster that there’s no running, and there’s no hiding from. Do your best to understand your mental compulsions this week because they are on fire, Twin Star! Don’t let your resistance to feeling bad stop you from investigating what you are actually scared of and why.

CANCER
June 22-July 22
In your efforts to protect what you want you must be careful that you don’t you end up behaving badly. The ego is a tricky thing, Moonchild, because it can convince you that you’re troubles entitle you to just about anything. How you handle yourself in distress will be more defining, so strive to act right.

LEO
July 23-Aug. 22
The best way to create security in your life is to keep on changing, Leo. You may worry that you will outgrow your relationships or circumstances, but you needn’t fret; the good of your life will expand with you, and whatever gets left behind was already on its way out, anyways. More is more this week.

VIRGO
Aug. 23-Sept. 22
You are in the throws of a meaningful transition, and it’s bigger than you are, Virgo. Don’t let your fears stop you from exploring your vulnerabilities with an open heart and mind this week. You are capable of healing some old wounds that have been slowing you down, so be brave and stay in it for the long haul.

LIBRA
Sept. 23-Oct. 22
This is one of those times when you are at risk for being your own worst enemy, Libra. Instead of obsessing on the details of what is, or could go wrong, work on being present this week. Gratitude trumps fear, so strive to take stock of all you’ve got going for you, especially when the going gets rough.

SCORPIO
Oct. 23-Nov. 21
Whether you have many trusted friends or only a few, it’s time to look at those relationships and let them reflect back to you something of yourself. Friendship is so important; its value can’t be overstated. Showering your friends with the love and validation they deserve will be healing for you this week.

SAGITTARIUS
Nov. 22-Dec. 21
Stand up for what you believe in and be true to yourself, Sag, just don’t imagine that they’re wont be consequences. This week your will may be in direct conflict with someone else’s, and you need to be honest with yourself if thems just the brakes, or if you’re overstepping some much needed boundaries.

CAPRICORN
Dec. 22-Jan. 19
Don’t resist the obvious flow of your life, even if you don’t like it where it seems to be taking you this week because the Universe is trying to push  you towards clarity. If you only try to avoid discomfort you’ll only end up confused and unhappy. Only by first accepting your situation can you start to change it.

AQUARIUS
Jan. 20-Feb. 18
This weeks frustrations are the best teacher you could ask for, Aquarius. When you feel out of sorts it’s easy to also feel trapped in your circumstances, but is that really true? Take stock of everything in your life that you choose- and whatever doesn’t make it to the list you can start dealing with, STAT.

PISCES
Feb. 19-March 20
Take the time to sit with your feelings, Pisces. There is integrity in knowing how you feel and owning it, as opposed to giving the people what you think they want. Whether you’re feeling like sunshine and roses or blue as can be, honor yourself and trust your friends enough to share where you’re at.

Want more in-depth, intuitive or astrological advice from Jessica? Schedule a one-one-one reading that can be done in person or by phone. Visit www.lovelanyadoo.com

Theater Listings: January 22 – 28, 2014

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

THEATER

OPENING

Hemorrhage: An Ablution of Hope and Despair Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. $20-25. Opens Fri/24, 8pm. Runs Thu-Sat, 8pm (Feb 8, shows at 4 and 7pm); Sun, 6pm. Through Feb 8. Dance Brigade presents this “dance installation at the intersection of the new San Francisco and world politics.”

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Previews Thu/23-Fri/24, 8pm. Opens Sat/25, 8:30pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through March 15. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

“SF Sketchfest: The San Francisco Sketch Comedy Festival” Various venues, SF; www.sfsketchfest.com. Prices vary. Jan 23-Feb 9. This year’s 13th Sketchfest features over 200 shows in more than 20 venues, featuring both big-name talents (Alan Arkin, Tenacious D, Laura Dern and the cast of Enlightened, Maya Rudolph, etc.) and up-and-comers, plus tributes to films, theatrical and musical events, improv showcases, and more. Much, much, much more.

Ubu Roi Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Previews Fri/24-Sat/25, 8pm; Sun/26, 5pm. Opens Jan 30, 7:30pm (gala opening Jan 31, 8pm). Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Feb 23. Cutting Ball Theater performs Alfred Jarry’s avant-garde parody of Shakespeare’s Macbeth, presented in a new translation by Cutting Ball artistic director Rob Melrose.

BAY AREA

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Opens Thu/23, 8pm. Runs Thu, 8pm; Sat, 5pm. Through March 1. Geoff Hoyle moves his hit comedy about aging to the East Bay.

The Grapes of Wrath Hillbarn Theatre, 1285 E. Hillsdale, Foster City; www.hillbartheatre.org. $23-38. Opens Fri/24, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through Feb 9. Hillbarn Theatre continues its 73rd season with Frank Galati’s adaptation of John Steinbeck’s classic American novel.

Man in a Case Berkeley Repertory Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $45-125. Previews Sat/25, 8pm. Opens Sun/26, 7pm. Runs Tue and Thu-Sat, 8pm; Wed, 7pm; Sun, 2pm. Through Feb 16. Mikhail Baryshnikov returns to Berkeley Rep to star in a play based on a pair of Anton Chekhov’s short stories, “Man in a Case” and “About Love.” Obie-winning Big Dance Theater stages the high-tech adaptation.

ONGOING

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Jerusalem San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-100. Previews Wed/22/-Thu/23, 7pm; Fri/24, 8pm. Opens Sat/25, 8pm. Runs Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Feb 2, 9, 16, 2pm. Through March 8. SF Playhouse performs the West Coast premiere of Jez Butterworth’s Tony- and Olivier-wining epic.

Major Barbara ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-140. Tue-Sat, 8pm (also Wed/22 and Jan 29, 2pm); Sun, 2pm. Through Feb 2. American Conservatory Theater performs a new production of George Bernard Shaw’s political comedy.

Noises Off Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Thu-Sat, 8pm. Through Feb 8. Shelton Theater presents Michael Frayn’s outrageous backstage comedy.

Pardon My Invasion Phoenix Theatre, 414 Mason, SF; pardonmyinvasion.brownpapertickets.com. $15-30. Thu-Sat, 8pm; Sun/26 and Feb 2, 2pm. Through Feb 8. A pulp fiction writer’s characters come to life in this dark comedy by Joy Cutler.

The Paris Letter New Conservatory Theater Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Feb 23. New Conservatory Theatre Center performs Jon Robin Baitz’s tale of a Wall Street powerhouse desperately trying to keep his sexual identity a secret.

The Pornographer’s Daughter Z Below, 470 Florida, SF; www.zspace.org. $32. Opens Wed/22, 8pm. Runs Thu-Sat, 8pm (also Sat, 10:30pm); Sun, 5pm. Through Feb 16. Liberty Bradford Mitchell, daughter of Artie Mitchell (half of porn’s infamous Mitchell Brothers, he was shot and killed by brother Jim in 1991), performs her solo show about “growing up on the fringes of an X-rated world.”

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Through Feb 8. D’Arcy Drollinger (Sex and the City Live) performs “a whitesploitation comedy with dance.”

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $60-90 (add-ons: casino chips, $5; dance lessons, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Through March 15. Boxcar Theatre presents Nick A. Olivero’s re-creation of a Prohibition-era saloon, resulting in an “immersive theatrical experience involving more than 35 actors, singers, and musicians.”

Too Much Light Makes the Baby Go Blind Boxcar Playhouse, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri-Sat, 9pm. Through Jan 31. Thirty plays in 60 minutes, with a show that varies each night, as performed by the Neo-Futurists.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through March 9. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. Sat, 8:30pm; Sun, 7pm. Through Feb 2. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Note: review from an earlier run of the show. (Avila)

Sherlock Holmes: The Broken Mirror Berkeley City Club, 2315 Durant, Berk; www.brownpapertickets.com. $20-28. Thu-Sat, 8pm; Sun, 3pm. Through Jan 26. Jeff Garrett portrays all the characters (Sherlock, Watson, Mrs. Hudson, Moriarty…) in this adaptation of William Gillette’s Holmes play.

Silent Sky TheatreWorks, Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun 2 and 7pm. Through Feb 9. Lauren Gunderson’s drama explores the life of groundbreaking early 20th century astronomer Henrietta Leavitt.

Tristan & Yseult Berkeley Rep’s Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $17.50-81. Wed/15, 7pm; Thu/16-Sat/18, 8pm (also Thu/16, 2pm). Kneehigh presents an innovative take on the ancient love-triangle tale.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. $20. “Theatresports,” Fri, 8pm; “Improvised Downton Abbey,” Sat, 8pm.

“The Buddy Club Children’s Shows” Randall Museum Theater, 199 Museum Way, SF; www.thebuddyclub.com. Sun/26, 11am-noon. $8. With comedy magician Robert Strong.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/25, Feb 1, 8, 14, 16, 22, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

The Day of the Locust Revisited” Mechanics’ Institute, 57 Post, SF; www.milibrary.org. Wed/22, 6pm. $20. Dramatic reading (with accompanying photography) by filmmaker Lucy Gray, putting a new spin on Nathanael West’s Depression-era Hollywood tale.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/22, 9:30-11:30pm. Free. Drag spectacular with Colette LeGrande, Ruby Slippers, Sophilya Leggz, and more.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: “An Evening With Joan Ryan,” Thu, 8pm, $30-40; “Sam Harris: Ham: Slices of a Life,” Fri/24, 8pm; Sat/25, 7pm, $25-35.

“KaMau: Traveling in Black Colors” Red Poppy Art House, 2698 Folsom, SF; www.redpoppyarthouse.org. Thu/23, 7:30pm. $10-15. The multidisciplinary artist (also known as Pitch Black Gold) performs.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $30. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Feb 7, March 7, and April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“Rise” Yerba Buena Center for the Arts, Lam Research Theater, 701 Howard, SF; ybca.org/robert-moses-kin. Thu/23-Sun/26, 8pm. $24-45. Robert Moses’ Kin Dance Company presents an evening of choreography by Robert Moses, including two world premieres.

“Word Performances” Lost Church, 65 Capp, SF; www.wordperformances.com. Wed/22, 8pm. $15. Poetry, prose, fiction, memoir, comedy, and more all pop up in this reading series; featured performers include Nato Green, Sylvie Simmons, Zahra Noorbakhsh, Tim Toaster Henderson, and others.

BAY AREA

“Egghead Comedy Showcase” Pacific Pinball Museum, 1510 Webster, Alameda; www.pacificpinball.org. Sat/25, 8pm-midnight. $15 (adults only). Comedy to support the Pacific Pinball Museum with Natasha Muse, Jonathan Ott, Duat Mai, and Ethan Orloff.

“Die Fledermaus” Lesher Center for the Arts, Hoffmann Theatre, 1601 Civic, Walnut Creek; www.lesherartscenter.org. Fri/24-Sat/25, 8pm (also Sat/25, 2pm); Sun/26, 2pm. $15-59. Lamplighters Music Theatre (noted for its Gilbert and Sullivan productions) performs Johann Strauss’ “bubbly tale of revenge and temptation.” Continues at Bay Area theaters through Feb 23; visit www.lamplighters.org for future dates.

“Hand to Mouth/Words Spoken Out #63” Rebound Bookstore, 1611 Fourth St, San Rafael; reboundbookstore@aol.com. Sat/25, 4-6pm. Free (donations requested). With Roy Marsh (launching his new book, Buyer’s Remorse), Connie Post, and Susan Zerner.

“Julius Caesar” Berkeley Public Library, 2090 Kittredge, Berk; www.berkeleylibraryfriends.org. Sun/26, 2pm. Free. San Francisco Shakespeare Company presents its touring company’s presentation of the Bard’s ancient-Rome drama.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“reveries and elegies” Milkbar, Sunshine Biscuit Factory, 851 81st St, Oakl; www.maryarmentroutdancetheater.com. Sat/25-Sun/26, 4:45pm. $20. Mary Armentrout’s new site-specific project is timed to coincide with sundown on each performance day.

“Winter Concert 2014: Shall We Dance?” Lesher Center for the Arts, Margaret Lesher Theatre, 1601 Civic, Walnut Creek; www.lesherartscenter.org. Sat/25, 7:30pm. $12. Winds Across the Bay presents “music written with feet in mind,” including works by Benny Goodman and from Fiddler on the Roof. *

 

Solomon: The CIA, Amazon, Bezo, and the Washington Post: An exchange with Executive Editor Martin Baron

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By Norman Solomon 

(B3 note: This exchange between Norman Solomon and the Washington Post executive editor Martin Baron followed a Solomon column that dramatized the ethical issues involving the Post and its new owner Jeff Bezos, founder and CE0 of  Amazon. Solomon noted that Amazon has landed a $600 million contract with the Central Intelligence Agency.  He wrote that “news media should illuminate conflicts of interest, not embody them” and that Bezo is now doing “big business” with the CIA “while readers of the newspaper’s  CIA coverage are left in the dark.”) 

 
To: Martin Baron, Executive Editor, and Kevin Merida, Managing Editor, The Washington Post
 
Dear Mr. Baron and Mr. Merida:

On behalf of more than 25,000 signers of a petition to The Washington Post, I’m writing this letter to request a brief meeting to present the petition at a time that would be convenient for you on Jan. 14 or 15.


Here is the text of the petition, launched by RootsAction.org:

“A basic principle of journalism is to acknowledge when the owner of a media outlet has a major financial relationship with the subject of coverage. We strongly urge the Washington Post to be fully candid with its readers about the fact that the newspaper’s new owner, Jeff Bezos, is the founder and CEO of Amazon which recently landed a $600 million contract with the CIA. The Washington Post’s coverage of the CIA should include full disclosure that the sole owner of the Post is also the main owner of Amazon — and Amazon is now gaining huge profits directly from the CIA.”

The petition includes cogent comments by many of the people who signed it.

I hope that you can set aside perhaps 10 minutes on Jan. 14or 15 for the purpose of receiving the petition and hearing a summary of its signers’ concerns.

For confirmation of an appointment, I can be reached on my cell phone…

Thank you.

Sincerely,
Norman Solomon
Director and Cofounder, RootsAction.org
 
[January 2, 2014]

********************

Dear Mr. Solomon:
 
Thank you for your note. I was able to read the petition on the RootsAction.org site and to see the list of those who signed it. I certainly would be happy to review any additional information you might send.
 
The Post has among the strictest ethics policies in the field of journalism, and we vigorously enforce it. We have routinely disclosed corporate conflicts when they were directly relevant to our coverage. We reported on Amazon’s pursuit of CIA contracts in our coverage of plans by Jeff Bezos to purchase The Washington Post.
 
We also have been very aggressive in our coverage of the intelligence community, including the CIA, NSA, and other agencies, as you should know. The Post was at the leading edge of disclosures about the NSA in 2013. Most recently, it reported on the CIA’s hidden involvement in Colombia’s fight against FARC rebels, including a fatal missile attack across the border in Ecuador. You can be sure neither the NSA nor the CIA has been pleased with publication of their secrets.
 
Neither Amazon nor Jeff Bezos was involved, nor ever will be involved, in our coverage of the intelligence community.
 
The petition’s request for disclosure of Amazon’s CIA contract in every story we write about the CIA is well outside the norm of conflict-of-interest disclosures at media companies. The Post is a personal investment by Jeff Bezos, whose stake in Amazon is large but well less than a majority. The CIA’s multi-year contract with Amazon is a small fraction of company revenues that have been estimated at roughly $75 billion in 2013. Amazon maintains no corporate connection to The Post.
 
Even so, we have been careful to disclose Jeff Bezos’ connection to The Post and Amazon when directly relevant to our coverage, and we will continue to do so. For example, such disclosures would be called for in coverage circumstances such as the following:  CIA contracting practices, the CIA’s use of cloud services,  big-data initiatives at the CIA, Amazon’s pursuit of cloud services as a line of business, and Amazon corporate matters in general.
 
We take ethics very seriously here at The Post. One of our policies is that we seek comment from the subjects of our stories prior to publishing them and that we make a genuine effort to hear and absorb their point of view. By contrast, I am unaware of any effort to hear us out prior to the launch of this petition drive. A personal meeting now does not seem necessary or useful.
 
I hope this note explains our perspective. And again, if you wish to send additional information that you feel might be helpful to us, we will review it closely.
 
Sincerely,
Martin Baron
Executive Editor
The Washington Post
 
[January 2, 2014]

********************

Dear Mr. Baron:

Thank you for your letter.

Whatever the Post’s guidelines and record on ethical standards, few journalists could have anticipated ownership of the paper by a multibillionaire whose outside company would be so closely tied to the CIA. Updating of the standards is now appropriate.

You write that The Washington Post has “routinely disclosed corporate conflicts when they were directly relevant to our coverage.” But the RootsAction.org petition is urging the Post to provide readers of its CIA coverage with full disclosure that would adequately address — and meaningfully inform readers about — relevant circumstances of the current ownership.

Those circumstances are not adequately met by a narrow definition of “corporate conflicts.” A reality is that the Post is now solely owned by someone who is by far the largest stakeholder in a world-spanning corporate giant that has close business ties — and is seeking more extensive deals than its current $600 million contract — with the CIA, an agency which the newspaper reports on regularly.

The petition requests that The Washington Post adopt a full disclosure policy that is commensurate with this situation. The gist of the request is recognition that, as the saying goes, sunshine is the best disinfectant for any potential conflict of interest.

When you write that the Post has a policy of routinely disclosing corporate conflicts when “directly relevant to our coverage,” a key question comes to the fore:  What is “directly relevant”? Given that few agencies are more secretive than the CIA — and even the most enterprising reporters are challenged to pry loose even a small fraction of its secrets — how do we know which CIA stories are “directly relevant” to the fact that Amazon is providing cloud computing services to the CIA?

Amazon’s contract with the CIA is based on an assessment that Amazon Web Services can provide the agency with digital-data computing security that is second to none. We can assume that a vast amount of information about CIA activities is to be safeguarded by Amazon. With what assurance can we say which stories on CIA activities are not “directly relevant” to Jeff Bezos’s dual role as sole owner of the Post and largest stakeholder in Amazon?

We actually don’t know what sort of data is involved in what your letter calls “the CIA’s use of cloud services.” The disclosure/non-disclosure policy that you’ve outlined seems to presume that, for instance, there would be no direct relevance of the cloud services contract to coverage of such matters as CIA involvement in rendition of prisoners to regimes for torture; or in targeting for drone strikes; or in data aggregation for counterinsurgency. Are you assuming that the Post’s coverage of such topics is not “directly relevant” to the Bezos/Amazon ties with the CIA and therefore should not include disclosure of the financial ties that bind the Post’s owner to the CIA?

Readers of a Post story on the CIA — whether about drones or a still-secret torture report, to name just two topics — should be informed of the Post/Bezos/Amazon/CIA financial ties. In the absence of such in-story disclosure, there is every reason to believe that many readers will be unaware that the Post’s owner is someone with a major financial stake in an Amazon-CIA deal worth hundreds of millions of dollars.

If Amazon’s $600 million multiyear cloud contract with the CIA is a small fraction of the company’s revenue, there is clear intent for it to grow larger. And $600 million is, by itself, hardly insignificant; let’s remember that Mr. Bezos bought the Post for less than half that amount.

“We look forward to a successful relationship with the CIA,” a statement from Amazon said two months ago. In public statements, Mr. Bezos and Amazon have made clear that they view this as a growing part of Amazon’s business: a feather in the corporate cap of the company in its drive to increase market share of such business operations. This is intended as a major and expansive income source for Amazon and for its CEO, Mr. Bezos, whose personal wealth of $25 billion is a consequence of Amazon’s financial gains.

Why not provide a sentence in the Post’s substantive coverage of CIA activities, to the effect that “The Post’s owner Jeff Bezos is the largest stakeholder in Amazon, which has a $600 million contract with the CIA”?

By declining to provide such disclosure, the Post is failing the transparency test when coverage of the CIA falls outside of the circumscribed areas where your letter says Post policy now provides for disclosure (“CIA contracting practices, the CIA’s use of cloud services, big-data initiatives at the CIA, Amazon’s pursuit of cloud services as a line of business, and Amazon corporate matters in general”).

Such concerns are among the reasons why tens of thousands of people, including many Post readers, have signed the petition to The Washington Post that I will be delivering onJanuary 15. While it’s unfortunate that you don’t want to have a meeting for a few minutes on that day, I hope that you will mull over the concerns that are propelling this petition forward.

Sincerely,
Norman Solomon
RootsAction.org

[January 4, 2014]

********************

Dear Mr. Solomon:
 
Thank you for expanding upon your views.
 
Just to reiterate, The Post has among the strictest ethics policies in the field of journalism. Those policies are sufficiently expansive, comprehensive, and current to take into account The Post’s acquisition by Jeff Bezos. The policies are strictly enforced. However, as I explained in detail in my previous note, your proposal is far outside the norm of disclosures about potential conflicts of interest at media organizations.
 
Meantime, as plain evidence of our independence, we will continue our aggressive coverage of the intelligence community, including the CIA. I hope you’ve noticed it. The CIA has, and it’s not happy.
 
Sincerely,
Martin Baron
Executive Editor
The Washington Post
 
[January 4, 2014]

______________________________________________

Norman Solomon is co-founder of RootsAction.org and founding director of the Institute for Public Accuracy. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.”

Hairy dilemma

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news@sfbg.com

It used to be rare to see dogs in restaurants — which many people see as gross and the health codes don’t allow — but not anymore. It’s an increasingly common sight to see dogs in Bay Area restaurants, grocery stores, bars, and others businesses that traditionally haven’t allowed them.

Call it part of our love affair with canines, a loophole in medical privacy laws that stymies inquiries into whether Fido is a service dog needed for some ailment, or a manifestation of some people’s entitlement issues, but more and more pet owners see no problem with bringing their dogs to the dinner or lunch table.

Some have even angrily defended their supposed right to do so when confronted.

The city estimates there are about 120,000 dogs living in San Francisco, which equates to almost one dog per seven people. Sometimes it seems like even more than that given how omnipresent dogs seem to be, popping in places that used to be off-limits to them, such as restaurants.

Some people now see restaurants as dog-friendly zones, but they’re not, and for good reason. Due to public health concerns, dogs are banned by federal law from any establishment that serves or handles food.

The lone caveat to that rule is provided by the Americans with Disabilities Act (ADA), and it allows those who need service dogs to have them at all times, overriding the aforementioned policy established by the US Food and Drug Administration. The existence of the caveat isn’t really a problem — service dogs are necessary, helpful, and are highly trained animals — but the loophole it provides is.

That loophole allows regular, untrained folks to take regular, untrained dogs into restaurants under the guise of service.

“Under those provisions, restaurants are somewhat limited in that they can’t be too forceful in their line of questioning,” said Angelica Pappas, communications manager at the California Restaurants Association (CRA). “So I think that some people who want to bring their dogs know that and might think that they can get around the law that way.”

And in San Francisco, the trend is particularly pronounced, creating a problem for those who work in restaurants.

“The most obvious issue you see [when a dog is in a restaurant] is cross contamination,” said Terrence Hong, senior environmental inspector with the San Francisco Department of Public Health. “A food handler might pet a cute dog, for instance, where service dog handlers go through training themselves and are more prepared for that situation.”

Food can be contaminated with fecal bacteria — something many dogs just love to roll around in — in addition to just the unsightly hairs ending up in people’s meals. The US Centers for Disease Control estimates that one in six people (about 48 million) are sickened by food-borne illness each year. Of those, 128,000 are hospitalized and 3,000 die, according to the CDC’s last comprehensive study of the issue in 2011.

“Safety, too, is an issue,” Pappas said. “There’s no guarantee that all these dogs are well-trained and even having them on a patio is really no different than having them inside when it comes to that.”

Florida became the first state to allow non-service dogs in outdoors seating areas in restaurants in 2006, and California had followed the lead of the Sunshine State by 2012.

“But the application of those laws is far more difficult than the black and white on a piece of paper,” Hong says.

The ADA — the same law that allows service dogs to enter restaurants— is proving to be one of the biggest obstacles when it comes to identifying the fakes. The language in the ADA states that anyone entering a business with a dog claiming to be a service animal can be asked only two questions: Is the dog a service dog? What task is it trained to do for you?

Business owners can’t ask a person in question for identification, because no federally or municipally approved uniform identifier exists, according to Hong. They can’t ask what a customer’s ailment is, because that question violates a privacy clause in the ADA.

 

DOGS EVERYWHERE

While the restaurants are being unlawfully infiltrated, other areas around the city are experiencing atypical levels of canine traffic as well.

Buses? Sure, why not. As long as your dog has a muzzle, it can legally take part in the herkiest, jerkiest, most claustrophobic ride available in the Muni playground, at least according to the unbothered gentleman with his dog on the 47-Van Ness bus on a recent Saturday.

Cabs? Hop on in, Rover. The mall? Every dog could use an afternoon at Michael Kors. Grocery stores? Screw the food handling laws, dogs gotta eat too.

And if someone gets in the way of you and your pet canine’s umbilical relationship? Just claim it’s a service dog. Sure, it’s considered a federal offense to misrepresent your pet as a service animal, but you can order a super-official looking vest off the Internet easier than you can order a book off of Amazon. The malfeasance is also nearly impossible to report.

Thus, the misrepresentation of service dogs is a rapidly growing problem, and one that seems to be trivialized by a large number of people.

Unfortunately for those who need legitimate service dogs, Hong said the general public has offered little opposition to the fakes. He said that there is no exact figure for dog-related complaints, because they don’t consolidate them, but he also noted that many people are reluctant to speak out against the malfeasant service dog owners.

Whether it’s because they think the business owners will handle the complaint (they won’t, according to the CRA) or if they are just privately, rather than publicly, opposed to the trend (which Hong had said he thinks people are), it still leaves the owners of real service dogs in a tough place.

“We’ve been affected many times by fake service dogs,” said Wallis Brozman, service dog owner from Corporate Advancement Assistant for Canine Companions for Independence, a service dog training academy located in Santa Rosa. “It’s happened to us everywhere, we’ve been attacked right outside of restaurants. We’ve been denied service at restaurants, denied service at hotels.”

Brozman says that she has been denied service at those institutions expressly because of the bad name that poorly trained service dogs have given to the whole industry.

But Brozman needs her dog. She uses a manual wheelchair full-time due to a condition called dystonia, a neurological movement disorder that causes extremely painful and involuntary muscle contractions. Even with her condition, she says that she has been made to pay pet deposits in hotels, even though her dog isn’t even classified as a “pet” by the ADA.

And Caspin, Brozman’s dog, is definitely not a pet. He understands both Sign Language and English, making him a bilingual dog (and more linguistically savvy than this writer). He’s been trained to stay calm in loud, obnoxious public settings. He can pick up anything Brozman might drop. He’s a talented dog, but he’s no pet.

 

NOT JUST PETS

According to the California Penal Code Section 365.5, a “service dog means any dog individually trained to do work or perform tasks for the benefit of an individual with a disability, including, but not limited to, minimal protection work, rescue work, pulling a wheelchair, or fetching dropped items.”

Service dogs not only provide assistance when necessary, but they provide their handlers with a sense of autonomy that they can’t achieve through other means. That’s why service dogs were included in ADA of 1990.

It was a huge victory for the people that really need service dogs, like Brozman, for instance, or war veterans suffering from post-traumatic stress syndrome. One of the prescribed treatments for PTSD victims happens to be the presence of a service dog.

“It can cost us $5,000 to train these dogs for veterans,” said Robert Misseri, president of a service dog training organization called Guardians of Rescue. “Poorly behaved dogs make things more difficult for the vets who need our dogs.”

But the benefits of owning a service dog can be voided in a hurry if the dog encounters another dog without the same composure, training, and restraint.

“Our graduates have been bitten by dogs in public, provoked, and mistreated by other dogs,” said Angie Schact, an instructor at Canine Companions for Independence, a program that requires a minimum six-month program for their graduates. “They have gone through so much more training than the average dog. We’ve raised the issue with the Department of Justice. We’re serious.”

But when the ADA was originally drafted, according to Paul Bowskill, general manager of ServiceDogsAmerica.com, it “provided for very few mental disabilities. Most of the qualifying disabilities at the time were physical and [visible].”

After the ADA was passed, guidelines were expanded to include mental illness and seizure risk, in addition to physical ailment, so visual cues became far less notable.

“You can’t tell if someone needs a service dog now,” said Bowskill. “The law was written so you can train your own service dog, and by law, you don’t need an ID.” And as we, as a culture, become even more accustomed to steady streams of “Sure you can!” responses and discomfort demolishing inventions, our reluctance to leave pets behind is only trending upwards.

But for service dog owners just trying to lead an autonomous existence and those patrons simply tired of seeing dogs in places previously forbidden, it’s a scary thought. “Sometimes, [people] just assume that my service dog is a fake,” said Brozman. “I explain to people again and again, and I show them that my dog is perfectly trained and there to help me, yet people still stigmatize us.”

Film Listings: December 4 – 10, 2013

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, Sam Stander, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

Art Gods: An Oral History of the Tower Records Art Department Bay Area filmmaker Strephon Taylor (2012’s The Complete Bob Wilkins Creature Features) turns his lens on Tower Records circa its 1980s heyday, when the hard-partying bros of the store’s in-house art department crafted displays for the hottest new album releases. Taylor, himself a veteran of the crew, gathers its founding members to reminisce, including original store artist Steve Pollutro, who made eye-catching magic using everyday supplies (posters, foam board, X-Acto knives, spray paint, etc.) and spawned an art style that invaded record stores worldwide. An odd length at just over an hour, Art Gods could have been trimmed of some of its superfluous anecdotes (a story about Pollutro’s failed attempts to enter the UK to help Tower set up its London branch drags on forever) and presented as a more fine-tuned shorter doc — or made more substantial by widening its interview pool beyond nostalgic former artists. (1:12) Balboa. (Eddy)

At Berkeley See “School Gaze.” (4:04) Roxie.

Bettie Page Reveals All Mark Mori’s affectionate Bettie Page Reveals All is narrated in the form of a rambling, chuckle-punctuated interview with the late pin-up icon herself. (We never actually see her except in archival film and images.) Even die-hards who already know the story behind the legend — a rough childhood, several unsuccessful marriages, mental-health issues — will likely learn some new tidbits. (A friend recalls watching 2005’s unauthorized biopic The Notorious Bettie Page with its subject, who hollered her opinion — “Lies! Lies!” — throughout.) Associates like Hugh Hefner and Dita Von Teese drop by to praise Page’s talents and legacy, but there’s no greater proof of lasting glamour than Page’s famous photographs, which she clearly loved posing for, and never regretted, even after embracing Christianity later in life. (1:41) Shattuck. (Eddy)

Out of the Furnace Christian Bale, Casey Affleck, and Woody Harrelson star in this crime drama from Crazy Heart (2009) director Scott Cooper. (1:56) Shattuck.

The Punk Singer See “Riot Acts.” (1:56) Roxie.

Sweet Dreams When the all-female drum troupe at the center of Sweet Dreams performs — and we hear some of the players’ stories about their battles to emerge from the enormity of the Rwandan genocide — we fully understand why Oscar-winning editor Lisa Fruchtman and her brother, documentary director Rob Fruchtman, gravitated toward this story. Ingoma Nshya is rooted in a tradition that was once reserved for men, and is composed of the orphans, widows, wives, and offspring of both the victims and perpetrators of the genocide. Music seems to be one of the sole sources of creative expression and healing for them, until founder and theater director Kiki Katese convinces the hipster owners of Brooklyn’s Blue Marble Ice Cream to start a collective with the women to open the country’s first ice cream shop. The Fruchtmans touch on the horrors of the past but devote most of the drama to the quietly emotional as well as physically tangible issues of opening the store and actually going about making its soft-serve treats. With that focus, Sweet Dreams sometimes seems to overlook the obvious — the ever-lingering specter of violence and trauma, the unanswered questions of justice, and the women’s daily struggle to coexist — and those with a journalistic, or even musically ethnographic, mindset, will be frustrated by some of the absences, like the lack of information about the performances and music itself. That’s not to say Sweet Dreams‘ story isn’t worth telling — or relishing. (1:23) Shattuck, Smith Rafael. (Chun)

Walking the Camino: Six Ways to Santiago This documentary follows six modern-day pilgrims as they embark on a journey across Spain. (1:24) Balboa.

ONGOING

About Time Richard Curtis, the man behind 2003’s Love Actually, must be enjoying his days in England, rolling in large piles of money. Coinciding with the 10-year anniversary of that twee cinematic love fest comes Curtis’ latest ode to joy, About Time. The film begins in Cornwall at an idyllic stone beach house, as Tim (Domhnall Gleeson) describes his family members (Bill Nighy is dad; Richard Cordery is the crazy uncle) and their pleasures (tea on the beach, ping pong). Despite beachside bliss, Tim is lovelorn and ready to begin a career as a barrister (which feels as out of the blue as the coming first act break). Oh! And as it happens, the men in Tim’s family can travel back in time. There are no clear rules, though births and deaths are like no-trespass signs on the imaginary timeline. When he meets Mary (Rachel McAdams), he falls in love, but if he paves over his own evening by bouncing back and spending that night elsewhere, he loses the path he’s worn into the map and has to fix it. Again and again. Despite potential repetition, About Time moves smoothly, sweetly, slowly along, giving its audience time enough to feel for the characters, and then feel for the characters again, and then keep crying just because the ball’s already in motion. It’s the most nest-like catharsis any British film ever built. (2:03) SF Center. (Vizcarrondo)

All Is Lost As other reviewers have pointed out, All Is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. (1:46) Opera Plaza, SF Center. (Eddy)

The Armstrong Lie “This is a story about power, not doping,” a talking head points out in Alex Gibney’s latest doc, The Armstrong Lie. Gibney, an Oscar winner for 2007’s Taxi to the Dark Side, set out to make something more along the lines of The Armstrong Return, shadowing Lance Armstrong as he prepped for his 2009 Tour de France comeback. He envisioned crafting a “feel-good movie,” especially when Armstrong notched an impressive third-place finish — a feat intended to silence those performance-enhancing drug rumors once and for all. In the end, it only amplified the skepticism that loomed over his accomplishments. And as the evidence against Armstrong mounted, Gibney scrapped his original concept and went in a decidedly darker direction. Armstrong’s critics, interviewed for Lie, admit they spotted the acclaimed documentarian among Armstrong’s Tour de France entourage and feared he was “buying into the bullshit.” Among these voices are Armstrong’s former US Postal Service teammate, Frankie Andreu, and his wife, Betsy, who’d been excoriated by their former good friend and his supporters for speaking out against him. A feel-good movie, this is not. And ultimately, Gibney’s film probes deeper than Armstrong’s flaws; it’s careful to point out that drug use is widespread among professional cyclists, who are surrounded by an insular, high-stakes culture that encourages it. The sports world lives and dies by the next world record or superhuman achievement. Is it any wonder that elite athletes seek out that extra competitive edge? And that Armstrong, in fully-inflated ego mode, would believe he had the power to rearrange reality to keep his victories intact? (2:03) Smith Rafael. (Eddy)

The Best Man Holiday (2:00) Metreon.

Black Nativity You have to hand it to director-writer Kasi Lemmons (2001’s The Caveman’s Valentine) for even attempting an adaptation of Langston Hughes’ Black Nativity. The idea of recasting the original play’s straightforward hybrid of the nativity tale, gospel, and African folk traditions in contemporary Harlem as a spiffed-up urban street opera feels inspired, especially when the otherwise-familiar narrative is supercharged with emotion, thanks to Oakland-native music producer and co-composer Raphael Saadiq. The songs and their delivery make those moments when the cast members burst into song seem like the most natural thing in the world. The child rhapsodized about here is — wink, nudge — Langston (Jacob Latimore), who’s getting evicted along with his single mom, Naima (Jennifer Hudson). In an act of self-disgust, or grudging respect, she sends her feisty tween to stay with his estranged grandparents in NYC. Reverend Cornell (Forest Whitaker) and Aretha Cobbs (Angela Bassett) turn out to be proud pillars of their community, with deep connections to the Civil Rights movement, which Langston discovers when the stern Rev shows the boy his most prized possession: an engraved pocket watch given to him by Martin Luther King Jr. Alas, if Lemmons simply stuck to her present-day rework — and refrained from the self-consciously stagy Christmas dream sequences, which actually seem to hew closer to the original Black Nativity, break the momentum, and cue this operetta’s complete break with reality — this version would have fared much better than it does. Still, Black Nativity isn’t without its moments. Whitaker, playing against type and tasked with the heaviest acting effort, and particularly Bassett, who channels a fiery spirit via her upstanding matron to provide much-needed warmth, are mesmerizing, and though Mary J. Blige and Nas are unfortunately given little to do, Hudson pulls her weight, if not with acting, then with her sheer skill at conveying heartbreak amid the melismas. (1:33) Metreon, 1000 Van Ness. (Chun)

The Book Thief One of those novels that seems to have been categorized as “young adult” more for reasons of marketing than anything else, Markus Zusak’s international best seller gets an effective screen adaptation from director Brian Percival and scenarist Michael Petroni. Liesl (Sophie Nelisse) is an illiterate orphan — for all practical purposes, that is, given the likely fate of her left-leaning parents in a just-pre-World War II Nazi Germany — deposited by authorities on the doorstep of the middle-aged, childless Hubermanns in 1938. Rosa (Emily Watson) is a ceaseless nag and worrywart, even if her bark is worse than her bite; kindly housepainter Hans (Geoffrey Rush), who’s lost work by refusing to join “the Party,” makes a game of teacher Liesl how to read. Her subsequent fascination with books attracts the notice of the local Burgermeister’s wife (Barbara Auer), who under the nose of her stern husband lets the girl peruse tomes from her manse’s extensive library. But that secret is trivial compared to the Hubermanns’ hiding of Max Vandenburg (Ben Schnetzer), son of Jewish comrade who’d saved Hans’ life in the prior world war. When war breaks out anew, this harboring of a fugitive becomes even more dangerous, something Liesl can’t share even with her best friend Rudy (Nico Liersch). While some of the book’s subplots and secondary characters are sacrificed for the sake of expediency, the filmmakers have crafted a potent, intelligent drama whose judicious understatement extends to the subtlest (and first non-Spielberg) score John Williams has written in years. Rush, Watson, and newcomer Schnetzer are particularly good in the well-chosen cast. (2:11) Metreon, 1000 Van Ness, Sundance Kabuki. (Harvey)

Blue is the Warmest Color The stars (Adèle Exarchopoulos and Léa Seydoux) say the director was brutal. The director says he wishes the film had never been released (but he might make a sequel). The graphic novelist is uncomfortable with the explicit 10-minute sex scene. And most of the state of Idaho will have to wait to see the film on Netflix. The noise of recrimination, the lesser murmur of backpedaling, and a difficult-to-argue NC-17 rating could make it harder, as French director Abdellatif Kechiche has predicted, to find a calm, neutral zone in which to watch Blue is the Warmest Color, his Palme d’Or–winning adaptation (with co-writer Ghalya Lacroix) of Julie Maroh’s 2010 graphic novel Le Blue Est une Couleur Chaude. But once you’ve committed to the three-hour runtime, it’s not too difficult to tune out all the extra noise and focus on a film that trains its mesmerized gaze on a young woman’s transforming experience of first love. (2:59) Clay, Smith Rafael. (Rapoport)

Blue Jasmine The good news about Blue Jasmine isn’t that it’s set in San Francisco, but that it’s Woody Allen’s best movie in years. Although some familiar characteristics are duly present, it’s not quite like anything he’s done before, and carries its essentially dramatic weight more effectively than he’s managed in at least a couple decades. Not long ago Jasmine (a fearless Cate Blanchett) was the quintessential Manhattan hostess, but that glittering bubble has burst — exactly how revealed in flashbacks that spring surprises up to the script’s end. She crawls to the West Coast to “start over” in the sole place available where she won’t be mortified by the pity of erstwhile society friends. That would be the SF apartment of Ginger (Sally Hawkins), a fellow adoptive sister who was always looked down on by comparison to pretty, clever Jasmine. Theirs is an uneasy alliance — but Ginger’s too big-hearted to say no. It’s somewhat disappointing that Blue Jasmine doesn’t really do much with San Francisco. Really, the film could take place anywhere — although setting it in a non-picture-postcard SF does bolster the film’s unsettled, unpredictable air. Without being an outright villain, Jasmine is one of the least likable characters to carry a major US film since Noah Baumbach’s underrated Margot at the Wedding (2007); the general plot shell, moreover, is strongly redolent of A Streetcar Named Desire. But whatever inspiration Allen took from prior works, Blue Jasmine is still distinctively his own invention. It’s frequently funny in throwaway performance bits, yet disturbing, even devastating in cumulative impact. (1:38) Opera Plaza. (Harvey)

Captain Phillips In 2009, Captain Richard Phillips was taken hostage by Somali pirates who’d hijacked the Kenya-bound Maersk Alabama. His subsequent rescue by Navy SEALs came after a standoff that ended in the death of three pirates; a fourth, Abduwali Abdukhadir Muse, surrendered and is serving a hefty term in federal prison. A year later, Phillips penned a book about his ordeal, and Hollywood pounced. Tom Hanks is perfectly cast as Phillips, an everyman who runs a tight ship but displays an admirable ability to improvise under pressure — and, once rescued, finally allows that pressure to diffuse in a scene of memorably raw catharsis. Newcomer Barkhad Abdi, cast from an open call among Minneapolis’ large Somali community, plays Muse; his character development goes deep enough to emphasize that piracy is one of few grim career options for Somali youths. But the real star here is probably director Paul Greengrass, who adds this suspenseful high-seas tale to his slate of intelligent, doc-inspired thrillers (2006’s United 93, 2007’s The Bourne Ultimatum). Suffice to say fans of the reigning king of fast-paced, handheld-camera action will not be disappointed. (2:14) SF Center, Sundance Kabuki. (Eddy)

Cloudy With a Chance of Meatballs 2 (1:35) SF Center.

Dallas Buyers Club Dallas Buyers Club is the first all-US feature from Jean-Marc Vallée. He first made a splash in 2005 with C.R.A.Z.Y., which seemed an archetype of the flashy, coming-of-age themed debut feature. Vallée has evolved beyond flashiness, or maybe since C.R.A.Z.Y. he just hasn’t had a subject that seemed to call for it. Which is not to say Dallas is entirely sober — its characters partake from the gamut of altering substances, over-the-counter and otherwise. But this is a movie about AIDS, so the purely recreational good times must eventually crash to an end. Which they do pretty quickly. We first meet Ron Woodroof (Matthew McConaughey) in 1986, a Texas good ol’ boy endlessly chasing skirts and partying nonstop. Not feeling quite right, he visits a doctor, who informs him that he is HIV-positive. His response is “I ain’t no faggot, motherfucker” — and increased partying that he barely survives. Afterward, he pulls himself together enough to research his options, and bribes a hospital attendant into raiding its trial supply of AZT for him. But Ron also discovers the hard way what many first-generation AIDS patients did — that AZT is itself toxic. He ends up in a Mexican clinic run by a disgraced American physician (Griffin Dunne) who recommends a regime consisting mostly of vitamins and herbal treatments. Ron realizes a commercial opportunity, and finds a business partner in willowy cross-dresser Rayon (Jared Leto). When the authorities keep cracking down on their trade, savvy Ron takes a cue from gay activists in Manhattan and creates a law evading “buyers club” in which members pay monthly dues rather than paying directly for pharmaceutical goods. It’s a tale that the scenarists (Craig Borten and Melisa Wallack) and director steep in deep Texan atmospherics, and while it takes itself seriously when and where it ought, Dallas Buyers Club is a movie whose frequent, entertaining jauntiness is based in that most American value: get-rich-quick entrepreneurship. (1:58) Embarcadero, 1000 Van Ness, Sundance Kabuki. (Harvey)

Delivery Man Twenty years ago David Wozniak (Vince Vaughn) “put love in a cup” 600-plus times to finance a family trip to Italy. His mother was sick, his father couldn’t afford it, and with time running out, David embarked on a harebrained scheme to make (a lot of) “it” happen. The sperm bank that paid him $23K for his “seed” overused it, and 18 years later he has 533 kids, 143 of which are on a hunt to find their biological father, “Starbuck.” (This also the name of the 2011 Canadian comedy on which Delivery Man is based.) With a premise this quirky you’ll have a hard time finding something to hate, even if this is technically a film about runaway jizz. This heartwarming Thanksgiving release isn’t really appropriate for youngsters (unless you’re been trying to find a entrée to explain sperm banks) but the way Delivery Man deals with the seemingly limitless generosity contained in each of us is both touching and inspiring. Maybe David’s contribution to “Starbuck’s Kids” doesn’t obligate him to reveal his identity, but he’s desperately attached, and goes embarrassingly far outside his comfort zone to interact. The kids’ emotional stake in this is murky, but the way their search for identity finds a voice in tune with the current tech-confident yet socially-confused younger generation could make Delivery Man relevant to more generations than X or Y. (1:45) 1000 Van Ness, SF Center. (Vizcarrondo)

Ender’s Game Those entering Ender’s Game in search of homophobic threads or politically unsavory themes will likely be frustrated. After all, Orson Scott Card — once a board member of the National Organization for Marriage, and here serving as a producer intent on preserving the 1985 novel that netted him acclaim — has revisited what was initially a short story multiple times over the years, tweaking it to reflect a new political climate, to ready it for new expedient uses. Who knows — the times are a-changin’ fast enough, with the outcry of LGBT activists and the growing acceptance of gay military members, to hope that a gay character might enter the mix someday. Of course, sexuality of all sorts is kept firmly in check in the Ender‘s world. Earth has been invaded by an insect-like species called the Formics, and the planet unifies to serve up its best and brightest (and, it’s implied, most ruthless) young minds, sharpened on first-person-shooters and tactical games, to the cause of defeating the alien “other.” Andrew “Ender” Wiggin (Asa Butterfield) is the knowing hybrid of his sociopath brother Peter (Jimmy Pinchak) and compassionate sister Valentine (Abigail Breslin) — of the trinity, he’s “the One,” as Han Solo, I mean, Harrison Ford, cadet talent-spotter and trainer Colonel Graff, puts it. Ender impresses the leather off the hardened old war horse, though the Colonel’s psychologically more equipped cohort Major Anderson (Viola Davis) suspects there’s more going on within their chosen leader. Director-screenwriter Gavin Hood demonstrates his allegiance to Card’s vision, valorizing the discipline and teamwork instilled by military school with the grim purpose and dead serious pleasure one might take in studying a well-oiled machine, while Ender is sharpened and employed as a stunningly effective tool in a war he never truly conceived of. This game has a bit more in common with the recent Wii-meets-Rock ‘Em Sock ‘Em Godzillas of Pacific Rim than the winking, acidic satire of Starship Troopers (1997), echoing a drone-driven War on Terror that has a way of detaching even the most evolved fighter from the consequences of his or her actions. The question is how to undo, or rewrite, the damage done. (1:54) 1000 Van Ness, SF Center. (Chun)

Free Birds (1:31) Metreon.

Frozen (1:48) Metreon, 1000 Van Ness, Vogue.

Gravity “Life in space is impossible,” begins Gravity, the latest from Alfonso Cuarón (2006’s Children of Men). Egghead Dr. Ryan Stone (Sandra Bullock) is well aware of her precarious situation after a mangled satellite slams into her ship, then proceeds to demolition-derby everything (including the International Space Station) in its path. It’s not long before she’s utterly, terrifyingly alone, and forced to unearth near-superhuman reserves of physical and mental strength to survive. Bullock’s performance would be enough to recommend Gravity, but there’s more to praise, like the film’s tense pacing, spare-yet-layered script (Cuarón co-wrote with his son, Jonás), and spectacular 3D photography — not to mention George Clooney’s warm supporting turn as a career astronaut who loves country music almost as much as he loves telling stories about his misadventures. (1:31) Metreon. (Eddy)

The Great Beauty The latest from Paolo Sorrentino (2008’s Il Divo) arrives as a high-profile contender for the Best Foreign Language Film Oscar, already annointed a masterpiece in some quarters, and duly announcing itself as such in nearly every grandiose, aesthetically engorged moment. Yes, it seems to say, you are in the presence of this auteur’s masterpiece. But it’s somebody else’s, too. The problem isn’t just that Fellini got there first, but that there’s room for doubt whether Sorrentino’s homage actually builds on or simply imitates its model. La Dolce Vita (1960) and 8 1/2 (1963) are themselves swaying, jerry-built monuments, exhileratingly messy and debatably profound. But nothing quite like them had been seen before, and they did define a time of cultural upheaval — when traditional ways of life were being plowed under by a loud, moneyed, heedless modernity that for a while chose Rome as its global capital. Sorrentino announces his intention to out-Fellini Fellini in an opening sequence so strenuously flamboyant it’s like a never-ending pirouette performed by a prima dancer with a hernia. There’s statuary, a women’s choral ensemble, an on-screen audience applauding the director’s baffled muse Toni Servillo, standing in for Marcello Mastroianni — all this and more in manic tracking shots and frantic intercutting, as if sheer speed alone could supply contemporary relevancy. Eventually The Great Beauty calms down a bit, but still its reason for being remains vague behind the heavy curtain of “style.” (2:22) Opera Plaza, Smith Rafael. (Harvey)

Homefront It’s not clear if Jason Statham’s undercover DEA agent is retired, but after a major meth bust he loses his scraggly mop of hair and put-on accent to enter seclusion in a town “not far from Appalachia.” He’s taught his daughter well, but when she defends herself against a school bully, the family incurs the wrath of the local tweaker-tiger mom (Kate Bosworth). Tiger Mom’s brother is the local meth lord, Gator (James Franco). He’s in cahoots with the Sheriff (Clancy Brown) and aspires to the heights of the biker badass Agent Statham put away, so he causes trouble for Statham’s family. Winona Ryder, looking more like Cher’s kid than she did in 1990’s Mermaids, is the “meth-whore” who starts a bustling lab with her business-savvy BF, and while she’s hardly out-performing any of the cast, she’s definitely the film’s best character. This mess of wonky editing and absurd send-ups totally delivers on gags and explosions, and when Franco sees his future he looks at it like a CEO applying at Starbucks. His face says “What the hell happened?” but his mouth yells, regrettably, “Are you retarded?” (1:40) 1000 Van Ness, SF Center. (Vizcarrondo)

The Hunger Games: Catching Fire Before succumbing to the hot and heavy action inside the arena (intensely directed by Francis Lawrence) The Hunger Games: Catching Fire force-feeds you a world of heinous concept fashions that’d make Lady Gaga laugh. But that’s ok, because the second film about one girl’s epic struggle to change the world of Panem may be even more exciting than the first. Suzanne Collins’ YA novel The Hunger Games was an over-literal metaphor for junior high social survival and the glory of Catching Fire is that it depicts what comes after you reach the cool kids’ table. Katniss (Jennifer Lawrence) inspired so much hope among the 12 districts she now faces pressures from President Snow (a portentous Donald Sutherland) and the fanatical press of Capital City (Stanley Tucci with big teeth and Toby Jones with big hair). After she’s forced to fake a romance with Peeta (Josh Hutcherson), the two watch with horror as they’re faced with a new Hunger Game: for returning victors, many of whom are too old to run. Amanda Plummer and Jeffrey Wright are fun as brainy wackjobs and Jena Malone is hilariously Amazonian as a serial axe grinder still screaming like an eighth grader. Inside the arena, alliances and rivalries shift but the winner’s circle could survive to see another revolution; to save this city, they may have to burn it down. (2:26) Balboa, Metreon, 1000 Van Ness, Sundance Kabuki. (Vizcarrondo)

Is the Man Who is Tall Happy? “I’m a leetle nervous,” French-accented Michel Gondry admits as he begins interviewing linguist and activist Noam Chomsky. Their chats make up this doc, aptly dubbed “an animated conversation” as it’s brought to life by the director’s whimsical animated drawings. The rambling convo (sometimes a lively back-and-forth, sometimes just Chomsky’s gravely voice pondering a topic at length) winds from autobiographical material — Chomsky’s earliest memory (a stubborn-baby moment in which he absolutely refused to eat oatmeal); his childhood ambitions of being a taxidermist (“Don’t ask me why! I guess I liked the word?”) — to more philosophical and intellectual topics. Is the Man Who is Tall Happy? might seem an offbeat choice for Gondry, but does he ever make any other kind of choice? This is, after all, the filmmaker who has maintained an edgy reputation throughout his varied career, from highlights (Björk’s “Human Behavior” video; 2005’s Eternal Sunshine of the Spotless Mind) to head-scratchers (2011 Seth Rogen superhero comedy The Green Hornet). (1:28) Roxie. (Eddy)

Jackass Presents: Bad Grandpa (1:32) Metreon.

Last Vegas This buddy film may look like a Bucket List-Hangover hybrid, but it’s got a lot more Spring Breakers in it than you expect — who beats Vegas for most bikinis per capita? Four old friends reunite for a wedding in Vegas, where they drink, gamble, and are confused for legendary men. Morgan Freeman sneaks out of his son’s house to go. Kevin Kline’s wife gave him a hall pass to regain his lost sense of fun. Kline and Freeman trick Robert De Niro into going — he’s got a grudge against Michael Douglas, so why celebrate that jerk’s nuptials to a 30-year-old? The conflicts are mostly safe and insubstantial, but the in-joke here is that all of these acting legends are confused for legends by their accidentally obtained VIP host (Romany Malco). These guys have earned their stature, so what gives? When De Niro flings fists you shudder inside remembering Jake LaMotta. Kline’s velvety comic delivery is just as swaggery as it was during his 80s era collaborations with Lawrence Kasdan. Douglas is “not as charming as he thinks he is,” yet again, and voice-of-God Freeman faces a conflict specific to paternal protective urges. Yes, Last Vegas jokes about the ravages of age and prescribes tenacity for all that ails us, but I want a cast this great celebrated at least as obviously as The Expendables films. Confuse these guys for better? Show me who. (1:44) Metreon. (Vizcarrondo)

Nebraska Alexander Payne may be unique at this point in that he’s in a position of being able to make nothing but small, human, and humorous films with major-studio money on his own terms. It’s hazardous to make too much of a movie like Nebraska, because it is small — despite the wide Great Plains landscapes shot in a wide screen format — and shouldn’t be entered into with overinflated or otherwise wrong-headed expectations. Still, a certain gratitude is called for. Nebraska marks the first time Payne and his writing partner Jim Taylor weren’t involved in the script, and the first one since their 1996 Citizen Ruth that isn’t based on someone else’s novel. (Hitherto little-known Bob Nelson’s original screenplay apparently first came to Payne’s notice a decade ago, but getting put off in favor of other projects.) It could easily have been a novel, though, as the things it does very well (internal thought, sense of place, character nuance) and the things it doesn’t much bother with (plot, action, dialogue) are more in line with literary fiction than commercial cinema. Elderly Woody T. Grant (Bruce Dern) keeps being found grimly trudging through snow and whatnot on the outskirts of Billings, Mont., bound for Lincoln, Neb. Brain fuzzed by age and booze, he’s convinced he’s won a million dollars and needs to collect it him there, though eventually it’s clear that something bigger than reality — or senility, even — is compelling him to make this trek. Long-suffering younger son David (Will Forte) agrees to drive him in order to simply put the matter to rest. This fool’s mission acquires a whole extended family-full of other fools when father and son detour to the former’s podunk farming hometown. Nebraska has no moments so funny or dramatic they’d look outstanding in excerpt; low-key as they were, 2009’s Sideways and 2011’s The Descendants had bigger set pieces and narrative stakes. But like those movies, this one just ambles along until you realize you’re completely hooked, all positive emotional responses on full alert. (1:55) Embarcadero. (Harvey)

Oldboy In 2003, South Korean director Park Chan-wook released a modern masterpiece of harsh, misanthropic revenge cinema with Oldboy, a twisty and visually stylish adaptation of a Japanese manga. Ten years later, Spike Lee and screenwriter Mark Protosevich have delivered a recombinatory remake of the Korean film. It’s neither satisfying nor particularly infuriating — it plays with the elements of Park’s intensely memorable movie, alluding to scenes and images without always exactly reproducing them, and it makes a valiant effort to restore suspense to a story whose gut-wrenching twist has been slightly softened by a decade. But it’s much less visually engaging, replacing Park’s sinister playfulness with a blander, more direct action palette. Josh Brolin’s Joe Doucett is brooding and brutal, but not as sickly compelling as Choi Min-sik’s wild-eyed Oh Dae-su; Elizabeth Olsen is emotionally powerful as his helper and lover; and Sharlto Copley offers a bizarre, rather gross caricature as the scheming antagonist. (2:00) 1000 Van Ness, SF Center, Sundance Kabuki. (Stander)

Philomena Judi Dench gives this twist on a real-life scandal heart, soul, and a nuanced, everyday heft. Her ideal, ironic foil is Steve Coogan, playing an upper-crusty irreverent snob of an investigative journalist. Judging by her tidy exterior, Dench’s title character is a perfectly ordinary Irish working-class senior, but she’s haunted by the past, which comes tumbling out one day to her daughter: As an unwed teenager, she gave birth to a son at a convent. She was forced to work there, unpaid; as supposed penance, the baby was essentially sold to a rich American couple against her consent. Her yarn reaches disgraced reporter Martin Sixsmith (Coogan), who initially turns his nose up at the tale’s piddling “human interest” angle, but slowly gets drawn in by the unexpected twists and turns of the story — and likely the possibility of taking down some evil nuns — as well as seemingly naive Philomena herself, with her delight in trash culture, frank talk about sex, and simple desire to see her son and know that he thought, once in a while, of her. It turns out Philomena’s own sad narrative has as many improbable turnarounds as one of the cheesy romance novels she favors, and though this unexpected twosome’s quest for the truth is strenuously reworked to conform to the contours of buddy movie-road trip arc that we’re all too familiar with, director Stephen Frears’ warm, light-handed take on the gentle class struggles going on between the writer and his subject about who’s in control of the story makes up for Philomena‘s determined quest for mass appeal. (1:35) Embarcadero, 1000 Van Ness, Sundance Kabuki. (Chun)

Thor: The Dark World Since any tentacle of Marvel’s Avengers universe now comes equipped with its own money-printing factory, it’s likely we’ll keep seeing sequels and spin-offs for approximately the next 100 years. With its by-the-numbers plot and “Yeah, seen that before” 3D effects, Thor: The Dark World is forced to rely heavily on the charisma of its leads — Chris Hemsworth as the titular hammer-swinger; Tom Hiddleston as his brooding brother Loki — to hold audience interest. Fortunately, these two (along with Anthony Hopkins, Natalie Portman, Idris Elba, and the rest of the supporting cast, most of whom return from the first film) appear to be having a blast under the direction of Alan Taylor, a TV veteran whose credits include multiple Game of Thrones eps. Not that any Avengers flick carries much heft, but especially here, jokey asides far outweigh any moments of actual drama (the plot, about an alien race led by Christopher Eccleston in “dark elf” drag intent on capturing an ancient weapon with the power to destroy all the realms, etc. etc., matters very little). Fanboys and -girls, this one’s for you … and only you. (2:00) Metreon. (Eddy)

12 Years a Slave Pop culture’s engagement with slavery has always been uneasy. Landmark 1977 miniseries Roots set ratings records, but the prestigious production capped off a decade that had seen some more questionable endeavors, including 1975 exploitation flick Mandingo — often cited by Quentin Tarantino as one of his favorite films; it was a clear influence on his 2012 revenge fantasy Django Unchained, which approached its subject matter in a manner that paid homage to the Westerns it riffed on: with guns blazing. By contrast, Steve McQueen’s 12 Years a Slave is nuanced and steeped in realism. Though it does contain scenes of violence (deliberately captured in long takes by regular McQueen collaborator Sean Bobbitt, whose cinematography is one of the film’s many stylistic achievements), the film emphasizes the horrors of “the peculiar institution” by repeatedly showing how accepted and ingrained it was. Slave is based on the true story of Solomon Northup, an African American man who was sold into slavery in 1841 and survived to pen a wrenching account of his experiences. He’s portrayed here by the powerful Chiwetel Ejiofor. Other standout performances come courtesy of McQueen favorite Michael Fassbender (as Epps, a plantation owner who exacerbates what’s clearly an unwell mind with copious amounts of booze) and newcomer Lupita Nyong’o, as a slave who attracts Epps’ cruel attentions. (2:14) Embarcadero, 1000 Van Ness, Sundance Kabuki. (Eddy) *

 

Film Listings: November 27 – December 3, 2013

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Tough snowman Marshmallow is among the cast of characters in Disney’s new animated musical, Frozen, out Wed/27.

PHOTO COURTESY OF DISNEY

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, Sam Stander, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

Black Nativity You have to hand it to director-writer Kasi Lemmons (2001’s The Caveman’s Valentine) for even attempting an adaptation of Langston Hughes’ Black Nativity. The idea of recasting the original play’s straightforward hybrid of the nativity tale, gospel, and African folk traditions in contemporary Harlem as a spiffed-up urban street opera feels inspired, especially when the otherwise-familiar narrative is supercharged with emotion, thanks to Oakland-native music producer and co-composer Raphael Saadiq. The songs and their delivery make those moments when the cast members burst into song seem like the most natural thing in the world. The child rhapsodized about here is — wink, nudge — Langston (Jacob Latimore), who’s getting evicted along with his single mom, Naima (Jennifer Hudson). In an act of self-disgust, or grudging respect, she sends her feisty tween to stay with his estranged grandparents in NYC. Reverend Cornell (Forest Whitaker) and Aretha Cobbs (Angela Bassett) turn out to be proud pillars of their community, with deep connections to the Civil Rights movement, which Langston discovers when the stern Rev shows the boy his most prized possession: an engraved pocket watch given to him by Martin Luther King Jr. Alas, if Lemmons simply stuck to her present-day rework — and refrained from the self-consciously stagy Christmas dream sequences, which actually seem to hew closer to the original Black Nativity, break the momentum, and cue this operetta’s complete break with reality — this version would have fared much better than it does. Still, Black Nativity isn’t without its moments. Whitaker, playing against type and tasked with the heaviest acting effort, and particularly Bassett, who channels a fiery spirit via her upstanding matron to provide much-needed warmth, are mesmerizing, and though Mary J. Blige and Nas are unfortunately given little to do, Hudson pulls her weight, if not with acting, then with her sheer skill at conveying heartbreak amid the melismas. (1:33) (Chun)

Frozen The voices of Kristen Bell, Idina Menzel, and Jonathan Groff star in Disney’s animated musical inspired by Hans Christian Andersen’s The Snow Queen. (1:48) Cerrito, Four Star, Presidio, Shattuck, Vogue.

The Great Beauty See “La Ho-Hum Vita.” (2:22) Opera Plaza, Shattuck, Smith Rafael.

Homefront It’s not clear if Jason Statham’s undercover DEA agent is retired, but after a major meth bust he loses his scraggly mop of hair and put-on accent to enter seclusion in a town “not far from Appalachia.” He’s taught his daughter well, but when she defends herself against a school bully, the family incurs the wrath of the local tweaker-tiger mom (Kate Bosworth). Tiger Mom’s brother is the local meth lord, Gator (James Franco). He’s in cahoots with the Sheriff (Clancy Brown) and aspires to the heights of the biker badass Agent Statham put away, so he causes trouble for Statham’s family. Winona Ryder, looking more like Cher’s kid than she did in 1990’s Mermaids, is the “meth-whore” who starts a bustling lab with her business-savvy BF, and while she’s hardly out-performing any of the cast, she’s definitely the film’s best character. This mess of wonky editing and absurd send-ups totally delivers on gags and explosions, and when Franco sees his future he looks at it like a CEO applying at Starbucks. His face says “What the hell happened?” but his mouth yells, regrettably, “Are you retarded?” (1:40) (Vizcarrondo)

Is the Man Who is Tall Happy? “I’m a leetle nervous,” French-accented Michel Gondry admits as he begins interviewing linguist and activist Noam Chomsky. Their chats make up this doc, aptly dubbed “an animated conversation” as it’s brought to life by the director’s whimsical animated drawings. The rambling convo (sometimes a lively back-and-forth, sometimes just Chomsky’s gravely voice pondering a topic at length) winds from autobiographical material — Chomsky’s earliest memory (a stubborn-baby moment in which he absolutely refused to eat oatmeal); his childhood ambitions of being a taxidermist (“Don’t ask me why! I guess I liked the word?”) — to more philosophical and intellectual topics. Is the Man Who is Tall Happy? might seem an offbeat choice for Gondry, but does he ever make any other kind of choice? This is, after all, the filmmaker who has maintained an edgy reputation throughout his varied career, from highlights (Björk’s “Human Behavior” video; 2005’s Eternal Sunshine of the Spotless Mind) to head-scratchers (2011 Seth Rogen superhero comedy The Green Hornet). (1:28) Roxie.

Oldboy In 2003, South Korean director Park Chan-wook released a modern masterpiece of harsh, misanthropic revenge cinema with Oldboy, a twisty and visually stylish adaptation of a Japanese manga. Ten years later, Spike Lee and screenwriter Mark Protosevich have delivered a recombinatory remake of the Korean film. It’s neither satisfying nor particularly infuriating — it plays with the elements of Park’s intensely memorable movie, alluding to scenes and images without always exactly reproducing them, and it makes a valiant effort to restore suspense to a story whose gut-wrenching twist has been slightly softened by a decade. But it’s much less visually engaging, replacing Park’s sinister playfulness with a blander, more direct action palette. Josh Brolin’s Joe Doucett is brooding and brutal, but not as sickly compelling as Choi Min-sik’s wild-eyed Oh Dae-su; Elizabeth Olsen is emotionally powerful as his helper and lover; and Sharlto Copley offers a bizarre, rather gross caricature as the scheming antagonist. (2:00) (Stander)

Philomena Stephen Frears directs Steve Coogan (who co-wrote the script) and Judi Dench in this drama about a journalist who helps an elderly woman find the son she was forced to give up for adoption 50 years earlier. (1:35) Albany, Embarcadero.

ONGOING

About Time Richard Curtis, the man behind 2003’s Love Actually, must be enjoying his days in England, rolling in large piles of money. Coinciding with the 10-year anniversary of that twee cinematic love fest comes Curtis’ latest ode to joy, About Time. The film begins in Cornwall at an idyllic stone beach house, as Tim (Domhnall Gleeson) describes his family members (Bill Nighy is dad; Richard Cordery is the crazy uncle) and their pleasures (tea on the beach, ping pong). Despite beachside bliss, Tim is lovelorn and ready to begin a career as a barrister (which feels as out of the blue as the coming first act break). Oh! And as it happens, the men in Tim’s family can travel back in time. There are no clear rules, though births and deaths are like no-trespass signs on the imaginary timeline. When he meets Mary (Rachel McAdams), he falls in love, but if he paves over his own evening by bouncing back and spending that night elsewhere, he loses the path he’s worn into the map and has to fix it. Again and again. Despite potential repetition, About Time moves smoothly, sweetly, slowly along, giving its audience time enough to feel for the characters, and then feel for the characters again, and then keep crying just because the ball’s already in motion. It’s the most nest-like catharsis any British film ever built. (2:03) Marina, 1000 Van Ness, Shattuck. (Vizcarrondo)

All Is Lost As other reviewers have pointed out, All Is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. (1:46) Elmwood, Opera Plaza, SF Center. (Eddy)

The Armstrong Lie “This is a story about power, not doping,” a talking head points out in Alex Gibney’s latest doc, The Armstrong Lie. Gibney, an Oscar winner for 2007’s Taxi to the Dark Side, set out to make something more along the lines of The Armstrong Return, shadowing Lance Armstrong as he prepped for his 2009 Tour de France comeback. He envisioned crafting a “feel-good movie,” especially when Armstrong notched an impressive third-place finish — a feat intended to silence those performance-enhancing drug rumors once and for all. In the end, it only amplified the skepticism that loomed over his accomplishments. And as the evidence against Armstrong mounted, Gibney scrapped his original concept and went in a decidedly darker direction. Armstrong’s critics, interviewed for Lie, admit they spotted the acclaimed documentarian among Armstrong’s Tour de France entourage and feared he was “buying into the bullshit.” Among these voices are Armstrong’s former US Postal Service teammate, Frankie Andreu, and his wife, Betsy, who’d been excoriated by their former good friend and his supporters for speaking out against him. A feel-good movie, this is not. And ultimately, Gibney’s film probes deeper than Armstrong’s flaws; it’s careful to point out that drug use is widespread among professional cyclists, who are surrounded by an insular, high-stakes culture that encourages it. The sports world lives and dies by the next world record or superhuman achievement. Is it any wonder that elite athletes seek out that extra competitive edge? And that Armstrong, in fully-inflated ego mode, would believe he had the power to rearrange reality to keep his victories intact? (2:03) Smith Rafael. (Eddy)

The Best Man Holiday (2:00) Metreon, 1000 Van Ness.

The Book Thief One of those novels that seems to have been categorized as “young adult” more for reasons of marketing than anything else, Markus Zusak’s international best seller gets an effective screen adaptation from director Brian Percival and scenarist Michael Petroni. Liesl (Sophie Nelisse) is an illiterate orphan — for all practical purposes, that is, given the likely fate of her left-leaning parents in a just-pre-World War II Nazi Germany — deposited by authorities on the doorstep of the middle-aged, childless Hubermanns in 1938. Rosa (Emily Watson) is a ceaseless nag and worrywart, even if her bark is worse than her bite; kindly housepainter Hans (Geoffrey Rush), who’s lost work by refusing to join “the Party,” makes a game of teacher Liesl how to read. Her subsequent fascination with books attracts the notice of the local Burgermeister’s wife (Barbara Auer), who under the nose of her stern husband lets the girl peruse tomes from her manse’s extensive library. But that secret is trivial compared to the Hubermanns’ hiding of Max Vandenburg (Ben Schnetzer), son of Jewish comrade who’d saved Hans’ life in the prior world war. When war breaks out anew, this harboring of a fugitive becomes even more dangerous, something Liesl can’t share even with her best friend Rudy (Nico Liersch). While some of the book’s subplots and secondary characters are sacrificed for the sake of expediency, the filmmakers have crafted a potent, intelligent drama whose judicious understatement extends to the subtlest (and first non-Spielberg) score John Williams has written in years. Rush, Watson, and newcomer Schnetzer are particularly good in the well-chosen cast. (2:11) Metreon, Shattuck, Sundance Kabuki. (Harvey)

Blue is the Warmest Color The stars (Adèle Exarchopoulos and Léa Seydoux) say the director was brutal. The director says he wishes the film had never been released (but he might make a sequel). The graphic novelist is uncomfortable with the explicit 10-minute sex scene. And most of the state of Idaho will have to wait to see the film on Netflix. The noise of recrimination, the lesser murmur of backpedaling, and a difficult-to-argue NC-17 rating could make it harder, as French director Abdellatif Kechiche has predicted, to find a calm, neutral zone in which to watch Blue is the Warmest Color, his Palme d’Or–winning adaptation (with co-writer Ghalya Lacroix) of Julie Maroh’s 2010 graphic novel Le Blue Est une Couleur Chaude. But once you’ve committed to the three-hour runtime, it’s not too difficult to tune out all the extra noise and focus on a film that trains its mesmerized gaze on a young woman’s transforming experience of first love. (2:59) Clay, Shattuck, Smith Rafael. (Rapoport)

Blue Jasmine The good news about Blue Jasmine isn’t that it’s set in San Francisco, but that it’s Woody Allen’s best movie in years. Although some familiar characteristics are duly present, it’s not quite like anything he’s done before, and carries its essentially dramatic weight more effectively than he’s managed in at least a couple decades. Not long ago Jasmine (a fearless Cate Blanchett) was the quintessential Manhattan hostess, but that glittering bubble has burst — exactly how revealed in flashbacks that spring surprises up to the script’s end. She crawls to the West Coast to “start over” in the sole place available where she won’t be mortified by the pity of erstwhile society friends. That would be the SF apartment of Ginger (Sally Hawkins), a fellow adoptive sister who was always looked down on by comparison to pretty, clever Jasmine. Theirs is an uneasy alliance — but Ginger’s too big-hearted to say no. It’s somewhat disappointing that Blue Jasmine doesn’t really do much with San Francisco. Really, the film could take place anywhere — although setting it in a non-picture-postcard SF does bolster the film’s unsettled, unpredictable air. Without being an outright villain, Jasmine is one of the least likable characters to carry a major US film since Noah Baumbach’s underrated Margot at the Wedding (2007); the general plot shell, moreover, is strongly redolent of A Streetcar Named Desire. But whatever inspiration Allen took from prior works, Blue Jasmine is still distinctively his own invention. It’s frequently funny in throwaway performance bits, yet disturbing, even devastating in cumulative impact. (1:38) Opera Plaza, Vogue. (Harvey)

Captain Phillips In 2009, Captain Richard Phillips was taken hostage by Somali pirates who’d hijacked the Kenya-bound Maersk Alabama. His subsequent rescue by Navy SEALs came after a standoff that ended in the death of three pirates; a fourth, Abduwali Abdukhadir Muse, surrendered and is serving a hefty term in federal prison. A year later, Phillips penned a book about his ordeal, and Hollywood pounced. Tom Hanks is perfectly cast as Phillips, an everyman who runs a tight ship but displays an admirable ability to improvise under pressure — and, once rescued, finally allows that pressure to diffuse in a scene of memorably raw catharsis. Newcomer Barkhad Abdi, cast from an open call among Minneapolis’ large Somali community, plays Muse; his character development goes deep enough to emphasize that piracy is one of few grim career options for Somali youths. But the real star here is probably director Paul Greengrass, who adds this suspenseful high-seas tale to his slate of intelligent, doc-inspired thrillers (2006’s United 93, 2007’s The Bourne Ultimatum). Suffice to say fans of the reigning king of fast-paced, handheld-camera action will not be disappointed. (2:14) Elmwood, 1000 Van Ness, SF Center, Sundance Kabuki. (Eddy)

Cloudy With a Chance of Meatballs 2 (1:35) SF Center.

The Counselor The reviews are in, and it’s clear Ridley Scott has made the most polarizing film of the season. Most of The Counselor‘s detractors blame Cormac McCarthy’s screenplay, the acclaimed author’s first that isn’t drawn from a prexisting novel. To date, the best film made from a McCarthy tale is 2007’s No Country for Old Men, and The Counselor trawls in similar border-noir genre trappings in its tale of a sleek, greedy lawyer (Michael Fassbender) who gets in way over his head after a drug deal (entered into with slippery compadres played by Brad Pitt and Javier Bardem) goes wrong. Yes, there are some problems here, with very few unexpected twists in a downbeat story that’s laden with overlong monologues, most of them delivered by random characters that appear, talk, and are never seen again. But some of those speeches are doozies — and haters are overlooking The Counselor‘s sleazy pleasures (many of which are supplied by Cameron Diaz’s fierce, feline femme fatale) and attention to grimy detail. One suspects cult appreciation awaits. (1:57) Metreon. (Eddy)

Dallas Buyers Club Dallas Buyers Club is the first all-US feature from Jean-Marc Vallée. He first made a splash in 2005 with C.R.A.Z.Y., which seemed an archetype of the flashy, coming-of-age themed debut feature. Vallée has evolved beyond flashiness, or maybe since C.R.A.Z.Y. he just hasn’t had a subject that seemed to call for it. Which is not to say Dallas is entirely sober — its characters partake from the gamut of altering substances, over-the-counter and otherwise. But this is a movie about AIDS, so the purely recreational good times must eventually crash to an end. Which they do pretty quickly. We first meet Ron Woodroof (Matthew McConaughey) in 1986, a Texas good ol’ boy endlessly chasing skirts and partying nonstop. Not feeling quite right, he visits a doctor, who informs him that he is HIV-positive. His response is “I ain’t no faggot, motherfucker” — and increased partying that he barely survives. Afterward, he pulls himself together enough to research his options, and bribes a hospital attendant into raiding its trial supply of AZT for him. But Ron also discovers the hard way what many first-generation AIDS patients did — that AZT is itself toxic. He ends up in a Mexican clinic run by a disgraced American physician (Griffin Dunne) who recommends a regime consisting mostly of vitamins and herbal treatments. Ron realizes a commercial opportunity, and finds a business partner in willowy cross-dresser Rayon (Jared Leto). When the authorities keep cracking down on their trade, savvy Ron takes a cue from gay activists in Manhattan and creates a law evading “buyers club” in which members pay monthly dues rather than paying directly for pharmaceutical goods. It’s a tale that the scenarists (Craig Borten and Melisa Wallack) and director steep in deep Texan atmospherics, and while it takes itself seriously when and where it ought, Dallas Buyers Club is a movie whose frequent, entertaining jauntiness is based in that most American value: get-rich-quick entrepreneurship. (1:58) California, Embarcadero, 1000 Van Ness, Piedmont, Sundance Kabuki. (Harvey)

Delivery Man Twenty years ago David Wozniak (Vince Vaughn) “put love in a cup” 600-plus times to finance a family trip to Italy. His mother was sick, his father couldn’t afford it, and with time running out, David embarked on a harebrained scheme to make (a lot of) “it” happen. The sperm bank that paid him $23K for his “seed” overused it, and 18 years later he has 533 kids, 143 of which are on a hunt to find their biological father, “Starbuck.” (This also the name of the 2011 Canadian comedy on which Delivery Man is based.) With a premise this quirky you’ll have a hard time finding something to hate, even if this is technically a film about runaway jizz. This heartwarming Thanksgiving release isn’t really appropriate for youngsters (unless you’re been trying to find a entrée to explain sperm banks) but the way Delivery Man deals with the seemingly limitless generosity contained in each of us is both touching and inspiring. Maybe David’s contribution to “Starbuck’s Kids” doesn’t obligate him to reveal his identity, but he’s desperately attached, and goes embarrassingly far outside his comfort zone to interact. The kids’ emotional stake in this is murky, but the way their search for identity finds a voice in tune with the current tech-confident yet socially-confused younger generation could make Delivery Man relevant to more generations than X or Y. (1:45) Elmwood, Four Star, 1000 Van Ness, Presidio, SF Center. (Vizcarrondo)

Ender’s Game Those entering Ender’s Game in search of homophobic threads or politically unsavory themes will likely be frustrated. After all, Orson Scott Card — once a board member of the National Organization for Marriage, and here serving as a producer intent on preserving the 1985 novel that netted him acclaim — has revisited what was initially a short story multiple times over the years, tweaking it to reflect a new political climate, to ready it for new expedient uses. Who knows — the times are a-changin’ fast enough, with the outcry of LGBT activists and the growing acceptance of gay military members, to hope that a gay character might enter the mix someday. Of course, sexuality of all sorts is kept firmly in check in the Ender‘s world. Earth has been invaded by an insect-like species called the Formics, and the planet unifies to serve up its best and brightest (and, it’s implied, most ruthless) young minds, sharpened on first-person-shooters and tactical games, to the cause of defeating the alien “other.” Andrew “Ender” Wiggin (Asa Butterfield) is the knowing hybrid of his sociopath brother Peter (Jimmy Pinchak) and compassionate sister Valentine (Abigail Breslin) — of the trinity, he’s “the One,” as Han Solo, I mean, Harrison Ford, cadet talent-spotter and trainer Colonel Graff, puts it. Ender impresses the leather off the hardened old war horse, though the Colonel’s psychologically more equipped cohort Major Anderson (Viola Davis) suspects there’s more going on within their chosen leader. Director-screenwriter Gavin Hood demonstrates his allegiance to Card’s vision, valorizing the discipline and teamwork instilled by military school with the grim purpose and dead serious pleasure one might take in studying a well-oiled machine, while Ender is sharpened and employed as a stunningly effective tool in a war he never truly conceived of. This game has a bit more in common with the recent Wii-meets-Rock ‘Em Sock ‘Em Godzillas of Pacific Rim than the winking, acidic satire of Starship Troopers (1997), echoing a drone-driven War on Terror that has a way of detaching even the most evolved fighter from the consequences of his or her actions. The question is how to undo, or rewrite, the damage done. (1:54) 1000 Van Ness, SF Center. (Chun)

Free Birds (1:31) Metreon.

Gravity “Life in space is impossible,” begins Gravity, the latest from Alfonso Cuarón (2006’s Children of Men). Egghead Dr. Ryan Stone (Sandra Bullock) is well aware of her precarious situation after a mangled satellite slams into her ship, then proceeds to demolition-derby everything (including the International Space Station) in its path. It’s not long before she’s utterly, terrifyingly alone, and forced to unearth near-superhuman reserves of physical and mental strength to survive. Bullock’s performance would be enough to recommend Gravity, but there’s more to praise, like the film’s tense pacing, spare-yet-layered script (Cuarón co-wrote with his son, Jonás), and spectacular 3D photography — not to mention George Clooney’s warm supporting turn as a career astronaut who loves country music almost as much as he loves telling stories about his misadventures. (1:31) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

The Hunger Games: Catching Fire Before succumbing to the hot and heavy action inside the arena (intensely directed by Francis Lawrence) The Hunger Games: Catching Fire force-feeds you a world of heinous concept fashions that’d make Lady Gaga laugh. But that’s ok, because the second film about one girl’s epic struggle to change the world of Panem may be even more exciting than the first. Suzanne Collins’ YA novel The Hunger Games was an over-literal metaphor for junior high social survival and the glory of Catching Fire is that it depicts what comes after you reach the cool kids’ table. Katniss (Jennifer Lawrence) inspired so much hope among the 12 districts she now faces pressures from President Snow (a portentous Donald Sutherland) and the fanatical press of Capital City (Stanley Tucci with big teeth and Toby Jones with big hair). After she’s forced to fake a romance with Peeta (Josh Hutcherson), the two watch with horror as they’re faced with a new Hunger Game: for returning victors, many of whom are too old to run. Amanda Plummer and Jeffrey Wright are fun as brainy wackjobs and Jena Malone is hilariously Amazonian as a serial axe grinder still screaming like an eighth grader. Inside the arena, alliances and rivalries shift but the winner’s circle could survive to see another revolution; to save this city, they may have to burn it down. (2:26) Balboa, California, Cerrito, Marina, Metreon, 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Vizcarrondo)

Jackass Presents: Bad Grandpa (1:32) Metreon.

Kill Your Darlings Relieved to escape his Jersey home, dominated by the miseries of an oft-institutionalized mother (Jennifer Jason Leigh) and long-suffering father (David Cross), Allen Ginsberg (Daniel Radcliffe) enters Columbia University in 1944 as a freshman already interested in the new and avant-garde. He’s thus immediately enchanted by bad-boy fellow student Lucien Carr (Dane DeHaan), a veteran of numerous prestigious schools and well on the road to getting kicked out of this one. Charismatic and reckless, Carr has a circle of fellow eccentrics buzzing around him, including dyspeptic William S. Burroughs (Ben Foster) and merchant marine wild child Jack Kerouac (Jack Huston). Variably included in or ostracized from this training ground for future Beat luminaries is the older David Kammerer (Michael C. Hall), a disgraced former academic who’d known Carr since the latter was 14, and followed him around with pathetic, enamored devotion. It’s this last figure’s apparent murder by Carr that provides the bookending crux of John Krokidas’ impressive first feature, a tragedy whose motivations and means remain disputed. Partly blessed by being about a (comparatively) lesser-known chapter in an overexposed, much-mythologized history, Kill Your Darlings is easily one of the best dramatizations yet of Beat lore, with excellent performances all around. (Yes, Harry Potter actually does pass quite well as a somewhat cuter junior Ginsberg.) It’s sad if somewhat inevitable that the most intriguing figure here — Hall’s hapless, lovelorn stalker-slash-victim — is the one that remains least knowable to both the film and to the ages. (1:40) SF Center. (Harvey)

Last Vegas This buddy film may look like a Bucket List-Hangover hybrid, but it’s got a lot more Spring Breakers in it than you expect — who beats Vegas for most bikinis per capita? Four old friends reunite for a wedding in Vegas, where they drink, gamble, and are confused for legendary men. Morgan Freeman sneaks out of his son’s house to go. Kevin Kline’s wife gave him a hall pass to regain his lost sense of fun. Kline and Freeman trick Robert De Niro into going — he’s got a grudge against Michael Douglas, so why celebrate that jerk’s nuptials to a 30-year-old? The conflicts are mostly safe and insubstantial, but the in-joke here is that all of these acting legends are confused for legends by their accidentally obtained VIP host (Romany Malco). These guys have earned their stature, so what gives? When De Niro flings fists you shudder inside remembering Jake LaMotta. Kline’s velvety comic delivery is just as swaggery as it was during his 80s era collaborations with Lawrence Kasdan. Douglas is “not as charming as he thinks he is,” yet again, and voice-of-God Freeman faces a conflict specific to paternal protective urges. Yes, Last Vegas jokes about the ravages of age and prescribes tenacity for all that ails us, but I want a cast this great celebrated at least as obviously as The Expendables films. Confuse these guys for better? Show me who. (1:44) Elmwood, Marina, Metreon, 1000 Van Ness. (Vizcarrondo)

Nebraska Alexander Payne may be unique at this point in that he’s in a position of being able to make nothing but small, human, and humorous films with major-studio money on his own terms. It’s hazardous to make too much of a movie like Nebraska, because it is small — despite the wide Great Plains landscapes shot in a wide screen format — and shouldn’t be entered into with overinflated or otherwise wrong-headed expectations. Still, a certain gratitude is called for. Nebraska marks the first time Payne and his writing partner Jim Taylor weren’t involved in the script, and the first one since their 1996 Citizen Ruth that isn’t based on someone else’s novel. (Hitherto little-known Bob Nelson’s original screenplay apparently first came to Payne’s notice a decade ago, but getting put off in favor of other projects.) It could easily have been a novel, though, as the things it does very well (internal thought, sense of place, character nuance) and the things it doesn’t much bother with (plot, action, dialogue) are more in line with literary fiction than commercial cinema. Elderly Woody T. Grant (Bruce Dern) keeps being found grimly trudging through snow and whatnot on the outskirts of Billings, Mont., bound for Lincoln, Neb. Brain fuzzed by age and booze, he’s convinced he’s won a million dollars and needs to collect it him there, though eventually it’s clear that something bigger than reality — or senility, even — is compelling him to make this trek. Long-suffering younger son David (Will Forte) agrees to drive him in order to simply put the matter to rest. This fool’s mission acquires a whole extended family-full of other fools when father and son detour to the former’s podunk farming hometown. Nebraska has no moments so funny or dramatic they’d look outstanding in excerpt; low-key as they were, 2009’s Sideways and 2011’s The Descendants had bigger set pieces and narrative stakes. But like those movies, this one just ambles along until you realize you’re completely hooked, all positive emotional responses on full alert. (1:55) Albany, Embarcadero, Piedmont. (Harvey)

Running From Crazy Can one ever escape one’s toxic genetic legacy, especially when one’s makeup, and even one’s genius, is so entangled with mental illness, the shadow of substance abuse, and a kind of burden of history? Actor, author, healthy-living proponent, and now suicide prevention activist Mariel Hemingway seems cut out to try, as, eh, earnestly as she can, to offer up hope. Part of that involves opening the door to documentarian Barbara Kopple, in this look at the 20th century’s most infamous literary suicide, Mariel’s grandfather Ernest Hemingway, and just one of his familial threads, one full of lives cut deliberately short. For Running From Crazy, Kopple generally keeps the focus on Mariel, who displays all the disarming groundedness and humility of the youngest care-taking, “good” child. Her father, Ernest’s eldest son, Jack, regularly indulged in “wine time” with his ailing wife and, according to Mariel, had a pitch-black side of his own. But we don’t look to closely at him as the filmmaker favors the present, preferring to watch Mariel mountain climb and bicker with her stuntman boyfriend, meet up with her eldest sister Muffet, and ‘fess up about the depression that runs through the Hemingway line to her own daughters. Little is made of Mariel’s own artistic contributions in acting, though Kopple’s work is aided immeasurably by the footage Mariel’s rival middle sister Margaux shot for a documentary she planned to do on Ernest. Once the highest paid model in the world, Margaux leaves the viewer with a vivid impression of her brash, raw, eccentric, and endearingly goofy spirit — she’s courageous in her own way as she sips vino with her parents and older sister and tears up during a Spanish bull fight. Are these just first world problems for scions who never hesitated to trade on their name? Kopple is more interested in the humans behind the gloss of fame, spectacle and sensation — the women left in the wake of a literary patriarch’s monumental brand of masculinity and misogyny. And you feel like you get that here, plainly and honestly, in a way that even Papa might appreciate. (1:40) Smith Rafael. (Chun)

Thor: The Dark World Since any tentacle of Marvel’s Avengers universe now comes equipped with its own money-printing factory, it’s likely we’ll keep seeing sequels and spin-offs for approximately the next 100 years. With its by-the-numbers plot and “Yeah, seen that before” 3D effects, Thor: The Dark World is forced to rely heavily on the charisma of its leads — Chris Hemsworth as the titular hammer-swinger; Tom Hiddleston as his brooding brother Loki — to hold audience interest. Fortunately, these two (along with Anthony Hopkins, Natalie Portman, Idris Elba, and the rest of the supporting cast, most of whom return from the first film) appear to be having a blast under the direction of Alan Taylor, a TV veteran whose credits include multiple Game of Thrones eps. Not that any Avengers flick carries much heft, but especially here, jokey asides far outweigh any moments of actual drama (the plot, about an alien race led by Christopher Eccleston in “dark elf” drag intent on capturing an ancient weapon with the power to destroy all the realms, etc. etc., matters very little). Fanboys and -girls, this one’s for you … and only you. (2:00) Balboa, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

12 Years a Slave Pop culture’s engagement with slavery has always been uneasy. Landmark 1977 miniseries Roots set ratings records, but the prestigious production capped off a decade that had seen some more questionable endeavors, including 1975 exploitation flick Mandingo — often cited by Quentin Tarantino as one of his favorite films; it was a clear influence on his 2012 revenge fantasy Django Unchained, which approached its subject matter in a manner that paid homage to the Westerns it riffed on: with guns blazing. By contrast, Steve McQueen’s 12 Years a Slave is nuanced and steeped in realism. Though it does contain scenes of violence (deliberately captured in long takes by regular McQueen collaborator Sean Bobbitt, whose cinematography is one of the film’s many stylistic achievements), the film emphasizes the horrors of “the peculiar institution” by repeatedly showing how accepted and ingrained it was. Slave is based on the true story of Solomon Northup, an African American man who was sold into slavery in 1841 and survived to pen a wrenching account of his experiences. He’s portrayed here by the powerful Chiwetel Ejiofor. Other standout performances come courtesy of McQueen favorite Michael Fassbender (as Epps, a plantation owner who exacerbates what’s clearly an unwell mind with copious amounts of booze) and newcomer Lupita Nyong’o, as a slave who attracts Epps’ cruel attentions. (2:14) California, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. (Eddy) *

 

From the ground up

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arts@sfbg.com

DANCE Conceptual French choreographer Jérôme Bel thrives on conversation. Sometimes, he participates directly, as he did in Pichet Klunchun and Myself, in which he and Thai dancer Klunchun talked on stage. Performed at Yerba Buena Center for the Arts in 2009, the piece enchanted me with its daring theatricality and enraged me with its faux naïveté. Pichet was both sturdy like a rock and evanescent like a passing thought.

Bel has made it his task to ask questions and shake up concepts around performance. It’s the lingua franca in today’s academia, but Bel is an artist. After stripping away the hoopla around art making, what are we left with? What do we as an audience expect? What is a performer, both from our and his or her perspective? Is there room for virtuosity, or is that something to hide behind? Marcel Duchamp asked similar questions in the visual art realm 100 years ago; choreographer Pina Bausch engaged with them for most of her career.

Two performances during Stanford University’s current Festival Jérôme Bel opened a perspective on the way Bel deals with his dissecting knife — with utter skill, and yet also with a smile and an easy mind. Bel may not like creating steps for his performers because he wants to see the moving body stripped down to its laconic essence. Yet he is one hell of a choreographer.

As a backbone and a trajectory for his The Show Must Go On (presented at Stanford’s Memorial Auditorium Nov. 13), Bel — actually, his assistants — chose 20 non-dancers, plus a few professionals to spice up the mix. They gave them a series of Bel-chosen popular music selections on which to develop movement material; the songs often skirted that tenuous line between sentiment and sentimental.

The dancers carried themselves anonymously, looking as they would if you were to encounter them on the street. But at the musical cue, they jumped into action with individualized physical responses. Yet the parameters were as tightly set as anything you might want to see on a ballet stage. These performers may have appeared untrained, but they had 55 hours of rehearsal to look as ordinary as they did.

Much of Show’s appeal arose from its simple, even simpleminded sense of humor of acting out song lyrics — normally, an absolute taboo in dance. For “Let the Sunshine In,” the stage lights came up; for “La Vie en Rose,” the audience was bathed in rose hues; during “Private Dancer,” the DJ jumped into the limelight. You could feel the audience gradually relax into the setup. (I fully expected some to join in on “Macarena.“) But they needed more time. When the volume of “The Sound of Silence” repeatedly dropped off, the audience’s humming filled in the gap; they had entered the performance. Toward the end, each dancer expressed a piece of individually chosen music, heard over a headset. In the back, a group belted out “We Are the World,” while downstage, French-born Muriel Maffre croaked out a hoarse “Born in the USA” and Jesselito Bie moaned “Oops … I Did It Again.” Perhaps most surprising was that for all its easy viewing and entertainment values, The Show Must Go On rode on an undercurrent of wistfulness and melancholy.

On Nov. 18, the festival moved to the beautifully appointed Bing Concert Hall. It was not a good decision. Sitting toward the front center, I had to strain to hear former Merce Cunningham dancer Cédric Andrieux’s contemplation on both the man and the dancer called Cédric Andrieux. After the performance, I spoke with other audience members and learned that they’d also had difficulty following the dancer. Cédric Andrieux is an intimate show; it belonged into a more supportive environment.

Performances exist in time, and Andrieux (with Bel?) controlled every last second of his: the way he made eye contact with us and paced his narration; the time he took to change clothes or reenact a painful modeling gig. His life, loves, and professional stories became part of him, whether he danced excerpts from Cunningham or contrasting ones by Trisha Brown. He complained about the tediousness of a Cunningham class, yet he looked gorgeous in the exercise. His regret about “not ever getting it right” — which eventually he admitted to having figured out — was contradicted by what he showed. Awkwardness and difficulties are as part of art as they are of life. I think most artists know that; Andrieux showed it. *

PICHET KLUNCHUN AND MYSELF (A FILM)

Mon/2, 7:30pm, $10-20

Bing Concert Hall

Stanford University, Palo Alto

live.standford.edu

THE THINGS I HAVE DONE WITH DANCE: A CONVERSATION WITH JÉRÔME BEL

Tue/3, 11am, free

Pigott Theatre, Memorial Hall

Stanford University, Palo Alto

events.stanford.edu