Art

7 spots for mental regeneration this week

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Pride is over, and we’re willing to wager your depleted brain cells could stand for some stimulus. Whether you’re into sitting in dimly-lit rooms in North Beach listening to fiction read in a thick Hungarian accent, or dressing to the nines and perusing some edgy new performance art, here are seven cultural hot spots in the city this week.

László Krasznahorka

A Hungarian author emerges from his reclusivity in the hills of Szentlászló in order to present the San Francisco literati with a reading from his novel of scheming, sex, failure, hope, communism, freaky farm collectives, tango, and the devil. Sounds like a can’t-miss situation. City Lights will host celebrated author László Krasznahorka to read Satantango (yes, that’s satan-tango), the book that inspired the seven-and-a-half hour film by remodernist filmmaker, Béla Tarr. 25 years after its original publication date, the novel has finally been translated by George Szirtes, so now we plebeian Californians can get our Hungarian apocalyptic fix. 

Thu/28 7:30pm, free

City Lights Bookstore

261 Columbus, SF

(415) 362-8193

www.citylights.com

Kala Art Institute artist talks 

The busy thoroughfare of Berkeley’s San Pablo Avenue makes an appropriately unsettling backdrop for the Kala Art Institute’s first night of artist talks. From large-scale industrial sculpture, to dystopian watercolor, to engineered photographs of imaginary landscapes, artists Randy Colosky, Vanessa Marsh, and Alison Frost’s work treads an uncanny path between real and surreal. It defamiliarizes the familiar in a fashion of which even Freud would be proud. This series of talks features discussions from Kala fellows during their residencies at the gallery, so look forward to more free inspiration (and free refreshments, which are, um, always a welcome addition for any easel-toting San Francisco artist) in July, August, and September.

Wed/27, 7pm, free 

Kala Gallery 

2990 San Pablo, Berk 

(510) 841-7000

www.kala.org

Raw SF Solstice 

Despite its strictly fashionable cocktail attire mandate and swanky SOMA venue, June’s Raw SF installation offers something for even the freakiest. With a mission to showcase and support emerging, underground artists during the first 10 years of their careers, RAW displays innovative visual art, film, fashion, music, hair and makeup artistry, photography, modeling, and performance art. San Francisco’s installation attendees can also expect henna, organic refreshments, food trucks, a DJ, and a ceremonial tea service.

Thu/28, 7pm-12am, $10 pre-sale tickets, $15 door, $5 after-party (after 9pm)

1015 Folsom, SF

(888) 729-7545

www.rawartists.org

Readers Café and Bookstore poetry series

In support of the San Francisco Public Library, the dusty shelves of Readers Café and Bookstore will be available after hours for the last installment of the shop’s Thursday night poetry readings. Palestinian American poet and historical children’s fiction writer Lorene Zarou-Zouzounis and San Francisco beatnik Martin Hickle will read from their respective collections, and special prices on food and drink will be on offer as you contemplate questions of life and poetry while you gaze out at the Bay from this Fort Mason storefront. 

Thu/28, 6:30pm, free

Readers Bookstore

Building C, Room 165, Fort Mason Center, SF

(415) 771-1076

www.friendssfpl.org

“Evolve: A Woman’s Journey”

Turn what was intended to be a sangria-fueled and nail-painting girls’ night into a celebration of femininity with some real punch. The Fort Mason center showcases Patrick Stull’s work in a diverse series of art from almost all mediums – digital, oil, graphite, sculpture, casting, mixed media, and even original music that chronicles the emotional and physical experience of pregnancy. Much of the art is built to a life-size scale to deal with a subject matter that is as life-large as it gets. 

Fri/29, 9pm, $25

Fort Mason Center

2145 3rd St., SF

www.patrickstull.com

“Only Birds Sing the Music of Heaven in This World”

A million thanks to whoever decided to make food trendy. Combining some of the things NorCal natives hold dear (that’d be food, art, and agriculture) the Museum of Craft and Folk Art hosts a show with curator Harrell Fletcher that displays past and contemporary representations of agriculture, farming, and labor. With a certain focus on alternative farming project imagery, the show links agriculture art with social activism and community building through engaging with various genres, including folk art, outsider art, and craft. 

Sat/30, 11am-6pm, GA $5

Museum of Craft and Folk Art

51 Yerba Buena, SF

(415) 227-4888 

www.mocfa.org

Librotraficante Bay Area Banned Book Reading

As school board officials threaten to ban ethnic studies books and authors — not to mention the subject entirely — in Arizona, Libotraficante is hosting this afternoon of readings from banned books. With more than a dozen performers set to read from controversial tomes, the event is sure to be anything but boring. 

Sun/1 noon-4:30pm, free

Koret Auditorium, San Francisco Public Library

100 Larkin, SF

www.sfpl.org

Students, parents, teachers march in support of Lakeview sit-in

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More than 100 gathered outside Oakland City Hall for a rally and march June 23 to celebrate the sit-in at Lakeview Elementary School. The school is one of five that the Oakland School Board voted to close last fall, in a move that would save the city $2 million per year. 

The school’s unofficial reopening was initiated by Lakeview parents, and since has been organized and led by Lakeview parents and teachers. Organizers have also run a People’s School for Public Education, with more than 20 elementary-age children enrolled. Classes ran for the past week from 9am to 3pm and include music, art, gardening, social justice, and PE. A daily picket and rally was held to support the sit-in and the Peoples School at 5pm.

Organizers may extend the people’s school for another week.

The children and students involved in the effort led the march yesterday, which left from City Hall around 1pm. Protesters marched to the school, where they held a community barbecue.

At an Oct. 26 Oakland School Board meeting, the board voted to close Lakeview, along with four other elementary schools, at the end of the school year. The Save Oakland Schools campaign has been working to stop these closures. Lakeview officially shut its doors at the end of this school year, but with the ongoing sit-in, organizers hope to keep it open as long as possible.

The city plans to use the school’s building for administrative offices.

Speakers at the rally included parents and teachers of Oakland elementary school teachers. 

On the march, demonstrators chanted “Whose schools? Our schools!” and “Education is a right! For our children we will fight!” In reaction to police at the kid-led march, some chanted “their kids! They’re cute! Get those guns up off your suit!”

“The Lakeview sit-in demands a stop to all school closure, or the resignation of Tony Smith, superintendent of the Oakland Unified School District. The Sit-In at Lakeview is held in solidarity with all parents and teachers struggling to demand quality public education across the country,” according to a press release.

The now week-long action is the result of collaboration between Occupy Oakland and its various offshoots and the parents and teachers of Lakeview, as parents and teachers lead the efforts.

Photo via Justin Beck

Glass on Glass: an extended interview with the composer

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Few living composers can claim more influence over the landscape of modern classical music than Philip Glass. A glance at his expansive discography — comprised of symphonies, operas, ballets, film scores, and a broad range of collaborative efforts — reveals a restlessly creative artist, with little regard for categorization. Even after turning 75 earlier this year, Glass continues to work as prolifically as ever.

The latest installment in Glass’ storied career finds the composer joining forces with acclaimed singer-songwriter-harpist Joanna Newsom, for an exclusive, one-off performance Mon/25 to benefit Big Sur’s Henry Miller Memorial Library.

In a phone conversation with the Guardian last week, from his home in Manhattan, Glass detailed the evolution of his creative alliance with Newsom, his burning desire to work with Ornette Coleman and Wynton Marsalis, his likeness to Brian Eno, and his refusal to be labeled a “minimalist”, among a host of other topics.

Our interview was much too extensive for Wednesday’s feature to contain, so read on for more words of wisdom from Glass.

http://www.youtube.com/watch?v=N1C3FtvOZ4g

San Francisco Bay Guardian Are you working on any of your own material recently? Anything you can share with us, that you’re working on for your own purposes?

Philip Glass I finished an opera for Linz, Austria, based on a story about [Austrian novelist-playwright Peter Handke], and now I’m working on another opera, based on… well, that’s a Walt Disney. Besides that, I’m working with Godfrey Reggio on one of his new movies. He’s the one who made Koyaanisqatsi and Powaqqatsi. Besides that, I’m doing concerts. The one [in San Francisco] of course… and I have three in New York this week, and one in Chicago next weekend.

SFBG Solo piano performances?

PG They’re mostly ensemble concerts with my own group. There will be one in New York called the River to River Festival. That’s a group that’s been together for about 35 years or so, and we’re playing pieces that are retrospective of music from those years. Then, I will be doing some collaborative pieces. One concert I’m doing, I’m playing with Laurie Anderson. And I did one last night with Stephin Merritt. The concert in Chicago, which is next weekend, I’m doing with a wonderful violinist named Tim Fain [accompanying Glass and Newsom Mon/25], which is mostly chamber music of mine.

So, I tend to do a variety of things. It keeps everything very interesting for me. It means I’m always practicing and rehearsing [laughs], but it’s more fun to do that than to just play the same thing over and over again. I don’t do that very much.

SGBG Moving on to the show in San Francisco coming up: I spoke with [Magnus Toren, executive director of the Henry Miller Memorial Library] on the phone the other day, and said he’d heard that your rehearsals with Joanna Newsom and Tim Fain are going very well.

PG Yeah, we got along very well, and I’ve known Tim a long time. I knew Joanna from her records when we met for the first time. She spends a lot of time in New York. We met very recently, and we had two sessions here. We’re going to have another rehearsal out there.

What we’re doing, basically… it’s her music and my music. I’m playing one of her new songs, and then she and Tim are playing a number of songs together. Then, we’re playing some of my trios that I adapted for harp, piano, and violin. We’re also doing solo pieces. Violin, harp, and piano: it’s kind of a classic combination. They’re instruments that go very well together, and we found … she’s an excellent player, anyway, and a wonderful singer. But, we found that our music works very well together.

SFBG Are there any songs of [Newsom’s], or just elements of her music that you really connect to?

PG She has a unique way of approaching the harp. I’m not a harpist, so I can’t give you the technical details, but when you hear her play, she has her own style. The way that certain pianists have a certain way of playing the piano. You know, you hear them, you say, “Oh, that’s so-and-so.” You know right away who it is.

She has a bigger tonal range than harp players usually use, because she can change keys very easily, very rapidly. And so, that gives her a lot of flexibility in terms of the tonality. That’s the one thing that I noticed right away. She has a command of the whole range of the instrument, and she can adapt her voice to it very, very well.

SFBG In a recent interview, you said, “all the collaborations I’ve done, have been a way for me to put myself in a place where I haven’t been before.” Based on the time you’ve spent rehearsing with Joanna and Tim, where is this collaboration taking you, that you’ve never been before?

PG I’ve used the harp a lot in orchestral music, where it becomes part of the orchestra. It might not stand out that much. But now, with a harpist right in front of me, there were parts of the instrument that worked very well with parts of my music, and I was able to hear it. Although I knew the instrument, in terms of a large ensemble, I’ve never been in such an intimate relationship with it. It brings out a texture in the music I write, which I’m hearing almost for the first time.

SFBG Besides Newsom, are there any other new artists you’ve been listening to recently, or any currently working musicians who you admire, or take inspiration from?

PG I’m going back to working with a wonderful kora player named Foday Suso. He’s from the Gambia. We toured a lot in the late ’90s, and the early part of this decade, and we’re just trying to start touring again. We haven’t played in a few years. There will be a new percussion ensemble, and we’re going to be playing with them. But, we have concerts coming up in Seattle, and Mexico City, and actually one in Carmel.

I would guess, in terms of a new player, I think Joanna is the newest of the new, given the people I know. I just, last night, was doing a concert with, and played one piece with, Stephin Merritt. I liked playing with him. He’s a very good singer. Do you know his work?

SFBG Magnetic Fields, right?

PG Yeah, that’s right. So, he’s another person I’ve just worked with very recently, who I enjoyed working with.

SFBG So, you’re really known for your collaborations. You’ve done a lot of them. Is there any kind of consistent contribution that you feel you bring to collaborative projects?

PG One of the things that interests me the most is when I work with people who don’t have a background in Western music, as such. Wu Man, who is a wonderful pipa player (it’s like a Chinese mandolin, you could say), we’ve done work together. I’ve worked with Mark Atkins from Australia. He’s a didgeridoo player.

A percussion group from Brazil called Uakti. What I really like, is going outside of my home base. You know, my home base is basically central European art music, as it grew up in Europe and then took root in America. I find, when I’m playing with people from Africa, or Australia, or China, or Japan, or Korea, I find it very stimulating.

SFBG Are there any artists in particular who you’d love to collaborate with?

PG I did a very extensive piece with Leonard Cohen recently [The Book of Longing], and I liked that. I could go back to that collaboration again. But, it’s been four or five years since we did that piece. There are two people I’ve talked to, we’ve never had the time to do it: one is Ornette Coleman, and the other is Wynton Marsalis. We keep on talking about it, but you have to get in the same room long enough to do some work [laughs].

I’d love to go back and do some more pieces with Ravi Shankar, who is still alive, and still writing. I got to know his daughter, Anoushka. Wonderful sitar player. So, that’s a young person I would like to work with. But, she knows that. Ever since she was eight years old. She’s become a wonderful player, these days.

SFBG A few other questions about your music. You seem to reject the “minimalism” tag…

PG Well, here’s the problem: if you would like people to come to a concert of minimalism, and they come to the concert, you’re not going to hear it [laughs]. The reason I object to descriptions that are not going to be found [is that] instead of helping the audience, it creates a kind of obstacle.

The pieces I wrote in ’73, ’74, ’75, ’76: yeah, sure! But, I’m not playing any of those pieces in the concert in San Francisco. I can, and I have. I played Koyaanisqatsi with Godfrey Reggio’s film at the Hollywood Bowl last year. And, that’s close to that period. It was written in 1979. So, it wouldn’t be so outlandish to call it minimalist, but actually, the pieces I’m writing today … it’s misleading.

I don’t know what your situation is, but often, editors will try to find something to sum it up and make a headline of a piece: “Minimalist composer arrives with Joanna Newsom.” But, that’s not going to happen! [Laughs]. So, those are catchy lines, and they’re maybe good journalism, but they’re actually poor preparation.

Look: I’ve been writing music for 40 years. It’s not the same music. So, when people ask me about that, I say, “well, let’s talk about what the concert’s going to be.” Now, in this particular concert, I’m doing pieces with Joanna, and with Tim, that have been written in the last ten years. So, there’s no minimalism in it at all.

When people talk about [Einstein on the Beach]: of course. It resonates with reality. That was the heartland of minimalism in the mid-’70s, and Einstein was one of the apotheosis pieces of that time, that caught that spirit, caught that technique. But, we’re not doing Einstein. We will be doing Einstein at Berkeley, at the Zellerbach, in October.

SFBG Do you have a way, maybe a shorthand, to classify what you’re doing now?

PG You kind of brought it up, yourself. I work with musicians from many different areas, so I’ve become a collaborator. In a way, that informs more about what I do than almost anything else. I don’t care how I’m remembered, in a way, but how I might be remembered as someone who worked with a lot of different people, from Allen Ginsberg, to Twyla Tharp. [That’s the distinctive thing], and it’s definitely reflected in the form of the work.

SFBG A lot of people who were brought up on popular music, even jazz, see a certain exclusivity in classical music. But, looking at your body of work, in contrast, you’ve produced a wide range of work on commission, from operas…

PG Yeah, I got over that label right away! [Laughs].  I’m not even a new music composer anymore. I’m just a composer.

I mean, part of my agenda was to get out of the ghetto, get out of the new music ghetto, into a bigger musical world, where I could work with David Bowie, or Emmylou Harris, or Joanna Newsom. I could work with anybody, and it wouldn’t be a surprise. No one’s going to say “what is he doing now?” because I’ve done it so much that it’s more like, “there he goes again!” [laughs]

SFBG You’ve collaborated with Brian Eno in the past.

PG Yes, that was part of the collaboration with David Bowie, because during the days where they were doing pieces like Heroes and Low (I turned those into symphonies) Brian was a collaborator, for sure.

Also I had a record company at one time [Point Records], and we produced a new performance of Music for Airports [with Bang on a Can]. So, I’ve been involved with his music more than casually. I mean, I’ve actually been involved in recordings, and working on scores with his music. Very interesting composer. Very interesting guy.

SFBG Along those lines: he’s is another artist who’s really made a reputation on versatility, on working within a lot of musical settings. So, do you feel like you might have more in common with, perhaps, someone like Eno, than some of the more traditional figures in Western art music?

PG Well, I think that’s a very good point, because Eno crosses lines very casually, very easily. He wasn’t interested in being in any particular [genre]. I came up at Juilliard, and then [I had] a very high-end academic teacher in Paris called Nadia Boulanger. People who come from that background don’t usually do a lot.  [Pauses]. Trying to think. There was a great producer who produced some Michael Jackson [Quincy Jones]. He was a student of Nadia Boulanger as well. People turn up, but it’s not that common, to be truthful.

SFBG Another quotation from a recent interview, concerning your philosophy on music: you said, “music is a place, and is as real as Chicago, or Indianapolis, or the city you live in. It’s an absolute place, and once you know where that place is, you can go there.” Do you try to bring your audience, your listeners, to a certain place with your music?

PG Well, it’s not that I try to. I’m there already, so if they’re coming to my concerts, they’re going to be there, too. I think that it’s not so much the intention. It’s, more or less, a result of how I work, and who I am. If I tried to do it, I couldn’t do it any better than just, naturally doing what’s natural to me.

I think that’s not uncommon among musicians. We live in this world. It’s not a pastime. It amounts to, almost, an obsession for most musicians. They almost can’t think of anything else, to be truthful. They’re probably boring people to be around if you’re not a fellow musician [laughs]. But, the allure of the world of music is very powerful, and when you’re caught up in it, that’s what it is.

SFBG The place in music that you occupy: do you form any visual associations with it?

PG Not really, though in dreams, I can see things. The language of music is aural. It’s not about seeing; it’s about hearing.

SFBG Is there a piece, or even a section of a piece of yours, that you feel really succinctly encapsulates your approach to music, or what you strive for?

PG Einstein was the piece in the ’70s that captured that for me. But then, six years later, I was doing Koyaanisqatsi. Before Einstein, there was Music in Twelve Parts. Then, after that, there were three operas I did, to the work of Jean Cocteau. These are things that come up throughout my life. Certain pieces kind of sum up everything you’ve been thinking about, and you become aware of it afterwards. It’s hard to know it when it’s happening.

When I look back on certain pieces, [in the mid-’90s there was] Symphony No. 2, which, I didn’t think very much of when I wrote it. And the violin concertos from that time. They both became emblematic pieces of a certain kind.

I can see pieces that way: pieces that seem to sum up a period of search and work, and they seem to be the contestants of those ideas. And then, you move on to, then maybe three, four years of experimentation, of working through things. And then, another piece will pop up, that kind of sums it up. That happens to everybody.

A Benefit for Big Sur’s Henry Miller Memorial Library
Philip Glass and Joanna Newsom with Tim Fain
Mon/25, $62.50-$140
Warfield
982 Market, SF
(415) 345-0900
www.thewarfieldtheatre.com

Phantoms of Asia

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Life. Death. The cosmos. What’s it all about? Bold new art – along with objects from the museum’s own renowned collection – explores spirits, spirituality, cosmic order, and the afterlife. This is a provocative interplay of 150 artworks from past and present, including paintings, sculptures, photographs, site-specific creations, and more by artists from all over Asia. Pause and reflect on your own place in the universe while taking in some amazing art. Check out Phantoms at the Asian Art Museum on Thursday nights when the museum is open until 9pm. After 5pm admission is only $5 while members, children and SFUSD students, and active members of the U.S. Military are FREE! Purchase tickets for Thursday nights online. More about Phantoms of Asia here.

To enter to win a pair of tickets, email sfbgpromos@sfbg.com with “Phantoms” as the subject and provide your name and mailing address in the message. One lucky winner will win a pair of tickets to the viewing on Thursday, June 28. Winner will be announced Monday, June 25.

Now through Sunday, September 2 from 5-9 pm @ Asian Art Museum, 200 Larkin, SF | $5

Don’t funk with THEESatisfaction’s groove

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Cat Harris-White and bandmate Stasia Irons know how to write a memorable lyric. “Queens of the Stoned Age/and princess of time/feel our energy/floating through your mind.”

The totally DIY hip-hop duo, which makes up THEESatisfaction, earlier this year released groundbreaking, 30-minute debut LP awE NaturalE. But they’ve long been a part of the emerging Seattle art scene. In it, they’ve been creating a nearly incomparable sound, at least, galaxies away from swag, with roots in soul and jazz overlaid by spacey electronic beats, cosmic funk zaps, and unexpected twists, along with eloquent sing-rapped verses.

Each track on the record holds a mini story, another sound exploration. The chopped, wordless R&B opener “awE” blends easily into funky beat-poetry style “Bitch,” on which the duo sings, “I’m always finding a time/when I feel I need to please you/but why do I even give a fuck/A fuck about/how the world trails off/off.” Fade out.

There’s floaty, twinkling “Juiced” and powerful closer “Naturale”. Synthy, whistle-dropping, hand-clapping jam “QueenS” should, in a perfect world, be the summer anthem of 2012. On it, their mission statement: “Leave your face at the door/turn off your swag /check your bag.”

I talked with both Harris-White and Irons about all this – musical origins, the nature of DIY creation, being sci-fi Trekkies, Seattle’s current hip-hop surge, harmonizing with Drake, and memorable personal anthems (hint: Montell Jordan) –  prior to their SF show this weekend:

SFBG How was the Europe tour?

Cat Harris-White It was really good, we did 12 shows out there in two weeks so it was kind of intense, but the crowds were really cool. We got to see a lot of cool people and go to different places we’ve never been – we went to the Netherlands, where we’ve never been before, and Brussels.

Stasia Irons This time we got to go up to Sweden and Belgium, we even dipped into Germany, we didn’t have a show there but we passed through Dusseldorf, Germany, so that was awesome. We went out in Scotland to a nightclub and [laughs] we had a lot of fun. We were out pretty late, but that’s how they party.

SFBG It must be much easier to get around on tour with just the two of you, as opposed to a larger backing band, or with roadies?

SI Yeah, it’s much easier, you can take the train.

SFBG [THEESatisfaction] comes from a pretty DIY sensibility, a scene where you’re making your own handmade CDs and tapes?

CHW Definitely, we were doing our own thing. We’re self-managed. It’s just a totally different experience, because we get to make the decisions and decide what we’re doing.

SFBG Does that also influence the style of music you’re making?

SI Yeah, when we first started off we just made music for ourselves, just to enjoy at home and play around. We kind of developed the way we sound over time just listening to a lot of different kinds of music and figuring out what we wanted.

We really like gospel and jazz. We both come from those genres. I was more heavily in gospel and Cat was well-versed in jazz. So we started there. And then since we’re doing it ourselves, we can go anywhere we want with it.

SFBG I’ve seen a lot of comparisons, to acts like Shabazz Palaces or even ESG, but beyond that I feel like it does have a very different sound, and it probably comes from that DIY sensibility – how do you feel about comparisons to other acts?

CHW I accept them, and it’s cool that people can draw those lines. I’m never really offended. I like when they’re able to pick out people who I really like. Someone told us that we reminded them of TLC and SWV and Digable Planets.

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

SFBG On the album, there are such interesting turns of phrases, and wordplay, I was wondering where that came from – are you voracious readers, students of hip-hop?

SI We read a lot, especially now more than ever. When we first started out we were just listening to a lot of music, and not really reading a lot. But now, since we did the album, we were heavily in to black sci-fi authors. I went to school for English, and Cat went to school for vocal jazz, so that’s the reason too.

SFBG There are some sci-fi sounds, outer-space atmospheres on the album — was that sort of spacey vibe intentional?

CHW Yeah, we’ve always been into sci-fi too, I’m totally a Trekkie and everything like that. We’ve always been into outer-space and exploring beyond what’s here on earth, and exploring deeper into what is here on Earth. Where we come from, where we’re going. We’re researchers and historians. We’re always interested in finding out different information, I guess that comes out in our sound.

SFBG Who are some of the authors you’re reading currently?

CHW Right now we’re reading a lot of Octavia Butler.

SI Toni Morrison. Oh, Shakespeare.

CHW Shakespeare definitely. Alice Walker as well.

SFBG I feel like “Queens” is a really anthemic song – a song that people want to shout out the lyrics to – what were the anthems of your youth?

CHW Growing up I listened to a lot of George Clinton and P-Funk and Parliment. “We Want the Funk” and just all their songs. You know what I’m saying? Those songs go on for like 10 minutes and they’re just chanting and harmonizing and blending things, so those kind of songs were anthemic, but also songs from Chic and SOS Band and other songs like that that have the same kind of vibe.

SI My mom listened to R&B a lot — so “This Is How We Do It” comes on, obviously I’m going to be reciting all the lyrics. Party jams like that. A lot of New jack swing and shit too.

http://www.youtube.com/watch?v=0hiUuL5uTKc

SFBG What’s your music scene like in Seattle?

CHW Yes, Seattle is poppin’ right now, as far as music. A lot of friends are involved in it, not necessarily only music, but arts, authors. A lot of artsy people. But hip-hop is what’s really going on right now. It used to be a lot of grunge and indie bands and they’re still there, but I see like a lot of different kinds of hip-hop coming out of Seattle right now.

As you said Shabazz, and then there’s Champagne Champagne, a lot of great hip-hop DJs – Chocolate Chuck. There’s punk hip-hip, party hip-hop, sad hip-hop [laughs], Christian hip-hip.

SFBG Christian hip-hop?

CHW [Laughs] there’s a lot of that going on. That’s actually how I started getting involved [with music]. When I was kid, going to church, there was a group called Cave and I didn’t know they were Christian hip-hop, they never cursed or anything but their songs were just really good and usually gospel hip-hop isn’t all that good, but they were pretty dope.

SFBG Any thoughts on the current state of mainstream hip-hop? I guess “mainstream” is kind of a fast and loose description, but radio-popular hip-hop in 2012?

CHW I don’t have a problem with it essentially in a big way, because there’s always a certain place for it, on the radio and TV. There’s always been a popular format of music, music that’s highly promoted to the world. The music you’ll hear when you go places – you’ll hear Flo Rida or Odd Future or Nicki Minaj, or maybe LMFAO. There’s music that will always be promoted because there’s a certain force behind it and that’s fine. It’s been around as long as radio’s been around.

SFBG Do you have any dream collaborators?

CHW Fantasy-wise, Prince or Stevie Wonder. Missy Elliot, Timbaland too. Esperanza Spalding. Drake [laughs], we can harmonize with Drake.

 

THEESatisfaction
WIth Le Vice
Fri/22, 9pm, $14
Independent
628 Divisadero, SF
(415) 771-1421
www.theindependentsf.com

Rep Clock

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Schedules are for Wed/20-Tue/26 except where noted. Director and year are given when available. Double features (and more) are marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Colectivo Cinema Errante presents: Brazilian Voices of Cinema:” Dona Flor and Her Two Husbands (Barreto, 1976), Sun, 8.

BALBOA 3630 Balboa, SF; www.cinemasf.com/vogue. $7.50-10. “Best of God” and “Best of Drugs,” illustrated talks by comedian Owen Egerton using religious films and educational scare films, Wed (“God”) and Thu (“Drugs”), 7:30.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, SF; (510) 841-4824. Donations welcome. A Noble Lie: Oklahoma City 1995 (Lane, 2011), Sat, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. Frameline 36: San Francisco LGBT Film Festival, Wed-Sun. Visit www.frameline.org for schedule and tickets. •Pina (Wenders, 2011), June 26-27, 7 (also June 27, 3:05), and Cave of Forgotten Dreams (Herzog, 2010), June 26-27, 9 (also June 27, 5:05).

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Bel Ami (Donnellan and Ormerod, 2012), call for dates and times. Bernie (Linklater, 2012), call for dates and times. Peace, Love and Misunderstanding (Beresford, 2011), call for dates and times.

“FILM NIGHT IN THE PARK” This week: Old Mill Park, 300 block of Throckmorton, Mill Valley; www.filmnight.org. Donations accepted. Enchanted (Lima, 2007), Fri, 8. Dolores Park, Dolores at 19th St, SF. Mamma Mia! (Lloyd, 2008), Sat, 8.

LUMIERE 1572 California, SF; www.48hourfilm.com. “48 Hour Film Project,” premiere screenings, June Wed-Thu, 6:45, 9:15.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Behind the Scenes: The Art and Craft of Cinema with Editor Curtiss Clayton:” To Die For (Van Sant, 1995), Wed, 7; Rick (Clayton, 2003), Fri, 7; Maladies (Carter, 2012), Fri, 9:20. “Gregory Peck: An Agreeable Gentleman:” The Man in the Grey Flannel Suit (Johnson, 1956), Thu, 7; To Kill a Mockingbird (Mulligan, 1962), Sun, 4:45. “One-Two Punch: Pulp Writers Dorothy B. Hughes, Mickey Spillane, Elmore Leonard:” In a Lonely Place (Ray, 1950), Sat, 6:30; Fallen Sparrow (Wallace, 1943), Sat, 8:30. “Afterimage: Three Nights with Nathaniel Dorsky:” “Films of Nathaniel Dorsky: Devotional Songs (2002-04),” Sun, 7:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Frameline 36: San Francisco LGBT Film Festival, Wed-Sat. Visit www.frameline.org for schedule and tickets. How to Grow a Band (Meatto, 2011), Wed-Thu, 9:15. Marley (Macdonald, 2012), Wed-Thu, 6:30. Ultrasonic (Rao, 2011), June 22-28, 7, 8:45 (also Sat-Sun, 3:30, 5:15).

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. The Story of Film: An Odyssey, Part Four: European New Wave; New Directors, New Forms (1960s) (Cousins, 2011), Sat, noon. British TV series; new episodes every Sat through June 21. Found Memories (Murat, 2011), June 22-28, 2:30, 4:30, 6:30, 8:30. The Woman in the Fifth (Pawlikowski, 2011), Wed-Thu, 3, 5, 7, 9.

Our Weekly Picks: June 20-26

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THURSDAY 21

SF Symphony Presents: Duke Bluebeard’s Castle

This’ll be dark and delicious. Young British filmmaker Nick Hillel’s innovative, sculptural projections have appeared in videos for the Beastie Boys, Baaba Maal, Cirque du Soleil, and Matthew Herbert. He’s set to direct and design the SF Symphony’s semi-staged performance of composer Bela Bartok’s wickedly gorgeous 1911 mini-opera setting of the Bluebeard legend: a young bride wanders through her older husband’s nightmarish castle, discovering seven rooms that include a torture chamber, a gleaming treasure, a lake of tears, and, finally, her own horrible fate. Somehow this is not a downer! Probably because the music’s so entrancing — here voiced by mezzo-soprano Michelle DeYoung and bass-baritone Alan Held — and the tale so engrossing. Plus you get awesome pianist Jeremy Denk performing Franz Liszt’s Piano Concerto #1 and a clubby afterparty on Fri/22 with John Vanderslice and Magik*Magik Orchestra. No lake of tears here. (Marke B.)

Thu/21-Sat/23, 8pm, $35–$145

Davies Symphony Hall

201 Van Ness, SF

www.sfsymphony.org

 

FRIDAY 22

“David Shrigley: Brain Activity”

Glasgow-based artist David Shrigley’s signature cartoons are hilariously deadpan: crude drawings and doodles; short stories filled with crossed-out corrections; a “Lost Pet” poster, taped to a tree, seeing a certain pigeon (“Normal size. A bit mangy looking.”) He’s also an animator, spoken-word performer, photographer, music-video director, occasional DJ, and taxidermist — witness the “I’m Dead” image, featuring a stiffly obedient Jack Russell, being used to promote “Brain Activity” at the Yerba Buena Center for the Arts (“Is this the sickest art show ever?” tut-tutted the Daily Mail). This is the only stateside stop for “Brain Activity,” so don’t miss the chance to witness, and chuckle at, the work of this offbeat art star. (Cheryl Eddy)

Through Sept. 23

Opening tonight with performance by Blasted Canyons, 8-10pm, $12–$15

Artist lecture Sat/23, 2pm, free with gallery admission ($8–$10)

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

 

“Mission in the Mix”

Talk to anybody who has ever sat through an evening of hip-hop, you are likely to hear: “It was so much fun.” Talk to somebody dancing in a hip-hop group, same thing: “so much fun.” In some ways the yearly “Mission in the Mix” is a kind of preview of the big hip-hop fiesta in November, to which dancers fly in from who knows where. But, Micaya, the soul force behind that event, has always stressed her love for the local dancers who might not necessarily be ready yet for the big tent. So this is her chance to make them shine in a more intimate but no less rollicking environment. (Rita Felciano)

Through June 30; Fri-Sat, 8pm, Sun, 7pm, $17

Dance Mission Theater

3316 24th St. SF

(415) 826-4441

www.dancemission.com

 

Royal Headache

Musical debates can give you a…total migraine. With the US release of the self-titled album from Australia’s Royal Headache earlier this year, finding out about the band now is like coming into an argument halfway. Having built up a reputation through its live performances, the band — whose members are named Law, Joe, Shorty, and Shogun — is at the center of Sydney’s burgeoning garage rock scene, combining additional powerpop and R&B. The key element, though, is the naturally soulful voice of singer Shogun, alternately hailed as either a rock’n’roll messiah or the unwelcome return of Rod Stewart. (Ryan Prendiville)

With Yi, Synthetic ID

7pm, $8

1-2-3-4 GO! Records

423 40th St., Oakl.

www.1234gorecords.com

 

Death to All

Seven members of the pioneering death metal band Death are uniting to embark on a seven-stop tour beginning in San Francisco. The band’s first album Scream Bloody Gore, released 25 years ago, is widely considered to be the first true death metal album. This tour comes 11 years after the death of founding member Chuck Schuldiner due to brain cancer, and is intended to celebrate his life as well as to raise awareness and money for Sweet Relief, a nonprofit organization that helps foot medical bills for musicians. Never before has shredding, head-banging brutality been so morally sound. (Haley Zaremba)

With Gorguts

9pm, $32

Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com

 

Horse Meat Disco

Honey Soundsystem has good reason to be proud. Its parties — focused more on quality music than marketing to a stereotype — have been an energizing force for and beyond the SF gay community. Now Honey is starting off a packed Pride weekend by bringing out London’s Horse Meat Disco. Boldly called “without a doubt the most important disco club night in the world” the collective shares Honey’s expansive take on the genre, releasing borderless mixes as likely to feature edits of Talking Heads and Mungolian Jetset as Sylvester. The night also features the return of DIY synth wiz Gavin Russom, not in a DJ set, but with his live ensemble, the Crystal Ark.(Prendiville)

With Poolside (live), Honey Soundsystem DJs

9pm Doors, $17 Advance

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com


SATURDAY 23

Bicycle Music Festival

Though LovEvolution may have be out-Darwined by the War on Fun, we (gosh darn) still have Bicycle Music Festival providing ambulatory audio in our city streets. The fest, split between two free outdoor locations, is completely pedal-powered — attendees morph into volunteers when they grab saddles and lend their quad muscles to the generator cause. This year, festival co-founder Shake Your Peace! makes its triumphal return, attendance may hit 1,000, and Birds & Batteries, Rupa and the April Fishes, and Major Powers and the Lo-Fi Symphony will be among those taking the stage. Catch the thrilling cross-city processional at 5pm to see members of Jazz Mafia roll through intersections without missing a beat. (Caitlin Donohue)

Noon-11pm, free

Noon-5pm: Log Cabin Meadow, Golden Gate Park, SF

6-11pm: Showplace Triangle, Irwin and 8th St., SF

www.bicyclemusicfestival.com

 

Mark Gardener

A mainstay of Britain’s legendary early-’90s shoegaze scene, Ride embraced the Beatles-on-drugs songbook, turned its guitars up to 11, and filtered the result through a viscous, Phil Spectorian cloud of pink noise. Now, 15 years after Ride’s disbandment, the band’s vocalist and guitarist Mark Gardener is coming stateside to honor the 20th anniversary of its sophomore effort, Going Blank Again: an album equally indebted to the Stone Roses’ jangly pop, and Kevin Shields’ shapeshifting production dynamics. Those of you jonesing for another My Bloody Valentine reunion appearance, take note: this is the show of the weekend to seize upon. (Taylor Kaplan)

With Sky Parade, Silent Pictures, DJ Dennis the Menace

9:30pm, $15

Cafe du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com


MONDAY 25

Friends

Friends will be friends. But only the best of them will house your ass after a bedbug infestation — or so the story of Bushwick, Brooklyn’s dynamo five-piece, Friends, goes. Frontperson Samantha Urbani opened her home to future bandmates Lesley Hann (bassist) and Oliver Duncan (drummer) after the two were hit with a bout of the six-legged bloodsuckers, and jamming ensued. Tapping Matthew Molnar and Nikki Shapiro to round out the lineup, Urbani and friends instantly honed in on a funky, tropical, soul-tinged, and totally danceable kind of pop music. Friends — formerly known as Perpetual Crush — hit the ground flying in 2011, releasing much buzzed about singles “Friend Crush” and “I’m His Girl.” Debut full-length album Manifest! is out now — just in time to have a summah. (Julia B. Chan)

With Splash!, Young Digerati

9pm, $12

Bottom of the Hill

1233 17th, SF

(415) 621-4455

www.bottomofthehill.com


TUESDAY 26

“Jurassic Live: Dino Action Show”

The T.rex is coming! The velociraptors are here! All the way from Austin, Tex., Old Murder House Theatre — producers of Aliens on Ice … I highly recommend YouTubing it — brings its latest blockbuster homage to the Children’s Fairyland Theatre. This venue usually excludes grown-ups without kids in tow, but this interpretation of 1993’s Jurassic Park is “intended for mature audiences,” which I hope means plenty of stage blood during the “clever girl” scene. Also in store: cardboard-and-duct-tape reptiles, DIY contraband-toting devices disguised as shaving-cream cans, a bewigged dude playing Laura Dern, and more. Eat your heart out, Spielberg! (Eddy)

8:30pm, $20

Children’s Fairyland Theatre

699 Bellevue, Oakl.

www.oldmurderhousetheatre.com

 

The Hundred in the Hands

This glammed-out electro duo from Brooklyn produces dreamy pop songs with a shimmery disco tinge. Vocalist Eleanore Everdell is classically trained, her background in opera leading not to overpowering vibrato but instead to lush vocal stylings that add a warm depth to their dance-friendly tracks. Keyboardist and programmer Jason Friedman brings his art school education to the band’s online publication THITH ZINE, which highlights their favorite music, art, and design. The zine’s DIY foundation compliments the raw feel of the duo’s catchy homemade beats. Named after the Lakota Nation term for a battle resulting in the slaying of 100 members of the opposing army, the Hundred in the Hands promise to deliver a powerful, take-no-prisoners performance. (Zaremba)

With Silver Swans, Teenage Sweater

8pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

KWJAZ

Often associated with the “hypnagogic pop” movement that’s put the blogosphere into overdrive (think chillwave, but artier/weirder/more “washed out”) SF’s own KWJAZ has taken the cassette-fetishist subculture by storm. Churning out a gloriously hazy brand of jam-based pop, mastermind Peter Berends specializes in a more drawn-out approach than most of his peers; KWJAZ’s self-titled debut, released this year on the hipper-than-thou Not Not Fun Records, consists solely of two extended tracks, jazzily oozing from one murky, spliffed-out groove to the next. Pink Floyd for Hype Williams fans? Ariel Pink for the Soft Machine crowd? Bear witness, and decide for yourself. (Kaplan)

With Aloonaluna, Aja

9pm, $5

Hemlock

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, 71 Stevenson Street, Second Floor, SF, CA 94105 or email (paste press release into email body — no attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Music Listings

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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 20

ROCK/BLUES/HIP-HOP

Brian Bergeron Johnny Foley’s. 9pm, free.

Jonathan Coulton, John Roderick Great American Music Hall. 8pm, $29.

Dot Punto, Major Powers and the Lo-Fi Syphony, Greening, Tall Sheep Elbo Room. 9pm, $7.

Samantha Fish Biscuits and Blues. 8 and 10pm, $15.

Graffiti6, Yuna Cafe Du Nord. 8:30pm, $15.

Indigo Girls, Shadowboxers Slim’s. 8pm, $31.

Jeff vs. JC Rockit Johnny Foley’s Dueling Pianos. 9:30pm.

Amy La Vere Hotel Utah. 9pm, $10.

Parlotones, Ryan Star, Silent Comedy Independent. 8pm, $14.

Pins of Light, Hot Victory, Lozen Hemlock Tavern. 9pm, $7.

Hélène Renaut, Bramble and Briar Lost Church, 65 Capp, SF; www.thelostchurch.com. 8pm.

Matt Skiba & the Sekrets, Case in Theory Bottom of the Hill. 9pm, $20.

Stone in Love: A Tribute to Journey Yoshi’s SF. 8pm, $25.

Tu Fawning Brick and Mortar Music Hall. 9pm, $9-$12.

Vardensphere, W.A.S.T.E., E.S.A., End: The DJ DNA Lounge. 9pm, $14.

JAZZ/NEW MUSIC

Cat’s Corner with Nathan Dias Savanna Jazz. 9pm, $10.

Cosmo AlleyCats Le Colonial, 20 Cosmo Place, SF; www.lecolonialsf.com. 7-10pm.

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

Ricardo Scales Top of the Mark, 999 California, SF; www.topofthemark.com. 6:30pm, $5.

FOLK/WORLD/COUNTRY

Carlos Aldama with Umi Vaughan City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm.

Amy LaVere Hotel Utah.

DANCE CLUBS

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

Coo-Yah! Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. DJs Daneekah and Green B spin reggae and dancehall with weekly guests.

Mary Go Round Lookout, 3600 16th St, SF; www.lookoutsf.com. 10pm, $5. Drag with Suppositori Spelling, Mercedez Munro, and Ginger Snap.

Megatallica Fiddler’s Green, 1333 Columbus, SF; www.megatallica.com. 7pm, free. Heavy metal hangout.

THURSDAY 21

ROCK/BLUES/HIP-HOP

Baby and the Macks, Dresses, Phoebe Hunt, DAD Amnesia. 9pm, $5-$10.

Brad Wilson Blues Band Biscuits and Blues. 8 and 10pm, $15.

Capital Cities, Gemini Club, popscene DJs Rickshaw Stop. 9:30pm, $13-$17.

Clamhawk Manor Brick and Mortar Music Hall. 8pm, $5-$8.

Fuckaroos, Pillars and Tongues, Joseph Childress, Grace Cooper Hemlock Tavern. 8pm, $10.

Gunshy Johnny Foley’s. 9pm, free.

Lisa Hannigan, Joe Henry Great American Music Hall. 8pm, $26.

HowellDevine, Aaron Leese & the Panhandlers Cafe Du Nord. 8:30pm, $10-$12.

Radio Noise, H is 4 Hector, Insecurities Grant & Green. 9pm, free.

Randy vs. Jeff Johnny Foley’s Dueling Pianos. 9:30pm.

Rose Royce Yoshi’s SF. 8pm, $30; 10pm, $20.

Scene of Action, Pavement Sea, Gold Medalists Bottom of the Hill. 9pm, $8.

Spider Heart 50 Mason Social House, SF; www.50masonsocialhouse.com. 10pm, free.

Van Hunt, Ren the Vinyl Archaeologist Independent. 8pm, $20.

Younger Lovers, School Knights, Grandma’s Boyfriend Thee Parkside. 9pm, $7.

JAZZ/NEW MUSIC

Stompy Jones Top of the Mark, 999 California, SF; www.topofthemark.com. 7:30pm, $10.

Ned Boynton Trio Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 7-10pm.

Stephanie Mills Yoshi’s SF. 8pm, $60.

FOLK/WORLD/COUNTRY

“Summer Solstice Soiree with Musica Delira” Bissap, 3372 19 St, SF; (415) 826-9287. 8pm.

Twang! Honky Tonk Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm. Live country music, dancing, and giveaways.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-$7. With DJ-host Pleasuremaker spins Afrobeat, Tropicália, electro, samba, and funk.

Base: Lee Burridge Vessel, 85 Campton, SF; www.vesselsf.com. $10-$15.

SF Riot Grrrl “Mine” Knockout. 9pm, $5. Benefit for Lyon-Martin.

Arcade Lookout. 9pm, free. Indie dance party.

Get Low Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. Jerry Nice and Ant-1 spin Hip-Hop, ’80s and Soul with weekly guests.

SkisM DNA Lounge. 8pm, $15.

Thursdays at the Cat Club Cat Club. 9pm, $6 (free before 9:30pm). Two dance floors bumpin’ with the best of 80s mainstream and underground with DJ’s Damon, Steve Washington, Dangerous Dan, and guests.

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

FRIDAY 22

ROCK/BLUES/HIP-HOP

Cool Ghouls, Cigarette Burns, Courtney and the Crushers, Glitz Hemlock Tavern. 9pm, $7.

Death to All, Gorguts Regency Ballroom. 9pm, $32.

Jenni & the Jerks 50 Mason Social House, SF; www.50masonsocialhouse.com. 10pm.

Joe Krown/Walter Wolfman/Russell Batiste Trio Brick and Mortar Music Hall. 9pm, $15-$20.

Last Ambassadors, Cash Pony, 3 Ring Simian Cafe Du Nord. 9:30pm, $10.

Larry McCray Biscuits and Blues. 8 and 10pm, $20.

Rahsaan Patterson Yoshi’s SF. 8pm, $26; 10pm, $22.

Retroz, Funkery, Raya Zion Collective Slim’s. 8pm, $14-$16.

Sister Crayon, Sea of Bees, Jhameel Bottom of the Hill. 9:30pm, $12.

Sole Johnny Foley’s. 9pm, free.

Spyrals, Poor Sons, Wild Wild Wets, Arabs Thee Parkside. 9pm, $6.

THEESatisfaction Independent. 9pm, $14.

Rags Tuttle, Jeff, Jason Marion Johnny Foley’s Dueling Pianos. 9pm.

JAZZ/NEW MUSIC

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

Black Market Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.

Terry Disely Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 5:30-8:30pm, free.

FOLK/WORLD/COUNTRY

David Berkeley SFO Airport, Terminal Three. 10am-2pm, free.

Ozark Mountain Music Show Plough and Stars. 9:30pm, $8-$10. With Chapmans.

Taste Fridays 650 Indiana, SF; www.tastefridays.com. 8pm, $18. Salsa and bachata dance lessons, live music.

DANCE CLUBS

Baxtalo Drom Amnesia. 9pm, $7-$10. Live music, gypsy punk, belly dance.

Drag Yourself to Pride: Disney Prom Rickshaw Stop. 9:30pm, $5.

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

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

Original Plumbing Elbo Room. 10pm, $7-$10. Trans March after-party with DJs Rapid Fire and Average Jo.

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.

Pledge: Fraternal Lookout. 9pm, $3-$13. Benefiting LGBT and nonprofit organizations. Bottomless kegger cups and paddling booth with DJ Christopher B and DJ Brian Maier.

SATURDAY 23

ROCK/BLUES/HIP-HOP

Curumin Slim’s. 9pm, $16-$18.

Dark Hollow Riptide, 3639 Taraval, SF; www.riptidesf.com. 9:30pm, free.

Fast Times Maggie McGarry’s, 1353 Grant, SF; www.maggiemcgarryscom. 10pm, free.

Foreverland, Planet Booty Bimbo’s. 9pm, $22.

Fusion Johnny Foley’s. 9pm, free.

Mark Gardener, Sky Parade, Silent Pictures Cafe Du Nord. 9:30pm, $12-$15.

“Go Van Gogh Celebrates the Sexual Revolution” Revolution, 3248 22 St, SF; www.revolutioncafesf.com. 9pm.

Hammers of Misfortune, Grayceon, Wild Hunt Elbo Room. 9pm, $10.

It Gets Indie, It Gets Better and the Trevor Project’s Princeton, Local Great American Music Hall. 8pm, $25.

Jeff, Randy, Jason Marion Johnny Foley’s Dueling Pianos. 9pm.

Kicker, P.R.O.B.L.E.M.S., Modern Pets, Rock Bottom Thee Parkside. 9pm, $8.

Locos Por Juana, Bang Data Brick and Mortar Music Hall. 9pm, $9-$12.

New Position, American Professionals Thee Parkside. 3pm, free.

Otis Heat, Quick & Easy Boys, Caldecott Bottom of the Hill. 9:30pm, $12.

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

“Vans Warped Tour” McCovey Cove at AT&T Park, SF; warpedtoursf.eventbrite.com. Noon, $42. With Taking Back Sunday, All Time Low, Used, New Found Glory, and more.

Whirr, Lorelie, Moonbeams, Half String Hemlock Tavern. 8pm, $8.

JAZZ/NEW MUSIC

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

Citizen’s Jazz Red Poppy Art House. 8:30pm, $10-$15.

May’n Yoshi’s SF. 1:30pm, $50.

Pat Martino Organ Trio Yoshi’s SF. 8pm, $25; 10pm, $20.

FOLK/WORLD/COUNTRY

“Fete de la musique” Alliance Francaise, 1345 Bush, SF; www.afsf.com.1pm. With Tod Hamilton and Jerry Kiernan, Zu Zed, Safe Under the Tree, Helene Renaut, Hot Six, and more.

Craig Ventresco & Meredith Axelrod Atlas Cafe, 3049 20th St, SF; www.atlascafe.net. 4-6pm, free.

DANCE CLUBS

Black Glitter 50 Mason Social House, SF; www.50masonsocialhouse.com. 9pm.

Bootie SF: Lady Gaga vs Madonna DJ DNA Lounge. 9pm, $10-$20. Resident DJs A Plus D, Smash-Up Derby, with Lindsay Slowhands, MJ Paul and La Femme.

Cockblock’s Dyke March After-Party Rickshaw Stop. 9pm, $10-$20. With DJs Natalie Nuxx, Chelsea Starr, and Kidd Sysko.

J Rocc, Shortkut, Beat Junkie Sound, Triple Threat DJs Mighty. 9pm.

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.

SUNDAY 24

ROCK/BLUES/HIP-HOP

Amaral Independent. 8pm, $20.

Anita Baker, Family Stone, Glide Ensemble Stern Grove Festival, Stern Grove, SF; www.sterngrove.org. 2pm, free.

Future Twin, Modrag, Cruel Summer Hemlock Tavern. 9pm, $6.

J. Geils & Friends Yoshi’s SF. 6pm, $25; 8pm, $30.

John Lawton Trio Johnny Foley’s. 9pm, free.

Men, Wax Idols, Burnt Ones Bottom of the Hill. 9:30pm, $12.

Lisa Marie Presley Slim’s. 8pm, $22.

Shady Maples, Blind Willies Cafe Du Nord. 8:30pm, $10.

Viola Booth Group, Mike Bloom, Alan Semerdjian Amnesia. 9pm, $7-$10.

JAZZ/NEW MUSIC

Linda Zulaica, Brad Buethe, Chris Amberger Bliss Bar, 4026 24 St, SF; www.blissbar.com. 4:30pm, $10.

FOLK/WORLD/COUNTRY

Kata-vento Brazilian Ensemble Red Poppy Art House. 8pm, $10-$15.

Twang Sunday Thee Parkside. 4pm, free. With Famous.

DANCE CLUBS

Aesthetic Perfect, X-RX, BlakOpz DNA Lounge. 9pm, $19.

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

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2. Raise money for LGBT sports teams while enjoying DJs and drink specials.

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

MONDAY 25

ROCK/BLUES/HIP-HOP

“An Evening with Philip Glass and Joanna Newsom and Tim Fain” Warfield. 8pm, $62.50-$150. Benefit for Big Sur’s Henry Miller Memorial Library.

“Blue Bear School of Music Showcases” Cafe Du Nord. 7:30pm.

Jimmy Cobb’s So What Band Yoshi’s SF. 8pm, $30; 10pm, $18.

Damir Johnny Foley’s. 9pm, free.

Friends, Splash!, Young Digerati Bottom of the Hill. 9pm, $12.

Scott Lucas & the Married Men Brick and Mortar Music Hall. 9pm, $7-$10.

2:54, Widowspeak Independent. 8pm, $12.

JAZZ/NEW MUSIC

Bossa Nova Tunnel Top, 601 Bush, SF; (415) 722-6620. 8-11:30pm, free. Live acoustic Bossa Nova.

FOLK/WORLD/COUNTRY

Earl Brothers Amnesia. 6pm.

Anna Fermin Osteria, 3277 Sacramento, SF; www.osteriasf.com. 7pm.

DANCE CLUBS

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

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

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

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop from 1960s-early ’90s with DJs Luce Lucy, Vinnie Esparza, and more.

TUESDAY 26

ROCK/BLUES/HIP-HOP

Arcadio Residency: Dedications, Brendan Thomas Amnesia. 9:15pm, $5.

“Blue Bear School of Music Showcases” Cafe Du Nord. 7:30pm.

Daniel Castro Biscuits and Blues. 8 and 10pm, $15.

Jimmy Cobb’s So What Band Yoshi’s SF. 8pm, $30; 10pm, $18.

Hundred in the Hands, Silver Swans, Teenage Sweater Rickshaw Stop. 8pm, $10-$12.

K-Holes, Dirty Ghosts, Blasted Canyons Brick and Mortar Music Hall. 9pm, $8-$10.

KWJAZ, Aloonaluna, Aja Hemlock Tavern. 9pm, $6.

Queen Extravaganza Regency Ballroom. 8pm, $32-$45.

Stan Erhart Band Johnny Foley’s. 9pm, free.

JAZZ/NEW MUSIC

Trini Lopez “Mr. La Bamba” Rrazz Room. 8pm, $40-$45.

DANCE CLUBS

Gumbo Lab Little Baobab, 3388 19 St, SF; (415) 643-3558. 7-10pm, free. Hip-hop, reggae, and improv open mic hosted by MSK.FM and Chris-B.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Post-Dubstep Tuesdays Som., 2925 16th St, SF; (415) 558-8521.10pm, free. DJs Dnae Beats, Epcot, Footwerks spin UK Funky, Bass Music.

San FraNOLA Public Works. 7pm, free. With DJ Brice Nice, Lagniappe Brass Band, and Cook Me Somethin Mister jambalaya. Study Hall John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. Hip-hop, dancehall, and Bay slaps with DJ Left Lane.

Film Listings

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Frameline36, the San Francisco International LGBT Film Festival, runs through Sun/24 at Castro Theatre, 429 Castro, SF; Roxie Theater, 3117 16th St., SF; Victoria Theatre, 2961 16th St., SF; and Rialto Cinemas Elmwood, 2966 College, Berk. For tickets (most shows $9-$11) and schedule, visit www.frameline.org.

OPENING

Abraham Lincoln: Vampire Hunter America’s 16th president jumps aboard the bloodsucker bandwagon. (1:45) Presidio.

Brave Kelly Macdonald, Emma Thompson, and Billy Connolly star in Pixar’s fantasy about a strong-willed girl who brings turmoil upon her Scottish kingdom when she defies a long-held tradition. (1:33) Balboa, Presidio, Shattuck.

5 Broken Cameras Palestinian Emad Burnat bought his first camcorder in 2005 with the intention of bottling family memories, but when Israeli forces began the construction of settlements in Bil’in (his home village in the West Bank) Burnat stumbled into activist-filmmaker territory. In documenting his community’s nonviolent resistance to the Israeli occupation, Burnat’s friends and family (much like his cameras) are shot at, injured, and even killed. His son Gabreel’s first words are “wall” and “cartridge,” epitomizing the psychological toll of the struggle. Israeli forces are depicted as an eerily faceless entity, with colonialist aspirations run amok. Burnat isn’t interested in highlighting the political delicacy of the situation, and frankly, he’s given us something far more powerful than your average piece of fair-and-balanced journalism on the Israel-Palestine conflict. Splitting the difference between home-video montage and war-zone nightmare, 5 Broken Cameras skillfully merges the political and the personal, profoundly humanizing the Palestinian movement for independence. (1:30) Embarcadero, Shattuck. (Taylor Kaplan)

Found Memories The literal Portuguese-to-English translation of this film’s title — “stories that exist only when remembered” — is clunky, but more poignantly accurate than Found Memories. At first, it’s not entirely clear if Brazilian Júlia Murat is making a narrative or a documentary. In an tiny, isolated community populated by elderly people, Madalena (Sonia Guedes) follows a schedule she’s kept for years, probably decades: making bread, attending church, doing chores, tending the cemetery gates, writing love letters to a long-absent partner (“Isn’t it strange that after all these years, I still find your things around the house?”), and grousing at the “annoying old man” who grinds the town’s coffee beans. One day, young photographer Rita (Lisa Fávero) drifts into the village, an exotic import from the outside, modern world. Slowly, despite their differences, the women become friends. That’s about it for plot, but as this deliberately-paced film reflects on aging, dying, and memories (particularly in the form of photographs), it offers atmospheric food for thought, and a few moments of droll humor. Note, however, that viewer patience is a requirement to reap its rewards. (1:38) SF Film Society Cinema. (Eddy)

The Invisible War Kirby Dick’s searing documentary takes a look at the prevalence of rape within U.S. military ranks, a problem whose unbelievably high levels of occurrence would long ago have caused huge public outcry and imposed reform in any other institutional context. Yet because it’s the military — where certain codes of loyalty, machismo, and insularity dominate from the grunt level to the highest ranks — the issue has not only been effectively kept secret, but perpetrators almost never suffer any disciplinary measures, let alone jail time or dishonorable discharges. Meanwhile the women — some studies estimate 20% of all female personnel (and 1% of the men) suffer sexual assault from colleagues — are further traumatized by an atmosphere that creates ideal conditions for stalking, rape, and “blame the victim” aftermaths from superiors. (Indeed, for many the superior to whom they would have reported an attack was the one who attacked them.) Most end up quitting promising service careers (often pursued because of generations of family enlistment), dealing with the serious mental health consequences on their own. The subjects who’ve come forward on the issue here are inspiring in their bravery, and dedication to a patriotic cause and vocation that ultimately, bitterly betrayed them. Their stories are so engrossing that The Invisible War is as compulsively watchable as its topic and statistics are inherently appalling. (1:39) Metreon. (Harvey) 

Oslo, August 31st Heroin movies are rarely much fun, and Oslo is no exception, though here the stress lies not in grisly realism but visceral emotional honesty. Following an abortive, Virginia Woolf-esque suicide attempt during evening leave from his rehab center, recovering addict Anders visits Oslo for a job interview. He reconnects bittersweetly with an old friend, tries and fails to meet up with his sister, and eventually submerges himself in the nightlife that once fueled his self-destruction. Expressionistic editing conveys Anders’ sense of detachment and urge for release, with scenes and sounds intercut achronologically and striking sound design which homes in on stray conversations. A late intellectual milieu is signified throughout, quite humorously, by serious discussions of popular television dramas, presumably an update of similar concerns addressed in Pierre Drieu La Rochelle’s 1931 novel Le Feu follet, on which the film is based. (1:35) Elmwood, Embarcadero, Smith Rafael. (Sam Stander)

Seeking a Friend for the End of the World See “Apocalypse Meh.” (1:41) Marina, Piedmont, Shattuck.

Ultrasonic Is it madness to imagine a stylish new twist on the claustrophobic conspiracy thriller? Multi-hyphenate director, co-writer, and cinematographer (and musician and software engineer) Rohit Colin Rao manages just that with this head-turning indie feature film debut, while managing to translate a stark indie aesthetic encapsulated by Dischord and Touch and Go bands, lovers of Rust Belt warehouses and waffle houses, culture vultures who revere both Don DeLillo and Wisconsin Death Trip, and critics who lean too hard on the descriptor “angular.” Musician Simon York (Silas Gordon Brigham) is one denizen firmly placed in that cultural landscape, but the pressures of funding his combo’s album, coping with the diminishing returns of his music teacher livelihood, and anticipating the arrival of a baby with his wife, Ruth (Cate Buscher), seem to be piling on his murky brow. Simon begins to hear a hard-to-pin-down sound that no one else can detect, though Ruth’s eccentric and possibly certified conspiracy-theorist brother Jonas (Sam Repshas) is quick to affirm — and build on — his fears. Painting his handsome, stylized mise-en-scène in noiry blacks and wintry whites, Rohit positively revels in this post-punk jewel of a world he’s assembled, and it’s a compelling one even if it’s far from perfect and ultimately shies away from the deepest shadows. (1:30) Roxie. (Chun)

Ongoing 

Bel Ami Judging from recent attempts to shake off the gloomy atmosphere and undead company of the Twilight franchise, Robert Pattinson enjoys a good period piece, but hasn’t quite worked out how to help make one. Last year’s Depression-era Water for Elephants was a tepid romance, and Declan Donnellan and Nick Ormerod’s belle epoque–set Bel Ami is an ungainly, oddly paced adaptation of the Guy de Maupassant novel of the same name. A down-and-out former soldier of peasant stock, Georges Duroy (Pattinson) — or “Bel Ami,” as his female admirers call him — gains a brief entrée into the upper echelons of France’s fourth estate and parlays it into a more permanent set of social footholds, campaigning for the affections of a triumvirate of Parisian power wives (Christina Ricci, Uma Thurman, and Kristin Scott Thomas) as he makes his ascent. His route is confusing, though; the film pitches forward at an alarming pace, its scenes clumsily stacked together with little character development or context to smooth the way, and Pattinson’s performance doesn’t clarify much. Duroy shifts perplexingly between rapacious and soulful modes, eyeing the ladies with a vaguely carnivorous expression as he enters drawing rooms, dining rooms, and bedrooms, but leaving us with little sense of his true appetites or other motivations. (1:42) Lumiere, Smith Rafael. (Rapoport) 

Bernie Jack Black plays the titular new assistant funeral director liked by everybody in small-town Carthage, Tex. He works especially hard to ingratiate himself with shrewish local widow Marjorie (Shirley MacLaine), but there are benefits — estranged from her own family, she not only accepts him as a friend (then companion, then servant, then as virtual “property”), but makes him her sole heir. Richard Linklater’s latest is based on a true-crime story, although in execution it’s as much a cheerful social satire as I Love You Philip Morris and The Informant! (both 2009), two other recent fact-based movies about likable felons. Black gets to sing (his character being a musical theater queen, among other things), while Linklater gets to affectionately mock a very different stratum of Lone Star State culture from the one he started out with in 1991’s Slacker. There’s a rich gallery of supporting characters, most played by little-known local actors or actual townspeople, with Matthew McConaughey’s vainglorious county prosecutor one delectable exception. Bernie is its director’s best in some time, not to mention a whole lot of fun. (1:39) Embarcadero, Four Star, Presidio, Shattuck, Smith Rafael. (Harvey)

The Best Exotic Marigold Hotel (1:42) Albany, Four Star, Piedmont, SF Center, Sundance Kabuki.

A Cat in Paris This year’s Best Animated Film nominees: big-budget entries Kung Fu Panda 2, Puss in Boots, and eventual winner Rango, plus Chico and Rita, which opened just before Oscar night, and French mega-dark-horse A Cat in Paris. Sure, Jean-Loup Felicioli and Alain Gagnol’s film failed to cash in on 2011’s Paris craze, but it’s still a charming if featherweight noir caper, being released stateside in an English version that features the voices of Marcia Gay Harden and Anjelica Huston. A streetwise kitty named Dino spends his days hanging with Zoey, a little girl who’s gone mute since the death of her father — a cop killed in the line of duty. Zoey’s mother (Harden), also a cop, is hellbent on catching the murderer, a notorious crook named Costa who runs his criminal empire with Reservoir Dogs-style imprecision. At night, Dino sneaks out and accompanies an affable burglar on his prowlings. When Zoey falls into Costa’s clutches, her mom, the thief, and (natch) the feisty feline join forces to rescue her, in a series of rooftop chase scenes that climax atop Notre Dame. At just over an hour, A Cat in Paris is sweetly old-fashioned and suitable for audiences of all ages, though staunch dog lovers may raise an objection or two. (1:07) Opera Plaza. (Eddy) 

Dark Shadows Conceptually, there’s nothing wrong with attempting to turn a now semi-obscure supernaturally themed soap opera with a five-year run in the late 1960s and early ’70s into a feature film. Particularly if the film brings together the sweetly creepy triumvirate of Tim Burton, Johnny Depp, and Helena Bonham Carter and emerges during an ongoing moment for vampires, werewolves, and other things that go hump in the night. Depp plays long-enduring vampire Barnabas Collins, the undead scion of a once-powerful 18th-century New England family that by the 1970s — the groovy decade in which the bulk of the story is set — has suffered a shabby deterioration. Barnabas forms a pact with present-day Collins matriarch Elizabeth (Michelle Pfeiffer) to raise the household — currently comprising her disaffected daughter, Carolyn (Chloë Grace Moretz), her derelict brother, Roger (Jonny Lee Miller), his mournful young son, David (Gulliver McGrath), David’s live-in lush of a psychiatrist, Dr. Hoffman (Carter), and the family’s overtaxed manservant, Willie (Jackie Earle Haley) — to its former stature, while taking down a lunatic, love-struck, and rather vindictive witch named Angelique (Eva Green). The latter, a victim of unrequited love, is the cause of all Barnabas’s woes and, by extension, the entire clan’s, but Angelique can only be blamed for so much. Beyond her hocus-pocus jurisdiction is the film’s manic pileup of plot twists, tonal shifts, and campy scenery-chewing by Depp, a startling onslaught that no lava lamp joke, no pallid reaction shot, no room-demolishing act of paranormal carnality set to Barry White, and no cameo by Alice Cooper can temper. (2:00) SF Center. (Rapoport)

The Dictator As expected, The Dictator is, yet again, Sacha Baron Cohen doing his bumbling-foreigner shtick. Said character (here, a ruthless, spoiled North African dictator) travels to America and learns a heaping teaspoon of valuable lessons, which are then flung upon the audience — an audience which, by film’s end, has spent 80 minutes squealing at a no-holds-barred mix of disgusting gags, tasteless jokes, and schadenfreude. If you can’t forgive Cohen for carbon-copying his Borat (2006) formula, at least you can muster admiration for his ability to be an equal-opportunity offender (dinged: Arabs, Jews, African Americans, white Americans, women of all ethnicities, and green activists) — and for that last-act zinger of a speech. If The Dictator doesn’t quite reach Borat‘s hilarious heights, it’s still proudly repulsive, smart in spite of itself, and guaranteed to get a rise out of anyone who watches it. (1:23) 1000 Van Ness, SF Center, Shattuck. (Eddy)

Double Trouble When crooks nab a priceless painting from a Taipei museum, two security guards — wannabe hero Jay (Jaycee “Son of Jackie” Chan) and Chinese-tourist-on-vacation Ocean (Xia Yu) — reluctantly team up to recover the piece. A road trip of sorts ensues, laden with petty bickering, wacky melees, bonding moments, mistaken identity, gangsters both comical and sinister, and other buddy-comedy trappings. As expected, there are a few high-flying fight scenes; in the film’s production notes, director David Hsun-Wei Chang reveals he was inspired by the Rush Hour movies. Alas, Chan is neither as charismatic nor as breathtakingly nimble as his father (and, obvi, Xia is no Chris Tucker). It should be noted, however, that one of the slithery art thieves is played by underwear model Jessica C., famed in Hong Kong for her “police siren boobs.” So there’s that. (1:29) Metreon. (Eddy)

Elena The opening, almost still image of breaking dawn amid bare trees — the twigs in the foreground almost imperceptibly developing definition and the sky gradually growing ever lighter and pinker in the corners of the frame — beautifully exemplifies the crux of this well-wrought, refined noir, which spins slowly on the streams of dog-eat-dog survival that rush beneath even the most moneyed echelons of Moscow. Sixtyish former nurse Elena (Nadezhda Markina) is still little more than a live-in caretaker for Vladimir (Andrey Smirnov), her affluent husband of almost 10 years. She sleeps in a separate bed in their modernist-chic condo and dutifully funnels money to her beloved layabout son and his family. Vladimir has less of a relationship with his rebellious bad-seed daughter (Yelena Lyadova), who may be too smart and hedonistic for her own good. When a certain unlikely reunion threatens Elena’s survival — and what she perceives as the survival of her own spawn — a kind of deadly dawn breaks over the seemingly obedient hausfrau, and she’s driven to desperate ends. Bathing his scenes in chilled blue light and velvety dark shadows, filmmaker Andrey Zvyagintsev (2003’s The Return) keeps a detached but close eye on the proceedings while displaying an uncanny talent for plucking the telling detail out of the wash of daily routine and coaxing magnetic performances from his cast. (1:49) Lumiere. (Chun)

Headhunters Despite being the most sought-after corporate headhunter in Oslo, Roger (Aksel Hennie) still doesn’t make enough money to placate his gorgeous wife; his raging Napoleon complex certainly doesn’t help matters. Crime is, as always, the only solution, so Roger’s been supplementing his income by stealthily relieving his rich, status-conscious clients of their most expensive artworks (with help from his slightly unhinged partner, who works for a home-security company). When Roger meets the dashing Clas Greve (Nikolaj Coster-Waldau of Game of Thrones) — a Danish exec with a sinister, mysterious military past, now looking to take over a top job in Norway — he’s more interested in a near-priceless painting rumored to be stashed in Greve’s apartment. The heist is on, but faster than you can say “MacGuffin,” all hell breaks loose (in startlingly gory fashion), and the very charming Roger is using his considerable wits to stay alive. Based on a best-selling “Scandi-noir” novel, Headhunters is just as clever as it is suspenseful. See this version before Hollywood swoops in for the inevitable (rumored) remake. (1:40) Lumiere. (Eddy)

The Hunger Games Katniss Everdeen (Jennifer Lawrence) is a teenager living in a totalitarian state whose 12 impoverished districts, as retribution for an earlier uprising, must pay tribute to the so-called Capitol every year, sacrificing one boy and one girl each to the Hunger Games. A battle royal set in a perilous arena and broadcast live to the Capitol as gripping diversion and to the districts as sadistic propaganda, the Hunger Games are, depending on your viewpoint, a “pageant of honor, courage, and sacrifice” or a brutal, pointless bloodbath involving children as young as 12. When her little sister’s name comes up in the ann­ual lottery, Katniss volunteers to take her place and is joined by a boy named Peeta Mellark (Josh Hutcherson), with whom she shares an old, unspoken bond. Tasked with translating to the screen the first installment of Suzanne Collins’s rabidly admired trilogy, writer-director Gary Ross (2003’s Seabiscuit, 1998’s Pleasantville) telescopes the book’s drawn-out, dread-filled tale into a manageable two-plus-hour entertainment, making great (and horrifying) use of the original work’s action, but losing a good deal of the narrative detail and emotional force. Elizabeth Banks is comic and unrecognizable as Effie Trinket, the two tributes’ chaperone; Lenny Kravitz gives a blank, flattened reading as their stylist, Cinna; and Donald Sutherland is sufficiently creepy and bloodless as the country’s leader, President Snow. More exceptionally cast are Woody Harrelson as Katniss and Peeta’s surly, alcoholic mentor, Haymitch Abernathy, and Stanley Tucci as games emcee Caesar Flickerman, flashing a bank of gleaming teeth at each contestant as he probes their dire circumstances with the oily superficiality of a talk show host. (2:22) 1000 Van Ness. (Rapoport)

Hysteria Tanya Wexler’s period romantic comedy gleefully depicts the genesis of the world’s most popular sex toy out of the inchoate murk of Victorian quackishness. In this dulcet version of events, real-life vibrator inventor Mortimer Granville (Hugh Dancy) is a handsome young London doctor with such progressive convictions as a belief in the existence of germs. He is, however, a man of his times and thus swallows unblinking the umbrella diagnosis of women with symptoms like anxiety, frustration, and restlessness as victims of a plague-like uterine disorder known as hysteria. Landing a job in the high-end practice of Dr. Robert Dalrymple (Jonathan Pryce), whose clientele consists entirely of dissatisfied housewives seeking treatments of “medicinal massage” and subsequent “parosysm,” Granville becomes acquainted with Dalrymple’s two daughters, the decorous Emily (Felicity Jones) and the first-wave feminist Charlotte (Maggie Gyllenhaal). A subsequent bout of RSI offers empirical evidence for the adage about necessity being the mother of invention, with the ever-underused Rupert Everett playing Edmund St. John-Smythe, Granville’s aristocratic friend and partner in electrical engineering. (1:35) Opera Plaza. (Rapoport)

The Intouchables Cries of “racism” seem a bit out of hand when it comes to this likable albeit far-from-challenging French comedy loosely based on a real-life relationship between a wealthy white quadriplegic and his caretaker of color. The term “cliché” is more accurate. And where were these critics when 1989’s Driving Miss Daisy and 2011’s The Help — movies that seem designed to make nostalgic honkies feel good about those fraught relationships skewed to their advantage—were coming down the pike? (It also might be more interesting to look at how these films about race always hinge on economies in which whites must pay blacks to interact with/educate/enlighten them.) In any case, Omar Sy, portraying Senegalese immigrant Driss, threatens to upset all those pundits’ apple carts with his sheer life force, even when he’s shaking solo on the dance floor to sounds as effortlessly unprovocative, and old-school, as Earth, Wind, and Fire. In fact, everything about The Intouchables is as old school as 1982’s 48 Hrs., spinning off the still laugh-grabbing humor that comes with juxtaposing a hipper, more streetwise black guy with a hapless, moneyed chalky. The wheelchair-bound Philippe (Francois Cluzet) is more vulnerable than most, and he has a hard time getting along with any of his nurses, until he meets Driss, who only wants his signature for his social services papers. It’s not long before the cultured, classical music-loving Philippe’s defenses are broken down by Driss’ flip, somewhat honest take on the follies and pretensions of high culture — a bigger deal in France than in the new world, no doubt. Director-writer Olivier Nakache and Eric Toledano aren’t trying to innovate —they seem more set on crafting an effervescent blockbuster that out-blockbusters Hollywood — and the biggest compliment might be that the stateside remake is already rumored to be in the works. (1:52) Embarcadero. (Chun)

Jiro Dreams of Sushi Celebrity-chef culture has surely reached some kind of zeitgeist, what with the omnipresence of Top Chef and other cooking-themed shows, and the headlines-making power of people like Paula Deen (diabetes) and Mario Batali (sued for ripping off his wait staff). Unconcerned with the trappings of fame — you’ll never see him driving a Guy Fieri-style garish sports car — is Jiro Ono, 85-year-old proprietor of Sukiyabashi Jiro, a tiny, world-renowned sushi restaurant tucked into Tokyo’s Ginza station. Jiro, a highly-disciplined perfectionist who believes in simple, yet flavorful food, has devoted his entire life to the pursuit of “deliciousness” — to the point of sushi invading his dreams, as the title of David Gelb’s reverential documentary suggests. But Jiro Dreams of Sushi goes deeper than food-prep porn (though, indeed, there’s plenty of that); it also examines the existential conflicts faced by Jiro’s two middle-aged sons. Both were strongly encouraged to enter the family business — and in the intervening years, have had to accept the soul-crushing fact that no matter how good their sushi is, it’ll never be seen as exceeding the creations of their legendary father. (1:21) Bridge. (Eddy)

Lola Versus Greta Gerwig’s embattled late-twentysomething, the titular Lola, apologetically invokes the Saturn return to explain the chaos that enters her life when her emotionally underdeveloped boyfriend proposes, panics, and dumps her. Workaday elements of the industry-standard romantic comedy surface, lightly revised: a crass, loopy BFF (co-writer Zoe Lister Jones) who can’t find true love and says things like “I have to go wash my vagina”; a vaguely soulful male friend (Hamish Linklater, 2011’s The Future) who’s secretly harboring nonplatonic feelings (or maybe just an opportunistic streak); wacky yet vaguely successful Age of Aquarius parents (a somewhat toneless Debra Winger and a nicely gone-to-seed Bill Pullman). One can see why it would be tempting to blame a planet’s galactic travels for the solipsistic meandering that Lola engages in, bemusedly lurching, often under chemical influences, from one bout of poor decision-making to the next. She claims to be searching for a path out of the chaos into some calmer place (fittingly, she’s a comp lit Ph.D. candidate who’s writing her dissertation on silence), but as the movie transports us mercilessly from one scene of turmoil to the next, we have little reason to believe her. The script has funny moments, and Gerwig sometimes succeeds in making Lola feel like a charming disaster, but her personal discoveries, while certainly valuable, feel false and forced. (1:26) Metreon. (Rapoport)

Madagascar 3: Europe’s Most Wanted (1:33) Balboa, Metreon, 1000 Van Ness, Presidio.

Marvel’s The Avengers The conflict — a mystical blue cube containing earth-shattering (literally) powers is stolen, with evil intent — isn’t the reason to see this long-hyped culmination of numerous prequels spotlighting its heroic characters. Nay, the joy here is the whole “getting’ the band back together!” vibe; director and co-writer Joss Whedon knows you’re just dying to see Captain America (Chris Evans) bicker with Iron Man (a scene-stealing Robert Downey Jr.); Thor (Chris Hemsworth) clash with bad-boy brother Loki (Tom Hiddleston); and the Hulk (Mark Ruffalo) get angry as often as possible. (Also part of the crew, but kinda mostly just there to look good in their tight outfits: Jeremy Renner’s Hawkeye and Scarlett Johansson’s Black Widow.) Then, of course, there’s Nick Fury (Samuel L. Jackson) running the whole Marvel-ous show, with one good eye and almost as many wry quips as Downey’s Tony Stark. Basically, The Avengers gives you everything you want (characters delivering trademark lines and traits), everything you expect (shit blowing up, humanity being saved, etc.), and even makes room for a few surprises. It doesn’t transcend the comic-book genre (like 2008’s The Dark Knight did), but honestly, it ain’t trying to. The Avengers wants only to entertain, and entertain it does. (2:23) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Men in Black III Why not? It’s been ten years since Men in Black II (the one where Lara Flynn Boyle and Johnny Knoxville — remember them? — played the villains), Will Smith has barely aged, and he hasn’t made a full-on comedy since, what, 2005’s Hitch? Here, he does a variation on his always-agreeable exasperated-guy routine, clashing with his grim, gimlet-eyed partner Agent K (Tommy Lee Jones, and in a younger incarnation, a spot-on Josh Brolin) in a plot that involves a vicious alien named Boris (Flight of the Conchords’ Jermaine Clement), time travel, Andy Warhol, the moon (as both space-exploration destination and modern-day space-jail location), and lines that only Smith’s delivery can make funny (“This looks like it comes from planet damn.“) It’s cheerful (save a bit of melodrama at the end), crisply paced, and is neither a must-see masterpiece nor something you should mindfully sleep through if it pops up among your in-flight selections. Oh, and it’s in 3D. Well, why not? (1:42) 1000 Van Ness, SF Center, Shattuck. (Eddy)

Moonrise Kingdom Does Wes Anderson’s new film mark a live-action return to form after 2007’s disappointingly wan Darjeeling Limited? More or less. Does it tick all the Andersonian style and content boxes? Indubitably. In the most obvious deviation Anderson has taken with Moonrise, he gives us his first period piece, a romance set in 1965 on a fictional island off the New England coast. After a chance encounter at a church play, pre-teen Khaki Scout Sam (newcomer Jared Gilman) instantly falls for the raven-suited, sable-haired Suzy Bishop (Kara Hayward, ditto). The two become pen pals, and quickly bond over the shared misery of being misunderstood by both authority figures and fellow kids. The bespectacled Sam is an orphan, ostracized by his foster parents and scout troop (much to the dismay of its straight-arrow leader Edward Norton). Suzy despises her clueless attorney parents, played with gusto by Bill Murray and Frances McDormand in some of the film’s funniest and best scenes. When the two kids run off together, the whole thing begins to resemble a kind of tween version of Godard’s 1965 lovers-on the-lam fantasia Pierrot le Fou. But like most of Anderson’s stuff, it has a gauzy sentimentality more akin to Truffaut than Godard. Imagine if the sequence in 2001’s The Royal Tenenbaums where Margot and Richie run away to the Museum of Natural History had been given the feature treatment: it’s a simple yet inspired idea, and it becomes a charming little tale of the perils of growing up and selling out the fantasy. But it doesn’t feel remotely risky. It’s simply too damn tame. (1:37) California, Metreon, Piedmont, Sundance Kabuki. (Michelle Devereaux)

Music From the Big House See review at sfbg.com/pixel_vision. (1:27) Sundance Kabuki.

Peace, Love and Misunderstanding How is that even as a bona fide senior, Jane Fonda continues to embody this country’s ambivalence toward women? I suspect it’s a testament to her actorly prowess and sheer charisma that she’s played such a part in defining several eras’ archetypes — from sex kitten to counterculture-heavy Hanoi Jane to dressed-for-success feminist icon to aerobics queen to trophy wife. Here, among the talents in Bruce Beresford’s intergenerational chick-flick-gone-indie as a loud, proud, and larger-than-life hippie earth mama, she threatens to eclipse her paler, less colorful offspring, women like Catherine Keener and Elizabeth Olsen, who ordinarily shine brighter than those that surround them. It’s ostensibly the tale of high-powered lawyer Diane (Keener): her husband (Kyle MacLachlan) has asked for a divorce, so in a not-quite-explicable tailspin, she packs her kids, Zoe (Olsen) and Jake (Nat Wolff), into the car and heads to Woodstock to see her artist mom Grace (Fonda) for the first time in two decades. Grace is beyond overjoyed — dying to introduce the grandchildren to her protests, outdoor concerts, and own personal growhouse — while urbanite Diane and her kids find attractive, natch, diversions in the country, in the form of Jude (Jeffrey Dean Morgan), Cole (Chace Crawford), and Tara (Marissa O’Donnell). Yet there’s a lot of troubled water for the mother and daughter to cross, in order to truly come together. Despite some strong characterization and dialogue, Peace doesn’t quite fly — or make much sense at its close — due to the some patchy storytelling: the schematic rom-com arch fails to provide adequate scaffolding to support the required leaps of faith. But that’s not to deny the charm of the highly identifiable, generous-spirited Grace, a familiar Bay Area archetype if there ever was one, who Fonda charges with the joy and sadness of fallible parent who was making up the rules as she went along. (1:36) Opera Plaza, Shattuck, Smith Rafael. (Chun)

Prometheus Ridley Scott’s return to outer space — after an extended stay in Russell Crowe-landia — is most welcome. Some may complain Prometheus too closely resembles Scott’s Alien (1979), for which it serves as a prequel of sorts. Prometheus also resembles, among others, The Thing (1982), 2001: A Space Odyssey (1968), and Event Horizon (1997). But I love those movies (yes, even Event Horizon), and I am totally fine with the guy who made Alien borrowing from all of them and making the classiest, most gorgeous sci-fi B-movie in years. Sure, some of the science is wonky, and the themes of faith and creation can get a bit woo-woo, but Prometheus is deep-space discombobulation at its finest, with only a miscast Logan Marshall-Green (apparently, cocky dude-bros are still in effect at the turn of the next millennium) marring an otherwise killer cast: Noomi Rapace as a dreamy (yet awesomely tough) scientist; Idris Elba as Prometheus‘ wisecracking captain; Charlize Theron as the Weyland Corportation’s icy overseer; and Michael Fassbender, giving his finest performance to date as the ship’s Lawrence of Arabia-obsessed android. (2:03) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Rock of Ages (2:03) California, Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki.

Safety Not Guaranteed San Francisco-born director Colin Trevorrow’s narrative debut feature Safety Not Guaranteed, written by Derek Connolly, has an improbable setup: not that rural loner Kenneth (Mark Duplass) would place a personal ad for a time travel partner (“Must bring own weapons”), but that a Seattle alt-weekly magazine would pay expenses for a vainglorious staff reporter (Jake Johnson, hilarious) and two interns (Aubrey Plaza, Karan Soni) to stalk him for a fluff feature over the course of several days. The publishing budget allowing that today is true science-fiction. But never mind. Inserting herself “undercover” when a direct approach fails, Plaza’s slightly goth college grad finds she actually likes obsessive, paranoid weirdo Kenneth, and is intrigued by his seemingly insane but dead serious mission. For most of its length Safety falls safely into the category of off-center indie comedics, delivering various loopy and crass behavior with a practiced deadpan, providing just enough character depth to achieve eventual poignancy. Then it takes a major leap — one it would be criminal to spoil, but which turns an admirable little movie into something conceptually surprising, reckless, and rather exhilarating. (1:34) Metreon, Shattuck. (Harvey)

Snow White and the Huntsman It’s unclear why the zeitgeist has blessed us this year with two warring iterations of the Snow White fairy tale, one broadly comedic (April’s Mirror Mirror), one starkly emo. But it was only natural that Kristen Stewart would land in the latter rendering, breaking open the hearts of swamp beasts and swordsmen alike with the chaste glory of her mien. As Snow White flees the henchmen and hired killers dispatched by her seriously evil stepmother, Queen Ravenna (Charlize Theron), and traverses a blasted, virulent forest populated with hallucinogenic vapors and other life-threatening obstacles, Stewart need not act so much as radiate a dazzling benignity, weeping the tears of a martyr rather than a frightened young girl. (Unfortunately, when required to deliver a rallying declaration of war, she sounds as if she’s speaking in tongues after a heavy hit on the crack pipe.) It’s slightly uncomfortable to be asked, alongside a grieving, drunken huntsman (The Avengers’ Chris Hemsworth), a handful of dwarfs (including Ian McShane and Toby Jones), and the kingdom’s other suffering citizenry, to fall worshipfully in line behind such a creature. But first-time director Rupert Sanders’s film keeps pace with its lovely heroine visually, constructing a gorgeous world in which armies of black glass shatter on battlefields, white stags dissolve into hosts of butterflies, and a fairy sanctuary within the blighted kingdom is an eye-popping fantasia verging on the hysterical. Theron’s Ravenna, equipped in modernist fashion with a backstory for her sociopathic tendencies, is credible and captivating as an unhinged slayer of men, thief of youth, destroyer of kingdoms, and consumer of the hearts of tiny birds. (2:07) Metreon, 1000 Van Ness, Shattuck. (Rapoport)

That’s My Boy (1:55) Metreon, SF Center.

Turn Me On, Dammit! The 15-year-old heroine of writer-director Jannicke Systad Jacobsen’s Turn Me On, Dammit! is first heard in voice-over, flatly cataloging the over familiar elements of the small town in rural Norway where she lives — and first seen lying on the kitchen floor of her house sharing an intimate moment with a phone sex operator named Stig (Per Kjerstad). Largely ruled by her hormones and longing to get it on with someone other than herself and the disembodied Stig, Alma (Helene Bergsholm) spends large segments of her life unspooling sexual fantasies starring Artur (Matias Myren), the boy she has a crush on, and Sebjorn (Jon Bleiklie Devik), who runs the grocery store where she works and is the father of her two closest friends: burgeoning political activist Sara (Malin Bjorhovde) and full-fledged mean girl Ingrid (Beate Stofring). Back in real life, a strange and awkward physical interaction with Artur leads Alma, excited and confused, to describe the experience to her friends, a mistake that precipitously leads to total social ostracism among her peers. With the possible exception of some unnecessary dog reaction shots during the aforementioned opening scene, documentary maker Jacobsen’s first narrative feature film is an engaging and impressive debut, presenting a sympathetic and uncoy depiction of a young girl’s sexuality and exploiting the rich contrast between Alma’s gauzier fantasies and the realities of her waking world to poignantly comic effect. (1:16) Opera Plaza. (Rapoport)

The Woman in the Fifth A rumpled American writer with a hinted-at dark past (Ethan Hawke) shows up in Paris, to the horror of his French ex-wife and confused delight of his six-year-old daughter. An ill-advised nap on public transportation results in all of his bags being stolen; broke and out of sorts, he takes a grimy room above a café and a gig monitoring the surveillance-cam feed at what’s obviously some kind of illegal enterprise. During the day he stalks his daughter and romances both sophisticated Margit (Kristen Scott Thomas) and nubile Ania (Joanna Kulig); he also dodges his hostile neighbor (Mamadou Minte) and shady boss (Samir Guesmi). Based on Douglas Kennedy’s novel, the latest from Pawel Pawlikowski (2004’s My Summer of Love), offers some third-act twists (gory, distressing ones) that suggest Hawke’s character (and, by extension, the viewer) may not be perceiving reality with 100 percent accuracy. Moody, melancholy, not-entirely-satisfying stuff. (1:23) SF Film Society Cinema. (Eddy)

Your Sister’s Sister The new movie from Lynn Shelton — who directed star and (fellow mumblecore director) Mark Duplass in her shaggily amusing Humpday (2009) — opens somberly, at a Seattle wake where his Jack makes his deceased brother’s friends uncomfortable by pointing out that the do-gooder guy they’d loved just the last couple years was a bully and jerk for many years before his reformation. This outburst prompts an offer from friend-slash-mutual-crush Iris (Emily Blunt) that he get his head together for a few days at her family’s empty vacation house on a nearby island. Arriving via ferry and bike, he is disconcerted to find someone already in residence — Iris’ sister Hannah (Rosemarie DeWitt), who’s grieving a loss of her own (she’s split with her girlfriend). Several tequila shots later, two Kinsey-scale opposites meet, which creates complications when Iris turns up the next day. A bit slight in immediate retrospect and contrived in its wrap-up, Shelton’s film is nonetheless insinuating, likable, and a little touching while you’re watching it. That’s largely thanks to the actors’ appeal — especially Duplass, who fills in a blunderingly lucky (and unlucky) character’s many blanks with lived-in understatement. (1:30) Albany, Embarcadero, Sundance Kabuki. (Harvey)

 

Too dope to be free

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But it is! No ticket price required, but you might want to show up early for the wildly popular Queeriosity. 

It’s Youth Speaks’ annual queer poetry slam. The mostly high school age poets who will lay their stunningly well-worded wisdom upon you will be having fun tomorrow night, but they are not messing around. 

Neither is Youth Speaks. The national San Francisco-based organization works with 30,000 Bay Area youth per year, from school assembly performances to free after school poetry workshops to slams. Veteran Youth Speaks poet Milani Pelley will be co-hosting this year’s Queeriostiy show. Although a raging fire prevented me from meeting up with Pelley in Berkeley today, she told me over the phone about life, art, politics, and the aweomeness that Queeriosity attendees can expect. 

Pelley wrote her first poem at age 12.

“Actually a young lady who also was with Youth Speaks, she got me into writing,” Pelley told me. “In the 7th grade we were kind of tom boys, we were hanging out on the basketball courts and she said hey, want to hear a poem?  And she was little, like five feet,” Pelley laughed. 

“And everyone stopped what they were doing and listened. And after that, I went home and wrote a poem.  Because I said, this is how you get people to listen to you? I want to try it!”

She never stopped. Pelley went to Youth Speaks workshops at age 15, and later served on their Youth Board. She now makes it as an artist, working for Youth Speaks as a Poet Mentor and making jewelry on the side.

Pelley said that poetry sustained her through difficult times. “Once I was able to write down everything that I was going through and work out my pain and sadness I was able to see the bigger picture and really find a solution of how I was going to heal” she told me.

“It was basically me being my own therapist. Because you know how they take notes on you? I was taking notes on myself.”

I asked if Pelley sees her poetry as political.

“I talk about race, or I talk about sexuality, I talk about police brutality. These are regular things in my life,” said Pelley. “But people think it’s political or controversial. And some people think I should be considered pro-woman. People think it’s political because it’s a feminist perspective but I think Its just women being powerful as they should be.”

For one example of the personal-is-political-is-ridiculously-awesome Queeriosity experience, here’s a take on SF Pride from Yosimar Reyes at the 2010 Queeriosity slam. http://www.youtube.com/watch?v=XdZpRiOsdS8

If that doesn’t convince you, let Pelley: “I definitely think this is going to be an amazing show. It’s free, its way too dope to be free. Personally I think, they should be paying these youths because they’re very courageous, they’re very talented and what is going to be shown tomorrow shouldn’t be missed.”

15th Annual Queeriosity

Fri/15, 7pm

LGBT Center

1800 Market, SF

www.youthspeaks.org

Local jazz, blues behind bars, and backing-band memories: new music docs

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Jazz singer Jacqui Naylor — Buddhist, Hayes Valley resident, mash-up innovator — premieres her new doc, Lucky Girl: A Portrait of Jacqui Naylor, with a live concert at the Palace of Fine Arts Sat/16 (the DVD will be available in stores Tue/19).

The film, produced by the Bay Area’s ARTiDOCs, is about as far from Behind the Music-style tell-all as you could get; Naylor seems blissfully happy with her life, being completely creatively and personally fulfilled (see also: the film’s title, named for her 2011 CD). No scandals or dark secrets revealed here; this is a straightforward look at a working artist, briefly touching on her career beginnings (at the suggestion of teachers at American Conservatory Theater, she chose music over acting) and including mini-profiles on the artists she collaborates with, including husband Art Khu.

http://www.youtube.com/watch?v=DiBY1U4b8oI&feature=player_embedded

Fans (whom she prizes highly — and takes their suggestions seriously) will enjoy the film’s many musical interludes, which showcase snippets and entire songs of Naylor performing and rehearsing in the Bay Area, Seattle, and Istanbul. Her repertoire includes original songs, pop and jazz standards, and standards freshened up with her signature “acoustic smashing” — singing the lyrics to “My Funny Valentine” over the instrumentation for AC/DC’s “Back in Black,” for example. Will this versatile performer dust off more heavy-metal flair for Saturday’s show? It could totally happen. She’s taking requests: jacqui@jacquinaylor.com.

Lucky Girl: A Portrait of Jacqui Naylor (with reception and concert)
Sat/16, 7pm, $35
Florence Gould Theater
Legion of Honor
100 34th Ave., SF
www.jacquinaylor.com

**

Coming to the Kabuki and Smith Rafael this weekend is Music from the Big House, a soulful doc from filmmaker Bruce McDonald (2008’s Pontypool) about fellow Canadian Rita Chiarelli‘s experiences working with musician-inmates at Louisiana’s Angola Prison.

Angola Prison — earlier the subject of an acclaimed short documentary about its famous rodeo — has a well-known, rich musical history; in the 30s, John and Alan Lomax recorded Leadbelly while he was serving time there. Chiarelli, a blues superstar in her native country, says she initially traveled to the American South a decade ago to “visit the birthplace of the blues” — a journey that included a stop at America’s largest maximum security prison (5,000 inmates), where she discovered a thriving musical culture. Inspired (“the trueness totally moved me”), a planned concert for the prisoners became a concert with the men, including groups playing good ol’ boy country, gospel, Stevie Wonder jams, and Chiarelli’s own brand of raw, rootsy blues.

Gorgeously filmed in black and white, and crisply edited, McDonald’s film emphasizes the joy and feelings of freedom the men have achieved through their musical pursuits. But it also acknowledges its inescapable setting, filming the dorm-style cell blocks, a visiting day filled with seldom-seen wives and children, the barbed wire encircling the years. “When you’re playing music it’s easy to forget where you are,” the husky-voiced Chiarelli reflects. “But they’re still in prison and that’s rough.”

Though most of the featured men don’t directly address their crimes (their various offenses, including rape and murder, are addressed in the film’s sobering end credits), themes of deep regret and redemption run throughout the film. Kind of like the blues.

Music From the Big House
June 15-21, 2:15, 4:10, 7, and 9:20pm (with live performance by Rita Chiarelli Sat/16, 7pm)
Sundance Kabuki Cinema
1881 Post, SF
www.sundancecinemas.com

Also Sun/17, 7pm, $12 (with live performance by Chiarelli)
Christopher B. Smith Rafael Film Center
1118 Fourth St., San Rafael
(415) 454-1222
www.cafilm.org

**

And next weekend, get a sneak peek at an as-yet-unreleased (and not on DVD) documentary about acclaimed session musicians the Wrecking Crew, presented by the San Francisco Chapter of the Audio Engineering Society.

http://www.youtube.com/watch?v=-xs2kJn6PBE&feature=plcp

The film sounds kind of similar to the excellent 2002 doc Standing in the Shadows of Motown, about Motown’s legendary Funk Brothers: the Wrecking Crew was hugely active in 1960s Los Angeles, adding their musicianship to hits by the Beach Boys, Frank and Nancy Sinatra, the Monkees, the Mamas and the Papas, and more. (The film contains so many songs that its release has been held up over music-rights issues).

Producer-director Danny Tedesco — son of Wrecking Crew guitarist Tommy Tedesco — will be on hand to discuss the film, which he’s been working on for over 15 years, after each screening.

The Wrecking Crew
June 23, 2:30 and 7pm, $20
Auctions By the Bay Theater
2700 Saratoga, Alameda
www.brownpapertickets.com

Out for more

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arts@sfbg.com

FRAMELINE It was Blue (1993) and Swoon (1992) and Frisk (1995), or My Own Private Idaho (1991) and The Hours and Times (1991). Paris Is Burning (1990). The Incredibly True Adventure of Two Girls in Love (1995).

It probably depended a little on who you were and what you’d seen lately that made you feel grateful to be coinciding with this point on the timeline of queer cinema. For me, it was Lilies (1996) and Go Fish (1997), and All Over Me (1997) and Beautiful Thing (1996), and every other gay teen romance, and any totally f***ed up thing Gregg Araki chose to put onscreen (including 1995’s Doom Generation, billed as “a heterosexual film by Gregg Araki,” which made straight look like a fairly provisional state of being). It was kind of like irony or porn — I couldn’t exactly define it, but I was pretty sure I knew it when I saw it while bingeing, mid–gay adolescence, on whatever the 1990s had to offer in the way of LGBT experience on film. “It” being this thing called New Queer Cinema, a term that film critic and scholar (and past Guardian contributor) B. Ruby Rich had coined in a 1992 essay in the British film journal Sight & Sound.

Rich, these days teaching in UC Santa Cruz’s Film and Digital Media Department, offered up the idea of New Queer Cinema as a way to frame a ragged-edged genre that she saw emerging. Populating it were films that told unfamiliar, upsetting, outrageous, and sometimes deeply lyrical stories of queer experience, forcing a more complicated picture onto the screen. As many of them gained a cultural foothold (seldom reaching deep into the mainstream, but drawing respectable numbers of art-house-goers), they made a space around themselves for more such films to follow their unsettling examples.

Over the next decade and beyond, the genre, and the larger, disparate queer culture, welcomed a world of untold stories; films like My Own Private Idaho and later Velvet Goldmine (1998) and Boys Don’t Cry (1999) entered the popular culture by way of some combination of star and story power; and one morning we woke up to the sight of significant swaths of the country heading to the multiplex to watch a swoony, gloomy tale of two cowboys in love.

Now, somehow, Brokeback Mountain (2005) is starting to seem like a long time ago, and you could say that New Queer Cinema has both evolved and devolved, a fact reflected in the rom-com-packed LGBT section of your friendly neighborhood video store as well as in each passing year’s Frameline festival catalog. This year, the San Francisco International LGBT Film Festival offers the opportunity to compare and contrast, casting its eyes back on the genre 20 years after Rich pronounced its existence and sketched its parameters.

In addition to presenting Rich with its annual Frameline Award, the fest has programmed a retrospective of four films that offer a sense of New Queer Cinema’s expansive scope and permeable borders: Alex Sichel’s dark-and-light, riot grrrl music–infused All Over Me (costarring a baby-faced Leisha Hailey from The L Word); Ana Kokkinos’s Head On (1998), about a reckless but closeted young man living in a tight-knit Greek Australian community; Gregg Araki’s violent, trashily romantic, HIV-inflected road movie The Living End (1992); and Cheryl Dunye’s experimental mix of documentary and dyke drama The Watermelon Woman (1996). (In 2012’s Mommy Is Coming, also screening, Dunye adds to the mix Berlin sex clubs, explicit taxicab-backseat role play, and a parent-child dynamic likely to leave you flinching in horror.)

Elsewhere in the fest, French writer-director Virginie Despentes’s Bye Bye Blondie has a mosh pit soundtrack and follows, clumsily, Araki’s frenetic and unrestrained example. Béatrice Dalle (1986’s Betty Blue) and Emmanuelle Béart (2002’s 8 Women) play former teenage punk rock sweethearts who met in a mental institution and reunite after a long estrangement to reenact the past and rip open old wounds. A high point, though not for their relationship, occurs when Dalle’s slightly unhinged character tells a woman at a highbrow cocktail party, populated by Paris’s public-intellectual set, that her dress is sectarian, before physically assaulting another guest. Cloying and soap operatic, offering the gauzy fantasy fulfillment of a Harlequin Romance, Nicole Conn’s A Perfect Ending nevertheless earns points for its premise of an uptight housewife who employs the services of a call girl — and for casting Morgan Fairchild as a madam who uses her Barbie collection as a staffing organizational tool.

Other queer stories are more successfully delineated. Aurora Guerrero’s coming-of-age tale Mosquita y Mari, which screened at the SF International Film Fest in April, soulfully and subtly captures the ambiguous friendship that develops between two Latina high schoolers struggling with unspoken feelings as well as pressures both familial and financial. In Joshua Sanchez’s Four, adapted from a play by Christopher Shinn, Fourth of July fireworks and a mood of lonely isolation serve as a backdrop to four disparate individuals’ uncomfortable attempts to find physical and emotional connection. Stephen Cone’s The Wise Kids is set in and around a Southern Baptist church in Charleston, South Carolina, and tracks a trio of teenagers as they sort out the facts of their religious and sexual identities.

There’s a startlingly small quantity of queer baby-making going on in this year’s fest compared with recent years, and the family proposed in writer-director Jonathan Lisecki’s romantic comedy Gayby (as well as Ash Christian’s Petunia) is not necessarily nuclear or easy to encapsulate in kindergarten on “Let’s draw our family tree!” day, marrying the concept of queer family to the Heather-has-two-mommies narrative. The film’s gay-boy Matt and straight-girl BFF Jenn decide that it’s time to settle down and start a family together, but reject the idea of turkey basting or consulting a fertility specialist in favor of comically awkward, highly unerotic, goal-oriented sexual intercourse.

Come to think of it, their method could resonate with the procreation-only, can’t-wait-to-be-raptured crowd, who might be less enthusiastic when the pair switch to good old-fashioned DIY insemination and Matt’s friend Nelson (a scene-stealing Lisecki) brings over a container of holy cat cremains to sanctify the proceedings. Either way, with queer spawning sometimes serving as the rope in a tug-of-war argument about heteronormativity, queer identity, transgression, and basic rights, an unruly rom-com about queer family planning is a fitting entry in a genre and a festival that have both grown into panoramic representations of the queer world.

FRAMELINE36

June 14-24, most shows $9-$11

Various venues

www.frameline.org

Gimme more

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For more on this year’s Frameline Film Festival, including times and prices, go to www.frameline.org

Mixed Kebab (Guy Lee Thys, Belgium/Turkey, 2012) A My Beautiful Launderette-type mix of culture clashes ethnic, religious, sexual, and otherwise, Guy Lee Thys’ Belgian-Turkish feature risks over-contrivance, but comes out a tasty blend of narrative and thematic ingredients. Ibrahim, a.k.a. Bram (Cem Akkanat), is the apple of his émigré Antwerp family’s eye, but then he’s kept his hunky-gay-man-at-large double life entirely off their conservative Muslim radar. Even as his best-friendship with Kevin (Simon Van Buyten) looks set to turn into something much more, he goes along with plans for an arranged marriage to Elif (Gamze Tazim), an educated cousin desperate to escape the gender restrictions of Turkey and her father’s home. Several factors will erode those best-laid plans, however, not least the prying eyes of Bram’s black-sheep brother Furkan (Lukas De Wolf), who goes from rebellious juvenile delinquency to obnoxious moral fundamentalism under a far-right local imam’s influence. Thu/14, 10pm, Castro. (Dennis Harvey)

North Sea Texas (Bavo Defurne, Belgium, 2011) Growing up is never easy — especially when you know who you are and who you love from a tender young age, and live in a sleepy Belgium coastal hamlet in the early ’70s. Sexual freedom begins at home, as filmmaker Bavo Defurne’s debut feature opens on our beautiful little protagonist, Pim — a melancholy, shy, diligent soul who has a talent for drawing, a responsible nature, and a yen for ritual dress-up in lipstick and lace. He has an over-the-top role model: an accordion-playing, zaftig mother who has a rep as the village floozy. Left alone far too often as his mom parties at a bar named Texas, Pim takes refuge with kindly single-mom neighbor Marcella, her earnest daughter, and her sexy, motorcycle-loving son, Gino, who turns out to be just Pim’s speed. But this childhood idyll is under threat: Gino’s new girlfriend and a handsome new boarder at Pim’s house promise to change everything. Displaying a gentle, empathetic touch for his cast of mildly quirky characters and a genuine knack for conjuring those long, sensual days of youth, Defurne manages to shine a fresh, romantic light on a somewhat familiar bildungsroman, leaving a lingering taste of sea salt and sweat along with the feeling of walking in one young boy’s very specific shoes. Fri/15, 9:30pm, Castro. (Kimberly Chun)

I Want Your Love (Travis Mathews, US, 2011) Local director Travis Mathews’ first full-length feature — produced by porn impresario Jack Shamama and the good, pervy folks at Naked Sword — is so beautifully shot, edited, paced, and true to life for a certain young, scruffy, artsy fag demographic (not to mention brimming with explicit sex scenes) that you probably won’t notice that hardly anything happens plotwise. A cute performance artist named Jesse, played by one of our top performance artists also named Jesse, is getting ready to move back to Ohio due to those all-too-familiar San Franciscan money woes, but maybe also to forge some deeper connection to life. That’s about it. The true joy here is seeing most of the Bay Area’s gay underground arts scene nailing peripheral roles: Brontez Purnell hilariously steals the movie, cute naked gay boys abound, and the whole thing really does come off as a lovely West Coast boho version of last year’s UK indie hit Weekend, with more fog and condoms. Sun/17, 9:30pm, Castro. (Marke B.)

Beauty (Oliver Hermanus, South Africa/France, 2011) The destructive toll of repression, psychological and otherwise, is vividly illustrated in Oliver Hermanus’ stark minimalist drama. Francois (Deon Lotz) is a middle-aged Afrikaaner husband and father living an entirely concealed double life: the hidden part acted out in secret orgies with other men as successful, privileged, and closeted as he. (When one member of this very exclusive “club” brings a black lover along, the reaction makes clear how sharp South Africa’s race/class divisions remain.) Francois’ control of that schizophrenic existence is masterful — until he spies Christian (Charlie Keegan), a model-handsome new corporate colleague, a close friend’s son, and eventually his younger daughter’s boyfriend. Despite all those red flags, his obsession builds toward a shocking, uncontrollable explosion. A deliberately chilly and unpleasant work of art à la Michael Haneke, Beauty weighs the consequences of living a lie, and finds them aptly repellent. Mon/18, 9:30pm, Castro. (Harvey)

 My Best Day (Erin Greenwell, US, 2012) Sans name stars or a catchy plot hook, Erin Greenwell’s indie comedy attracted little attention at Sundance, and it’s kinda buried in the Frameline program — a pity, since its uncontrived, even-handed balance of gay male, lesbian, and straight protagonists would have been perfect for a higher-profile slot. Not to mention that it’s totally goofy, funny, surprising, and sweet. Over the course of one Fourth of July in Bangor, Penn., a motley assortment of hapless but endearing characters circle one another warily, desiring everything from family reunion to crush-realization to acknowledgement of a closeted relationship. They’re all delightful, although there’s no getting around the wholesale scene stealing of Ashlie Atkinson, whose motorcycle- and slutty local-girl-covetous refrigerator-repair dyke dials down her “Muffler” in Another Gay Movie (2006) to create a character of nuanced comic beauty. My Best Day is unpretentious but so low-key skillful and open-hearted that in the end it feels ever-so-slightly profound. Tue/19, 7pm, Elmwood; June 20, 9:30pm, Castro. (Harvey)

Keep the Lights On (Ira Sachs, US, 2012) At times almost too intimately painful to watch, Ira Sachs’ autobiographical drama charts the long-term disintegration of a relationship between a filmmaker and a bright, adored but addicted and duplicitous soulmate. When expat Danish documentarian Eric (the exceptional Thure Lindhardt) first hooks up with publishing-biz newbie Paul (Zachary Booth), they have sexual chemistry and more. But the Manhattan life they build together is increasingly hole-riddled by Paul’s mood variances, unexplained absences, and other signs of serious drug usage. Sachs lets the narrative be controlled by the empty spaces such a habit leaves for concerned loved ones — time and circumstances often leap forward without full explanation, placing us in Eric’s frustrated position as a man in love with a man whose returned love is both genuine and entirely untrustworthy. Keep the Lights On is unabashedly difficult viewing. But it’s also the best (as well as the first gay-focused) feature Sachs has made since his equally unsettling 1997 debut The Delta. June 20, 6:30pm, Castro. (Harvey)  

Music Listings

0

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 13

ROCK/BLUES/HIP-HOP

Action Bronson Independent. 9pm, $17.

Buffalo Tooth, Uzi Rash, Poor Sons, Parmesans Elbo Room. 9pm, $5.

Keith Crossan Invitational Pro Blues Jam with Sista Monica Biscuits and Blues. 8 and 10pm, $15.

Lee Huff vs. Rome Balestrieri Johnny Foley’s Dueling Pianos. 9:30pm.

Iron Maidens; All-Female Iron Maiden Tribute Yoshi’s SF. 8pm, $22.

Jail Weddings, Twin Steps, Better Maker Hemlock Tavern. 9pm, $7.

Life and Times, Ume, Kitten Bottom of the Hill. 9pm, $10.

Rin Tin Tiger, Bonnie & the BANG BANG, Roosevelt Radio Brick and Mortar Music Hall. 7:30pm, free with RSVP. The Lineup.

Terry Savastano Johnny Foley’s. 9pm, free.

JAZZ/NEW MUSIC

Cat’s Corner with Nathan Dias Savanna Jazz. 9pm, $10.

Cosmo AlleyCats Le Colonial, 20 Cosmo Place, SF; www.lecolonialsf.com. 7-10pm.

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

Ricardo Scales Top of the Mark, 999 California, SF; www.topofthemark.com. 6:30pm, $5.

Ben Vereen Rrazz Room. 8pm, $45-$50.

DANCE CLUBS

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

Coo-Yah! Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. DJs Daneekah and Green B spin reggae and dancehall with weekly guests.

Mary Go Round Lookout, 3600 16th St, SF; www.lookoutsf.com. 10pm, $5. Drag with Suppositori Spelling, Mercedez Munro, and Ginger Snap.

Megatallica Fiddler’s Green, 1333 Columbus, SF; www.megatallica.com. 7pm, free. Heavy metal hangout.

Mod v Rockers: Beatles vs. Buzzcocks Make Out Room. 9pm. DJs spin mod, pop, R&B, Northern Soul, punk, and new wave.

“Tupac Birthday Celebration” Mezzanine. 8pm, $25. With Rappin’ 4Tay, Mac Mall, Ray Luv, Spice 1.

THURSDAY 14

ROCK/BLUES/HIP-HOP

Aceyalone with live band Yoshi’s SF. 10pm, $20.

Rome Balestrieri vs. Lee Huff Johnny Foley’s Dueling Pianos. 9:30pm.

Beat Connection, White Arrows, Mmoths, popscene DJs Rickshaw Stop. 9pm, $12.

Big Freedia Public Works. 9pm, $16.

Erin Brazil and the Brazillionaires, Yawpers, Tidelands Hemlock Tavern. 9pm, $7.

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

Japandroids, Cadence Weapons Independent. 8pm, $15.

John Lawton Trio Johnny Foley’s. 9pm, free.

“Moshi Sound Studio” with Loquat, Halsted Monarch, 101 Sixth St, SF; www.do415.com. 8pm, free with RSVP.

Owl Paws, Sugar Candy Mountain, Hoot Hoots, Upstairs Downstairs Thee Parkside. 9pm, $6.

Real Nasty, Grand Nationals, Guella Cafe Du Nord. 9pm, $10.

Slippery Slope, Bodice Rippers, Go Van Gough Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Stompy Jones Top of the Mark, 999 California, SF; www.topofthemark.com. 7:30pm, $10.

Ned Boynton Trio Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 7-10pm.

Stephanie Mills Yoshi’s SF. 8pm, $60.

Ben Vereen Rrazz Room. 8pm, $45-$50.

FOLK/WORLD/COUNTRY

Twang! Honky Tonk Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm. Live country music, dancing, and giveaways.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-$7. DJ-host Pleasuremaker spins Afrobeat, Tropicália, electro, samba, and funk.

Darling Nikki SOM. Bar. 9pm. DJ Rapid Fire and residents Dr. Sleep and Justin Credible spin ’80s, top 40, and hip-hop.

Get Low Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. Jerry Nice and Ant-1 spin Hip-Hop, 80’s and Soul with weekly guests.

Lions, Tigers, and Queers Underground SF. 10pm-2am, $3. Indie, Electro, and House dance party with resident DJ Becky Knox and special guests.

Matthew Dear DJ set Vessel, 85 Campton, SF; www.vesselsf.com. 10pm, $10-$15.

Thursdays at the Cat Club Cat Club. 9pm, $6 (free before 9:30pm). Two dance floors bumpin’ with the best of 80s mainstream and underground with DJ’s Damon, Steve Washington, Dangerous Dan, and guests.

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

FRIDAY 15

ROCK/BLUES/HIP-HOP

Stu Allen & Mars Hotel, Jugtown Pirates Brick and Mortar Music Hall. 9pm, $12-$15.

Animal Games, French Cassettes RKRL, 52 Sixth St, SF; www.rkrlsf.com. 9pm, $10.

Attracted, Mad River 50 Mason Social House, SF; www.50masonsocialhouse.com. 7pm.

Bay Area Heat Johnny Foley’s. 9pm, free.

How to Dress Well, Babe Rainbow, Finally Boys Rickshaw Stop. 9pm, $12-$14.

Locura, La Gente Boom Boom Room. 8pm, $12.

Steve Lucky & the Rhumba Bums Biscuits and Blues. 8 and 10pm, $20.

Monophonics Great American Music Hall. 9pm, $15-$17.

Mother Hips Independent. 9pm, $25.

Mustache Harbor, Sean Tabor Band Bimbo’s. 9pm, $20.

KG Omulo, Afromassive Elbo Room. 10pm, $12.

Soko, Rob Solinski, Vandella, Slow Moving Lions of the Vegetable World Bottom of the Hill. 9:30pm, $12.

Thralls, Rubedo, Excited States Hemlock Tavern. 9:30pm, $7.

Rags Tuttle, Rome Balestrieri, Lee Huff Johnny Foley’s Dueling Pianos. 9pm.

Walk Off the Earth, Mowgli’s Slim’s. 10:30pm, $16.

JAZZ/NEW MUSIC

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

Black Market Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.

Terry Disely Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 5:30-8:30pm, free.

Stephanie Mills Yoshi’s SF. 8pm, $60.

Ben Vereen Rrazz Room. 8pm, $45-$50.

FOLK/WORLD/COUNTRY

“Bluegrass Bonanza” Plough & Stars. 9pm, $6-$10. With Creak, New Thoreaus.

Taste Fridays 650 Indiana, SF; www.tastefridays.com. 8pm, $18. Salsa and bachata dance lessons, live music.

“Urban Hillbilly Show” Cafe Du Nord. 9pm, $10-$12. With T.V. Mike and the Scarecrows, Eight Belles, Megan Keely.

DANCE CLUBS

DJ What’s His Fuck Riptide Tavern, 3639 Taraval, SF; www.riptidesf.com. 9pm, free. Spinning old school punk and more.

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

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

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.

Pledge: Fraternal Lookout. 9pm, $3-$13. Benefiting LGBT and nonprofit organizations. Bottomless kegger cups and paddling booth with DJ Christopher B and DJ Brian Maier.

Second Annual Fire Ball Public Works. 9pm, $15. With R/D, J Phlip, Christian Martin, Mr. Projectile, AntAcid, and more.

Womp SF: Summer Party DNA Lounge. 9pm. With Frank Nitty vs Ross Fm, St. John, John Beaver, Adam Ant vs Sychosis, and more.

SATURDAY 16

ROCK/BLUES/HIP-HOP

Casy & Brian, Batwings Catwings, Pang, Feelings Thee Parkside. 9pm, $6.

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

Cosmonauts, Burnt Ones, the Mallard, DJ Al Lover Brick and Mortar Music Hall. 9pm, $7-$10.

Cribs, Devin Great American Music Hall. 9pm, $21.

Detroyer (Kiss tribute), Minks (Kinks tribute), Madam and the Ants Cafe Du Nord. 9:30pm, $12.

Digital Underground: Tupac’s Birthday Celebration Yoshi’s SF Lounge. 10:30pm, $30.

Drowning Men, River City Extension, Bonnie & the Bang Bang, Ben Henderson Bottom of the Hill. 8:15pm, $12.

Guverment, Stalking Distance Thee Parkside. 3pm, free.

Hooray for Everything, Awesome Hemlock Tavern. 9:30pm, $6.

Lee Huff, Guido, Rome Balestrieri Johnny Foley’s Dueling Pianos. 9pm.

Lyrics Born, Bayonics, Adam Mansbach Independent. 9pm, $25.

Mayer Hawthorne (DJ set) Public Works. 9pm, $10.

Motion City Soundtrack, Henry Clay People, Front Bottoms Slim’s. 8pm, $20.

Tall Shadows Johnny Foley’s. 9pm, free.

Temper Trap, Crocodiles Warfield. 8pm, $30.

Western Justice Riptide Tavern, 3639 Taraval, SF; www.riptidesf.com. 9:30pm, free.

Zombie Nation, Whitlock, Harrison Hayward, Manzinita Rickshaw Stop. 10pm, $13-$16.

JAZZ/NEW MUSIC

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

Alex Keitel presents Heart of Viol Conservatory of Music, 50 Oak, SF; www.alexplayscello. 8pm, $10-$15.

Jacqui Naylor Legion of Honor, 100 34th Ave, SF; www.jacquinaylor.com. 7pm, $35.

Rob Reich accordion trio Red Poppy Art House. 9pm, $15.

Ben Vereen Rrazz Room. 8pm, $45-$50.

FOLK/WORLD/COUNTRY

Roem Baur Beach Chalet Brewery & Restaurant, 1000 Great Hwy, SF; www.beachchalet.com. 2pm, free.

Jackstraw, Misisipi Mike Cyperian’s, 2097 Turk, SF; www.noevalleymusicseries.com. 8pm, $18.

Stephanie Mills Yoshi’s SF. 8pm, $60.

Craig Ventresco & Meredith Axelrod Atlas Cafe, 3049 20th St, SF; www.atlascafe.net. 4-6pm, free.

DANCE CLUBS

Bootie SF: The Monster Show DNA Lounge. 9pm, $10-$20. With Cookie Dough’s “”DO Ask DO Tell: A Salute To Our Gays In Uniform” and more.

Fringe Madrone Art Bar. DJs Blondie K and subOctave spin indie music videos.

O.K. Hole Amnesia. 9pm. With live music and visuals.

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.

Radio Franco Bissap, 3372 19th St, SF; (415) 826 9287. 6 pm. Rock, Chanson Francaise, Blues. Senegalese food and live music.

Saturday Night Soul Party Elbo Room. 10pm, $5-$10. DJs Lucky, Paul Paul, and Phengren Oswald spinning ’60s soul 45s.

Smiths Night SF Rock-It Room. 9pm, free. Revel in 80s music from the Smiths, Joy Division, New Order, and more.

Wild Nights Kok BarSF, 1225 Folsom, SF; www.kokbarsf.com. 9pm, $3. With DJ Frank Wild.

SUNDAY 17

ROCK/BLUES/HIP-HOP

Boogaloo Bahia Jane Warner Plaza, Market and Castro, SF; www.castrocbd.org.1-2pm, free.

Japanther, Pharmacy Hemlock Tavern. 10pm, $7.

Kate Miller-Heidke, Sylvie Lewis Cafe Du Nord. 9pm, $12-$15.

Celso Pina Independent. 8pm, $22.

Lee Huff vs. Rome Balestrieri Johnny Foley’s Dueling Pianos. 9:30pm.

Lemonade, LE1F, Water Borders Rickshaw Stop. 8pm, $10-$12.

Marduk, 1349, Withered, Weapon DNA Lounge. 6:30pm, $25.

Meat Sluts & Friends Thee Parkside. 2pm, free. Tribute to Spot 1019.

Ben Runnels & Friends 50 Mason Social House, SF; www.50masonsocialhouse.com. 7pm, free.

“San Francisco Rock Project” Bottom of the Hill. 2pm, $10. British Invasion Season Show with Best of Rockapocalypse.

Ann Marie Santos and Dio Palacio Bliss Bar, 4026 24 St, SF; www.blissbarsf.com. 4:30pm, $10.

Terry Savastano Johnny Foley’s. 9pm, free.

Skabbs, Songs for Snakes, Pirate Radio Hemlock Tavern. 6pm, 6.

Stray Cat Lee Rocker Yoshi’s SF. 7pm, $25; 9pm, $20.

Violet Lights, Young Digerati, Dogcatcher Brick and Mortar Music Hall. 9pm, $5-$8.

JAZZ/NEW MUSIC

Stephanie Mills Yoshi’s SF. 3pm, $60.

Ben Vereen Rrazz Room.4pm, $45-$50.

FOLK/WORLD/COUNTRY

Sandeep Das, Matt Small and the Crushing Spiral Ensemble Studio B, ODC, 351 Shotwell, SF; www.odcdance.org. 7pm, $20.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, roots, and dancehall with DJ Sep, Ludichris, and Roger Mas.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2. Raise money for LGBT sports teams while enjoying DJs and drink specials.

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

MONDAY 18

ROCK/BLUES/HIP-HOP

Damir Johnny Foley’s. 9pm, free.

Hides, Don Peyote Hemlock Tavern. 6pm, $5.

Threads, Liar Script, Man in the Planet Elbo Room. 9pm, $5.

Wildlife Control, Coast Jumper Brick and Mortar Music Hall. 9pm, $10-$13.

JAZZ/NEW MUSIC

Bossa Nova Tunnel Top, 601 Bush, SF; (415) 722-6620. 8-11:30pm, free. Live acoustic Bossa Nova.

FOLK/WORLD/COUNTRY

Buck Wild and the Boss Hossers, Escalator Hill, Magnolia Keys Cafe Du Nord. 8pm, $10.

DANCE CLUBS

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

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

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

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop from 1960s-early ’90s with DJs Luce Lucy, Vinnie Esparza, and more.

TUESDAY 19

ROCK/BLUES/HIP-HOP

Arcadio Amnesia. 9:15pm.

Nicki Bluhm and the Gramblers, Arann Harris & the Farm Band Rickshaw Stop. 7:30pm, $10.

Buster Blue, Brother Pacific, Beggars Who Give, Disposition Brick and Mortar Music Hall. 9pm, $7-$10.

Comodo Complex, Inq, Strangers, God’s Hotel Sub-Mission. 8pm.

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

Midtown Social, Anadel, Trebuchet Bottom of the Hill. 9pm, $8.

Rhett Miller & the Serial Lady Killers, Spring Standards Independent. 8pm, $20.

Neal Morgan, Sad Horse, 3 Leafs Hemlock Tavern. 9pm, $6.

Needles, Frustration, Kontrasekt, Caged Animal, DJ Agitator Knockout. 9:30pm, $6.

Solwave, Dangermaker, Hello Monster Cafe Du Nord. 8pm, $10.

Stan Erhart Band Johnny Foley’s. 9pm, free.

Vanaprasta, Rocketboys, From Indian Lakes Hotel Utah. 8:30pm.

Wooster Boom Boom Room. 8pm, $5.

JAZZ/NEW MUSIC

Gaucho Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 7-10pm, free.

Sharon McKnight Rrazz Room. 8pm, $30.

DANCE CLUBS

Brazilian Wax Elbo Room. 9pm, $7.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Post-Dubstep Tuesdays Som., 2925 16th St, SF; (415) 558-8521.10pm, free. DJs Dnae Beats, Epcot, Footwerks spin UK Funky, Bass Music.

Sonnymoon, Jonti, Devonwho, MndDsgn, B. Lewis Public Works Loft. 9pm, $10. *

On the Cheap Listings

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Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THURSDAY 14

Screening of Ken Russel’s Gothic Pacific Film Archive, 2575 Bancroft, Berk. bampfa.berkeley.edu. 7:30pm, $9.50. Director Ken Russell passed away this year, but his 1986 feature film continues to transport audiences. Gothic takes audiences into the country estate where Lord Byron (Gabriel Byrne), Mary Shelley (Natasha Richardson), and her partner Percy Bysshe Shelly (Julian Sands), give birth to the idea for Frankenstein’s monster. Prior to the screening, listen to a brief set by the world’s only Ken Russell tribute band Brale.

Oakland Landmarks book signing Cathedral Gift Shop, 2121 Harrison, Oakl. www.cltcathedral.org. Noon-1:30pm, free. Oakland historian and columnist AnnaLee Allen and artist Heidi Wyckoff raised enough donations through Kickstarter to publish their new book Oakland Landmarks, a melding of Wyckoff’s watercolor images and Allen’s detailed descriptions of historical sites. The project is a tribute to the city in honor of its 160th birthday this year. Today, come meet the author and illustrator, eager to sign your copy this afternoon.

Celebrate Flag Day with America the Philosophical Mechanic’s Institute, 57 Post, SF. (415) 393-0114, www.milibrary.org. 6pm, $12, members free. Just in time for Flag Day, award-winning book critic Carlin Romano challenges the idea that our nation is anti-intellectual. Using the examples of talk shows, social media, blogs, and an online trend he calls “cyber philosophy,” he argues that the USA is still a nation of innovation and public debate. Listen as Romano speaks up for the intelligence of you and yours at tonight’s reading.

FRIDAY 15

Rex Ray pop-up show and Information release Gallery 16, 501 Third St., SF. www.gallery16.com. Also Sat/16, 6pm-9pm, free. To celebrate Rex Ray’s new book, Information, this pop-up gallery displays images of his artwork, photographs, and private moments of inspiration. The new book highlights a collection of happenings that the artist says inspired his life’s work. Ask him more about it in person.

Faetopia reclaims vacant Castro space for public joy Vacant Tower Records building, 2286 Market, SF. www.faetopia.com. Through Fri/22, event times vary, $10 suggested donation. Faetopia imagines a world where queer people are honored and respected for their gifts and perspectives. Artists and collaborators have created a space for the LGBTQQ community and their allies in the long, vacant storefront. During the day, Faetopia will host a visual arts gallery, workshops, meditations, teach-ins, and more. Theater, poetry, cinema, and sexy book readings in a land where the arts reign supreme.

SATURDAY 16

“The Stuff That Dreams are Made of: San Francisco and the Movies” Old Mint, Fifth St. and Mission, SF. www.sanfranciscomuseum.org. Through Sat/24, 11am-4pm, $10. Thanks largely to cinema, people everywhere know about our city by the bay, even if they’ve never visited it. To highlight the movies and filmmakers that make San Francisco one of the world’s film capitals, the San Francisco Museum and Historical Society present this exhibition.

Father’s Day weekend at Playland-Not-at-the-Beach 10979 San Pablo, El Cerrito. www.playland-not-at-the-beach.org. 10am-5pm, $15. Don’t let Dad spend his special day sitting on the couch watching other people play. Accompany him to Playland, where the two of you can raise a ruckus with pinball and carnival games galore — there’s even an ugly tie contest. Pops also gets $3 off admission this weekend — perfect for Playland’s theme of the week: celebrating everyday American heroes.

San Francisco Crystal Fair Fort Mason Center, SF. www.crystalfair.com. 10am-6pm; also Sun/17 10am-4pm, $6. The Pacific Crystal Guild hosts a magical mix of crystals, minerals, beads, jewelry, and the healing arts today and tomorrow. Crystal enthusiasts can gawk at some of the most hard-to-find gems around, and those new to the world of geology can learn about the history and potential healing powers of these natural treasures.

North Beach Festival North Beach neighborhood, SF. www.sresproductions.com. Also Sun/17, 10am-6pm, free. One of the country’s original outdoor festivals, this 58th annual event brings you to the city’s Little Italy for 125 arts and crafts booths, 20 gourmet food booths, three stages of live entertainment, Italian street painting, beverage gardens, and the blessing of the animals. Join in this longstanding San Francisco tradition.

Marin Art Festival, Marin Civic Center, 3501 Civic Center Dr., San Rafael. (415) 388-0151, www.marinartfestival.com. 10am-6pm, $10. Enjoy the famed Marin oyster feast while you view the works of more than 250 fine artists. This annual event takes place in the spectacular Marin Civic Center designed by Frank Lloyd Wright, so be sure to look up and down and all around at the architecture while you’re there.

SUNDAY 17

Open Cockpit for Father’s Day Oakland Aviation Museum, 8252 Earhart, Building No. 621, Oakl. www.oaklandaviationmuseum.org. Noon-4pm, $9. Sit in a Korean War MiG-15 next to Dad, and feel what it would have been like to fly for the “other side” in America’s first war of the jet age. Learn about the training involved for naval flight officers in the 1970s via a Navy A-6 simulator trailer, horse around on a carrier deck in the Navy A-3 Sky Warrior, tour the Solent Flying Boat from Indiana Jones: Raiders of the Lost Ark.

MONDAY 18

Baasics.2: The Future Oberlin Dance Collective Theater, 3153 17th St., SF. www.baasics.com. 7:30pm-9:30pm, free. Do flying cars and android housekeepers to mind when you ponder the future? Will humanity populate other planets and interact with extraterrestrial beings? Or, do you fret about the imminent environmental catastrophe, the rise of a totalitarian mega-state, and the end of our species? This event brings together Bay Area artists, inventors, researchers, and musicians whose projects and musings provide a sense of what they think lies ahead.

TUESDAY 19

Activists read from The Harvey Milk interviews: In His Own Words HRC Store, 575 Castro, SF. (415) 387-2272. 6pm, free. This newly released collection of never-before published transcripts of unrehearsed interviews with Harvey Milk will be read live tonight by Bay Area activists and novelists. Learn about the local icon on a deeper level.

 

The biggest burn ever

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steve@sfbg.com

Burning Man is more popular than ever, judging by a demand for tickets that far exceeded supply this year, after selling out last year for the first time in its 26-year history — and now this year’s event will be far bigger than ever.

The Bureau of Land Management, which manages the Nevada desert where burners build Black Rock City every August, has set a population cap for Burning Man at 60,900, an increase of more than 10,000 over previous events.

For Black Rock City LLC, the San Francisco-based company that stages Burning Man, there was mixed news in BLM’s June 12 permit decision.

BRC was denied the multi-year event permit it sought, but as it struggles to meet demand for this increasingly popular countercultural institution, BLM honored BRC’s late request for more people than the 58,000 it had sought for this year.

“After further discussions, there were requests for a bit more,” Cory Roegner, who oversees the event from BLM’s district office in Winnemucca, told us. Asked why BRC sought the population bump, he said, “The more people they can have, the better.”

BLM has been processing BRC’s lengthy environment assessment and its request for a five-year permit that would allow the event to grow steadily from 58,000 to 70,000 people in 2016. The cap for this year could have been set as low at 50,000, creating some drama around this announcement, but the agency instead issued a single-year permit with a population cap of 60,900.

BRC was placed on probation last fall after violating its 50,000-person cap by a few thousand people each on Sept. 2 and 3, and BLM rules limit groups on probation to a single-year permit. BRC has appealed the status to the Interior Board of Land Appeals, which has not yet acted on it or answered Guardian inquiries.

“Unless we do hear back from them, Black Rock City would be precluded from a multi-year permit,” Roegner told us.

He also said that if BRC violates the population cap for a second year in a row, it could be barred from holding future events, although the high population cap should mean that won’t be a big problem this year, clearing the way for Burning Man’s steady growth through at least 2016.

“Based on the evaluation [of this year’s event], we will consider a multi-year permit going to 2016,” Roegner told us.

BRC has already sold 57,000 tickets and will give away thousands more to art collectives, staff, and VIPs. But the cap is based on a daily population count and BRC board member Marian Goodell said the event never has all attendees there at once.

She said staying below the cap this year shouldn’t be difficult given that many of those who build the city and work on the major art pieces leave before the final weekend when the eponymous Man burns. “Usually at least 6,000 leave before we hit the peak. Sometimes more on dusty, wet, or cold years,” she told us.

It could have been a lot more difficult. BLM officials had told the Guardian in April that they were considering keeping last year’s population cap of 50,000, which could have presented BRC with a logistical nightmare and/or ticket-holder backlash in trying to stay under the cap.

“The issue between us and the BLM continues to be the population cap,” Burning Man founder Larry Harvey told the Guardian.

Harvey, Goodell, and others with BRC took a lobbying trip to Washington DC in late April trying to shore up political support for the event and its culture, arguing that it has become important for artistic and technical innovation and community building rather than just a big party.

Harvey told us he believes that Burning Man could grow to 100,000 participants, although he conceded that would need further study and creative solutions to key problems such as getting people to and from the isolated location accessed only by one highway lane in each direction.

“We think we could go to 100,000 if it was measured growth, carefully planned,” Harvey said.

On the transportation question, he said, “it’s a question of flow.” Right now, participants arriving or leaving on peak days often wait in lines that can take four hours or more.

“We’ve talked to engineers that have proposed solutions to that,” Harvey said of the transportation issue, although he wouldn’t discuss possible solutions except to say, “You could exit in a more phased fashion.”

Roegner said that was one of the big issues identified in the EA. “We are taking a closer look at a couple items this year, traffic being one,” he said. Another one is the use of decomposed granite, which is placed under flaming artworks to prevent burn scars on the playa, and making sure it is properly cleaned up each year.

BRC was facing a bit of a crisis in confidence after this year’s ticket debacle, when a new lottery-based ticket distribution system and higher than expected demand left up to two-thirds of burner veterans without tickets. The resulting furor caused BRC to abandon plans for a secondary sale and instead sell the final 10,000 tickets through established theme camps, art collectives, and volunteers groups.

“It’s pretty obvious that we’ll do something like that again because we don’t expect demand to go down,” Harvey said of that direct distribution of tickets, which was criticized in some burner circles as promoting favoritism and undermining the event’s stated principle of inclusivity.

Yet he also emphasized that much of Burning Man’s growth is occurring off the playa — in cities and at regional events around the world. “All of this is by way of dealing with the capacity problem. I don’t know how much we can grow in the Black Rock Desert,” he said.

Another realm full of both possibilities and perils — depending on one’s perspective — is the ongoing development of The Burning Man Project, a nonprofit that BRC created last year to gradually take on new initiatives, followed by taking over staging of the event, and eventually (probably in five years) full control of Burning Man and its brand and trademarks.

“God knows, we have a lot of opportunities before us,” Harvey said, adding that BMP is now focused on fundraising. “It is the objective before we transfer the event to start transferring the regional events, and that will take more money and staff.”

After that, he sees unlimited potential to grow the culture, not just Black Rock City. “We’ve got to focus on the people. We’re becoming less event-centric,” he said. “We think of this as a cultural movement.”

Guardian City Editor Steven T. Jones is the author of The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture. For reactions and details on the EA, visit the sfbg.com politics blog.

 

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THURSDAY 14

Solitary confinement at Pelican Bay, Audre Lourde Room, Women’s Building, 3548 18th St., SF; www.womensbuilding.org. 6:30pm, free. This panel discussion on the use of solitary confinement in the criminal justice system comes soon after a class action lawsuit challenging solitary confinement in California prisons. The Center for Constitutional Rights filed the lawsuit, Ruiz v. Brown, May 31 on behalf of prisoners at Pelican Bay State Prison. The plaintiffs have spent between 10 and 28 years in solitary confinement, generally spending at least 22 hours per day alone in windowless cells, and often denied letters, visits, any sunlight, or time spent outdoors. Many of the plaintiffs also participated in last year’s hunger strikes against inhumane conditions in prison, including solitary confinement. This lawsuit may be the crucial next step in their fight.

FRIDAY 15

India to Ireland, Sports Basement, 1590 Bryant, SF; www.indiatoireland.org. A brother and sister who rode bicylces12,000 km from India to Ireland are back with photos and stories. See what they saw and hear the tales at this fundraiser for Room to Read. The international nonprofit works “to promote literacy and gender equality in education by establishing libraries, constructing classrooms, publishing local-language children’s books, training educators and supporting girls’ education.”

SATURDAY 16

Art, culture and resistance, Redstone building, 2940 16th St., SF; www.norcalsocialism.org. 6pm, $5-10 suggested donation. What’s the music of today’s social justice movement? If it’s anyone, it’s The Coup, and frontman Boots Riley. Riley has written and performed powerful and revolutionary music for decades, from hip hop edutainment concerts that promoted efforts like the Women’s Economic Project Agenda and Copwatch to traveling guerilla hip hop concerts in protest of Prop 21 in 2000. Recently, he’s been organizing with Occupy Oakland. In July, he’ll be teaching a workshop at the Socialism 2012 conference in Chicago; the next month his book, Lyrics in Context, will be released. On Saturday he’ll discuss a tradition he helps to keep alive in Oakland: how art and resistance work together. Refreshments and mingling to follow.

Juneteenth festival, parade starts at African American Arts & Culture Complex, 762 Fulton St., SF; www.sfjuneteenth.org. Parade at 11am, festival runs through June 17. Start summer off right with the biggest Juneteenth festival on the West Coast. Juneteenth commemorates the announcement of the abolition of slavery and celebrates African American heritage, and this year will mark the 62nd annual Juneteenth in the Fillmore District. The two-day festival kicks off with a parade, followed by a family-friendly weekend complete with a classic car and motorcycle show, basketball games, fashion show, petting zoo, pony rides, live entertainment, community info booths and health fair, and more.

SUNDAY 17

African American veterans and the Civil Rights Movement, Niebyl-Proctor Marxist Library, 6501 Telegraph, Oakl; www.marxistlibr.org. 10:30am-12:30pm, free. Despite growing up in a United States that still had Jim Crow laws, African Americans fought in wars throughout the 20th century. When many of them returned and joined in civil rights and black liberation movements, however, they risked their lives once again. Perhaps best known is Medgar Evers, civil rights leader and World War II soldier who was assassinated by a Ku Klux Klan member in 1963. This event will explore the many veterans who joined civil rights struggles, their reasons for doing so, and how, in many cases, experiences in military service prompted involvement in the struggle back home. It will also feature a screening of the documentary Negroes With Guns, which follows the life of Army and Marine Corps veteran Robert F. Williams, who later took up arms against violent racist groups like the KKK as part of his work with the Black Armed Guard.