Bay Guardian Archives Archives — Page 134 of 1098 — San Francisco Bay Guardian Archive 1966

Sanctioned for sound violations, club owner fires ethics charge back at Entertainment Commission

Sasha Cuttler

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May 22, 2013

Sanctioned for sound violations, club owner fires ethics charge back at Entertainment Commission

The San Francisco Entertainment Commission last night voted to restrict the hours, sound limits, and other operating conditions for Brick & Mortar Music Hall — the Mission Street live music venue that has received a series of noise complaints from its neighbors on Woodward Street — until it completes soundproofing work to deal with the problem.

While acknowledging the sound problem and pledging to address it, club co-owner Jason Perkins responded to the action today with a written complaint that makes a serious allegation: that Entertainment Commission inspector Vajra Granelli last year recommended Brick & Mortar hire an overly expensive security company he founded, Yojimbo Protective Services, and that would solve the problems it was having with the commission, Perkins wrote, “an obvious conflict that a person who is regulating us is also trying to get us to use his company.”

There is no proof that Granelli actually made the extortionary suggestion or that it was connected to the club’s current problems with its neighbors, who seem to have legitimate issues with noise. “They have a sound problem and they have to deal with it,” Entertainment Commission Executive Director Jocelyn Kane told us, calling the allegation against Granelli a diversionary tactic that has nothing to do with the case. “The neighbors are being reasonable, they just want them to fix the sound.”

Yet it does appear that Granelli is still involved with Yojimbo Protective Services, which he co-founded in 2003 to do security for entertainment venues, and that may violate city conflict-of-interest rules against outside employment in an industry that he regulates. Kane said Granelli was out-of-town and that she would get him a message about addressing the issue, but we never heard from him.

When we called Yojimbo for Granelli, someone who identified himself as Ed the CEO (presumably co-founder Edward Cissel) said, “I can take a message for him. He’s not usually here at the office.” And when I identified myself as a reporter for the Guardian, Ed said of Granelli, “He has little or nothing to do with the daily interactions of this company.”

Yet Granelli (who was profiled by the Examiner last year) remains the agent of service on the company’s business permits. Kane said she was aware of Granelli’s connnection to Yojimbo, but that, “When he took this job, he divested himself.” Indeed, on the Form 700 Statement of Economic Interests that city employees are required to complete, which Granelli renewed last month, he claims to have no reportable outside economic interests. A link to a list of clients and description of its focus on entertainment venues on the Yojimbo website has recently been removed.

Later, when we noted that Granelli still appears to be involved with the company, Kane wrote, “It remains my understanding that Vaj Granelli sits on the Board of Yojimbo but derives no financial benefit from the company, nor is responsible for any day to day operations.”

Perkins alleges that last summer, “I was told I had a security problem by Vaj Granelli,” who recommended he hire Yojimbo shortly after the club received its first of seven noise violation citations, which Granelli issued. Perkins said that when Granelli made the suggestion again following another noise complaint in October — by which time Perkins said he had learned of Granelli’s connection to the company — “I blew up and told him to fuck off, and immediately we start getting hammered by complaints.”

During the hearing last night, the commission had little patience or sympathy for Perkins, accusing him of misrepresenting his neighborhood outreach efforts and creating problems in the neighborhood by refusing the spend the necessary money on soundproofing the club, a perspective supported by several Woodward neighbors who testified they could hear music in their living rooms and that Perkins has resisted their entreaties to fix the problem.

“Rather than doing it, I believe you’ve used delay tactics,” Commission President Audrey Joseph told him, urging him to instead, “Be a big boy and just deal with the problem, which is what you need to do.”

The commission then voted unanimously to recondition the club’s entertainment permit to require it to close at 11:30pm on weeknights and 12:30am on weekends, cap its allowed outside sound at 80 decibels, provide a direct phone number to neighbors with complaints, and complete necessary soundproofing work by next month.

“We got sucker-punched last night, it’s so unfair,” Perkins told us, noting that the new sound limit will essentially prevent them from hosting live music. He claims that he was only recently made aware of some of the noise citations and they have repeatedly upgraded their soundproofing.

Kane denies that Brick & Mortar has been treated unfairly, and she said that it’s a popular music venue that everyone involved wants to see continue operating. As for Granelli’s connection to Yojimbo Protective Services, she told us, “I’m not suggesting he’s not affiliated, I’m just saying it’s not relevant.”

Activists’ zine documents violent arrests at SF State

Sasha Cuttler And Mary Magee

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May 22, 2013

8

Emotions ran high at San Francisco State University on May 21, where a group of activists held a rally decrying police officers’ excessive use of force in an incident that occurred last Thursday, May 16. Five arrests were made that night outside a student dormitory. YouTube videos showing police officers tackling the arrestees to the ground, as onlookers cry out in dismay, have drawn thousands of hits.

The five young people were arraigned May 21 and face charges of misdemeanor trespassing, with some facing additional charges of resisting and obstructing an officer. Resham MacFarlane, a friend of the arrestees who accompanied them to the university, said they had all been on campus as guests of SF State students who reside in the dorm.

Officially, the arrests were made by San Francisco State University Police Department. However, individuals who were at the scene told the Bay Guardian that SFPD officers were responsible for injuring several arrestees to the point of requiring them to be transported off the scene by ambulance. According news reports, a campus police officer also sustained minor injuries.

At the rally yesterday, supporters of the five arrestees distributed a zine they’d created to document the events, including detailed descriptions of the injuries sustained. Melissa Nahlen, 25, reportedly wound up with “cuts near her eyes, a bruised and swollen lip, a swollen left hand … and cannot bend her neck downward due to being stomped on by the police.” Since she cannot afford to hire an attorney, Nahlen is being represented by the San Francisco Public Defender’s Office.

Another arrestee, Carlos Cruz, was transported from the scene in an ambulance and brought to a hospital before being taken to jail at 850 Bryant. Cruz was reportedly released yesterday, May 21. During the arraignment hearing, the court appointed defense attorney Stuart Hanlon to represent him, since he was unable to afford an attorney, and the San Francisco Public Defender’s Office cannot legally represent multiple co-defendants.

“Carlos almost immediately received a blow to the head after being told he was trespassing,” according to activists’ written account. He was “Hit on head multiple times … Large bruise on shoulder, swollen wrists, loss of feeling in his thumb and forefinger in his right hand, bruises all over shins and knees, laceration on ear.” MacFarlane, a friend of Cruz’s, said that when she visited him in jail “he had a bruise on his sternum.”

Reached by phone, SFPD spokesperson Albie Esparza said he could not offer detailed comment on the incident because it was under SF State’s jurisdiction. “It’s not our investigation,” Esparza said. “We made no arrests. It would be inappropriate to comment on someone else’s jurisdiction.” SFPD only responded at the behest of SF State, he said, and were called in because “it was a chaotic scene.”

Nan Broadman, a spokesperson at SF State, said campus police initially reported to the dorm because “an unidentified caller said a drunk male was harassing passersby” outsidethe building. A friend of the arrestees noted that they had been drinking earlier on that night. Broadman said a police report for the incident was not publicly available, and did not know whether a formal investigation of officer misconduct was underway.

MacFarlane and another friend of the arrestees, who gave her name as Natasha Noel, both said the trouble started when Cruz and a friend went outside to smoke a cigarrette and encountered police, who immediately pursued them upstairs into the dormitory. The physical clash between officers and arrestees is reflected in the YouTube videos, which Natasha recorded with her cell phone. Someone pulled the fire alarm during the incident, and the building was evacuated.

A day earlier, on May 15, SFPD’s tactical unit conducted an early morning raid at an abandoned building at 200 Broad Street, where some 30 people had been living for months. Esparza said the building’s owner initally contacted police for assistance with removing the squatters. Because the abandoned building had been occupied for so long, police sought guidance from the San Francisco City Attorney’s office as to whether they should proceed, since it was unclear whether the squatters’ presence constituted a civil, or criminal matter. The City Attorney ultimately determined that because it wasn’t a residential property, they could be removed on criminal trespassing charges rather than evicted in a civil proceeding.

A handful of those squatters, including Cruz, MacFarlane, Nahlen and some others, wound up making their way to friends’ dorm rooms at SF State. The arrests occurred just hours after their arrival on campus, according to MacFarlane.

A detailed narrative included as part of the zine notes that the squatted building was known as “the SF Commune, a community center and social space for organizers in the Ocean View district of the city.” According to this account, squatters took over the property, which had been abandoned for several years, in April of 2012. “The building was filled with needles, broken glass, and buckets of human feces. The group worked for weeks cleaning up the building, moving out all the hazardous materials and disposing of them properly, and turning the building into a livable home and organizing space.”

MacFarlane said she had been staying at the squat. “I had another place to stay, but I chose to stay at the commune,” she explained, adding that she found it to be a positive and constructive atmosphere. “There was lots of music and art every day.”

For No God’s Sake

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May 22, 2013

21

The nightmarish aftermath of the Moore, Oklahoma EF-5 tornado is in rebuilding and rebounding mode. People are digging out of the mess. Survivors located. Businesses re-opening.

And the stories emanating from the Prairie are running the gamut. From heart warming to predictably dire. The human spirit seems both undaunted and inexplicable.

But because the world we live in now has around the clock news cycles and a plethora of channels devoted to same, sometimes the mavens of media reveal themselves to be a sorry lot. So was the case of Wolf Blitzer–a CNN talking head of much experience–and his interview with a local named Rebecca Vitsmun whose response to a question posed by Blitzer threw him.

Blitzer asked Vitsmun if she thanked the Lord for presumably sparing her life and that of her baby. She replied (nervously) that she didn’t as she was an atheist, quickly adding that she didn’t blame people that did.

It was quick and she was good humored about it. But there’s something really rancid about Blitzer’s question. The subtext isn’t theological or even sociological. It’s bigotry–Oklahoma is a deeply religious state with an enormous Evangelical community, so Blitzer assumed without asking that this woman must be one of those people.

This is no different than asking someone with an Irish surname what beer they drink, or a Mexican their favorite recipe for salsa or any number of stereotypes. The presumption that this woman is religious without asking (did the same question arise in New Jersey after Sandy?) pigeonholes Oklahomans as one-dimensional fanatics.

If you are a person over a certain age (40 say), ask yourself if newsmen asked these questions in our long gone youths. They didn’t. It would have been seen as trivial, leading and out of place. But because our culture has been “Tebowed” to death by loud public declarations of fealty to the Lord, this kind of piffle is not only manistream, it’s encouraged.

The moment passed, but it seems to have ignited the standard back and forth over the existance of a God or not. Not the issue (although asking someone whose home was razed if they thank the presumable force behind the razing does seem a little absurd). Religion is a matter of faith, conjecture and wishful thinking/culture. The news is supposed to be facts. I know that Blitzer has to filibuster to fill space, but c’mon, man–everything has its place.

Week One

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May 22, 2013

79

I took this gig a week ago—multiple posts a week, basically a news-based version of what I did for the SFBG in the 90’s. It’s already kicking my ass, as the old “PISSED” columns were once a week and based in music. This is way tougher and way more gratifying. Thanks.

But I have to admit that, as much as I love doing this gig, the last 7 days have brought back to me one of the most vexing and confounding quandaries I have ever pondered, one that’s baffled me for the last 30 years or so. One that is as bizarre as any aspect of human nature or psychology is anywhere, one that makes less sense than a Soundgarden lyric: Why on God’s green earth do people with barely a pot to piss in go to war with the same ferocity as the Navy Seals went after Bin Laden on behalf of their actual enemies, the wealthy?

In every blog post, be they Redmond’s, mine, Steve’s–whomever’s–the valiant members of the 82nd Chairborne Divison swing into battle on behalf of San Francisco’s–or the world’s–landed gentry. And always up against (and with corresponding vitriol) people that are pretty much exactly like them. The dispossessed are generally screwed by the powerful. Their allegiance should be to Occupy or even to moderate mainstream pols, but instead goes to the folks whose machinations lead to tax breaks and bailouts and favors for “the private sector” or directly fuck them over even worse by pricing them out of SF’s whopping 49 square miles and leading to exhorbitant rents or mortgages and as such, exodus to the wilds of Stockton, Modesto or Lodi.

You’d think that something as benign as rent control would have the full thumbs up from people who really don’t want to have to pull up stakes when their neighborhoods become the Pacific’s Manhattan. Or that the idea that the City make deals with the Facebook/Twitters of the world that means that the city’s tax base is strained rather than expanded would enrage them. But a cursory scan of these pages reveal that the commenter’s target for ire isn’t that whose boot is aimed straight at their asses, but at the handful of people bucking a trend that began in the early 80’s–people that point out (and mildly at that) that quality of living in SF is endangered when the City devolves into a playpen for rich software developers that don’t want to pay for the City’s perks. Actually, the inchoate rage is aimed at anyone that suggests that “all it takes is pulling oneself up by the bootstraps/poor people are lazy” is one of the most painfully naive worldviews in history.

Even more incredible is the reflexive defense of the non-renewable energy industry and their toxic twin (sorry Steve/Joe), the insurance business. As if by divine right and a Mt. Sinai-esque proclamation from Jehovah himself, these allegedly private (but completely government dependent entities) businesses may as well graze on the banks of the Ganges according to the website’s keyboard commandos, because these people “create wealth” and “give people good jobs”. Neither of those are true–the plutocrats of today remove wealth and as far as a job being a gift, if the gift in question tends to be a mind numbing, stress laden drag, where’s the return window? Wealth creation comes from “velocity of money” and a job is a contract fulfillment by a party that agrees to do something for money that the money bearer doesn’t wanna do.

But anything–anything that remotely resembles a rebuke aimed at today’s version of Jay Gould–gets an immediate slapdown from people whose endless online activity suggest marginal employment at best and a free ride from family or government at worst. The sheer silliness of this can never be understated, much like a wage earner hating a labor union and siding with the same boss that keeps their pay low, hours long and blood pressure astronomical from fear–but as anyone with a grasp of history recognizes, the terrified serf or Tory is always easy prey from a feudal lord or aristocrat. The demon you know beats the one you don’t. And so it goes.

My boss ain’t my friend. He or she is my boss. Kissing up to them isn’t gonna pry love, respect or (most importantly) cash out of them–me defending their avarice or skeeviness isn’t gonna make them regard me as an ally, but as a sucker. Doesn’t seem right that all that affection that you bestow upon them is never reciprocated, but as the great poet D Byrne said in 1980, “same as it ever was”.

Love, Johnny.

PG&E can’t survive solar energy

Zelda Bronstein

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May 22, 2013

33

Years ago, in the middle of the boom in nuclear power plants, we used to say, only half in jest, the private utilities would never accept solar energy because you can’t put a meter on the sun. Turns out that’s pretty close to true.

A new report by The Energy Collective argues that Pacific Gas and Electric Company may be the first utility in the country to go under — because of competition with cheap solar in sunny California. Once solar becomes competitive with PG&E, more and more customers will install panels, forcing PG&E to raise rates on the remaining customers, who will then have even more reason to go solar. The groundwork is already there:

PG&E’s marginal prices cannot compete with solar. Large residential customers pay 31¢-35¢/kWh [kilowatt-hour], the same prices that cause the solar revolutions in Hawaii and Australia. Even worse, according to PG&E, “By 2022, PG&E’s top residential rate could reach 54 cents.” Residential customers represent about 40 percent of PG&E’s retail electric revenue. Commercial customers experience high rates, too. Unlike residential customers, who need a commercial third party to own the solar panels to take advantage of the accelerated depreciation, commercial customers can keep that advantage for themselves, making solar more financially attractive. Commercial customers represent about 46 percent of PG&E’s retail electric revenue.

If it happens soon, it will happen here:

“There is nowhere else in the U.S. with the same confluence of events,” says Short: “High and rising marginal prices, good sunshine, and inability to respond to changed competitive circumstances. If ever an electric utility was set up to fall to solar, it is PG&E.”

This is a great argument for promoting CleanPowerSF (and a good explanation for why PG&E wants to kill it), and shows the need for an eventual municipal takeover of the grid, because even with widespread solar, there’s going to be a need to power to move around between generators and users at different times of the day. And if PG&E is headed for collapse, the city ought to be able to get the infrastructure cheap.

The Performant: Dare to DIVA

Andrew Lam

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May 22, 2013

0

A yearly performance fest supports XX creatives

Spring is in the air, and so is DIVAfest, the EXIT Theatre’s annual celebration of female artists and theater-makers. Founded in 2002 by Christina Augello to give female creators a secure space to showcase their craft, DIVAfest has hosted an estimated 500 participants have come through in the last 11 years, from visual artists (Sophie Kadow, Kathy Jo Lafreniere, Michelle Talgarow) to playwrights (Kerry Reid, Lee Kiszonas, Margery Fairchild) to music-makers (Beth Wilmurt, Shannon Day, Carrie Baum Love), to burlesque dancers (Odessa Lil, Red Velvet, If-N-Whendy). This year, the fest hits the stage May 9-June 2.

If the idea of having such a space sounds redundant or unnecessary to you, I refer you to Valerie Weak’s excellent piece at Theatre Bay Area on gender parity which breaks down, in unambiguously hard numbers, exactly how wide the underrepresentation gap is between male and female theater artists in the Bay Area of the moment. Or consider this recent observation made by Lindy West in an open letter to white male comedians: “women are 50 percent of the population, yet when it comes to our interests and grievances, we’re treated like a niche group.” Sound familiar? If you’re a woman in the arts, or practically anywhere else in the public sphere, then it probably does.

So it’s heartening to see DIVAfest not just thriving, but expanding its scope and mission. Now in its 11th year, DIVAfest has morphed into its own stand-alone, non-profit organization, in the process of developing a year-round season and artist incubation opportunities in addition to producing the annual festival, which Augello envisions as having the potential to someday go national.

“Festivals are great because … there is power in numbers to create more work and draw more audience,” she muses over email. “New companies have been born out of coming together, (and) networking and artistic collaboration also thrive.” Those would be staple side effects of the now-venerable San Francisco Fringe Festival, also co-founded by Augello, in 1992.

This year’s festival, which runs through June 2, presents as broad a spectrum of works as ever, including a new play, You’re Going to Bleed, by Melissa Fall, a staged workshop of an interconnected “modular” play The Helen Project, by Megan Cohen and Amy Clare Tasker, a storytelling-short works showcase and a performance art one, curated respectively by Catherine DeBon and Erica Blue, a songwriter evening hosted by Melissa Lyn, and a burlesque cabaret, Rebel Without a Bra, directed by Amanda Ortmayer.

Education and outreach being very much a part of the DIVA experience, theater-goers and makers will also have the opportunity to dialogue with each other and a panel of Bay Area creators including Valerie Weak, Fontana Butterfield Guzmán, and Susannah Martin at the “Yeah, I said Feminist” symposium on Saturday, May 25, from 3pm to 6pm.

And what exactly is a DIVA, apart from its original descriptor of a celebrated opera singer, or a slang term for an impossible pop star? Augello, who expresses a fondness for all of her fellow DIVAs, past and present, has a definition at the ready, which can be applied to pretty much every artist who has passed under the festival’s auspices over the years.

“A DIVA is a self-realized artist … committed to creativity, with a passion that endures the successes and failures and learns from them to become a better artist and human being.” Long may they thrive!

DIVAfest

Through June 2

Various times and prices

EXIT Theatre

156 Eddy, SF

www.divafest.info

Tour of duty

Andrew Lam

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May 21, 2013

0

arts@sfbg.com

THEATER Audience members entering the drill court of the Mission Armory and climbing the bleachers to their seats do so amid the buzzing drone of Highland music and an eager swarm of searchlights, all of it punctuated by booming pre-show announcements over the PA. When silence falls at last, a solitary man in jeans and leather jacket emerges a bit sheepishly from a doorway at the far end of the stage. Appearing small and inconsequential against the stadium-like surroundings and the preceding pomp and circumstance, he stutters a few opening lines before returning to his element — the local pub in Scotland’s Fife. There he assumes wholly different proportions, as he and his friends relay their own perspectives on the spectacle of war.

In Black Watch, the touring revival of a site-specific 2006 production by the National Theatre of Scotland (currently being presented by American Conservatory Theater), writer Gregory Burke and director John Tiffany set out to present a spectacle grounded in real lives. To that end, they blend fictionalized scenes with the accounts of young Fife veterans who served in Iraq as part of Scotland’s famed 300-year-old Black Watch regiment.

Meanwhile, the show employs a hybrid theatrical form that draws equally on the conventions of the music hall, the docudrama, and physical theater. The stage is a wide and busy corridor running between two tall banks of seats, with scaffolding on either end where actors also play, video monitors flicker, and large video projections are sometimes cast.

This is the production’s fourth international tour, remarkably. But despite its continued popularity abroad, little in it seems especially surprising or penetrating. There’s a lot of brash dialogue (hyper-macho, casually chauvinistic, expletive-laden soldierly banter in slightly toned-down Scottish brogues); some muscular dance routines (with the martial drills the most interesting); a sometimes affecting, sometimes overbearing musical score; and a few flashy staging ideas (including an eerily unexpected entrance in the barroom).

But whether the play is offering gritty realism or stylized interpretation, the message is generally and familiarly on-the-nose: war seems glamorous to the young man back home, and hell to the soldier in the field; soldiers are sold out by politicians; and soldiers don’t fight for their country or some high ideal, but for less abstract ties and especially for their fellow soldiers. The lies, illegality, and massive unpopularity surrounding the Iraq War is also hardly new ground in itself — though one line rings with unintended irony in the Armory setting (where Kink.com has been in residence since 2007) when a Scottish officer (Stephen McCole) jokingly admits the war is being waged for “petrol and porn.”

The narrative toggles between the aforementioned pub — where Cammy (Stuart Martin) and his fellow vets somewhat grudgingly and aggressively divulge their experiences to a timid middle-class Writer (Robert Jack) — and a flashback to the daily drudgery and danger of Iraq in 2004, where the company’s assignment in support of devastating American military assault on Fallujah leads to the death of three Scottish soldiers in a suicide car bombing. There’s also a segue into a somewhat silly if historically relevant recruitment scene at the outset of World War I, which further convolutes a narrative already burdened with details about political machinations at home and distress over “amalgamation” (the British government’s ill-timed decision to dissolve the Black Watch and fold it into a single, cheaper Royal Scottish Regiment).

The play never represents Iraqi lives or perspectives, nor is there more than passing sympathy for them among the characters; this is instead a work focused squarely on the Scottish soldier’s experience and, most significantly, the molding of that experience by a state reliant on a voluntary military. In a world of limited and dispiriting options, the military opportunistically and very successfully offers young men a seeming basis for pride in themselves and in an inflated (or degraded) masculine ideal. Black Watch is itself successful in those rare moments where sentimental spectacle gives way to images that register the profound, uneasy, and complex implications of this fact.

BLACK WATCH

Through June 16

Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm, $100

Drill Court, Armory Community Center

333 14th St, SF

www.act-sf.org

Talkin’ loud

Andrew Lam

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May 21, 2013

0

arts@sfbg.com

MUSIC “Tastemaker” is a word that gets thrown around enough to be meaningless. Anyone can share a track on Facebook or attempt social apotheosis via Twitter, most likely to find that Pitchfork reposts get drowned in the echo chamber and Do415 accounts are D.O.A. Not everyone can be Gilles Peterson, a DJ in every sense. Whether in a club, as a compiler of obscurities, or as a pirate radio turned BBC radio personality and interviewer, when Peterson plays a song, people actually listen.

“It’s been to my benefit, but I just find that many radio DJs are so conservative about programming.” Peterson combines a continental eclecticism picked up from French radio, the underground approach of ’80s UK pirate stations, and “a kind of British pop, feeling-part-of-a-movement way of playing records.” As a result, as a DJ on BBC’s Radio 1 for more than a decade and now on BBC Radio Six Music, he’s frequently been at the head of the movement, with a reputation for playing artists before they were “famous.”

“Whether it’s James Blake, or Amy Winehouse, or the Roots — such incredible music — people weren’t playing it because they weren’t being told it was good. For me it all landed on my plate, so I was like, yeah man, I’ll play that, this is real good.”

Still, Peterson is quick to recognize where something slipped through his filter, telling me “Burial is a good example of an artist I never played, until a long way down the line. It was a little bit too avant garde for a lot of people, and it was the media, the journalists who really broke that, and then a lot of DJs, myself included, reacted to being tipped off.”

With more conventional radio jocks — tasked with chasing trends and setting up artists owned by a subsidiary of their parent company — it could be too late by that point, on to the next flavor of the week. But Peterson selects tracks with an exceptional disregard for genre or era. Soul and acid jazz may be his standards, but a given playlist goes well beyond, drawing connections in natural but not obvious ways. A recent episode of the syndicated Gilles Peterson Worldwide, a tribute to late great soul jazz trumpeter Donald Byrd, included a slick remix of the easy to Google Glaswegian electro pop Chvrches, a rare Prince related cut, and a bit of Johnny Hammond, for starters.

The next big thing is great, but Gilles is as much on the lookout for rare grooves. “I still go around to people’s houses and do crazy swaps, or spend 200 pounds on a rare seven-inch. That’s probably my biggest vice, apart from smoking and drinking and everything else that I do.” Frequently re-releasing these finds on compilations on labels including his own Brownswood Recording, the effect can be huge for the original artist, as it did for an obscure Bay Area soul singer a few years back. “I bought Darondo’s ‘Didn’t I’ as a rare record and started playing it. It was kind of like an Al Green track, but not by Al Green,” Gilles recounted. “I had quite a good connection with Andrew Jervis who was working at Luv ‘N Haight/Ubiquity at the time. He picked up on the fact that I was playing it, and then he went out and obviously found out Darondo was living in San Francisco, and it was great to see he got rediscovered.” As a result, more material from Darondo was released, and seeing the singer at a show at the Rickshaw Stop in ’07, I couldn’t help but feel it wouldn’t have happened without Peterson’s influence.

A club DJ, Peterson has overseen wave after wave of dance music trends, counting himself among a certain class of pre-1988 DJs — the year of the acid house explosion in the UK. As he puts it, he was “one of those guys who was spinning in 1981 on pirate radio stations and playing six nights a week in 1985 at every club in London.” Today that seniority (and no shortage of opportunities to be heard on radio or online) comes with an ability to be more selective of the venues and appearances he makes outside Europe, generally sticking to New York and L.A. “It’s not just about turning up and playing randomly for money. I’ve been doing this for more than 30 years now so the pleasure for me is more the social interaction and the fun. I hate when it becomes a chore or its just kind of forced.”

Given the years since his last SF appearance, I was curious how he viewed recent trends, namely the monolithic rise of EDM in the US. “For the first time in America, after many many years seems, it’s made it properly nationwide, a mainstream part of music. Whereas before, dance music in whatever form was always very fringe, it was always very gay or very specialist.”

A self-described contradiction, with an ear for both the mainstream and the underground, Peterson is most “fascinated by seeing, especially at the moment, this new generation of British producers, predominately what you’d call the bass music scene, people like James Blake, Mount Kimbie, and Mala,” all artists he supported early on, when they were emerging beat makers. “To see them now becoming hugely important in not just underground music but contemporary music makes me very proud,” Gilles said. “The more high quality people working at the high end level, the more exciting that is. For every David Guetta you have a Hudson Mohawke. Basically, that’s dance music.”

GILLES PETERSON “BAY AREA EDITION”

With Jeremy Sole, Wiseacre, Jonathan Rudnick, Sweater Funk DJs

Fri/24, 9pm-3am, $20-25

Public Works

161 Erie St., SF

(415) 932-0955

www.publicsf.com

Björkphilia

Andrew Lam

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May 21, 2013

0

MUSIC Can you even recall your first run-in with the mythic, boundary-less creature that is Björk? Perhaps it was bounding through the neon blue forest with tiny crystals underneath her eyes as a giant paper-mache bear chased her through Michel Gondry’s video for “Human Behaviour,” off 1993 solo album Debut. Or maybe it was poised for the tabloids in an elegant swan dress, holding a large egg purse and preening for the worst dressed lists at the ’01 Academy Awards after her devastating performance in Dancer in the Dark (2000). Those long obsessed will likely point to first hearing ’88’s “Birthday” by the Sugarcubes, her early Icelandic act (post teenage punk bands), on international radio.

Whenever — and however — it went down, it left a lasting impression, the stunning shock of that otherworldly voice tends to permeate memories. Solo, Bjork has long coupled that voice with innovation, always grasping at new objects and sounds, or as she described it to me in conversation, she’s “like a kid in a toy shop.”

Her latest triumph was Biophilia, the ’11 album that paired science, nature, iPads, Tesla coils, and tinkling church bells. Since its release, she’s hopped the planet with her sonic education in tow, spreading pixie dust and learning tools at schools and museums along the way. Next up, she’ll play a trio of shows at the Craneway Pavilion in Richmond (Wed/22, Sat/25, and Tue/28). Also during that time, her Biophilia Education Program comes to the Exploratorium, which means interactive workshops exploring connections between music and technology, Wed/22 through Tue/28.

In her unassuming but confident way — with the most endearing accent I’ve ever heard — the avant-pop megastar opened up to the SF Bay Guardian about her song writing process (yes, there’s a new project in the works), early punk career, natural musicology, and how to keep it all DIY:

SF Bay Guardian How did you initially come up with idea to include apps for every song on Biophillia?

Björk It started in 2008. I wanted to use touch screens…though the iPads weren’t out ’till 2010 or something. But I’d been using touch screens on my Volta tour, but more just to perform on stage. When I started doing Biophillia, I was very determined that I wanted to write with [touch screens], not just perform. That’s when I started to map out, to visualize. I had to decide, what did I want to hear on the touch screen when I’m writing this song. That sent me back to my own music education as a child, when I felt the way they explained scales and rhythms and those basic musicology themes, was way too academic. It was like reading a book to learn to dance.

Music is something that doesn’t work that well in the written word, you know? Especially not explaining to kids. So I started making my own map…this is how I would I like to have scales and this is how I would like to have chords and this is how I would like to have arpeggios and this is how I would like to have counterpoint, and so on. This project became naturally educational. I was kind of like, repairing my own education. I was trying to cover what I thought was lacking when I was in music school. In that way, I was able to share it.

We [created] a different program for each song. For example, one song would feature arpeggios, and then I would pick an actual element that would be the simplest way for a kid to understand what an arpeggio is, to visualize it. So we took a pendulum to explain counterpoint, a little bit like how church bells swing back and forth, and that’s like a bass line that swings.

I wrote 10 songs and we did different programs for each song, and it came together using natural elements. For example, one song is called is called “Crystalline” and there are crystals kind of growing as the song changes.

In 2010, when we were programming this and were kind of almost done, the iPad arrived, so we were like, ‘wow!’ It’d be silly just to record these songs and put them on a CD because we’d already written all these programs, we might as well share the programs, and put them with some more poetic, natural things — the moons, the tides, things like this. It was a very gradual thing.

SFBG And now it’s been brought in to educate children at schools throughout Iceland, but also there are related events where you’re touring, as well?

Björk It differs from city to city. So far it’s been in Manchester, Iceland, New York, Buenos Aires, and Paris, and now it’s going to be in California. Some places, like for example, New York Library and the Children’s Museum of Manhattan, took on the curriculum for a few months, and the middle school of Reykjavik, the 10 to 12-year-olds, they have it now in their curriculum for the next three years. It’s looking like it’s going to go to more countries. It sort of keeps growing.

SFBG It seems like you’ve long been ahead of the curve, as far as creating music with new technology, is that something you grew up with as well?

Björk I’m actually really bad with technology. I think that’s why I’m so excited about, for example, the touch screen, because it’s like I waited until technology caught up with me, for it to be simple enough. You have your imagination, and whatever helps you express yourself, I’m all for it, if it’s the violin or piano or singing. Or what has been really helpful for me, since I started doing my own solo albums, the computer has made me a lot more self-sufficient. I guess that comes from being in bands for 10 years, where things are more democratic. It was always drums and bass and keyboards and guitars in every single song [laughs], which is great. But then when I started doing my own album, I was like a kid in a toy shop, I wanted to have every single noise. And this is great, using the computers to do this yourself. It’s quite empowering, especially for a girl. You don’t have to go through this whole hierarchy of whatever, you can just be self-sufficient.

SFBG Some of your early groups were punk bands [Tappi Tíkarrass, and KUKL, which toured with Crass], I was wondering how you discovered punk as a teen, and ended up working with Crass?

Björk I was hanging out with kids that were older than me, like the other guy who used to sing in the Sugarcubes and another guy who was friends with Crass. They played our country, and then we would go and visit them at their farm [Dial House in Essex], and for me what was most important was that one of the bands that was on Crass’ label, a band called Flux of Pink Indians, had a bass player called Derek Birkett and he helped the Sugarcubes release their first album, just from his bedroom. And he’s my manager still today. So I’ve worked with him for like, 30 years now.

It’s pretty much DIY, especially now when the labels are not really functional like they used to be. It’s pretty much just three of us that do most of my stuff.

SFBG Do you have any other long-term goals with Biophillia, or are you working on your next project?

Björk I think I will be doing that on the side, but when it comes to writing my own stuff, I always like the first couple of years to be kind of mysterious. It’s important to play around in the dark, blind-folded, not really knowing what you’re doing. Biophillia was very much like that the first two years, it was very intuitive and impulsive and having no idea what would come out of it. And I’m at that stage with my next album. I really enjoy that. As much as it’s rewarding when [an album] first sees the daylight, I think I even enjoy more the first half of the process, when it’s all still a mystery.

SFBG Were you living in New York during the early playing stage of Biophillia? It seems to have a real connection to natural elements, and science, so I assumed you were in Iceland?

Björk I’ve been living half the year in New York and half in Iceland. I think Biophillia addresses my life in Iceland and the financial crises in a direct way because it’s sort of very DIY. And one of my first dreams was that Biophillia would be a music house and each room would be a song — eventually these rooms became the apps. But it might be that we would be able to go back and make a musical house in Iceland that would serves also as a children’s’ museum and we would use one of the buildings that got kind of half-built in the financial crises and create jobs that way.

But also Biophillia is also about urban areas, because you could stay connected with the moon through your iPad, or to nature and natural structures with your phone.

SFBG My time is almost up but may I ask a few of your favorite things? Like your favorite songs currently, or music that’s helping inspire you creatively now?

Björk At the moment I’ve been listening to the new James Blake album a lot. These things change all the time!

SFBG Favorite mythological story or creature?

Björk I like Icelandic mythology, there’s a lot of amazing tales there.

SFBG And a favorite tour snack?

Björk Um, I like berries.

SFBG Any kind in particular?

Björk Mmmm, no, I like all of them.

BJÖRK

Wed/22, Sat/25, Tue/28, 8:30pm, $75

Craneway Pavilion

1414 Harbour Way, Richmond

www.craneway.com

Friendly spirits

Andrew Lam

-

May 21, 2013

0

culture@sfbg.com

COCKTAILS In San Francisco, there’s a bar for practically every situation. Feeling high-class yet mysterious? Bourbon and Branch is right up your alley. Colorful and trendy? Go to Trick Dog. If you need to drown your sorrows in the dark, there are plenty of dive bars ready to pour you a heavy-handed drink.

But if you’re just looking for a well-made cocktail in friendly spot after work, let me introduce you to Southside Spirit House, the newest bar to hit SoMa.

Greeted by a chalkboard sign declaring “Whiskey. It’s what’s for dinner,” I walked into the then-week-old spot with no expectations. Despite working in the neighborhood, I don’t really frequent many SoMa bars for some reason. And I’d never been to nightclub Eve Lounge, which closed down earlier this year when the owners decided to transform the space as a casual, happy hour bar with an emphasis on solid cocktails.

I was instantly at ease with the space. The wooden floors, tables and walls would send chills down any rustic atmosphere-lover’s spine, and the three or four TVs lining the walls ensure sports fans won’t miss key plays. Most important, one look at the robustly stocked bar told me I could feel confident knowing the bartenders could make any drink I desired. I mixed into the crowd of 20- and 30-somethings — all pretty much dressed like they walked right in after work, like myself — and made my way to the bar for a cocktail.

I ordered a Torero en Llamas ($11), a Corralejo Blanco tequila drink with a float of absinthe. The bartender described it as a deconstructed margarita. As I took photos of the bartender at work preparing it (and waved off others at the bar asking if I worked for 7×7), the bartender quickly said “No, wait. Wait for this.”

He then lit a match and set my drink on fire.

Now I know this is a common trick used in dive bars practically everywhere. But we’re not talking about a shot of 151 here. This drink was in a coup glass for Christ’s sake. As I sat there, with the lime in my glass set aflame, I almost didn’t want to blow it out in order to take a sip. When I finally tried the drink, the bartender was right. It tasted like a margarita without the overt salty, beachy flavor.

Then my friend Tim showed up. Being new to the old-fashionedy artisan cocktail scene (his usual drink is Liquid Cocaine), I advised him to try an ever-trusty Old Fashioned ($11), here made beautifully. We grabbed our cocktails from the bar and easily found two stools in a sweet little corner below some Transformer-eque art work.

While Time was telling me stories about bong hits, his new jeans, and Japanese card games, I kept eyeing the small dishes circling the bar — tiny sets of sliders that made me regret having a big lunch. Tim nursed his Old Fashioned, clearly not used to such a strong classic, while I tried not to gulp down the remainder of my own drink.

Next up: I ordered the Maiden Lane while, to my disappointment, Tim declined a second round for himself. (I haven’t given up on converting him to the artisan trend.) While we continued chatting about work and love, the attentive staff routinely checked back with us until my drink arrived.

Served in a mason jar, The Maiden Lane — Bulleit bourbon, strawberries, housemade ginger syrup, agave, lemon juice — is perfect for a sunny day, but probably not for drinkers like myself who aren’t huge fans of ginger beer. I quickly drank that cocktail, seeing that even though I was with company, I was drinking alone.

After paying our tab and taking a closer look at the beautiful art on the walls, we were bid farewell at the door by a quote from W.C. Fields:

“Always carry a flagon of whiskey in case of snakebite. And furthermore, always carry a small snake.”

Cheers to that.

575 Howard, SF. (415) 543-5874, www.facebook.com/SouthsideSF

Let’s dance

Andrew Lam

-

May 21, 2013

1

cheryl@sfbg.com

FILM Noah Baumbach isn’t exactly known for romance and bright-eyed optimism. Co-writing 2009’s Fantastic Mr. Fox with director Wes Anderson is maybe the closest to “whimsy” as he’s ever come; his own features (2010’s Greenberg, 2007’s Margot at the Wedding, 2005’s The Squid and the Whale, 1997’s Mr. Jealousy, and 1995’s Kicking and Screaming) tend to veer into grumpier, more intellectual realms. You might say his films are an acquired taste. Actual declaration overheard at this year’s San Francisco International Film Festival: “Am I going to see Frances Ha? Ugh, no. I can’t stand Noah Baumbach.”

Haters beware. Frances Ha — the black-and-white tale of a New York City hipster (Baumbach’s real-life squeeze, Greta Gerwig) blundering her way into adulthood — is probably the least Baumbach-ian Baumbach movie ever. Owing stylistic debts to both vintage Woody Allen and the French New Wave, Frances Ha relies heavily on Gerwig’s adorable-disaster title character to propel its plot, which is little more than a timeline of Frances’ neverending micro-adventures: pursuing her nascent modern-dance career, bouncing from address to address, taking an impromptu trip to Paris, visiting her parents (portrayed by the Sacramento-raised Gerwig’s real-life parents), “breaking up” with her best friend. It’s charming, poignant, it’s quotable (“Don’t treat me like a three-hour brunch friend!”), and even those who claim to be allergic to Baumbach just might find themselves succumbing to it.

Frances Ha marks the second film to feature a dance subplot for Gerwig, after Whit Stillman’s 2011 Damsels in Distress. (She also appeared in Greenberg but is probably best-known for her mumblecore oeuvre: 2008’s Baghead; 2007’s Hannah Takes the Stairs.)

“I love dancing,” she admitted on a SFIFF-timed visit to San Francisco. “I was never a professional, but I danced a lot growing up and I still go to dance class whenever I can. I don’t think there’s enough dancing in movies.”

Like Frances, she studied modern dance in college. “I did this kind of modern dance called release technique. A big component of it is learning how to fall. It’s connected to bouncing back from the ground, or giving into the ground — letting everything flow. It’s a beautiful way to dance, and the dance company that [Frances] wants to be a part of, that’s the kind of dance that they do,” she said. “I also thought it was this incredible metaphor for life: learning how to fall, because you’re going to. At first, as you’re learning how to do it, you get terribly banged up — and then at some point you just are falling and it’s not hurting you anymore.”

Though much of Frances Ha, which was co-scripted by Baumbach and Gerwig, is about its protagonist’s various relationship struggles, there’s another less-expected theme: class warfare (a mild version of it, anyway). Frances scrambles to pay her $1200 rent — previously, she’s seen paying $950 a month to sleep on a couch — while her housemate, who comes from a wealthy family and spends his days noodling on spec scripts, casually mentions the necessity of hiring a maid service. You know, for, “like, 400 bucks a month.”

“We didn’t set out to make a movie about class, specifically,” Gerwig noted. “But I think typically Americans have a lot of trouble talking about class, or even acknowledging that it exists. It operates on a really subtle level. You get out of college and you suddenly realize that some people are paying off loans, and some people aren’t. It can be hard to talk about. I’m very inspired by Mike Leigh’s movies, where it’s always there in the background. I felt like I wanted to have it in the movie, and Noah felt the same way, too.”

Later that day, Baumbach elaborated on the same thought. “Economics were really going to influence a lot of what Frances does, because the movie was structured by finding a home, lack of a home, constant movement,” he said. “Her economic reality had to be a huge component of her story.”

Frances Ha captures twentysomething ennui with the same honesty Baumbach deployed in Kicking and Screaming, though there are some key differences: the Kicking and Screaming guys were mere months post-graduation, while Frances, who is 27, is more removed from college — whether she wants to admit it or not. “It didn’t feel like the exact same territory, but I was aware that it was kind of addressing some of the stuff that I was addressing back then,” Baumbach said. (Not coincidental, one presumes, is the cameo in Frances Ha by Kicking and Screaming star Josh Hamilton.)

Though he won’t cop to naming his main character after, um, France, Baumbach does admit that the country’s films (he points specifically to works by Truffaut, Rohmer, and Carax) have had a strong influence on him as a director, and on Frances Ha in particular.

“I think [for these filmmakers], the joy of making the movie is somehow evident in the movie itself,” he said. “Sometimes, that can be annoying! But the rush you get from it, you can just feel, like, the pleasure of movies. With Frances Ha, I wanted to push that, and do things like have her run down the street [while David Bowie’s ‘Modern Love’ plays on the soundtrack]. Just go for it, because the movie really could hold it. I think a lot of [the films that inspired me] have that. And because a lot of the music is borrowed from those movies, it feels even more like a clear connection.”

FRANCES HA opens Fri/24 in Bay Area theaters

MEM.DAY

Andrew Lam

-

May 21, 2013

0

marke@sfbg.com

SUPER EGO What good is freedom if we don’t toss a wig on it?

FAG FRIDAYS

The incredibly fun, superfriendly gay party is back, now monthly at DNA Lounge — bigger diggs, hotter hotness, giant bass, and, best of all, more fags. Also: Prince of NYC house Quentin Harris (my favorite producer of the ’00s) and DJ David Harness to set the spirits of the dancefloor aflame.

Fri/24, 10pm-very late, $10 before midnight. DNA Lounge, 375 11th St., SF. www.dnalounge.com

FREAKY-DEAKY

“Put on the weirdest shit you can find in your costume box. Regardless, come dance your ass off!” says party host Broke-Ass Stuart. Free Ike’s sandwiches and Hey Cookie! cookies, too.

Fri/24, 10pm-2am, $5. Showdown, 10 Sixth St., SF. www.brokeassstuart.com

AZARI & III

Canadian duo Azari & III are acid sex. LA hottie Lee Foss is tech house bliss. Legendary Todd Terry is king of cuts. They will all be there at the Lights Down Low seventh anniversary bash. CAN U PARTY?

Sat/25, 9pm-3am, $22. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

OSUNLADE

The deep house sage from Greece is doing some serious shit on a spiritual level.

Sat/25, 10pm-4am, $20. Mighty, 119 Utah, SF. www.mighty119.com

DJ DEEP

A super-rare appearance by the revered Paris groovemaster at the untouchable Stompy + Sunset all-day patio party tradition. He’s backed up by Detroit boy wonder Kyle Hall, who’ll take us somewhere real.

Sun/26, 2pm-2am, $10 before 5pm, $20 after. Cafe Cocomo, 650 Indiana, SF. www.pacificsound.net

MAGIC MOUNTAIN HIGH

One of my favorite deep techno DJs, Move D of Germany, has teamed up with Juju and Jordash, wonderfully oddball Israeli improvisational jazz-house duo, to form this live act. I have a feeling with this much smarts in the room, it’s gonna be amazing. With the As You Like It party crew.

Sun/26, 9pm-4am, $15 before 10pm, $20 after. Monarch, 101 Sixth St., SF. www.monarchsf.com

SIXXTEEN

Annual rock ‘n’ roll fantasy-insanity at Cat Club with bad-ass characters in torn fishnets galore: DJs Jenny and Omar, Lady Bear, Jackie Sugarlumps, Princess Pandora, Carnita, Galene Modmoiselle, Creepy B, Union Jackoff, and a motley crew more.

Sun/26,10pm-3am, $10. 1190 Folsom, SF. www.sfcatclub.com

STEFFI

Treats! The fantastic Panorama Bar resident comes at us with the full force of her gorgeous, hypnotically muscular sound at Honey Soundsystem. Then at 2am, Honey moves down the street to Beatbox, driving into dawn with special secret guests for five dollars.

Sun/26, 10pm, $10. Holy Cow, 1535 Folsom, SF. www.honeysoundsystem.com

TWILIGHT CIRCUS DUB SOUND SYSTEM

For 25 years, dub wizard Ryan Moore of the Netherlands (psychedelic heads know him from Legendary Pink Dots) has blown minds with his reverberating soundscapes, pumping up classic ragga sound with sly wit and smokin’ updates. This is top sound, folks. Sun/26, 9pm-2am, $7–$10. Elbo Room, 647 Valencia, SF. www.dubmission.com

Growth potential

Andrew Lam

-

May 21, 2013

8

arts@sfbg.com

DANCE For all of the hype about the communicative power of social media, the energy that flows from one body to another has yet to be beat. Dancers know that. That’s why they keep searching for new ways to make this silent language speak.

The Garage on Folsom is one place where they do it; the studio is run on a first-come, first-served basis with a compulsory performance component, so a lot of what you will see there is unfinished. Yet the other night, two Finnish-born choreographers presented pieces as refined and polished as anything shown in bigger venues.

Another venue that fosters innovation is Yannis Adoniou’s Kunst-Stoff Arts, above a Burger King across from the San Francisco Main Library. It takes a more focused approach by inviting similarly-minded artists (who don’t care about the occasional whiff of fried food making its way upstairs). The recent opening of Kunst-Stoff Arts Fest 2013 showcased three choreographers who pushed the dancing body to the edge of what seems humanly possible.

But first, back to the Garage — where Raisa Punkki’s punkkiCo world premiere, Other Space, took command. Some lengths could be edited to keep the trajectory better on track. Also, the image of a dancer emerging from a kind of subterranean existence in the shape of a raincoat didn’t ring true. But overall, this quartet (for three women and one man) was finely crafted dance making that explored states of being with a rich, multi-faceted vocabulary and formal controls that allowed for flux and even spontaneity.

Other is designed along the concept of making connections that could be in unison pirouettes or jumbled limbs of labyrinthine complexity. Densely layered encounters gave way to stillness or something as simple as a walk or sitting quietly. The spatial thinking pulsated against the stage’s perimeter, enlarged in a couple of places by mirrors. For the most part the dancing was fierce and full out, yet still had room for small gestures: hands that turned into claws, fists that pushed the dancers into relevé and down again. The idea of balance — and lack thereof — lay below much of Other, sharply brought to life by Jennifer Meek, Sarah Keeney, Meegan Hertensteiner, and Derek Harris.

The Bay Area premiere of Alpo Aaltokoski’s 2004 astounding Deep showed a dancer who seemed to exist simultaneously inside and outside his body. Gaunt with a shaven head, he whipped himself into a tornado, engaged in turns that layered his body horizontally, and stretched his frame beyond his height only to squat again and again. Crawling, he looked pre-human; howling, he became Everyman. At one point, he was on all fours and sucked in his spine to turn his shoulder blades into wings. Yet none of these physical feats were self-serving; there were stories aplenty in them. Mila Moilnan’s subsequent video, based on Deep, felt like an afterthought.

First-week performances at the Kunst-Stoff Arts Fest included three works, two of them in progress, and clearly presented as such. What I saw made me want to follow them because both choreographers seemed to think intriguingly about time.

Christina Bonansea’s Floaters #2, set on identical twin dancers Michaela and Liane Burns with excellent live music by Zachary Watkins, started as an installation in the basement. At first resembling statues of saints, the silver-gowned women came to life, slithering and scraping. Upstairs, they ripped into waves of frenzy that threatened to tear them inside out.

For Portraiture, the forbiddingly prodigious Lindsey Renee Derry, as much a gymnast as a dancer, assembled a linear structure from thematically distinct solos that ranged from lyrical to ferocious. In the future, she wants to extend this trajectory by inviting other choreographers, perhaps to evoke something like Andy Goldsworthy’s Wood Line installation in the Presidio.

Adoniou and the gorgeous Constantine Baecher, a former Royal Danish Ballet dancer, paired up for The Excruciating Death of St. Sebastian. One is dark and older, the other blond and tall, so the tracing of their relationship started on a note of difference. Their give and take began intertwined, as if they were asleep, and grew into teasing and tenderness, shot through with exploration and exuberance. Finally, with the help of a cane, the piece moved into darker territory. My tolerance for watching pain — real or pretend, received or given — is just about zero. Still, this was fine work.

KUNST-STOFF ARTS FEST 2013

Through June 7, most events $10-$15

Kunst-Stoff Arts

One Grove, SF

www.kunst-stoff.org

NATIONAL QUEER ARTS FESTIVAL

May 31-July 3 (various curated events)

Garage

715 Bryant, SF

www.715bryant.org

Visit queerculturalcenter.org/NQAF for NQAF events at different venues.

The meaning of Manning

Andrew Lam

-

May 21, 2013

8

marke@sfbg.com

OPINION And so Pride has come to this: what began as a ragtag, radical potluck of perverts, fairies, and criminals (which is what we were in the early 1970s), celebrating the grassroots uprising that birthed the gay rights movement, is now a sleek, corporate-sponsored, multimillion dollar mega-event that refuses to engage with its own community.

From Stonewall to stonewalling. From protesting the Vietnam War and police oppression to “protecting” the military from any symbolic statement about its conduct or mismanagement during Iraq and Afghanistan. What’s going on?

“I live in a bubble, I guess I was naive when it came to how badly and inappropriately the Pride Board would react,” Joey Cain, the Radical Faerie elder and former Pride Community Grand Marshal who nominated Bradley Manning for the position, told me. (The full backstory of Wikileaker Manning’s election to grand marshal and the resulting firestorm? Here you are.) “Of course, I knew he was controversial — I hoped to bring more attention to him in the community at large and celebrate what he did. This is San Francisco, I thought it wouldn’t be a big deal.”

“When I heard he’d been elected, I smiled, shrugged, and went on with my day. I had no idea it would blow up like this,” said Tom Temprano, young president of the progressive Harvey Milk Democratic Club, whose monthly meeting last week became a de facto forum on Pride’s rescission of Manning’s election, after the Pride Board announced via Facebook that it was cancelling its scheduled public meeting and that “the discussion of that matter is closed for this year.”

Indeed, Pride’s own utter ineptitude in handling this situation would be hilarious if it didn’t smack so much of outright disdain for the community it represents. It’s as if Pride board president Lisa Williams and CEO Earl Plante, specifically hired to repair Pride’s nagging budgetary and communication problems, have clumsily ripped a page from the “War on Terror,” or the BP oil spill, or Too Big To Fail. Press lockouts, media blackouts, decision by fiat, a complete lack of transparency, internal investigations, contested elections, massive flip-flops, a widely known but officially unnamed staffer fired and bound by contract not to speak about the incident…. add to all that surreptitiously deleted Facebook comments and a wacky story about Plante disappearing for days throughout the whole controversy due to “hitting his head,” and you pretty much have Borat in the Bush War Room.

Calm down honeys, it’s just Pride. Pour yourself a Bud Light and chill.

Manning’s election probably would have been celebrated by most of San Francisco in the Wikileaks heyday of late ’00s, when the tech scene was still streaked with misfit visionaries and data libertarians, our mayor was given to spouting utopian pronouncements that caused national headscratching, and the anti-war protest energy of the Bush era hadn’t been completely subsumed by domestic economic concerns (or whatever happened to that energy).

And maybe a majority of locals don’t have any objection to Manning, a queer person who did something, being honored at Pride, if they know who Manning is. Yet to the rest of the country — and to some gay military organizations perhaps still traumatized by Don’t Ask Don’t Tell, who reportedly flooded Pride with calls demanding that Pride rescind the Manning election — the advances we’ve made in terms of assimilation and tolerance are like a fragile egg that must be protected at all costs.

Fear, not pride, is still the major motivator for many in the fight for gay rights. It’s as if any whiff of controversy, or as Pride put it in its initial statement rejecting Manning’s election “even the hint of support for someone [like Manning]” will immediately turn the clock back and we’ll all be thrown in jail for cross-dressing. This narrative of fear has certainly pervaded the national media. Even before I had heard of Manning’s election, I was fielding calls from nervous relatives who saw the news on CNN, saying the gay community “didn’t need all this bad press and in-fighting right now.”

But the fact that the national news was paying attention at all underscored our development in the media from a single gay stereotype that plays nice in order to get rewarded with “rights” into a diverse mass of individuals roiling with differing viewpoints. It also reinforced the radical potential of Pride: Hey, Bradley Manning was back in the news. Can we nominate Guantanamo next?

The rumblings about Pride becoming a corporatized, assimilationist machine have divided the queer community for years, with organizations like Gay Shame formed specifically to protest what they saw as Pride’s estrangement from its original purpose. On the other side, there was the constant clutching of pearls about what Pride’s images of “outrageous” drag queens, breast-baring Dykes on Bikes, and grinding, chaps-clad leathermen (how dare we embrace sex as part of our sexual orientation!) were projecting to the world, and how they were endangering our potential for broader acceptance.

And yet, every year, there they were: the leather daddy twirling his flags behind the PFLAG grandma from Punxsutawney, the thriftstore-diving queer activist booing the oily, shirtless muscle queens on the Stoli float, the half-naked, mohawked baby dyke grinning at the button-down Log Cabin Republican, all in one spot, representing every color of the LGBTMNOPQ rainbow. And here we are in 2013: Twelve states with legal gay marriage, gays serving openly in the military, a president pushing for the overturn of DOMA, and gay rights the cause célèbre du jour.

Haven’t both our outrageous courage to live outspoken lives and our touching familiarity as neighbors and fellow human beings been equal partners in our recent history?

“This is the first time that I know of that Pride has put its foot down and said to members of its own organization and community: ‘You are not welcome. Your choice is not valid,'” Cain said. “Even when they arrested members of Gay Shame [for rushing Gavin Newsom’s car at Pride 2003], the Pride Board went to the police and said, ‘Hey, you need to let these people go.’

“That’s what made Pride what it is today, the notion of radical inclusivity. That yes, we’re all different, and of course we don’t agree. We should be free to elect Bradley Manning, just as others should be free to elect someone some of us think should be hanged for treason, or what have you.” (One wonders what the reaction would have been if, say, gay-marriage advocate Dick Cheney had been elected Community Grand Marshal.)

“But we’re all somehow in the same boat,” Cain went on. “And that’s how we can continue to have these debates that drive us forward while celebrating the incredible diversity in the community.”

With the recent actions of the Pride board, however — and especially now that the military ban is lifted, same-sex marriage is within our grasp, and “gay” is becoming just another flavor of Americana — I have to wonder: are we still all in the same boat?

Fire fight

Andrew Lam

-

May 21, 2013

1

le.chicken.farmer@yahoo.com

IN THE GAME In a pink dress, with a pink hair tie and those little pink sneakers that light up every time you take a step, she dominated the Alameda High School hardwood. I’m going to guess she was three. How else to explain the dogged determination with which, time after time after time, she took aim at the far-away hoop, and with all her cute-little-cutey-pie might heaved the basketball to a point about a foot-and-a-half in front of her feet. Bounce, plop, and roll …

All around her, Alameda police and fire fighters were shooting jumpers, warming up for the second half of their game, entirely unfazed by li’l Pinkie, or any of the other children who had swarmed the court during the halftime raffle — and weren’t in any hurry to give it back to the grownups.

Pinkie took her shots from the top of the key. From the lane. From the foul line. She shot for two, and she shot for three, and though she never really managed to propel the ball more than a couple feet away from her self, she was on fire.

One jumper went about six inches in the air before coming back down and landing on her nose. But not even this could dampen her spirits. With a huge smile, and the forever blinking shoes, she went right back to work.

I want this! Not the child — although I’d take one — but the attitude. Yeah: there’s a thing I can’t possibly do but it sure is fun to try! . . . Maybe I’ll start a novel. Learn a new instrument, or language. Or, for that matter, basketball! A sport which has always eluded me. Because I am small, I have always said. But Pinkie changes everything.

I wonder if she’s had ACL surgery. Probably not. She’s three. But I’ll bet she would . . .

In one week I’ll be 50. My second-half goal is to do like her.

It took more than the ref’s whistle to clear the floor for the second half. Moms and dads had to come scoop up their kids. And I missed them, because the third quarter was sluggish.

Carl Rolleri, police officer, who had hit five of five three-pointers in the first half, came down to Earth and missed a shot. Jill Ottaviano, the game’s only female player, who had scored the first two points for the police, was on the bench. The fire department seemed a little burnt out. I speak from experience: half time will do that to you.

The score, 31-20 after two quarters, was only 37-26 at the end of the third. Not that it mattered who was winning — this was Alameda’s police and fire departments raising money for a whole slew of children’s programs — but the police were winning. Soundly, and from the get-go.

They had a mascot, an adorable pet pig named Charlie in a police hat and a fake mustache, who had been walked out onto the court before tip-off, and spent the rest of the game in a baby stroller, tormented by children.

They had a chant: “Let’s go pigs! Let’s go pigs!” . . .

They had a guy in a wig and one with hearts on his socks, and they had the game’s only woman.

But I was rooting for the fire fighters, because they had a boy cheerleader. And, for my money, that’s even braver than the many awesome picks I saw Ottaviano set against guys twice her weight.

The Alameda High Hornets cheerleaders cheered on the fire department, and the Jets from Encinal High cheered on the police. The Encinal squad had a couple of acrobats who went flipping across the court once or twice during breaks. Which seemed even more impressive later, when I overheard one of them tell the woman sitting next to me, “We have bad stomachaches from the sushi.”

Anyway, the game got interesting again in the fourth quarter. The fire department pulled to within two. (They might have tied it, but I think the scoreboard operator was just confused.)

It was 42-39, police, with two minutes left. What a comeback!

But, like the Celtics facing elimination against the Knicks earlier that Saturday afternoon, the Alameda Fire Department came on strong and came up short: 44-40 was the final.

We went and talked to Charlie the pig a little bit, but it wasn’t a post-game interview per se. Her owner, a friend of a police, was trying to redirect would-be petters away from the poor pig’s face.

“Pet him back here, sweetie,” she said to one of these children, explaining to me that the smell of cotton candy and such all over all the kids’ hands was “starting to confuse him.”

Who I really wanted to talk to was the little girl, Pinkie — but it was way past her bed time.

Thou Shalt Not Speak Ill Of The Lord God Oil

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May 21, 2013

31

Thou Shalt Not Speak Ill Of The Lord God Oil

Every Monday, Wednesday and Friday morning, I take a brutal boot-camp type class at the Hollywood YMCA here in LA. 45 minutes of sheer hell, but as these things are measured, surely worth it. I’ve been going for the last year and a half at the prodding and urging of my friend Stacy “Beano” Johnson, a lively and lovely woman and an ex-pat Okie from outside Tulsa. Yesterday, I walked in to find her strecthing and she seemed, as you would imagine, distraught. Her state is devastated. Despite downward revisions of casualties, at least 24 people were killed by the storm and the cost to insurers will be over 1 billion dollars. Luckily, none of her family or friends were among the dead or wounded.

Because we are 1) good friends and 2) I am by nature very inquisitve, I asked her if her people back there were putting some of the cause on this particularly violent and early in the year twister on man-made climate change. Beano turned kind of reddish and responded “hell yeah they do. And why wouldn’t they? Summers are getting hot as hell there and it feels like it’s headed to 120 degrees when we go back for vacation. I know damned well it is”.

She isn’t a scientist and is also a self-proclaimed “California liberal” (by way of disclaimer). But this is nothing new to anyone with kin in “flyover country”–my younger brother has been telling me for ten years that the farmers in “Tornado Alley” where he is in Western Illinois talk about the heating and extremes and the effect on crops–and, as Beano has said, why wouldn’t they? 2010 was one of the hottest years on record, another freak tornado devastated Joplin MO in 2011, a drought nearly destroyed the entire Midwest’s crop output last year and now this. Yes–this is where tornadoes happen and they have been happening forever. But scientists warned us that “weather patterns are going to get more extreme and more violent” as the planet heats up and yes it has, and according to 97% of said scientists, the culprit is fossil fuels.

That no peer-reviewed publication has said otherwise and that the only “scientists” that claim that the jury is out tend to be on oil company payrolls isn’t exactly a new revelation. But in Oklahoma, were any politician to claim that the destruction in Moore was because of man-made climate change, they’d be demolished in the next election like so many of the homes were a few days ago.

And why? Because oil is one of the state’s biggest employers, in refining and extraction and logistics. Koch is king in the Sooner State. And even though the average Okie is beginning to see the light, they are willing to look the other way when their livelihood is concerned–their jobs are, in a way, literally to die for.

It is disgusting and sad and vile, but as Louisiana governor Bobby Jindal could tell you, there’s no percentage to ever attack the mighty hand of the petro-oligarchy. Despite the cheapskate idiocy by British Petroleum that nearly ruined that state’s fishing and tourism industries, at no point did Jindal demand that BP pay for all the damage they’d wreaked.

And so the oil companies continue their version of bullshit, as their exec’s declare that to destroy the planet is “God’s will” and their paid shills in broadcasting claim zero culpability, the planet roasts and the people of Moore are wondering where they’re gonna live. And if you think this is just far fetched lefty hand wringing, even the almighty insurance industry knows climate change is real and are changing their rates accordingly. These people play the “life and death odds” for a living in actuarial tables. They know.

Meanwhile, Oklahoma’s two Republican senators are asking for the same federal aid that they denied to Jersey and New York, “God’s will” is again invoked (by America’s #1 publicity hound family) and no one dares speak the truth, that black gold and natural gas are slowly cooking its users and that these same people will battle renewable and clean power with every trick in their arsenal even as it makes their grand-kids lives sheer misery. You might say that the denial is as high as an elephant’s eye in O-kla-Homa……

Selector: May 22-28, 2013

Andrew Lam

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May 21, 2013

0

WEDNESDAY 22

God Loves Uganda

One of the most memorable docs to play this year’s San Francisco International Film Festival, Roger Ross Williams’ God Loves Uganda offers a remarkably all-access look at evangelical Christians who travel from America to Uganda. In Africa, these bright-eyed youths build medical clinics, teach school, and preach their ultra-conservative religion — directly influencing a rise in hate crimes and draconian anti-gay laws. To mark both Harvey Milk Day and the International Day Against Homophobia, American Jewish World Service and the Horizons Foundation host a screening of this important film. Since it’s bound to stir emotions (outrage is a big one), there’ll be a post-show discussion with human rights advocates and religious leaders. (Cheryl Eddy)

6pm, free (seating is limited, so RSVP is required)

SFJAZZ Center

201 Franklin, SF

gc.ajws.org/rsvpmaker/film-screening-god-loves-uganda

Shout Out Louds

My favorite songs by this Swedish pop group have clear antecedents in ’80s New Wave. With Our Ill WIlls (2007) opener “Tonight I Have To Leave It” singer Adam Olenius was a ringer for Robert Smith at his most ebullient (read: “Just Like Heaven”) and “Impossible” hit on the Human League and Simple Minds. It could be derivative, but with the Joy Division via Interpol meets the B-52s sound of “Glasgow” on its latest album Optica, the system the group has is working, particularly the sparkling production. Opening band Haerts seems a perfect match, as its slick debut single “Wings” sees the SOLs referent for referent, and adds in some Spandau Ballet and Stevie Nicks vocals to great effect. (Ryan Prendiville)

With Haerts

8pm, $19

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

THURSDAY 23

“A Gathering of Angels: opening event for Beat Memories“

Let’s get it out of the way: A picture tells a thousand words. Though this doesn’t exactly apply to Allen Ginsberg, whose poetry portrayed imagery as vividly as any picture could, the many photos he took capture a different dimension. While his words express a Beat mythology that continues to resonate, his pictures freeze isolated moments that bring the figures surrounding Ginsberg alive in a profound and intimate way. We see Kerouac smoking coolly against a brick wall in 1953, then again in 1964, frowning and slumped in a chair; there’s Burroughs up close in a dark room, and Corso in an attic. The photos, beautiful works of art in themselves, show us the living people comprising the cultural history and because of that, they’re fascinating. This opening event includes a pop-up poetry salon, drop-in zine making with Rad Dad creators, and a “typewriter petting zoo.” (Laura Kerry)

Through September 8

6:30pm, $5

Contemporary Jewish Museum

736 Mission, SF

(415) 655-7800

www.thecjm.org

Philip Glass at 75

Philip Glass is no ordinary composer. Having collaborated with everyone from Ravi Shankar to David Bowie, while writing stacks of of symphonies, operas, and film scores in the process, Glass has shifted the direction of classical music as wildly, and influentially, as any living figure. In celebration of his 75th birthday, SF will be treated to screenings of two Glass-scored films, accompanied live by the Philip Glass Ensemble: Godfrey Reggio’s famously plotless multimedia extravaganza, Koyaanisqatsi (1982), and Jean Cocteau’s early film adaptation of The Beauty and the Beast, La Belle et la Bête (1946). Punctuating the weekend-long festival is a Q&A session with Glass himself, moderated by SF’s own Brad Rosenstein. (Taylor Kaplan)

Philip Glass Ensemble: La Belle et la Bête

Thu/23-Sat/25, 8pm, $40–$65 (Sat/25 includes Q&A)

Lam Research Theater at YBCA

700 Howard, SF

(415) 495-6360

www.ybca.org

Koyaanisqatsi

Sun/26, 7pm, $40-65

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfperformances.org

Detroit Cobras

Some bands you’ll just never be able to judge by their album cover(s). Some bands just don’t have time for all that studio nonsense. They wanna rock — and they wanna rock with you. Up close and personal. In your face. Get it? That pretty much describes the rough-and-ready Detroit Cobras method, after releasing a scant handful of albums, they’ve continued to tour extensively, bringing the husky, tough-girl vocals of Rachel Nagy and the gritty, jangling guitar riffs of Mary Ramirez to the people. Their reinterpretations of vintage, B-side rock, soul, and Motown give songs that could have been contenders a brash new life, while their relentless stage show gives their adoring fans a good, old-fashioned, foot-stomping workout. (Nicole Gluckstern)

With Pangea, the Chaw

9pm, $16

Slims

333 11th St., SF

(415) 255-0333

www.slimspresents.com

“Project Open Walls”

What’s a gallery when none of its art is for sale? Project One, the Potrero gallery and art bar is exploring the concept in 2013, for which it is asking its artists not to contribute paintings or sculpture to their exhibitions, but rather to paint the walls of the gallery itself. “Project Open Walls” enjoyed its first opening in February with numerous artists (street and not) contributing murals of busy vase tableaus, color-forward twirls of 3D tags, and luminous flower designs. Now, those walls will be gradually painted over. This month, the grizzly bear-focused muralist Chad Hasegawa gets up, in addition to one of last year’s Goldies award winners, dreamy minimalist painter Brett Armory. (Caitlin Donohue)

Opening reception: 7pm, free

Project One Gallery

251 Rhode Island, SF

www.p1sf.com

FRIDAY 24

Performance Research Experiment #2: Paradox of the Heart

Scientists frequently ask for volunteers on which to test the hypothesis their research suggests. Artists rarely get that kind of concrete response to what they are working on. In come Jess Curtis and Jörg Müller — and a bevy of artist and scientist collaborators — who will help them get scientifically measurable information that we the audience provide through our responses to what happens around us. The data will be translated into what Curtis calls an “interactive mash-up of dance/performance and physical science,” also called Performance Research Experiment #2: Paradox of the Heart. In case you care, the 2003 Experiment #1, also by the team of Curtis and Müller, drew on the duo’s background in circus arts and involved a lot of brooms and balls. (Rita Felciano)

8om, $20

CounterPULSE

1310 Mission, SF

www.eventbrite.com

Black Moth Super Rainbow

Black Moth Super Rainbow is nothing if not mysterious. The five enigmatic band members perform under whimsical stage names — Tobacco, the Seven Fields of Aphelion, Power Pill Fist, Iffernaut, and Father Hummingbird — that speak volumes about the fantastical and wonderfully absurd psychedelic pop they produce. The band, formed in Pittsburgh in 2002 originally gained attention from a run of buzz-building shows as SXSW. The band’s liberal use of analog electronics like a vocoder, Rhodes piano, and Novatron gives its music a sunny, retro sound. Underneath the barrage of strange instruments and layers of synth, Black Moth Super Rainbow sneaks in solid pop hooks and tight songwriting. Through its decade of existence, the band has continuously improved with each new release, and the sixth and most recent full-length Cobra Juicy certainly continues this evolution. (Haley Zaremba)

With the Hood Internet, Oscillator Bug

9pm, $19.50

Fillmore

1805 Geary, SF

www.thefillmore.com

TSOL

First gaining notoriety for songs such as “Code Blue,” an ode to the joys of necrophilia, along with the infamous riots that would break out at its early shows, T.S.O.L — or True Sounds of Liberty — was among the earliest and best of the Southern California punk bands to emerge in the late 1970s. While singer Jack Grisham has found other outlets for stirring up the social pot over time, including a 2003 gubernatorial run and as an author (his newest book, Untamed comes out next month) he and guitarist Ron Emory are still keeping the group going strong more than 30 years after their inception in Long Beach, Calif. (Sean McCourt)

With VKTMS, Rush and Attack

9pm, $13

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

SATURDAY 25

“Sex Worker Sinema”

The cinema, er, sinema portion of the San Francisco Sex Worker Film and Arts Festival — focusing on “the lives, the art, and the struggle for workers’ and human rights of people employed in sex work industries” — is highlighted by several intriguing-sounding documentaries. Alexander Perlman’s Lot Lizard explores the lives of prostitutes who conduct business out of truck stops; James Johnson’s American Courtesans widens the scope, following 11 different sex workers in various situations; and a legendary NYC trans activist and Stonewall icon gets her due in Pay It No Mind: The Life and Times of Marsha P. Johnson. Also on tap: a full slate of shorts, both doc and narrative. The $35 pass scores entry into all films in the fest. (Eddy)

2pm-midnight, $35

Roxie Theater

3117 16th St, SF

www.sexworkerfest.com

Mikal Cronin

Mikal Cronin has been bouncing around the San Francisco music scene for a couple of years as an unsung hometown hero, collaborating with Thee Oh Sees, recording with Ty Segall and performing in the Ty Segall Band, while quietly releasing his own solo records and singles. Finally, Cronin is no longer sidekicking. This year’s full-length MCII has received rave reviews from major music publications (SPIN and Pitchfork have labeled it among the best new music of the year) and Cronin is enjoying a headlining slot on a national tour. Tonight’s gig at the Rickshaw Stop is a much-deserved album release-party, and I wouldn’t be too surprised if Cronin pulls up some old friends to help him celebrate. (Zaremba)

With Audacity, Michael Stasis

9pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

TUESDAY 28

Radiation City

A quiet, practical friend of mine who nevers speaks in hyperbole just declared that Radiation City is his favorite band. It is a strong statement, but not surprising considering the band’s near-magical wooing ability. Comprised of two couples, even the band can’t resist its own magnetism. Maybe it’s a result of chemistry that extends offstage, but Radiation City has arrived at an enchanting formula the combines dreamy pop, some ’60s girl band flare, a shadow of psych-rock, and the occasional hint of bossa nova. After the May 21 release of its third album, Animals in the Median, Radiation will play new music to an enchanted crowd at Rickshaw Stop. My picky friend will be among those dancing, shouting, and bewitched. (Kerry)

With Cuckoo Chaos

8pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

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So many summertime festivals

Andrew Lam

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May 21, 2013

6

caitlin@sfbg.com

MAY 25-26

Carnaval Parade: Starts at 24th St. and Bryant, SF. Sun/26, 9:30am, free; Festival: Harrison between 16th and 24th Sts., SF. Sat/25-Sun/26, 10am-6pm, free. www.carnavalsf.com. The Mission’s most colorful processional and music fest had to change hands this year to avoid financial ruin. Show your delight at its survival by showing up in force for the samba, sequins, and spectacle.

MAY 30-JUNE 5

Green Film Festival Various locations, times, prices, SF. www.sfgreenfilmfest.org. An outdoor screening of a documentary on the tiny house movement is one highlight of this year’s 50 film-program exploring environmental issues today.

JUNE 1

Latino Comic Expo Cartoon Art Museum, 655 Mission, SF. www.latinocomicsexpo.com. 11am-5pm, free with $7 museum admission. In its third year, the popular convergence of Latino panel-makers is dedicated to the memory of underground scribbler Spain Rodriguez.

Chocolate and Chalk Art Festival 1400-1800 Shattuck, Berk. www.anotherbullwinkelshow.com/chocolate-chalk-art. 10am-5pm, free entry, 20 chocolate tickets $20. Picante habanero chocolate chunks gelato? Chocolate ricotta pizza? Discover the possibilities of gourmet cacao and create a sidewalk chalk masterpiece at this fest.

JUNE 1-2

Union Street Festival Union between Gough and Steiner, SF. www.unionstreetfestival.com. 10am-6pm, free. Union Street pops with its 37th annual street fair. Browse craft vendors, cruise your neighbors, and snack to the tunes of live jazz from local bands.

JUNE 6-23

SF Doc Fest Various locations, times, prices. www.sfindie.com. Burning Man and Bettie Page flicks mark the program for this real-life film fest.

JUNE 8-16

San Mateo County Fair San Mateo County Event Center, 2495 South Delaware, SF. June 8, 9, 11 and 14-16, 11am-10pm; June 10, 12-14, noon-10pm, $7–$10 single day, $17-22 season pass. www.sanmateocountyfair.com. Morris Day, an Aerosmith cover band, and Three Dog Night perform alongside a youth piano competition, bareback pony riding, floral art displays, and more at this traditional county fair.

JUNE 9

Haight Ashbury Street Fair Haight between Stanyan and Masonic, SF. www.haightashburystreetfair.org. 11am-5:30pm, free. The groovy posters don’t lie — this classic, hippie-flavored street fair is great place to watch a battle of the band in the sun and ruminate on whether you can ever really have too much tie-dye.

JUNE 14-16

Queer Women of Color Film Festival Brava Theater, 2789 24th St., SF. www.qwocmap.com. From Hawaiian to Navajo culture, this festival of 55 shorts in five programs shows the QWOC experience from a global perspective.

JUNE 15-16

North Beach Festival North Beach neighborhood, SF. www.sresproductions/north_beach_festival.html. 10am-6pm, free. Harken back to North Beach’s days as a close-knit Italian community with this venerable street fair, featuring a traditional blessing of the animals at the National Shrine of St. Francis de Assisi, street painting, music, and snacks galore.

Marin Art Festival Marin Civic Center, 95 Buena Vista, Mill Valley. www.marinartfestival.com. 10am-6pm, $10. This showing of 350 fine artists is a fine excuse to ramble in the sun by the UFO-esque, Frank Lloyd Wright-built Marin Civic Center.

Crystal Fair Fort Mason Festival Pavilion, SF. www.crystalfair.com. June 15, 10am-6pm; June 16 10am-4pm, $6. Over 40 vendors of crystals, jewelery, metaphysical well-being make this the place to get your woo on.

JUNE 16

SummerStruck Monterey Fairgrounds, 2004 Fairgrounds Rd, Monterey. www.summerstruckfestival.com. 11am-6pm, $22.50-40. Twangers unite — this debut year lineup of Jason Michael Carroll, American Young, Buck Ford, and more promises to be stocked with multi-gallon headwear and boots like you wouldn’t believe.

JUNE 16-AUGUST 12

Stern Grove Festival Stern Grove, 19th Ave. and Sloat, SF. www.sterngrove.org. Every Sunday, 2pm, free. Deltron 3030 with Kid Koala and Del the Funky Homosapien, Boz Scaggs, and the Symphony and Ballet’s yearly performances are all phenom draws at our favorite, free park ‘n’ picnic weekly summer concert soiree.

JUNE 20-30

Frameline 37 Various locations, times, prices. www.frameline.org. SF’s premier LGBT film festival surges back hard with historical docs, animated features, and more. The opening night gala features Concussion, a head trauma-driven sexy drama. Fest closes with GBF, an at-times comical look at coming out and getting popular in high school.

JUNE 21-23

Sierra Nevada World Music Festival Mendocino County Fairgrounds, 14480 Highway 128, Boonville. www.snwmf.com. $60-75 one-day festival pass, $170 three-day festival and camping pass. Those looking for a music fest with camping to which to bring their brood would be well-advised to choose SNWMF — a lineup headed by Damian Marley features sounds from across the world and a more mellow crowd.

JUNE 22

Berkeley World Music Festival People’s Park, 2556 Haste, Berk., 1-6pm, free; Telegraph Avenue businesses, 1-9pm, free. www.berkeleyworldmusicfestival.org. Amble along and around Telegraph Avenue for a plethora of free shows, from Tunisian MC Rai at People’s Park to Vukani Mawethu Choir’s South African harmonies at the Berkeley Art Museum, with smaller concerts at businesses in between.

Mt. Tam Jam Mountain Theater, Mount Tamalpais State Park. www.tamjam.org. Noon-7pm, $50-100. After-party, 10:30pm, $30. Galactic, Cake, Taj Mahal Trio, and more rock this fundraiser for Mount Tam State Park — at a venue that hasn’t housed a rock concert since 1967.

Summer Sailstice Encinal Yacht Club, 1251 Pacific Marina, Alameda. www.summersailstice.com. 10:30am-8pm. Join the boating set to celebrate this worldwide day of sailing culture. In the Bay, view America’s Cup boats, guest ride a vessel, take in live tunes, and more.

JUNE 22-AUGUST 10

Stanford Jazz Festival Various venues, times, prices. www.stanfordjazz.org. Lil’ ones can learn more about this venerable American music genre at a special kids concert series and educational offerings. Older fans will get their fix at a plethora of concerts featuring up-and-comers (like Taylor Eigsti and Julian Lage), offbeat geniuses (Savion Glover), and legends (hey, Herbie Hancock).

JUNE 29-30

San Francisco Pride Various venues, times, prices. www.sfpride.org. Should the year’s champion-level PR idiocy of naming, then reneging on Bradley Manning as grand marshal leave you with a bad taste, check out the many, amazing unofficial queer parties, readings, and exhibits that rock the city the last week in June.

JUNE 29-SEPTEMBER 22

Shakespeare in the Park Various times and Bay Area venues. www.sfshakes.org. Why you live in the Bay Area: exquisite cultural offerings like the 30th year of free Bard offerings in peaceful park settings.

JULY 6-7

Burger Boogaloo Mosswood Park, Broadway and West Arthur, Oakl. www.burgerboogaloo.com. Noon-9pm, $40 weekend pass. Burger Records just keeps outdoing itself. It has fests around the country that bring together an elite mix of sloppy, legendary, and up-and-coming surf, garage, fun punk, and slack doo-wop acts.

Fillmore Jazz Festival Fillmore between Jackson and Eddy, SF. www.fillmorejazzfestival.com. 10am-6pm, free. Kim Nalley, Bayonics, Crystal Money Hall typify the wide-ranging sounds heard at this free, three-stage celebration of Fillmore’s jazztastic past.

JULY 18-21

Silent Film Festival Various times and prices. Castro Theatre, 429 Castro, SF. www.silentfilm.org. Spend the weekend immersed in loaded looks and dialogue cards at this lineup of classic quiets.

JULY 18-28

Midsummer Mozart Various venues, times, prices. www.midsummermozart.org. Churches, missions, wineries, and the Legion of Honor all host concerts of Mozart’s genius for this fest’s 2013 season.

JULY 19-21

Sunset Campout Belden Town, Calif. www.sunsetcampout.com. Germany’s Dixon and Robag Wruhme are the early announced performers at party crew Sunset’s stellar camping trip — perfect for dancefloor stalwarts who can’t stomach the crowds at larger music fests.

JULY 25-AUGUST 12

Jewish Film Festival Various venues, times, prices. www.sfjff.org. “Rebels, rabbis, and reubens” seems about as amazing a descriptor as you need for this yearly celebration of the Chosen on film.

JULY 26-28

Gilroy Garlic Festival Christmas Park, Gilroy. www.gilroygarlicfestival.com. 10am-7pm, $17. Fear not having pungent breath at this classic small-town fest. Garlic-inflected free ice cream, cook-offs, and celebrity chef appearances make it the order of the day.

JULY 27-28

Berkeley Kite Festival Cesar Chavez Park, Berkeley Marina. www.highlinekites.com. 10am-6pm, free. World record-sized kites, flying lessons, aircraft crafting, and more at this celebration of soaring craft.

Renegade Craft Fair Fort Mason Center Festival Pavilion, SF. www.renegadecraft.com. 11am-7pm, free. Bring your ducats and splurge on DIY presents for all your 2013 birthdays, anniversaries, and plain old “I appreciate you” moments.

JULY 28

Up Your Alley Dore between Howard and Folsom, SF. www.folsomstreetfair.com/alley. 11am-6pm, $7 suggested donation. Hey daddy, cruise the local talent at this leather fair before the happy chaos of big sister Folsom Street Fair hits in September.

JULY 28-AUGUST 4

SF Chefs Union Square, SF. www.sfchefsfoodwine.com. Various times and prices. Sample the city’s best eats and learn from the best in expert demos and classes at this food festival.

AUGUST 3-4

Aloha Festival San Mateo County Event Center, 1346 Saratoga, San Mateo. www.pica-org.org. 10am-5pm, free. No booze allowed at this celebration of Pacific Islands culture, but you won’t miss it: tasty plates, infotaining activities for the little ones, and lots of music and performance rock.

Oakland Art and Soul Frank Ogawa Plaza, Oakl. www.artandsouloakland.com. Aug. 3, noon-8pm; Aug. 4, noon-6pm, $10-15. The line-up will be announced in June for this East Bay music and food fest, where the tunes range from R&B to jazz and indie.

AUGUST 3-4

Nihonmachi Street Fair Post between Laguna and Fillmore, SF. www.nihonmachistreetfair.org. 11am-6pm, free. We’re down for a fair whose intended mission is to provide jobs for a neighborhood’s youth, and Nihonmachi always delivers community power-building and more – go to 2013’s edition for a doggie section, Asian artisans, and street cuisine.

AUGUST 4

Jerry Day Jerry Garcia Amphitheater, McLaren Park, 45 John F. Shelley, SF. www.jerryday.org. 11:30am, free, donate to reserve seats. A forgotten Excelsior playground was converted into the music venue for this annual celebration of the Dead’s godhead, who grew up nearby.

AUGUST 9-11

Outside Lands Speedway Meadows, Golden Gate Park, SF. www.sfoutsidelands.com. Three-day tickets now on sale, $249.50. Sway to Paul McCartney, grind to D’Angelo – and then get all those calories back at the superlative, locavore-oriented beer, wine, and food sections at this hip-kid SF music fest.

AUGUST 16-18

Tattoo Body Art Expo Cow Palace, 2600 Geneva, SF. www.bodyartexpo.com. Aug. 16, 2-11pm; Aug. 17, 11am-11pm; Aug. 18, 11am-8pm, $20. Babely bros and bro’d out babes gather to show off their ink, get tatted by visiting masters, and compete for body art superlatives.

AUGUST 17

Festa Coloniale Italiana Stockton between Union and Filbert, SF. www.sfiacfesta.com. Check website for details on time and price. Go beyond red sauce at this decadent convergence of Italian food trucks, artists, crafters, gluttons, more.

Street Food Festival Folsom and 24th St. and surrounding streets, SF. Check website for details, www.sfstreetfood.com. Alcoholic artisan Jello shots, fried grasshoppers, snacks from restaurants high and low — food entrepreneur incubators La Cocina throw a damn good street party that’ll leave you stuffed. We recommend making an appearance early in the day to avoid lines.

Stumptown Brewery Beer Revival and BBQ Cook-off Stumptown Brewery, 15045 River Road, Guerneville. www.stumptown.com. Check website for time, $75-100. Unlimited tastings with 30 breweries and 30 BBQ teams out in the summer glory of Guerneville. More information, we think, is unnecessary here.

AUGUST 24-25

Gem and Mineral Show SF County Fair Building, Ninth Ave. and Lincoln, SF. www.sfgemshow.org. Aug. 24, 10am-6pm; Aug. 25, 10am-5pm, check website for prices. Revel in sparkle and shine at this expo of glittering gewgaws – bring in your own to stump on-site classification experts.

Bodega Seafood, Art, and Wine 16885 Bodega Highway, Bodega. www.winecountryfestivals.com. Aug. 25, 10am-6pm; Aug. 26, 10am-5pm, check website for price. Sea breeze, fresh crab, hay bales – good times await at this food, art, and beer fest.

First City Monterey County Fair and Event Center, Monterey. www.firstcityfestival.com. $149.50-279.50 two-day passes. Did you know this seaside hamlet was the Golden State’s first capital? In a bid to recapture our hearts, the city is hosting a two-day musical line-up of big time acts like Modest Mouse, Passion Pit, MGMT, Neko Case, Beach House, Toro y Moi, and Devendra Banhart.

SEPTEMBER 9

EcoFair Marin Marin County Fairgrounds, Civic Center, San Rafael. www.ecofairmarin.org. 10am-6pm, $5. Green jobs guru Van Jones headlines Marin’s second annual celebration of sustainability. Eat locally made bites, learn how to make butter and raise chickens, and browse the wares of enviro-retailers from pet shops to biodegradable casket makers.

SEPTEMBER 12-15

Ceramics Annual of America Fort Mason Festival Pavilion, SF. www.ceramicsannual.com. Various times; $10 one-day pass, $20 two-day. Sculpt your mind with the vast, globally sourced panorama of ceramics art at this fest. Artist demos abound if you’d like to throw your own pot in the ring next year.

SEPTEMBER 15

Comedy Day Sharon Meadow, Golden Gate Park, SF. www.comedyday.org. Noon-5pm, free. Yucks galore at this outdoor stand-up fest. Take in a Will Durst solo show, open mics, and local showcases.

SEPTEMBER 13-15

Armenian Food Festival St. Gregory the Illuminator Armenian Apostolic Church, 825 Brotherhood Way, SF. facebook.com/annual-armenian-food-festival-bazaar. Check website for times, free. Sarma, sou-beoreg, spices – this homey community fest is great for kids, Armenian culture addicts, and hungry people.

SEPTEMBER 14-15

Ghirardelli Chocolate Festival Ghirardelli Square, 900 North Point, SF. www.ghirardelli.com. Noon-5pm, $20-125. Your tasting tickets to this fest go towards Project Open Hand. That should add to the glow you’ll cull from sampling fine chocolates and wine, and watching local chefs demo their concoction skills.

SEPTEMBER 20-21

Taste of Greece Annunciation Cathedral, 245 Valencia, SF. www.annunciation.org. Spit-grilled meat, fetching circular dances – SF’s only Greek food festival is a great place for a day of cultural meal-planning.

SEPTEMBER 21

Super Hero Street Fair Islais Creek Promenade, Cesar Chavez and Indiana, SF. www.superherosf.com. 2pm-midnight, $10-20. It’s your time Diana Prince – whip out that golden lasso and head to this goofy celebration of Lycra and defeating evil. It all culminates in a street side dance party for the costumed and plain clothes alike.

SEPTEMBER 21-22

Polk Street Blues Festival Polk between Pacific and Union, SF. www.polkstreetbluesfestival.com. 10am-6pm, free. Laze with the fam listening to this fest’s two stages of music, complimented nicely by an array of tasty street foods.

SEPTEMBER 27-29

Eat Real Fest Jack London Square, Oakl. www.eatrealfest.com. Sept. 27, 1-9pm; Sept. 28, 10:30am-9pm; Sept. 29, 10:30am-5pm, free. One of our favorite food fests puts the emphasis on local foodcraft, wine, and beer. Three days of live entertainment and classes in DIY foodieism 4 U.

SEPTEMBER 29 Redwood City Salsa Festival Redwood City Courthouse Square. www.redwoodcity.org. Noon-8pm, free. Yes, the tomato-based spicy flavor agent. And yes, the hip-swiveling hot beats. Both, and more, at this small town’s downtown celebration.

Folsom Street Fair Folsom between Seventh and 12th Sts., SF. www.folsomstreetfair.com. 11am-6pm, $10 suggested donation. Its impressive donations to local charities makes this fetish and leather fair – the largest in the world – a community favorite and global center of BDSM culture with demos and sidewalk runways like you wouldn’t believe.

Rep Clock

Andrew Lam

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May 21, 2013

0

Schedules are for Wed/22-Tue/28 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. Free-$6. "CCSF Directing Students Showcase," Thu, 8. "Shorts from SFSU’s Cinema Department," Fri, 7. "Other Cinema:" "New Experimental Works," Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-13. Milk (Van Sant, 2008), Wed, 2, 4:30, 7, 9:30. •Black Swan (Aronofsky, 2010), Thu, 7, and Dancer in the Dark (von Trier, 2000), Thu, 9:05. Grease (Kleiser, 1978), presented sing-along style, Sun-Mon and June 1-3, 2:30, 8. This event, $10-15; advance tickets at www.ticketweb.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. In the House (Ozon, 2012), call for dates and times. Midnight’s Children (Mehta, 2012), call for dates and times. The Reluctant Fundamentalist (Nair, 2012), call for dates and times. Renoir (Bourdos, 2012), call for dates and times. Stories We Tell (Polley, 2012), call for dates and times. Frances Ha (Baumbach, 2012), May 24-30, call for times. "Shorts in Brief: Quality Films For Young Children," Sun, 11am. This event, $5.

DAVIES SYMPHONY HALL 201 Van Ness, SF; www.sfperformances.org. $40-65. "San Francisco Performances presents:" Koyaanisqatsi (Reggio, 1982), Sun, 7. With live performance by Philip Glass and the Philip Glass Ensemble.

DELANCEY STREET SCREENING ROOM 600 Embarcadero, SF; lastwarcrime.com/tickets_SF.php. Free (donations accepted; RSVP at web site). The Last War Crime (the Pen, 2012), Sat, 6, 8.

FIRST UNITED METHODIST CHURCH 9 Ross Valley, San Rafael; www.mitfamericas.org. $5-10. The Sixth Sun: Mayan Uprising in Chiapas (Landau, 1995), Fri, 7:30.

NEW PARKWAY 474 24th St, Oakl; www.thenewparkway.com. $6-10. "New Parkway Classics:" Heathers (Lehmann, 1988), Thu, 9. "Thrillville:" Plague of the Zombies (Gilling, 1966), Sun, 6.

"PLAYGROUND FILM FESTIVAL" Various Bay Area venues; playground-sf.org/filmfest. $10-25. Showcasing Bay Area filmmakers and writers and their short work. Through May 25.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. PFA closed through June 5.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. "I Wake Up Dreaming 2013:" •Bluebeard’s Ten Honeymoons (Wilder, 1960), Wed, 6, 10, and Death of a Scoundrel (Martin, 1956), Wed, 7:45; •The Crooked Way (Florey, 1949), Thu, 6:10, 9:45, and Criss Cross (Siodmak, 1949), Thu, 8. Sun Don’t Shine (Seimetz, 2012), Wed-Thu, 7:15. Upstream Color (Carruth, 2013), Wed-Thu, 9. "Sex Worker Film Festival," Sat, 2. More info at www.sexworkerfest.com. D Tour (Granato, 2009), Mon, 7:30.

SF JAZZ CENTER 201 Franklin, SF; gc.ajws.org/rsvpmaker/film-screening-god-loves-uganda. Free (limited seating; RSVP required). God Loves Uganda (Williams, 2013), with community forum about homophobia and Uganda to follow, Wed, 6.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. "Girls! Guns! Ghosts! The Sensational Films of Shintoho:" Death Row Woman (Nakagawa, 1960), Thu, 7:30; •Yellow Line (Ishii, 1960), Sun, 2, and Revenge of the Pearl Queen (Shimura, 1956), Sun, 3:30. "San Francisco Performances presents:" Beauty and the Beast (Cocteau, 1946), Thu-Sat, 8. With live performance by the Philip Glass Ensemble. This event, $40-65; tickets at www.sfperformances.org.

Psychic Dream Astrology: May 22-28, 2013

Andrew Lam

-

May 21, 2013

0

ARIES

March 21-April 19

As people and situations around you change you, you must change, too. Try being interested in the new flow of things instead of trying to put on the brakes as soon as you feel uncomfortable, Aries. Even if it’s not your idea it might be totally awesome. Participate in others’ agendas this week.

TAURUS

April 20-May 20

No matter how crappy you feel you are not entitled to treating others poorly, Taurus. This week you may have to mind your tongue and your tone so that you don’t make matters much worse than they need to be. If you need to lick your wounds, you should probably do it in private so that you don’t end up blaming others for your bad feelings.

GEMINI

May 21-June 21

There are major changes brewing within you, Twin Star, and you’re ready for them! OK, maybe you’re not exactly ready, but your resistance is, as they say, futile. Be open to profound transformation in your life, sure, but first and foremost be willing to change your attitudes. Don’t let your ego hold you back, pal.

CANCER

June 22-July 22

Feeling out of control sucks. There may be nothing much you can do to change your lot this week, but don’t despair! Create solid and supportive foundations for yourself and the folks and things you love. The worst thing you could do is let yourself degenerate into fear-induced paralysis, Moonchild.

LEO

July 23-Aug. 22

This week may find you struggling with things that are not where you want them to be. Don’t worry so much about what’s wrong and instead open your heart to all that is right, Leo. By focusing on the creative potential in front of you, you’ll bring out the best in your self and others. Don’t waste your precious energies.

VIRGO

Aug. 23-Sept. 22

Feeling vulnerable sucks but it shouldn’t be avoided, Virgo. No matter how uncomfortable you feel with the uncertainties in your life you should work hard to stay present this week. You’re on the verge of major growth and you don’t want to waste this opportunity by being half-assed with creating the life you most want to live.

LIBRA

Sept. 23-Oct. 22

Look at your base needs versus your higher needs and make sure that your life isn’t revolving around the stuff that may be fun but is keeping you stuck. The only way out of the pickle you’re in is by looking honestly at your actions and following through with more appropriate self-care. Don’t try to fix situations that are meant to stay broken, Libra.

SCORPIO

Oct. 23-Nov. 21

Anxiety feels terrible, and it makes all of your projections into the future negative ones. Taking care of your stress level should be your number one priority this week, Scorpio. Spend quality alone time to get in touch with what’s working your nerves and the best way to support yourself. TLC is this weeks’ TCB.

SAGITTARIUS

Nov. 22-Dec. 21

Rushing forward in an idealistic splurge of effort won’t get you lasting results. There is so much work in front of you! Use this week to gather your energy in efforts to conserve what you can for your future needs. You’re on the brink of getting it right, Sag, so don’t blow it by being impatient.

CAPRICORN

Dec. 22-Jan. 19

Things may not be quite where you want them, but they’re not all bad, either. Create solid foundations for what you want and don’t worry so much about when you’ll get it. Make choices based on your desires, not on your worries; any fear-based actions will only generate more crud to be unhappy about, Capricorn.

AQUARIUS

Jan. 20-Feb. 18

Take the time to enjoy your accomplishments, Aquarius. Things are going well for you but it’s time to reassess your goals. If you act too quickly this week you may take a turn away from what you truly want without realizing it. Cultivate patience, and use it to reflect on how far you’ve come over the past six months.

PISCES

Feb. 19-March 20

The key to lasting happiness is in having things grow with you as your needs and perspective changes. Instead of needing things to be secure, strive towards expansiveness this week. Invest in your long-term gain by growing with the opportunities and roadblocks before you, Pisces.

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

Music listings

Andrew Lam

-

May 21, 2013

0

Music listings are compiled by Emily Savage. Since club life is unpredictable, it’s a good idea to call ahead or check the venue’s website to confirm bookings and hours. Prices are listed when provided to us. Visit www.sfbg.com/venue-guide for venue information. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 22

ROCK/BLUES/HIP-HOP

Atriach, Wild Hunt, Lycus, Caffa Thee Parkside. 8pm, $10.

Belle Noire, Great Work, Soonest Bottom of the Hill. 9pm, $10.

Boris, deafheaven Rickshaw Stop. 8pm, $18.

Matthew Dear Mezzanine. 8:30pm, $20.

Quinn DeVeaux Rite Spot. 8:30pm.

Gunshy Johnny Foley’s. 10pm, free.

Hanzel and Gretyl DNA Lounge. 8pm, $13.

Jason Marion vs Susan Johnny Foley’s Dueling Pianos. 10pm, free.

Mortar and Pestle, Visibles, Great Spirits Brick and Mortar Music Hall. 9pm, $8.

Nick Moss Biscuits and Blues. 8 and 10pm, $20.

Shout Out Louds Great American Music Hall. 8pm, $19.

Slippery Slope, Lady Elaine, Easy Reader Tupelo, 1337 Grant, SF; (415) 981-9177. 8pm, free.

Speck Mountain Hemlock Tavern. 8:30pm, $7.

Twin Trilogy, Tomb Weavers, Andrew Graham and Swarming Branch Elbo Room. 9pm, $7.

JAZZ/NEW MUSIC

Big Bones Royal Cuckoo, 3203 Mission, SF; www.royalcuckoo.com. 7:30-10:30pm, free.

Dink Dink Dink, Gaucho, Eric Garland’s Jazz Session Amnesia. 7pm, free.

Terry Disley Burritt Room, 417 Stockton, SF; www.burrittavern.com. 6-9pm, free.

29th Swingtet Tupelo, 1337 Grant, SF; www.tupelosf.com. 9:30pm.

FOLK/WORLD/COUNTRY

Quinn DeVeaux Rite Spot Café. 8:30pm.

Jesse y Joy Regency Ballroom. 8pm, $27.50-$40.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita MORE! and Joshua J host this dance party.

Cash IV Gold Double Dutch, 3192 16th St, SF; www.thedoubledutch.com. 9pm, free.

Coo-Yah! Slate Bar, 2925 16th St, SF; www.slate-sf.com. 10pm, free. With Vinyl Ambassador, DJ Silverback, DJs Green B and Daneekah

Full-Step! Tunnel Top. 10pm, free. Hip-hop, reggae, soul, and funk.

Hardcore Humpday Happy Hour RKRL, 52 Sixth St, SF; (415) 658-5506. 6pm, $3.

Jukebox Baby Monarch. 9pm, $8. With Actually, Silent Pictures, DJ Johnny the Boy, Jungle Sniff.

Martini Lounge John Colins, 138 Minna, SF; www.johncolins.com. 7pm. With DJ Mark Divita.

Stay Sick Monarch. 9pm, free. With DJ Omar.

Timba Dance Party Bissap Baobab, 3372 19 St, SF; www.bissapbaobao.com. 10pm, $5.

THURSDAY 23

ROCK/BLUES/HIP-HOP

Beets, Fine Steps, Tiaras Hemlock Tavern. 8:30pm, $8.

Black Cobra, Ken Mode, Judgement Day Thee Parkside. 9:30pm, $10.

Bobby Joe Ebola and the Children Macnuggits, Water Tower, Tornado Rider, Mystic Knights of the Cobra Great American Music Hall. 8pm, $16.

Cold War Kids, SUPERHUMANOIDS Regency Ballroom. 8pm, $25.

Craig and Meredith Rite Spot. 8:30pm.

Detroit Cobras, Pangea, Chaw Slim’s. 9pm, $16-$18.

Front Country, Laura Cortese, Mariel Vandersteel, Valerie Thomas, Roosevelt Dime Brick and Mortar Music Hall. 9pm, $10.

Infernoh, Permanent Ruin, Merdoso, Effluxus Knockout. 10pm, $8.

Sonny Landreth Yoshi’s SF. 8pm, $26.

Dave Moreno and Friends Johnny Foley’s. 10pm, free.

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

Sir Sly, JMSN, Dresses Bottom of the Hill. 9pm, $10.

Sons of Fathers, Builder and the Butchers Café Du Nord. 8pm, $10.

Susan vs Jason Marion Johnny Foley’s Dueling Pianos. 10pm, free.

Ted Tones Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, free.

Victoria and Vaudevillians, Unwoman, Blah Boutique DNA Lounge. 8pm, $13.

Youngblood Hawke, Pacific Air, popscene DJs Rickshaw Stop. 9:30pm, $13-$17.

JAZZ/NEW MUSIC

Craig and Meredith Rite Spot Café. 8:30pm.

Spencer Day Feinstein’s at the Nikko, 222 Mason, SF; www.ticketweb.com. 8pm, $55-$75.

Jack Curtis Dubowsky Ensemble: Current Events Luggage Store Gallery, 1007 Market, SF; www.outsound.org. 8pm, $6-$10.

Chris Sibert Royal Cuckoo, 3203 Mission, SF; www.royalcuckoo.com. 7:30-10:30pm, free.

FOLK/WORLD/COUNTRY

Gigi Amos Tupelo, 1337 Grant, SF; www.tupelosf.com. 9pm.

DANCE CLUBS

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

All 80s Thursday Cat Club. 9pm, $6 (free before 9:30pm). The best of ’80s mainstream and underground.

Foxy Monarch Lounge. 9pm, free. With DJ Kizmiaz.

Pa’lante! Bissap Baobab, 3372 19 St, SF; www.bissapbaobao.com. 10pm, $5. With DJs Juan G, El Kool Kyle, Mr. Lucky.

Pompeya, DJ Mykill, Matt Haze Monarch. 9pm, $8.

Psymbionic Mighty. 10pm, $10.

Ritual Temple. 10pm-3am, $5. Two rooms of dubstep, glitch, and trap music.

Tropicana Madrone Art Bar. 9pm, free. Salsa, cumbia, reggaeton, and more with DJs Don Bustamante, Apocolypto Sr. Saen, Santero, and Mr. E.

FRIDAY 24

ROCK/BLUES/HIP-HOP

Black Moth Super Rainbow, Hood Internet, Oscillator Bug Fillmore. 9pm, $19.50.

Ian Franklin and Infinite Frequency Simple Pleasures, 3434 Balboa, SF; www.ianfranklinmusic.com. 7:30pm.

Inc., Dam Funk Mezzanine. 9pm, $15-$17.

Imperial Teen, Churches, Gone to Ground Bottom of the Hill. 10pm, $12.

Kinski, Phil Manley Life Coach Hemlock Tavern. 9:30pm, $10.

Gino Matteo Biscuits and Blues. 8 and 10pm, $20.

Presidents of the United States of America Independent. 9pm, $20.

Sea Lions, Still Flyin’, Burnt Palms Café Du Nord. 9:30pm, $10.

Sole Johnny Foley’s. 10pm, free.

Stornway Brick and Mortar Music Hall. 7pm, $15.

Tainted Love, Stung Bimbo’s. 9pm, $25.

TSOL, VKTMS, Rush and Attack Thee Parkside. 9pm, $13.

This Charming Band, Purple Ones, Jean Genies Slim’s. 9pm, $15.

Twin Shadow, Elliphant Great American Music Hall. 9pm, $23-$25.

Greg Zema, Susan, Jason Marion Johnny Foley’s Dueling Pianos. 10pm, free.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Spencer Day Feinstein’s at the Nikko, 222 Mason, SF; www.ticketweb.com. 8pm, $55-$75.

Dyadic Resonance: New Music by Zachary James Watkins Center for New Music, 55 Taylor, SF; www.centerfornewmusic.com. 7:30pm, $15.

Hammond Organ Soul Jazz, Blues Party Royal Cuckoo, 3203 Mission, SF; www.royalcuckoo.com. 7:30-10:30pm, free.

James Moore Unitarian Universalist Society of San Francisco Chapel, 1187 Franklin, SF; www.tangentguitarseries.com. 7:30pm, $15.

Diana Reeves SF Jazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $30-$70.

Peter White Yoshi’s SF. 8pm, $29; 10pm, $22.

FOLK/WORLD/COUNTRY

Sambada Brick and Mortar Music Hall. 10pm, $10.

Sinister Dexter Tupelo, 1337 Grant, SF; www.tupelosf.com. 9pm.

DANCE CLUBS

Fag Fridays DNA Lounge. 10pm, $10. Monthly gay dance party with Quentin Harris and David Harness.

Joe Lookout, 3600 16th St.,SF; www.lookoutsf.com. 9pm. Eight rotating DJs, shirt-off drink specials.

Night Moves: Lazarao Casanova Monarch. 9pm, $10.

Old School JAMZ El Rio. 9pm. Fruit Stand DJs spinning old school funk, hip-hop, and R&B.

120 Minutes Elbo Room. 10pm, $15. With Mater Suspiria Vision, How I Quit Crack, S4NtA MU3rTE, Chauncey CC.

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

SATURDAY 25

ROCK/BLUES/HIP-HOP

Blue Diamond Fillups Riptide. 9:30pm, free.

BOAT, Gold Bears, Surf Club Hemlock Tavern. 9:30pm, $8.

Bobby Love and Sugar Sweet Johnny Foley’s. 10pm, free.

Mikal Cronin, Audacity, Michael Stasis Rickshaw Stop. 9pm, $10-$12.

Gentlemen’s Heroes, Who Does That?, Red Shift Thee Parkside. 3pm, free.

Kylesa, Blood Ceremony, White Hills, Lazer, Wulf Slim’s. 8pm, $16.

Presidents of the United States of America Independent. 9pm, $20.

Sudor, Kurraka, Replica El Rio 10pm, $7.

Susan, Jason Marion Johnny Foley’s Dueling Pianos. 10pm, free.

Tainted Love, Minks Bimbo’s. 9pm, $25.

Tera Melos, TTNG, Evkain Bottom of the Hill. 9:30pm, $14.

Earl Thomas and the Blues Ambassadors Biscuits and Blues. 8 and 10pm, $24.

Twin Shadow, Elliphant Great American Music Hall. 9pm, $23-$25.

Warbringer, Hatchet, Vektor, Apothesary Thee Parkside. 9pm, $15.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Spencer Day Feinstein’s at the Nikko, 222 Mason, SF; www.ticketweb.com. 7pm, $55-$75.

Hammond Organ Soul Jazz, Blues Party Royal Cuckoo, 3203 Mission, SF; www.royalcuckoo.com. 7:30-10:30pm, free.

North Beach Brass Band Brunch Tupelo, 1337 Grant, SF; www.tupelosf.com. 1:30pm.

Diana Reeves SF Jazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $35-$85.

Lavay Smith and her Red Hot Skillet Lickers, Big Bones Yerba Buena Gardens, Mission between Third and Fourth Streets, SF; www.ybgfestival.org. 1-2:30pm.

Voicehandler and Zeek Sheck Center for New Music, 55 Taylor, SF; www.centerfornewmusic.com. 7:30pm, $15.

Peter White Yoshi’s SF. 8pm, $29; 10pm, $25.

FOLK/WORLD/COUNTRY

Cradle Duende and Safiya Red Poppy Art House. 8pm, $10-$20.

Sambada Brick and Mortar Music Hall. 10pm, $10.

DANCE CLUBS

Bootie SF: Mashup Prom DNA Lounge. 9pm, $10-$15. With DJ Tripp, Faroff, Dada, Smash-Up Derby.

Claptone, Steve Huerta, Bells and Whistles Monarch. 9:30pm, $10.

Lights Down Low Seventh Anniversary Mezzanine. 9pm, $18-$22. With Azari and III, Lee Foss, Todd Terry, LDL DJs, BT Magnum.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs.

Temptation Cat Club. 9:30pm. $5–<\d>$8. Indie, electro, new wave video dance party.

SUNDAY 26

ROCK/BLUES/HIP-HOP

Big Long Now, Adult Dude Hemlock Tavern. 9pm, $7.

Dave Moreno and Friends Johnny Foley’s. 10pm, free.

Goh Nakamura, Jane Lui, Paul Dateh Café Du Nord. 7:30pm, $10.

Tropical Popsicle, Bixby Knolls, Panic is Perfect Bottom of the Hill. 9:30pm, $9.

Qwel and Maker, Rec League, Genie, DJ Mr. Bean, Johnny 5 Brick and Mortar Music Hall. 9pm, $15.

JAZZ/NEW MUSIC

Gospel Gators of San Francisco State University Yoshi’s SF. 7 and 9pm, $25.

Diana Reeves SF Jazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $30-$70.

Lavay Smith Royal Cuckoo, 3203 Mission, SF; www.royalcuckoo.com. 7:30-10:30pm, free.

FOLK/WORLD/COUNTRY

Brazil and Beyond Bissap Baobab, 3372 19 St, SF; www.bissapbaobao.com. 6:30pm, free.

Marshall Law Tupelo, 1337 Grant, SF; www.tupelosf.com. 4-7pm, free.

Silver Threads, Sevon and the Lovesick Ramblers Thee Parkside. 4pm, free.

DANCE CLUBS

As You Like It Monarch. 9pm, $15. With Magic Mountain High, Move D, Dave Anju, Mossmoss, Rich Korach.

Beats for Brunch Thee Parkside. 11am, free.

Creeme Fraiche ft. Mrs. Blythe Monarch Lounge. 9pm, free.

Dub Mission Elbo Room. 9pm, $10. With Twilight Circus Dub Sound System.

Espirit du Monde Bissap Baobab, 3372 19 St, SF; www.bissapbaobao.com. 9pm, $5. Carnival after-party with DJs Cecil, Orfeu Negro, Son of Son.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2.

Stompy and Sunset, DJ Deep Café Cocomo, 650 Indiana, SF; www.cafecocomo.com. 2pm, $10-$20.

Trannyshack: Madonna Tribute DNA Lounge. 9:30pm, $15. With Heklina, Becky Motorlodge, Exhibit Q, Raya Light, Cookie Dough, and more.

MONDAY 27

ROCK/BLUES/HIP-HOP

Better Maker, An Isotope, Jordan River Brick and Mortar Music Hall. 9pm, $9.

Damir Johnny Foley’s. 10pm, free.

“Shit Kickin’ Memorial Day” El Rio. 4pm, $10. With 77 El Deora, Evangenitals, Kit and the Branded Men, Patsychords.

FOLK/WORLD/COUNTRY

Seva Kirtan Palace of Fine Arts Theater, 3301 Lyon, SF; www.seva.org. 7pm, $40-$150.

Slowpoke Tupelo, 1337 Grant, SF; www.tupelosf.com. 9pm.

DANCE CLUBS

Crazy Mondays Beauty Bar, 2299 Mission, SF; www.thebeautybar.com. 10pm, free. Hip-hop and other stuff.

Death Guild DNA Lounge. 9:30pm, $3-$5. With Decay, Joe Radio, Meltin Girl.

DJ Jules, Jacob, Alden Monarch. 8pm, free.

M.O.M. Madrone Art Bar. 6pm, free. DJs Timoteo Gigante, Gordo Cabeza, and Chris Phlek playing all Motown every Monday.

Soul Cafe John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. R&B, Hip-Hop, Neosoul, reggae, dancehall, and more with DJ Jerry Ross.

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop with DJs Luce Lucy, Vinnie Esparza, and more.

TUESDAY 28

ROCK/BLUES/HIP-HOP

Asad Messiah, Burning Monk, Ironwitch, DJ D’sasster Knockout. 9:30pm, $6.

Big K.R.I.T., Smoke DZA DNA Lounge. 8pm, $24.

Fat Tuesday Biscuits and Blues. 8 and 10pm, $15.

Grouper, Danny Paul Grody, Irwin Swirnoff Hemlock Tavern. 8:30pm, $8.

Kids, Bodies, Neon Piss, Re-Volts, Cyclops Thee Parkside. 8pm, $12.

Whitney Myer, Lindsey Pavao, Odd Owl, Mad Noise Brick and Mortar Music Hall. 8pm, $8.

Radiation City, Cuckoo Chaos Rickshaw Stop. 8pm, $10-$12.

David Ramirez, Jay Nash, Max Porter Café Du Nord. 9pm, $10-$12.

Suuns, Wymond Miles, Foli Bottom of the Hill. 9pm, $12.

JAZZ/NEW MUSIC

Terry Disley Burritt Room, 417 Stockton, SF; www.burrittavern.com. 6-9pm, free.

sfSoundSalonSeries: Maggi Payne, Varese, John Ingle, sfSound Center for New Music, 55 Taylor, SF; www.centerfornewmusic.com. 7:30pm, $7-$10.

FOLK/WORLD/COUNTRY

Balkan Brass Elbo Room. 9pm, $3.

Toshio Hirano Rite Spot. 8:30pm.

DANCE CLUBS

DJ4AM Laszlo, 2526 Mission, SF; www.laszlobar.com. Boom bap hip-hop, beats, and dub.

Level Vibes Monarch. 9pm, free. With Now Time DJs.

Soundpieces Monarch. 10pm, $5. With Zeno, El Diablo.

Stylus John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. Hip-hop, dancehall, and Bay slaps with DJ Left Lane.

Takin’ Back Tuesdays Double Dutch, 3192 16th St,SF; www.thedoubledutch.com. 10pm. Hip-hop from the 1990s.

ZouKizomba Bissap Baobab, 3372 19 St, SF; www.bissapbaobao.com. 8pm, $5-$10.

Stage listings

Andrew Lam

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May 21, 2013

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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

The Beauty Queen of Leenane Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $36-52. Previews Thu/23-Sat/25, 8pm; Sun/26, 7pm. Opens Tue/28, 8pm. Runs Tue, Thu-Sat, 8pm (also June 1 and 15, 2pm; June 6, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 16. Marin Theatre Company performs Martin McDonagh’s award-winning black comedy about a dysfunctional mother-daughter relationship.

By & By Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Previews Wed/22-Thu/23 and May 29-30, 7pm; Fri/24-Sat/25, 8pm; Sun/26, 5pm. Opens May 31, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through June 23. Shotgun Players presents a new sci-fi thriller by Lauren Gunderson.

Hanging Georgia, a play with music about Georgia O’Keefe Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-30. Previews Thu/23, 8pm. Opens Fri/24, 8pm. Runs Thu-Sat, 8pm (no show Sat/25; additional shows June 1 and 8, 2pm); Sun, 2pm. Through June 9. Pear Avenue Theatre marks its 75th show with Sharmon J. Hilfinger and Joan McMillen’s world premiere, a co-production with BootStrap Theater Foundation.

ONGOING

Arcadia ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-95. Opens Wed/22, 8pm. Runs Tue-Sat, 8pm (also Wed and Sat, 2pm; May 28 show at 7pm); Sun, 2pm (additional show Sun/26, 8pm). Through June 9. American Conservatory Theater performs Tom Stoppard’s literary romance.

Birds of a Feather New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Fri-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 29. New Conservatory Theatre Center performs the San Francisco premiere of Marc Acito’s tale inspired by two gay penguins at the Central Park Zoo.

Black Watch Drill Court, Armory Community Center, 333 14th St, SF; www.act-sf.org. $100. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through June 16. American Conservatory Theater presents the National Theatre of Scotland’s internationally acclaimed performance about Scottish soldiers serving in Iraq.

Boomeraging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue/28, 8pm. Comedian Will Durst performs his brand-new solo show.

Burqavaganza Brava Theater Center, 2781 24th St, SF; www.brava.org. $20. Thu-Sat, 8pm; Sun, 3pm. Through June 2. Brava! For Women in the Arts and RasaNova Theatre present Shahid Nadeem’s Bollywood-style “love story in the time of jihad.”

Dirty Dancing: Live! Dark Room, 2263 Mission, SF; dirtydancinglive-fbe.eventbrite.com. $20. Fri/24-Sat/25, 8pm. Watermelons will be carried, lifts will be attempted, eyes will be hungry, and nobody better put Baby in a corner.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Krispy Kritters in the Scarlett Night Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Opens Thu/23, 7:30pm. Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm; no shows June 8); Sun, 5pm. Through June 16. Cutting Ball Theater performs Andrew Saito’s Howl-inspired portrait of San Francisco.

The Merry Wives of Windsor Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; www.african-americanshakes.org. $10-35. Sat/25, 8pm; Sun/26, 3pm. They might be two of the town’s most respectable matrons, but Mistresses Page (Safiya Fredericks) and Ford (Leontyne Mbele-Mbong), the titular Merry Wives of Windsor, at the African-American Shakespeare Company, are nobody’s fools. When the bawdy, ne’er-do-well Falstaff (a cross-dressing Beli Sullivan) tries to woo the two at the same time (as much for money as lust), they easily turn the tables on his plotting, and further dampen his ardor by having him tossed in a ditch. Their husbands, in particular the suspicious yet constantly flummoxed Master Ford (Armond Edward Dorsey), fare not much better against the wonder-twin powers of their BFF wives, and for anyone keeping score, the entire female population of Windsor generally makes out better than their slow-on-the-uptake menfolk, and they do it in style thanks to Linda Tucker’s astute, 50s-era costume design. Under Becky Kemper’s direction, the attitude skews sassy, and each character — from the befuddled town elite to the simplest servant — is a broadly-painted stroke of buffoonery, one part Desperate Housewives melodrama and one part Marx Brother’s farce. Kemper calls her rowdy take on this battle-of-the-sexes comedy “a guilty pleasure,” reminding us that however hallowed the name of Shakespeare might remain in posher circles, a good portion of his canon was written not for the austere glory of posterity, but for the base enjoyment of the general populace. (Gluckstern)

“PlayGround Festival of New Works” Various venues, SF and Berk; www.playground-sf.org. $15-40. Through Sun/26. The long-running short-play contest and development lab marks its 17th season with an evening showcasing the best of the previous year. The six plays come from six (familiar and new) playwrights out of a pool of 36 new short plays developed by PlayGround since October (and those were drawn from over 190 new original scripts created). The best of the best receives a rotating cast of strong Bay Area actors under six accomplished directors (including PlayGround founder Jim Kleinmann) but is a mixed affair, nevertheless. Katie May’s The Spherical Loneliness of Beverly Onion is a sometimes funny but generally tepid short story about a lonely mortician’s assistant (Carla Pantoja) who confronts her handlers, the natural forces of Fate (Jomar Tagatac) and Luck (Anne Darragh). Simple and Elegant, by Evelyn Jean Pine, is an ocean-side fairytale whose themes don’t sound too deeply, about the titular pair of sisters (Rebecca Pingree and Pantoja) who have a near-fatal falling out over a gold coin salvaged from the belly of a fish (Dao) who may be a handsome prince for one of them or just a nice hideaway bed. In Ruben Grijalva’s Value over Replacement, a major league player (Tagatac) confronts a career-jeopardizing accusation from a journalist-guest (Delzell) on his talk radio show in a somewhat prosaic but dramatically compact, carefully written and well-acted piece. Significant People, by Amy Sass, follows two docents (Darragh and Delzell) through the preserved home of two significant others who seem to be the same people. It’s a quirky conceit that doesn’t quite produce the necessary dramatic tension, the stakes feeling too low. In My Better Half, by Jonathan Spector, quirkiness goes full-bore as a wife (Pingree) with a justifiable complaint against her obliviously self-centered, what-me husband (Dao) looks to have him rubbed out by a reluctant hit man (Tagatac) and his couples-therapist colleague (Darragh). Finally, Symmetrical Smack-Down is William Bivins’ funny and nicely orchestrated foursome, in which the dynamic between two antagonists in the wrestling ring (Tagatac and Delzell) overlaps (literally and dramatically) with that between a long-term lesbian couple (Pingree and Pantoja) on the brink of a break-up and/or rumble. (Avila)

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. Update: new episodes began May 15. (Avila)

Steve Seabrook: Better Than You Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm. Extended through June 29. Self-awareness, self-actualization, self-aggrandizement — for these things we turn to the professionals: the self-empowerment coaches, the self-help authors and motivational speakers. What’s the good of having a “self” unless someone shows you how to use it? Writer-performer Kurt Bodden’s Steve Seabrook wants to sell you on a better you, but his “Better Than You” weekend seminar (and tie-in book series, assorted CDs, and other paraphernalia) belies a certain divided loyalty in its own self-flattering title. The bitter fruit of the personal growth industry may sound overly ripe for the picking, but Bodden’s deftly executed “seminar” and its behind-the-scenes reveals, directed by Mark Kenward, explore the terrain with panache, cool wit, and shrewd characterization. As both writer and performer, Bodden keeps his Steve Seabrook just this side of overly sensational or maudlin, a believable figure, finally, whose all-too-ordinary life ends up something of a modest model of its own. (Avila)

Talk Radio Actors Theatre of San Francisco, 855 Bush, SF; www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 15. Actors Theatre of San Francisco performs Eric Bogosian’s breakthrough 1987 drama.

Tinsel Tarts in a Hot Coma: The Next Cockettes Musical Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Extended through June 29. Thrillpeddlers and director Russell Blackwood continue their Theatre of the Ridiculous series with this 1971 musical from San Francisco’s famed glitter-bearded acid queens, the Cockettes, revamped with a slew of new musical material by original member Scrumbly Koldewyn, and a freshly re-minted book co-written by Koldewyn and “Sweet Pam” Tent — both of whom join the large rotating cast of Thrillpeddler favorites alongside a third original Cockette, Rumi Missabu (playing diner waitress Brenda Breakfast like a deliciously unhinged scramble of Lucille Ball and Bette Davis). This is Thrillpeddlers’ third Cockettes revival, a winning streak that started with Pearls Over Shanghai. While not quite as frisky or imaginative as the production of Pearls, it easily charms with its fine songs, nifty routines, exquisite costumes, steady flashes of wit, less consistent flashes of flesh, and de rigueur irreverence. The plot may not be very easy to follow, but then, except perhaps for the bubbly accounting of the notorious New York flop of the same show 42 years ago by Tent (as poisoned-pen gossip columnist Vedda Viper), it hardly matters. (Avila)

Vital Signs: The Pulse of an American Nurse Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Sun, 7pm. Through June 16. Registered nurse Alison Whittaker returns to the Marsh with her behind-the-scenes show about working in a hospital.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-50. Sun, 11am. Through July 21. Louis “The Amazing Bubble Man” Pearl returns after a month-long hiatus with his popular, kid-friendly bubble show.

BAY AREA

The Medea Hypothesis Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 3pm. Central Works performs Marian Berges’ reconfiguration of the Euripides classic.

Pericles, Prince of Tyre Berkeley Repertory Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $29-77. Wed/22 and Sun/26, 7pm (also Sun/26, 2pm); Thu/23 and Sat/25, 2 and 8pm. Mark Wing-Davey directs Berkeley Rep’s take on the Bard.

PERFORMANCE/DANCE

“Acting Out — For the Health of It” Brava Theater Center, 2781 24th St, SF; bcaction.org/events/actingout/. Wed/22, 7pm. $35-75. Breast Cancer Action benefits from this evening of comedy, author readings, bluegrass tunes, and more.

“Alonzo King LINES Ballet Training Program Spring Showcase” ODC Dance, 351 Shotwell, SF; www.odcdance.org. Fri/24-Sat/25, 7pm; Sun/26, 2pm. $20. Dancers in training (ages 17-24) perform works by Kara Davis, Gregory Dawson, and others.

“Dionysian Festival” Mary Sano School of Duncan Dancing, 245 Fifth St, Studio 314, SF; www.duncandance.org. Sat/25, 8pm; Sun/26, 5pm. $20. Celebrating the 136th anniversary of Isadora Duncan’s birth with works by the pioneering choreographer.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/22, 9:30pm. free. Drag with Collette LeGrande, Diva LaFever, Sophilya Leggz, and more.

“Improvised Murder Mystery” Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. Sat/25, 8pm. $20. BATS Improv performs one of its most popular shows.

“Kunst-Stoff Arts Fest 2013” Kunst-Stoff Arts, One Grove, SF; www.kunst-stoff.org. Through June 7. Most events $10-15. Morning classes, afternoon workshops, and evening performances are the focus of this festival of dance, film, music, and more.

Lady Rizo Z Space, 450 Florida, SF; www.ladyrizo.com. Sat/25, 8pm. $20. The NYC cabaret star performs.

Lily Cai Chinese Dance Company Lily Cai Dance Studio, 301 8th St, SF; lilycaidance.brownpapertickets.com. Fri/24-Sat/25, 8pm; Sun/26, 3:30pm. $15. The company’s 2013 studio concert includes three works, including 2013’s Xing.

“Love and Taxes” Z Space, 450 Florida, SF; www.zspace.org. Wed/22-Thu/23, 8pm. $25-70. Josh Kornbluth performs his hit stage show as a benefit for Z Space.

“Mariko Passion’s Whorrific Popcorn Theatre Bus and Cabaret” Center for Sex and Culture, 1349 Mission, SF; www.sexworkerfest.com. Fri/24, 7pm (cabaret); 9:30pm (bus tour). $15-30. Performance followed by a bus tour “visiting the haunts and landmarks or SF whoredom.” Part of the SF Sex Worker Fest.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Performance Research Experiment #2: Paradox of the Heart (Phase 1)” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/24-Sun/26, 8pm. $15-20. Jess Curtis/Gravity presents a “performance/science experiment” in collaboration with French-German dance and circus artist Jörg Müller.

Red Hots Burlesque El Rio, 3158 Mission, SF; www.redhotsburlesque.com. Wed, 7:30-9pm. Ongoing. $5-10. Come for the burlesque show, stay for OMG! Karaoke starting at 8pm (no cover for karaoke).

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

Shaping Sound Palace of Fine Arts Theatre, 3301 Lyon, SF; www.shapingsoundco.com. Wed/22, 8pm. $30-85. This touring company includes dancers featured on reality competitions All the Right Moves and So You Think You Can Dance.

“Tickled Pink!” Café Royale, 800 Post, SF; (415) 441-4099. Thu/23, 8pm. Free. Comedy showcase with Mike Cappazola, Nina G., Greg Asdourian, and more; this month’s theme is “Grown Up.”

“Union Square Live” Union Square, between Post, Geary, Powell, and Stockton, SF; www.unionsquarelive.org. Through Oct 9. Free. Music, dance, circus arts, film, and more; dates and times vary, so check website for the latest.

Wasatch Collective Dancers Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. Fri/24-Sat/25, 8pm; Sun/26, 7pm. $12. The Utah company makes its Bay Area debut with “Aggregate,” an evening of original and commissioned work.

“When You’re In Love, The Whole World is Jewish” Marines’ Memorial Theatre, 609 Sutter, SF; www.worldisjewishtheplay.com. Fri/24-Sat/25, 8pm (also Sat/25, 2pm); Sun/26, 2pm. $45-66. Seinfeld‘s Jason Alexander directs this musical comedy revue.

“You Killed Hamlet, or Guilty Creatures Sitting at a Play” Main Street Theatre, 915 Cayuga, SF; youkilledhamlet.brownpapertickets.com. Fri/24, 8pm. $15-25. Naked Empire Bouffon Company and the International Home Theatre Festival present an even more outrageous version of their Best of the Fringe-winning show.

BAY AREA

Big Moves Laney College Theater, 900 Fallon, Oakl; www.bigmoves.org. Sat/25, 8pm; Sun/26, 2pm. $17. The company performs En Masse, a new music and dance spectacular featuring resident dance company emFATic DANCE.

“City Ballet School Spring Showcase” Showcase Theater Marin Civic Center, 10 Avenue of the Flags, San Rafael; www.cityballetschool.org. Sat/25, 1-5pm. $25. Student dancers ages 6-19 perform.

“Jewish Chronicles” Cabaret at the Marsh Berkeley, 2120 Allston, Shattuck; www.themarsh.org. Wed/22, 8pm. $15-50. Songwriter and storyteller David Canier performs.

Smuin Ballet Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.smuinballet.org. Wed/22-Sat/25, 8pm (also Sat/25, 2pm); Sun/26, 2pm. $52-68. Also May 31-June 1, 8pm (also June 1, 2pm). $54-70. Lesher Center for the Arts, 1601 Civic, Walnut Creek. The company presents the West Coast premiere of Helen Pickett’s Petal and Darrell Grand Moultrie’s JAZZIN’, among other works.

“Swearing in English: Tall Tales at Shotgun” Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. June 3 and 17, 8pm. $15. Shotgun Cabaret presents John Mercer in a series of three stranger-than-fiction dramatic readings.

Film listings

Andrew Lam

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May 21, 2013

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

OPENING

Elemental Even those suffering from environmental-doc fatigue (a very real condition, particularly in the eco-obsessed Bay Area) will find much to praise about Elemental, co-directed by Gayatri Roshan and NorCal native Emmanuel Vaughan-Lee (who also co-composed the film’s score). This elegantly shot and edited film approaches the issues via three “eco-warriors,” who despite working on different causes on various corners of the planet encounter similar roadblocks, and display like-minded determination, along the way: Rajendra Singh, on a mission to heal India’s heavily polluted Ganges River; Jay Harman, whose ingenious inventions are based on “nature’s blueprints”; and Eriel Deranger, who fights for her indigenous Canadian community in the face of Big Oil. Deranger cuts a particularly inspiring figure: a young, tattooed mother who juggles protests, her moody tween (while prepping for a new baby), and the more bureaucratic aspects of being a professional activist — from defending her grassroots methods when questioned by her skeptical employer, to deflecting a drunk, patronizing Robert F. Kennedy Jr. at a big-ticket fundraiser — with a calm, steely sense of purpose. (1:33) Opera Plaza. (Eddy)

Epic Animated fantasy about a teenager who finds herself drawn into a conflict between warring forest creatures. Features the voices of Amanda Seyfried, Colin Farrell, Beyoncé, and Christoph Waltz. (1:42) Balboa, Presidio.

Fast and Furious 6 Just FYI, part seven has already been announced. (2:10)

Frances Ha See “Let’s Dance.” (1:26) Embarcadero, Piedmont, Shattuck, Smith Rafael.

The Hangover Part III The bros reunite for another ill-advised Las Vegas trip. (1:40) Four Star, Marina, Shattuck.

The Painting Veteran animator Jean-François Laguionie’s French-Belgian feature is a charming and imaginative fable whose characters live in the worlds of an elusive artist’s canvases. It begins in one particular picture, a fanciful landscape in which society is strictly stratified in terms of how “finished” the figures in it are. At the top of the heap are the Alldunns, elitist castle-dwelling snobs who look down on the semi-completed Halfies. Everybody shuns the Sketchies, pencil preliminaries come to life. When members of each group get chased into the Forbidden Forest, they discover they can actually exit the frame entirely and visit other paintings in the artist’s studio. As a parable of prejudice and tolerance it’s not exactly sophisticated, and the story doesn’t quite sustain its early momentum. But it’s a visual treat throughout, nodding to various early 20th-century modern art styles and incorporating some different animation techniques (plus, briefly, live action). Note: the last screenings of each day will be in the film’s original French language, with English subtitles; all others offer the English-dubbed version. (1:18) Opera Plaza, Shattuck. (Harvey)

A Wedding Invitation Already a hit in China, this romantic drama directed by Korea’s Oh Ki-hwan follows a young couple (Eddie Peng, Bai Baihe) as they break up to pursue careers in Beijing and Shanghai, making a pact that they’ll reunite in five years if they’re both still single. (1:45) Metreon.

What Maisie Knew In Scott McGehee and David Siegel’s adaptation of the 1897 Henry James novel, the story of a little girl caught between warring, self-involved parents is transported forward to modern-day New York City, with Julianne Moore and Steve Coogan as the ill-suited pair responsible, in theory, for the care and upbringing of the title character, played by Onata Aprile. Moore’s Susanna is a rock singer making a slow, halting descent from some apex of stardom, as we gather from the snide comments of her partner in dysfunctionality, Beale (Coogan). As their relationship implodes and they move on to custody battle tactics, each takes on a new, inappropriate companion — Beale marrying in haste Maisie’s pretty young nanny, Margo (Joanna Vanderham), and Susanna just as precipitously latching on to a handsome bartender named Lincoln (True Blood‘s Alexander Skarsgård). The film mostly tracks the chaotic action — Susanna’s strung-out tantrums, both parents’ impulsive entrances and exits, Margo and Lincoln’s ambivalent acceptance of responsibility — from Maisie’s silent vantage, as details large and small convey, at least to us, the deficits of her caretakers, who shield her from none of the emotional shrapnel flying through the air and rarely bother to present an appropriate, comprehensible explanation. Yet Maisie understands plenty — though longtime writing-and-directing team McGehee and Siegel (2001’s The Deep End, 2005’s Bee Season, 2008’s Uncertainty) have taken pains in their script and their casting to present Maisie as a lovely, watchful child, not the precocious creep often favored in the picture shows. So we watch too, with a grinding anxiety, as she’s passed from hand to hand, forced to draw her own unvoiced conclusions. (1:38) Albany, Embarcadero. (Rapoport)

ONGOING

At Any Price Growing up in rural Iowa very much in the shadow of his older brother, Dean Whipple (Zac Efron) cultivated a chip on his shoulder while dominating the figure 8 races at the local dirt track. When papa Henry (Dennis Quaid) — a keeping-up-appearances type, with secrets a-plenty lurking behind his good ol’ boy grin — realizes Dean is his best hope for keeping the family farm afloat, he launches a hail-mary attempt to salvage their relationship. This latest drama from acclaimed indie director Ramin Bahrani (2008’s Goodbye Solo) is his most ambitious to date, enfolding small-town family drama and stock-car scenes into a pointed commentary on modern agribusiness (Henry deals in GMO corn, and must grapple with the sinister corporate practices that go along with it). But the film never gels, particularly after an extreme, third-act plot twist is deployed to, um, hammer home the title — which refers to prices both monetary and spiritual. A solid supporting cast (Kim Dickens, Heather Graham, Clancy Brown, Red West, newcomer Maika Monroe) helps give the film some much-needed added weight as it veers toward melodrama. (1:45) SF Center. (Eddy)

The Big Wedding The wedding film has impacted our concepts of matrimony, fashion, and marital happiness more than all the textbooks in the world have affected our national testing average; but it’s with that margin of mediocrity I report from the theater trenches of The Big Wedding. With this, the wedding movie again peters to a crawl. Susan Sarandon (an actress I love with a loyalty beyond sense) is Bebe, the stepmother/caterer swept under the rug by the selfishness of her live in lover Don (De Niro), his ex-wife/baby momma Elle (Diane Keaton) and their racist wackjob future in-laws. When Don and Elle faced the end of their marriage, they tried to rekindle with a Columbian orphan. Cue Ben Barnes in brownface. Alejandro is set to wed Amanda Seyfried and when his mother ascends from Columbia for the wedding, he decides Don and Elle have to act like their marriage never ended &ldots; which makes Bebe a mistress. Surprise! A decade of caring selflessly for your lover’s kids has won you a super shitty wedding you still have to cater! To give you a sense of the conflict management on display, Bebe — the film’s graceful savior —drops a drink on Don before fleeing the scene in her Alfa Romeo; she’s the one character not determined to act out her more selfish urges in the style of an MTV reality show. Despite some less imaginative conflicts and degrading “solutions,” this blended family still speaks some truth about the endearing embarrassment of the happy family. (1:29) SF Center. (Vizcarrondo)

The Croods (1:38) Metreon.

Disconnect (1:55) SF Center.

Evil Dead “Sacrilege!” you surely thought when hearing that Sam Raimi’s immortal 1983 classic was being remade. But as far as remakes go, this one from Uruguayan writer-director Fede Alvarez (who’d previously only made some acclaimed genre shorts) is pretty decent. Four youths gather at a former family cabin destination because a fifth (Jane Levy) has staged her own intervention — after a near-fatal OD, she needs her friends to help her go cold turkey. But as a prologue has already informed us, there is a history of witchcraft and demonic possession in this place. The discovery of something very nasty (and smelly) in the cellar, along with a book of demonic incantations that Lou Taylor Pucci is stupid enough to read aloud from, leads to … well, you know. The all-hell that breaks loose here is more sadistically squirm-inducing than the humorously over-the-top gore in Raimi’s original duo (elements of the sublime ’87 Evil Dead II are also deployed here), and the characters are taken much more seriously — without, however, becoming more interesting. Despite a number of déjà vu kamikaze tracking shots through the Michigan forest (though most of the film was actually shot in New Zealand), Raimi’s giddy high energy and black comedy are replaced here by a more earnest if admittedly mostly effective approach, with plenty of decent shocks. No one could replace Bruce Campbell, and perhaps it was wise not to even try. So: pretty good, gory, expertly crafted, very R-rated horror fun, even with too many “It’s not over yet!” false endings. But no one will be playing this version over and over and over again as they (and I) still do the ’80s films. (1:31) SF Center. (Harvey)

42 Broad and morally cautious, 42 is nonetheless an honorable addition to the small cannon of films about the late, great baseball player Jackie Robinson. When Dodgers owner Branch Rickey (Harrison Ford) declares that he wants a black player in the white major leagues because “The only real color is green!”, it’s a cynical explanation that most people buy, and hate him for. It also starts the ball curving for a PR shitstorm. But money is an equal-opportunity leveling device: when Robinson (Chadwick Boseman) tries to use the bathroom at a small-town gas station, he’s denied and tells his manager they should “buy their 99 gallons of gas another place.” Naturally the gas attendant concedes, and as 42 progresses, even those who reject Robinson at first turn into men who find out how good they are when they’re tested. Ford, swashbuckling well past his sell-by date, is a fantastic old coot here; his “been there, lived that” prowess makes you proud he once fled the path of a rolling bolder. His power moves here are even greater, but it’s ultimately Robinson’s show, and 42 finds a lot of ways to deliver on facts and still print the legend. (2:08) Metreon, 1000 Van Ness, Sundance Kabuki. (Vizcarrondo)

The Great Gatsby Every bit as flashy and in-your-face as you’d expect the combo of “Baz Luhrmann,” “Jazz Age,” and “3D” to be, this misguided interpretation of F. Scott Fitzgerald’s classic tale is, at least, overstuffed with visual delights. For that reason only, all the fashion-mag fawning over leading lady Carey Mulligan’s gowns and diamonds, and the opulent production design that surrounds them, seems warranted. And in scenes where spectacle is appropriate — Gatsby’s legendary parties; Tom Buchanan’s wild New York romp with his mistress — Luhrmann delivers in spades. The trade-off is that the subtler aspects of Fitzgerald’s novel are either pushed to the side or shouted from the rooftops. Leonardo DiCaprio, last seen cutting loose in last year’s Django Unchained, makes for a stiff, fumbling Gatsby, laying on the “Old Sports” as thickly as his pancake make-up. There’s nothing here so startlingly memorable as the actor and director’s 1996 prior collaboration, Romeo + Juliet — a more successful (if still lavish and self-consciously audacious) take on an oft-adapted, much-beloved literary work. (2:22) California, Four Star, Marina, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki, Vogue. (Eddy)

The Iceman Methody-y changeling Michael Shannon is pretty much the whole show in The Iceman, about a real-life hitman who purportedly killed over 100 people during his career. Despite some scarily violent moments, however, Ariel Vromen’s film doesn’t show much of that body count — he’s more interested in the double life Richard Kuklinski (Shannon) leads as a cold-blooded killer whose profession remains entirely unknown for years to his wife, daughters, and friends. The waitress he marries, Deborah (Winona Ryder), isn’t exactly a brainiac. But surely there’s some willful denial in the way she accepts his every excuse and fake profession, starting with “dubbing Disney movies” when he actually dupes prints of pornos. It’s in that capacity that he first meets Roy Demeo (Ray Liotta), a volatile Newark mobster who, impressed by Kuklinski’s blasé demeanor at gunpoint, correctly surmises this guy would make a fine contract killer. When he has a falling out with Demeo, Kuklinski “freelances” his skill to collaborate with fellow hitman Mr. Freezy (Chris Evans), so named because he drives an ice-cream truck — and puts his victims on ice for easier disposal. For the sake of a basic contrast defined by its ad line — “Loving husband. Devoted father. Ruthless killer.” — The Iceman simplifies Kuklinski’s saga, making him less of a monster. The movie only briefly suggests Kuklinski’s abused childhood, and it omits entirely other intriguing aspects of the real-life story. But Shannon creates a convincing whole character whose contradictions don’t seem so to him — or to us. (1:46) Embarcadero, Shattuck, Sundance Kabuki. (Harvey)

In the House In François Ozon’s first feature since the whimsical 2010 Potiche, he returns somewhat to the playful suspense intrigue of 2003’s Swimming Pool, albeit with a very different tone and context. Fabrice Luchini plays a high school French literature teacher disillusioned by his students’ ever-shrinking articulacy. But he is intrigued by one boy’s surprisingly rich description of his stealth invasion into a classmate’s envied “perfect” family — with lusty interest directed at the “middle class curves” of the mother (Emmanuelle Seigner). As the boy Claude’s writings continue in their possibly fictive, possibly stalker-ish provocations, his teacher grows increasingly unsure whether he’s dealing with a precocious bourgeoisie satirist or a literate budding sociopath — and ambivalent about his (and spouse Kristin Scott Thomas’ stressed gallery-curator’s) growing addiction to these artfully lurid possible exposé s of people he knows. And it escalates from there. Ozon is an expert filmmaker in nimble if not absolute peak form here, no doubt considerably helped by Juan Mayorga’s source play. It’s a smart mainstream entertainment that, had it been Hollywood feature, would doubtless be proclaimed brilliant for its clever tricks and turns. (1:45) Smith Rafael. (Harvey)

Iron Man 3 Neither a sinister terrorist dubbed “the Mandarin” (Ben Kingsley) nor a spray-tanned mad scientist (Guy Pearce) are as formidable an enemy to Tony Stark (Robert Downey, Jr.) as Tony Stark himself, the mega-rich playboy last seen in 2012’s Avengers donning his Iron Man suit and thwarting alien destruction. It’s been rough since his big New York minute; he’s been suffering panic attacks and burying himself in his workshop, shutting out his live-in love (Gwyneth Paltrow) in favor of tinkering on an ever-expanding array of manned and un-manned supersuits. But duty, and personal growth, beckon when the above-mentioned villains start behaving very badly. With some help (but not much) from Don Cheadle’s War Machine — now known as “Iron Patriot” thanks to a much-mocked PR campaign — Stark does his saving-the-world routine again. If the plot fails to hit many fresh beats (a few delicious twists aside), the 3D special effects are suitably dazzling, the direction (by series newcomer Shane Black) is appropriately snappy, and Downey, Jr. again makes Stark one of the most charismatic superheros to ever grace the big screen. For now, at least, the continuing Avengers spin-off extravaganza seems justified. (2:06) Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy)

Jurassic Park 3D “Life finds a way,” Jeff Goldblum’s leather-clad mathematician remarks, crystallizing the theme of this 1993 Spielberg classic, which at its core is more about human relationships than genetically manufactured terrors. Of course, it’s got plenty of those, and Jurassic Park doesn’t really need its (admittedly spiffy) 3D upgrade to remain a thoroughly entertaining thriller. The dinosaur effects — particularly the creepy Velociraptors and fan-fave T. rex — still dazzle. Only some early-90s computer references and Laura Dern’s mom jeans mark the film as dated. But a big-screen viewing of what’s become a cable TV staple allows for fresh appreciation of its less-iconic (but no less enjoyable) moments and performances: a pre-megafame Samuel L. Jackson as a weary systems tech; Bob Peck as the park’s skeptical, prodigiously thigh-muscled game warden. Try and forget the tepid sequels — including, dear gawd, 2014’s in-the-works fourth installment. This is all the Jurassic you will ever need. (2:07) 1000 Van Ness. (Eddy)

Kon-Tiki In 1947 Norwegian explorer and anthropologist Thor Heyderdahl arranged an expedition on a homemade raft across the Pacific, recreating what he believed was a route by which South Americans traveled to Polynesia in pre-Columbian times. (Although this theory is now disputed.) The six-man crew (plus parrot) survived numerous perils to complete their 101-day, 4300-mile journey intact — winning enormous global attention, particularly through Heyderdahl’s subsequent book and documentary feature. Co-directors Joachim Roenning and Espen Sandberg’s dramatization is a big, impressive physical adventure most arresting for its handsome use of numerous far-flung locations. Where it’s less successful is in stirring much emotional involvement, with the character dynamics underwhelming despite a decent cast led by Pal Sverr Hagen as Thor (who, incredibly, was pretty much a non-swimmer). Nonetheless, this new Kon-Tiki offers all the pleasures of armchair travel, letting you vicariously experience a high-risk voyage few could ever hope (or want) to make in real life. (1:58) Albany, Embarcadero, Piedmont. (Harvey)

Love is All You Need Copenhagen hairdresser Ida (Trine Dyrholm) has just finished her cancer treatments — with their success still undetermined — when she arrives home to find her longtime husband Leif (Kim Bodnia) boning a coworker on their couch. “I thought you were in chemo” is the closest he comes to an apology before walking out. Ida is determined to maintain a cheerful front when attending the Italian wedding of their daughter Astrid (Molly Blixt Egelind) — even after emotionally deaf Leif shows up with his new girlfriend in tow. Meanwhile brusque businessman and widower Philip (Pierce Brosnan), the groom’s father, is experiencing the discomfort of returning to the villa he once shared with his beloved late wife. This latest from Danish director Susanne Bier and writing partner Anders Thomas Jensen (2006’s After the Wedding, 2004’s Brothers, 2010’s In a Better World) is more conventionally escapist than their norm, with a general romantic-seriocomedy air reinforced by travel-poster-worthy views of the picturesque Italian coastline. They do try to insert greater depth and a more expansive story arc than you’d get in a Hollywood rom com. But all the relationships here are so prickly — between middle-aged leads we never quite believe would attract each other, between the clearly ill-matched aspiring newlyweds, between Paprika Steen’s overbearing sister in-law and everyone — that there’s very little to root for. It’s a romantic movie (as numerous soundtracked variations on “That’s Amore” constantly remind us) in which romance feels like the most contrived element. (1:50) Opera Plaza, Shattuck. (Harvey)

Midnight’s Children Deepa Mehta (2005’s Water) directs and co-adapts with Salman Rushdie the author’s Booker Prize-winning 1981 novel, which mixes history (India’s 1947 independence, and the subsequent division of India and Pakistan) with magical elements — suggested from its fairy-tale-esque first lines: “I was born in the city of Bombay, once upon a time.” This droll voice-over (read by Rushdie) comes courtesy of Saleem Sinai, born to a poor street musician and his wife (who dies in childbirth; dad is actually an advantage-taking Brit played by Charles “Tywin Lannister” Dance) but switched (for vaguely revolutionary reasons) with Shiva, born at the same moment to rich parents who unknowingly raise the wrong son. Rich or poor, it seems all children born at the instant of India’s independence have shared psychic powers; over the years, they gather for “meetings” whenever Saleem summons them. And that’s just the 45 minutes or so of story. Though gorgeously shot, Midnight’s Children suffers from page-to-screen-itis; the source material is complex in both plot and theme, and it’s doubtful any film — even one as long as this — could translate its nuances and more fanciful elements (“I can smell feelings!,” Saleem insists) into a consistently compelling narrative. Last-act sentimentality doesn’t help, though it’s consistent with the fairy-tale vibe, I suppose. (2:20) Shattuck, Smith Rafael. (Eddy)

Mud (2:15) California, Metreon, 1000 Van Ness, Piedmont, Sundance Kabuki.

Oblivion Spoiler alert: the great alien invasion of 2017 does absolutely zilch to eliminate, or at least ameliorate, the problem of sci-fi movie plot holes. However, puny humans willing to shut down the logic-demanding portions of their brains just might enjoy Oblivion, which is set 60 years after that fateful date and imagines that Earth has been rendered uninhabitable by said invasion. Tom Cruise plays Jack, a repairman who zips down from his sterile housing pod (shared with comely companion Andrea Riseborough) to keep a fleet of drones — dispatched to guard the planet’s remaining resources from alien squatters — in working order. But Something is Not Quite Right; Jack’s been having nostalgia-drenched memories of a bustling, pre-war New York City, and the déjà vu gets worse when a beautiful astronaut (Olga Kurylenko) literally crash-lands into his life. After an inaugural gig helming 2010’s stinky Tron: Legacy, director Joseph Kosinski shows promise, if not perfection, bringing his original tale to the screen. (He does, however, borrow heavily from 1968’s 2001: A Space Odyssey, 1996’s Independence Day, and 2008’s Wall-E, among others.) Still, Oblivion boasts sleek production design, a certain creative flair, and some surprisingly effective plot twists — though also, alas, an overlong running time. (2:05) Metreon, 1000 Van Ness. (Eddy)

Pain & Gain In mid-1995 members of what became known as the “Sun Gym Gang” — played here by Mark Wahlberg, Dwayne Johnson, and Anthony Mackie — were arrested for a series of crimes including kidnapping, extortion, and murder. Simply wanting to live large, they’d abducted one well-off man (Tony Shalhoub) months earlier, tortured him into signing over all his assets, and left him for dead — yet incredibly the Miami police thought the victim’s story was a tall tale, leaving the perps free until they’d burned through their moolah and sought other victims. Michael Bay’s cartoonish take on a pretty horrific saga repeatedly reminds us that it’s a true story, though the script plays fast and loose with many real-life details. (And strangely it downplays the role steroid abuse presumably played in a lot of very crazy behavior.) In a way, his bombastic style is well-suited to a grotesquely comic thriller about bungling bodybuilder criminals redundantly described here as “dumb stupid fucks.” There have been worse Bay movies, even if that’s like saying “This gas isn’t as toxic as the last one.” But despite the flirtations with satire of fitness culture, motivational gurus and so forth, his sense of humor stays on a loutish plane, complete with fag-bashing, a dwarf gag, and representation of Miami as basically one big siliconed titty bar. Nor can he pull off a turn toward black comedy that needs the superior intelligence of someone like the Coen Brothers or Soderbergh. As usual everything is overamped, the action sequences overblown, the whole thing overlong, and good actors made to overact. You’ve got to give cranky old Ed Harris credit: playing a private detective, he alone here refuses to be bullied into hamming it up. (2:00) Metreon. (Harvey)

Peeples (1:35) Metreon, 1000 Van Ness.

The Place Beyond the Pines Powerful indie drama Blue Valentine (2010) marked director Derek Cianfrance as one worthy of attention, so it’s with no small amount of fanfare that this follow-up arrives. The Place Beyond the Pines‘ high profile is further enhanced by the presence of Bradley Cooper (currently enjoying a career ascension from Sexiest Man Alive to Oscar-nominated Serious Actor), cast opposite Valentine star Ryan Gosling, though they share just one scene. An overlong, occasionally contrived tale of three generations of fathers, father figures, and sons, Pines‘ initial focus is Gosling’s stunt-motorcycle rider, a character that would feel more exciting if it wasn’t so reminiscent of Gosling’s turn in Drive (2011), albeit with a blonde dye job and tattoos that look like they were applied by the same guy who inked James Franco in Spring Breakers. Robbing banks seems a reasonable way to raise cash for his infant son, as well as a way for Pines to draw in another whole set of characters, in the form of a cop (Cooper) who’s also a new father, and who — as the story shifts ahead 15 years — builds a political career off the case. Of course, fate and the convenience of movie scripts dictate that the mens’ sons will meet, the past will haunt the present and fuck up the future, etc. etc. Ultimately, Pines is an ambitious film that suffers from both its sprawl and some predictable choices (did Ray Liotta really need to play yet another dirty cop?) Halfway through the movie I couldn’t help thinking what might’ve happened if Cianfrance had dared to swap the casting of the main roles; Gosling could’ve been a great ambitious cop-turned-powerful prick, and Cooper could’ve done interesting things with the Evel Knievel-goes-Point Break part. Just sayin’. (2:20) Opera Plaza, Shattuck, Sundance Kabuki. (Eddy)

The Reluctant Fundamentalist Based on Pakistani novelist Mohsin Hamid’s award-winning 2007 novel, and directed by the acclaimed Mira Nair (2001’s Monsoon Wedding, 2006’s The Namesake), The Reluctant Fundamentalist boasts an international cast (Kate Hudson, Martin Donovan, Kiefer Sutherland, Liev Schreiber, Om Puri) and nearly as many locations. British-Pakistani actor Riz Ahmed (2010’s Four Lions) stars as Changez Khan, a Princeton-educated professor who grants an interview with a reporter (Schreiber) after another prof at Lahore University — an American citizen — is taken hostage; their meeting grows more tense as the atmosphere around them becomes more charged. Most of the film unfolds as an extended flashback, as Changez recounts his years on Wall Street as a talented “soldier in [America’s] economic army,” with a brunette Hudson playing Erica, a photographer who becomes his NYC love interest. After 9/11, he begins to lose his lust for star-spangled yuppie success, and soon returns to his homeland to pursue a more meaningful cause. Though it’s mostly an earnest, soul-searching character study, The Reluctant Fundamentalist suddenly decides it wants to be a full-throttle political thriller in its last act; ultimately, it offers only superficial insight into what might inspire someone’s conversion to fundamentalism (one guess: Erica’s embarrassingly bad art installation, which could make anyone hate America). Still, Ahmed is a compelling lead. (2:08) Smith Rafael. (Eddy)

Renoir The gorgeous, sun-dappled French Riviera setting is the high point of this otherwise low-key drama about the temperamental women (Christa Theret) who was the final muse to elderly painter Auguste Renoir (Michel Bouquet), and who encouraged the filmmaking urges in his son, future cinema great Jean (Vincent Rottiers). Cinematographer Mark Ping Bin Lee (who’s worked with Hou Hsiao-hsein and Wong Kar Wai) lenses Renoir’s leafy, ramshackle estate to maximize its resemblance to the paintings it helped inspire; though her character, Dédée, could kindly be described as “conniving,” Theret could not have been better physically cast, with tumbling red curls and pale skin she’s none too shy about showing off. Though the specter of World War I looms in the background, the biggest conflicts in Gilles Bourdos’ film are contained within the household, as Jean frets about his future, Dédée faces the reality of her precarious position in the household (which is staffed by aging models-turned-maids), and Auguste battles ill health by continuing to paint, though he’s in a wheelchair and must have his brushes taped to his hands. Though not much really happens, Renoir is a pleasant, easy-on-the-eyes experience. (1:51) Smith Rafael. (Eddy)

Scatter My Ashes at Bergdorf’s This glossy love letter to posh New York City department store Bergdorf Goodman — a place so expensive that shopping there is “an aspirational dream” for the grubby masses, according to one interviewee — would offend with its slobbering take on consumerism if it wasn’t so damn entertaining. The doc’s narrative of sorts is propelled by the small army assembled to create the store’s famed holiday windows; we watch as lavish scenes of upholstered polar bears and sea creatures covered in glittering mosaics (flanking, natch, couture gowns) take shape over the months leading up to the Christmas rush. Along the way, a cavalcade of top designers (Michael Kors, Vera Wang, Giorgio Armani, Jason Wu, Karl Lagerfeld) reminisce on how the store has impacted their respective careers, and longtime employees share anecdotes, the best of which is probably the tale of how John Lennon and Yoko Ono saved the season by buying over 70 fur coats one magical Christmas Eve. Though lip service is paid to the current economic downturn (the Madoff scandal precipitated a startling dropoff in personal-shopper clients), Scatter My Ashes is mostly just superficial fun. What do you expect from a store whose best-selling shoe is sparkly, teeteringly tall, and costs $6,000? (1:33) Clay. (Eddy)

Star Trek Into Darkness Do you remember 1982? There are more than a few echoes of Star Trek II: The Wrath of Khan in J. J. Abrams’ second film retooling the classic sci-fi property’s characters and adventures. Darkness retains the 2009 cast, including standouts Zachary Quinto as Spock and Simon Pegg as comic-relief Scotty, and brings in Benedict “Sherlock” Cumberbatch to play the villain (I think you can guess which one). The plot mostly pinballs between revenge and preventing/circumventing the destruction of the USS Enterprise, with added post-9/11, post-Dark Knight (2008) terrorism connotations that are de rigueur for all superhero or fantasy-type blockbusters these days. But Darkness isn’t totally, uh, dark: there’s quite a bit of fan service at work here (speak Klingon? You’re in luck). Abrams knows what audiences want, and he’s more than happy to give it to ’em, sometimes opening up massive plot holes in the process — but never veering from his own Prime Directive: providing an enjoyable ride. (2:07) Balboa, Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy)

Stories We Tell Actor and director Sarah Polley (2011’s Take This Waltz) turns the camera on herself and her family for this poignant, moving, inventive, and expectation-upending blend of documentary and narrative. Her father, actor Michael Polley, provides the narration; our first hint that this film will take an unconventional form comes when we see Sarah directing Michael’s performance in a recording-studio booth, asking him to repeat certain phrases for emphasis. On one level, Stories We Tell is about Sarah’s own history, as she sets out to explore longstanding family rumors that Michael is not her biological father. The missing piece: her mother, actress Diane Polley (who died of cancer just days after Sarah’s 11th birthday), a vivacious character remembered by Sarah’s siblings and those who knew and loved her. Stories We Tell‘s deeper meaning emerges as the film becomes ever more meta, retooling the audience’s understanding of what they’re seeing via convincingly doc-like reenactments. To say more would lessen the power of Stories We Tell‘s multi-layered revelations. Just know that this is an impressively unique film — about family, memories, love, and (obviously) storytelling — and offers further proof of Polley’s tremendous talent. (1:48) Embarcadero, Shattuck, Smith Rafael. (Eddy)

Sun Don’t Shine Prolific indie producer and actor (Upstream Color) Amy Seimetz’s debut as feature writer-director is a intriguingly ambiguous mumblecore noir about a couple on the run, à la Bonnie and Clyde. Crystal (Kate Lyn Sheil) and Leo (Kentucker Audley) are driving south through Florida — a state that seemingly always relaxes demands on intelligence and legality — with a handgun, innumerable anxieties, and something problematic hidden in the trunk. We gradually realize she’s unstable, though to what extent remains unclear. Seimetz’s refusal to spell out that and other basic narrative elements lends her film a compelling aura of mystery, one that heightens some striking, tense sequences but also can prove somewhat frustrating in the long run. (A little more insight would have made it easier to understand why the seemingly level-headed Leo has hitched his wagon to the increasingly off-putting Crystal.) Overall, though, it’s the kind of first feature that makes you eager to see what she’ll come up with next. (1:20) Roxie. (Harvey)

Upstream Color A woman, a man, a pig, a worm, Walden — what? If you enter into Shane Carruth’s Upstream Color expecting things like a linear plot, exposition, and character development, you will exit baffled and distressed. Best to understand in advance that these elements are not part of Carruth’s master plan. In fact, based on my own experiences watching the film twice, I’m fairly certain that not really understanding what’s going on in Upstream Color is part of its loopy allure. Remember Carruth’s 2004 Primer? Did you try to puzzle out that film’s array of overlapping and jigsawed timelines, only to give up and concede that the mystery (and sheer bravado) of that film was part of its, uh, loopy allure? Yeah. Same idea, except writ a few dimensions larger, with more locations, zero tech-speak dialogue, and — yes! — a compelling female lead, played by Amy Seimetz, an indie producer and director in her own right. Enjoying (or even making it all the way through) Upstream Color requires patience and a willingness to forgive some of Carruth’s more pretentious noodlings; in the tradition of experimental filmmaking, it’s a work that’s more concerned with evoking emotions than hitting some kind of three-act structure. Most importantly, it manages to be both maddening and moving at the same time. (1:35) Roxie. (Eddy)