Berkeley

Stage Listings

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

THEATER

OPENING

BAY AREA

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

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

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

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

 

ONGOING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

PERFORMANCE/DANCE

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

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

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

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

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

BAY AREA

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

Lingering vermicelli

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le.chicken.farmer@gmail.com

CHEAP EATS I keep finding myself in Emeryville, which is a problem. Once I was running early so I stopped at the Comeback Café and ordered a Vietnamese sandwich, pork, no mayonnaise.

The young guy at the counter wrote it all down, passed it along to the kitchen, and I picked up a Giants’ schedule from a stack by the cash register. It made me feel at home.

This is the thing about me: whenever I am running early, I wind up late. Even later than when I am running late. At least I know myself. So I called Crawdad de la Cooter, and let her know. It was a prediction, disguised as a question: “Do you want me to bring anything for the kids?”

“What do they have?”

I read the menu.

“Shrimp rolls,” she said. So good, so now I had a proper excuse for being late. And it would be in the kids’ best interest, because shrimp rolls, as a rule, rock. Everybody knows, give or take two- and three-year-olds.

It was already taking them forever to make my sandwich, and now it was going to take foreverer.

I read the whole 2010 S.F. Giants season, April to October, in one sitting, only I was standing up. And finally, my order was ready.

Not wanting to run the risk of having to share my pork sandwich with the children, I decided to eat it in the car. And that was how, just one bite in, I learned why they call the place the Comeback Café. I did an immediate U-turn and went back.

“Mayonnaise,” I said.

“So sorry, I forgot to tell them,” he said.

So they made me a new one and I was even later. The sandwich was great this time, plenty of grilled pork and fresh cilantro, shredded carrots … On the minus side, the jalapenos had very little heat, and: $5. Did I miss something? Is that the going rate for Vietnamese sandwiches these days? Even in the Tenderloin?

Well, leave it to Emeryville.

The fresh shrimp rolls ($5.50 for three) were lame. I don’t think I ever tasted a non-vegetarian Vietnamese cold roll with less flavor. Too much lettuce and not enough (if any) other green things. Cilantro? Basil? Mint?

Well, the kids enjoyed their stickiness: the rice paper wrapper and especially the rice vermicelli noodles, which they were delighted to find inside, and spread all over.

I was about to spend five days and four nights with them. In fact, I did. It’s Day 5, mom’s on the airplane home, as we speak, and I am still picking vermicelli noodles out of her two little uns’ hair and wardrobes.

Besides taking them on their first-ever BART train ride, which was the highlight of at least two of our lives, my favorite time was on Sunday when their father took us all out to dinner at Khana Peena, this great Indian restaurant at the Berkeley Hills end of Solano. I’d seen it a million times but had never eaten there because Zachary’s is just a couple doors down.

Anyway, they have this great happy hour special between I think 4 to 7 p.m. every day, where you get 50 percent off on all your food. Which I’m guessing is overpriced so maybe it comes out to “about right.”

Well, the chicken tikka masala was so good we had to order it again. And probably would have ordered it again again, if the kids weren’t starting to get fussy. Soooooo good, but I gotta say: tiiiiiny portion. Half price, order twice … Again: I don’t know, you do the math.

All’s I’m saying is I don’t remember ever loving chicken tikka masala so much. Nor do I remember ever feeling so thoroughly momlike as I did eating out with two small kids and their dad. I can’t speak for the girls, but I think I might have goofed around a little less than usual.

KHANA PEENA INDIAN CUISINE

Lunch: 11:30 a.m.–3 p.m.;

Dinner: 5 p.m.–9:30 p.m.

1889 Solano, Berk.

(510) 528-2519

AE/D/MC/V

Beer and wine

High time

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steve@sfbg.com

DRUGS With polls showing that California voters are probably poised to approve Proposition 19 in November and finally fully legalize marijuana, this should be a historic moment for jubilant celebration among those who have long argued for an end to the government’s costly war on the state’s biggest cash crop. But instead, many longtime cannabis advocates — particularly those in the medical marijuana business — are voicing only cautious optimism mixed with fear of an uncertain future.

Part of the problem is that things have been going really well for the medical marijuana movement in the Bay Area, particularly since President Barack Obama took office and had the Justice Department stop raiding growing operations in states that legalized cannabis for medical uses, as California did through Proposition 215 in 1996.

In San Francisco, for example, more than two dozen clubs form a well-run, regulated, taxed, and legitimate sector of the business community that has been thriving even through the recession (see “Marijuana goes mainstream,” Jan. 27). The latest addition to that community, San Francisco Patient and Resource Center (SPARC), opened for business on Mission Street on Aug. 13, an architecturally beautiful center that sets a new standard for quality control and customer service.

“This is the culmination of a 10-year dream. We’re going to have a real community center for patients with a great variety of services,” longtime cannabis advocate Michael Aldrich, who cofounded SPARC along with Erich Pearson, told us at the club, which includes certified laboratory testing of all its cannabis and free services through Quan Yin Healing Arts Center and other providers.

Yet cash-strapped government agencies have been hastily seeking more taxes and permitting fees from the booming industry, particularly since the ballot qualification of Prop. 19, an initiative that was written and initially financed by Oaksterdam University founder Richard Lee that would let counties legalize and regulate even recreational uses of marijuana.

Oakland, Berkeley, Richmond, and other California cities have placed measures on the November ballot to tax marijuana sales, and the Oakland City Council last month approved a controversial plan to permit large-scale cannabis-growing operations on industrial land (see “Growing pains,” July 20).

In an increasingly competitive industry, many small growers fear they’ll be put out of business and patient rights will suffer once Prop. 19 passes and counties are free to set varying regulatory and tax systems, concerns that have been aired publicly by advocates ranging from Prop. 15 author Dennis Peron to Kevin Reed, founder of the Green Cross medical marijuana delivery service.

“It’s tearing the medical marijuana movement apart,” Reed told the Guardian. “It’s a little scary that we’re going to go down an uncertain road that may well scare the hell out of mainstream America.” Indeed, U.S. Attorney General Eric Holder — who ended the raids on medical marijuana growers — has said the feds may reengage with California if voters legalize recreational weed.

Yet Lee said people shouldn’t get distracted from the measure’s core goal: “The most important thing is to stop the insanity of prohibition.” He expects the same jurisdictions that set up workable systems to deal with medical marijuana to also take the lead in setting rules for other uses of marijuana.

“It will be just like medical marijuana was after [Prop.] 215, when a few cities were doing it, like San Francisco, Oakland, and Berkeley,” Lee told us. “And for cities just coming to grips with medical marijuana, it will be clean-up language that clarifies how they can regulate and tax it.”

Indeed, the tax revenue — estimated to be around $2 billion for the state annually, according to the California Legislative Analyst’s Office — has been the main selling point for the Yes on 19 campaign (whose website is www.taxcannabis.org) and Assembly Member Tom Ammiano, who authored bills to legalize marijuana and has current legislation to set up a state regulatory framework if Prop. 19 passes.

“It makes it more seductive,” Ammiano said of revenue potential from legalized marijuana. “I’ve been working with Betty Yee [who chairs the California Board of Equalization, the state’s main taxing authority] on a template and structure for taxing it.”

Reed and others say they fear taxes at the state and local levels will drive up the price of marijuana, as governments have done with tobacco and alcohol, and hinder access by low-income patients. But Ammiano scoffed at that concern: “Even with the tax structure on booze, there was no diminishing of access to booze.”

Pearson said he believes Prop. 19 will actually help the medical marijuana industry. “Anything that takes the next step toward legalizing recreational use only helps medical cannabis,” he said. Pearson moved to California to grow medical marijuana more than 10 years ago, at a time when the federal government was aggressively trying to crush the nascent industry.

“When you’re packing up and running from the DEA all the time, you’re not thinking about the quality of the medicine. You’re trying to stay out of jail,” Pearson said. “Now, we can be transparent, which is huge.”

Like most dispensaries, SPARC is run as a nonprofit cooperative where most of the growing is done by member-patients. Speaking from his office, with its clear glass walls in SPARC’s back room, Pearson said the Obama election ushered in a new openness in the industry.

“Everything is on the books now, whereas before nothing was on the books because it would be evidence if we got busted … We are allowed to have banks accounts; we’re allowed to use accountants; I can write checks; we can talk to government officials,” Pearson said. “It helps with the public and governments, where they see the transparency, to normalize things.”

He also said Prop. 19 will only further that normalizing of the industry, which ultimately helps patients and growers of medical marijuana. SPARC, for example, gives free marijuana to 40 low-income patients and offers cheap specials for others (opening day, it was an eighth of Big Buddha Cheese for $28) because others are willing to pay $55 for a stinky eighth of OG Kush.

“Our objective here is to bring the cost of cannabis down. We can subsidize the medicine for people who can’t afford it with sales to people who can,” Pearson said, noting that dynamic will get extended further if the legal marketplace is expanded by Prop. 19.

While Pearson strongly supports the measure, he does have some minor concerns about it. “The biggest concern is if local governments muddy the line between medical and nonmedical,” Pearson said, noting that he plans to remain exclusively in medical marijuana and develop better strains, including those with greater CBD content, which doesn’t get users high but helps with neuromuscular diseases and other disorders.

Reed also said he’s concerned that patients who now grow their own and sell their excess to the clubs to support themselves will be hurt if big commercial interests enter the industry. Yet for all his concerns, Reed said he plans to reluctantly vote for Prop. 19 (which he doesn’t believe will pass).

“They’ll get my vote because not having enough yes votes will send the wrong message to law enforcement and politicians [that Californians don’t support legalizing marijuana],” Reed said, noting that would rather see marijuana uniformly legalized nationwide, or at least statewide.

Attorney David Owen, who works with SPARC, said the momentum is now there for the federal government to revisit its approach to marijuana. But in the meantime, he said Prop. 19 has come along at a good time, given the need for more revenue and more legal clarity following the federal stand-down.

And even if the measure isn’t perfect, he said those who have devoted their lives to legalizing marijuana will still vote for it: “A lot of these folks, intellectually and emotionally, will have a hard time voting against Prop. 19.”

Jamie Stewart on orange juice, armpits, bird calls, and ambient music

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On Friday 8/13, Berkeley Art Museum is hosting a project that is threefold: the visual art of David Wilson, short films curated by Max Goldberg, and the music of Jamie Stewart (Xiu Xiu). To find out more about this unusual collaboration, I spoke to Mr. Stewart on the phone about his contribution and how he anticipates the night will go down.

SFBG The BAM website says that you’re debuting a “new composition in field recording inspired by the night, animal calls, and quietness.” This is a little vague, so could you tell me more about what your performance is going to be?
Jamie Stewart I’ve always been really impressed with people who went to art school but I’ve never had any opportunity. Probably in the past six or seven years I’ve become a really avid birdwatcher and one of the things that I initially, having been so involved in music, enjoyed about birdwatching is that it was something completely visual for me. Most bird calls are completely bizarre so I had since become almost focused on listening to bird calls but almost in a way that’s detached from the birds itself. In the middle of this increased interest I find myself inexplicably in North Carolina and a big part of the recreational culture here is hunting. There’s a lot of hunting stores and being a vegan obviously, I’m not totally interested in hunting. In these stores there were rows and rows of different animal calls and a lot of these are really horrifying-sounding. If you blow into them, you hear some of the most harsh noise music ever imaginable. A lot of the hunting bird calls sound like the environment completely exploding. So I’ve racked up a pretty hardy collection of these.

SFBG How might you categorize this work into a genre?
JS It’s an ambient piece. I have a really extensive collection of gongs and animal calls and I will be using these together but with long periods of silence. It’s an attempt to incorporate ideas of 1950s minimalist composition insofar as focusing on the pauses in sound, animal sounds, and a certain amount of physicality.

SFBG How are you going to do it?
JS I think I’ll be running mostly. It will end up utilizing a fair amount of space. So far, there will be gongs placed on two different sides of the room and I have these two gongs I got in Korea recently, and various bird calls will be placed throughout the room. Part of the idea is to have [the piece] be in relative darkness and move as quickly as possible at predetermined intervals with each of the items that can make sound, to have a combination of intense rustling and physicality, and intense sounds, in addition to certain electronica. Short periods of super intense activity and miserable, intense sound, and then no source of sound.

SFBG How is this similar or different to Xiu Xiu?
JS It has absolutely nothing to do with Xiu Xiu at all. That has a specific aesthetic and philosophy, whereas this is more about being less defined, about subconscious experiences, and to be more experiential, whereas Xiu Xiu is an attempt to be about something that is very linear. I can feel what it is about but it is difficult to say what it is about. I think it will be emotionally clear but I think to put it into words will be more difficult, which is something I appreciate because usually I have to be as clear as possible.

SFBG Is this your first venture into museums and visual art?
JS When I was growing up, I used to do a lot of disruptive performance art –– we would shave our armpits into orange juice, the dumbest things possible. It wasnt a performance, I think we were just trying to irritate people. I’ve played the Gameboy occasionally. I’ve composed a fair amount of ambient music. I recorded a 13-disc series [available with a subscription]. I didn’t put it online, so I guess it was available to 50 people on Earth. This piece is probably more minimalist than some of that.

SFBG Who are some ambient artists that have inspired you in the making of this work?
JS A couple (like Rhys Chatham) but it was really inspired by natural sounds and more of a coming to terms with different ways in how people regionally deal with ideas of nature. [Being from California] I have a hippie-ized idea of what nature is for. Rhys Chatham is so preposterously minimalist. Chestnut and I saw how long we could endure listening to it. It’s called “Two Gongs” but my piece plays differently. Two gongs for an hour, very limited changes in the tonal shading. A lot of ambient music that I find difficult to endure or that is unpleasant I find particularly fascinating. It ends up being less of a musical experience and more of a psychological and physical experience. Its a combination of being inspired by the sonic tools that people use to destroy nature. Hopefully it’s just interesting. I don’t think Rhys Chatham was trying to do anything unpleasant either.

Si se puede, making a difference: El Tecolote turns 40

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It was with relish that I awaited my interviews with El Tecolote’s managing editor, Roberto Daza, and its founding editor Juan Gonzales on a homey couch in the paper’s modest office on 24th Street. Being a community journalist, it isn’t every day that you are able to check out the digs of another community newspaper – particularly one with as storied a history as the Mission’s bilingual go-to for news on social issues that affect the historically Latino and working class neighborhood. El Tecolote is celebrating forty years of activist journalism this month, kicking off with an opening reception tonight (Wed/11) at the Mission Cultural Center for Latino Arts of an exhibit featuring their extensive photo archives. 

I’m stoked to be there, so I chill and savor the feeling that good work is being done around me. Reporter-advertising manager Francisco Barradas’ computer keys are nearly the only sounds in the office, though passing staff assure me that this is a deadline day in the office. He answers the phone and speaks alternately in Spanish and English, most often a genial mixture of the two. Calendar editor Alfonso Texidor stalks past me multiple times, his distinctive hat and cane combo instantly marking him as one of the driving forces of last week’s popular literary review issue as identified by Eva Martinez, executive director of Accion Latina, the organization which houses Tecolote. 

The office itself reads – as many of the headquarters of these rags will do – like desks and computers framed by a collection of events past. Owls (the newspaper’s namesake) stare at me wide-eyed from the corners. An owl cuckoo clock here, a mascot originally meant to frighten birds away from property perched on a potted tree next to the couch there, a kite on the back wall, the reception desk lined with a cache of ceramic hooters. The walls have a bright collection of silk-screened posters announcing EL Tecolote fundraisers going back through the history of the paper, some which announce that proceeds will also go “for Chile democratico.”  

Later, after it is determined that rush hour traffic and recent hip replacement surgery have held up Daza and Gonzales, respectively, we settle on phone interviews all around. Still sitting on the couch in the office, I ask Gonzalez which stories he is most proud of looking back on the past forty years. His three examples are all moments in which his paper made a difference in the lives of Missionites. In the ’70s, a woman came to them who had recently lost a child. She had gone to SF General Hospital complaining of stomach pains and bleeding, but with no Spanish translators on hand, staff sent her home, told her to lay down. When she returned with her English-speaking son later that day they admitted her, but it was too late: she miscarried soon thereafter.

“We jumped on it,” Gonzales tells me. The newspaper discovered woefully inadequate translator staffing levels at General, and impelled their readers to act. “We mobilized the community,” says Juan. The hospital was forced to sign an agreement with activists from the neighborhood to guarantee translators on duty – the first such accord between a hospital and a community group. El Tecolote pursued similar campaigns with telephone emergency services in the ’80s, and more recently has supported tenants in a fight against Mission Housing Development when they attempted to raise rents in one of their apartment buildings.

“It’s one thing to make people see a newspaper around all the time. It’s another one to speak to the heart of the community,” Gonzales reflects.

From the get, the creation of El Tecolote was meant to give voice to those whom it was elusive. Gonzales started the paper as an off-shoot to his work in SF State’s fledgling Ethnic Studies program, itself born of the Alcatraz occupation and its own student strikes. A recent journalism graduate from the university himself, Gonzales was tapped by the administration to put together a course syllabus that analyzed media coverage of Latinos and taught ways to talk about issues that affected the population. He called it La Raza Journalism, but also craved a place where his students could get on the job experience.

So he held a series of fund-raising events, including an amateur talent show which drummed up the necessary $300 to publish the first El Tecolote on August 24th 1970. And then some. “At that time $50 was enough to publish 500 copies,” Gonzalez muses. His team chose to locate its office in the Mission, in a space donated by non-profit organization Centro Latino on 25th Street and Potrero to avoid reliance on university funding, which they felt could be pulled at any time. Already known to the community from his efforts in covering the area for the SF State paper, Gonzales and his paper were off and running.

“The bottom line is, the paper had to reflect the neighborhood,” he tells me. In those early days, the issues weren’t that much different than now: housing, tensions with the police, immigration, bilingual services and education, schools. They took care to represent all the facts of the controversies. “Don’t be afraid to ask the other side their reaction,” Gonzales says. “They could say things that help the cause.” El Tecolote, running as it does today 90-95% on the efforts of dedicated volunteers, also published pieces on young artists, many of which were at the center of an exciting new push for Latino-centric art forms. “We had to reflect how the cultural movement was really expanding,” its founder tells me. 

Nowadays, the paper experiences its share of the challenges to adapt that are facing most print publications. “We’ve had to make concessions: the quality of the paper we print on, the number of pages,” says Daza, who at a chipper 25 years old comes to the paper as another recent SF State grad. He first entered the Tecolote offices two years ago on a field trip as part of a technical writing class, and tells me the paper’s website upgrade earlier this year was much needed. “The running joke prior to that was that we didn’t want to tell people we even had a website.” 

Which is not to say that they are moving past the paper page. “For us,” Daza says “the print edition represents something completely different. It’s for people that don’t have an iPhone, don’t spend a good percentage of their lives online. That’s the kind of people we want to provide for.” Many community members still use El Tecolote to learn a language – initially, scanning the English articles for new vocabulary words, but more recently, with changes in the neighborhood’s demographics, checking out the Spanish pieces to develop new skills in español.

Daza makes it in after the majority of our interview, in time before his staff meeting to escort me through the paper’s recently organized binders of historic photos (from which we selected this piece’s graphic of Cesar Chavez’s visit to the paper’s office for a press conference on a UFW boycott). We flip to it past shots of a struggle immortalized. Demonstrations in the playgrounds of schools, under murals who this week I will recognize as I fly past them on my bicycle. Fists raised, hands extended, changes wrought – and it’s all there in El Tecolote, typed down in two different languages so that we can remember that this neighborhood has a past (and present, and future) worth remembering. 

“El Tecolote is all about making a difference in the struggle for social change,” says Gonzales, who will reassume the managing editor position when Daza heads across the Bay to pursue a graduate degree at UC Berkeley this fall, tells me. Safe to say the paper has, and will continue to do so, si se puede.

 

Imagining the Mission: El Tecolote’s 40th anniversary

Wed/11 6:30-9:30 p.m., $5

Mission Cultural Center for Latino Arts

2868 Mission, SF

(415) 643-2785

www.missionculturalcenter.org 

 

Our Weekly Picks: August 11-17, 2010

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WEDNESDAY 11

MUSIC

Carla Bozulich’s Evangelista

Anyone who’s witnessed Carla Bozulich live knows the former Geraldine Fibbers frontperson is a true force of nature, bravely following her muse into the flatlands of Texas, onto arena-sized stages, or to the ear-scorching reaches of experimental music. For the past month, the Bay Area has been home to the artistically restless Bozulich, who says she never stays anywhere for very long. Still, this is her refuge as she writes her fourth album with Evangelista for the respected Constellation imprint — recording once again with players in Godspeed You! Black Emperor — before she heads out again. This fall, she’ll be directing and performing at a massive multiday installation-performance in Krems, Austria. Godspeed you, Ms. Bozulich, who hopes to “shake things up a bit” at her favorite old haunt, Cafe Du Nord, with guests Ava Mendoza on guitar and John Eichenseer on viola. (Kimberly Chun)

With Common Eider, King Eider

9:30 p.m., $14

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

EVENT

Henry Lee

Once a prolific Chronicler of one of the biggest media snafus in recent Bay Area memory, Henry Lee adapted and expanded his coverage of the Hans Reiser murder case for his true crime book Presumed Dead. What elevates it beyond a sensationalist paperback is Lee’s cogent reportage and willingness to think more about the unthinkable (spousicide, for one) than most would ever dare. He starts with the life of murder victim Nina Sharanova and weaves his way into the nitty-gritty of the case. Even before this summer’s publication, Lee proved himself a stalwart for local journalism — and for all the other strong stomachs out there delivering cold, hard truths. (Ryan Lattanzio)

7 p.m., free

Books, Inc.

1760 Fourth St., Berk.

(510) 525-7777

www.booksinc.net

 

THURSDAY 12

EVENT

 

Infinite City: Right Wing of the Dove”

The release of Rebecca Solnit’s Infinite City: A San Francisco Atlas — a book that digs through the dense and dirty histories, cultures, and sites of the Bay Area with help from cartographers, artists, and writers — is preceded by a series of cartographic “live art” events at the San Francisco Museum of Modern Art and in the Bay Area at large. Part two of this series is a screening of In Smog and Thunder: The Great War of the Californias (2003), written and art-directed by Sandow Birk. Drawing from his own experience amid the antagonisms of these two cities, Birk satirically envisions a civil war between Los Angeles and SF, and his 100-plus artworks comically probe the ongoing geo-ideo-cultural tension. Afterward, Solnit leads a post-screening discussion on the contradictory relationship between our liberal values and local economy. That SF and LA are cultural foils is well-known. But Solnit points out, friction is being made closer to home. (Spencer Young)

7 p.m., free with museum admission ($9–$18)

SFMOMA

Phyllis Wattis Theater

151 Third St, SF

(415) 357-4000

www.sfmoma.org

 

THEATER/DANCE

Rapid Descent Physical Performance Company

Love ain’t easy. Relationships are intense, emotionally draining, and take up too much time. What then (besides cuddling) keeps us coupling up? New Zealand playwright Gary Henderson might have the answer. And thanks to choreographer Megan Finlay and her physical performance company Rapid Descent, you won’t have to go all the way to New Zealand to find out. Finlay brings Henderson’s Skin Tight to San Francisco and reworks the original script to incorporate dance as well as live music by trumpeter Aaron Priskorn. Centering around the enduring love of one couple (played by Beth Deitchman and Nathaniel Justiniano), Skin Tight exposes the visceral complexity of hostility and attachment. (Katie Gaydos)

Through Aug. 28

Thurs.–Sat., 8 p.m., $20–$35

CounterPULSE

1310 Mission, SF

www.counterpulse.org

 

ROCK

Dawes

The California Academy of Sciences, a place that puts nature on its proper pedestal, is a great venue for Dawes. The band has appreciation not just for its own musical genealogy, but also for the mysteries of the American landscape. This folk rock quartet, helmed by the Goldsmith brothers, saw Americana anew on the debut album North Hills, undoubtedly a nod to that small-town Louisiana region. The songcraft recalls the harmonic pastures of Crosby, Stills, and Nash. Like a pair of Levis, Dawes’ faded wear-and-tear is contrived — yet it feels genuine, and that’s what counts. A song like “Take Me Out Of The City” gives a microcosmic view of the band’s guitar-plucking, straw-gnawing aesthetic. (Lattanzio)

6 p.m., $12

California Academy of Sciences

55 Music Concourse Dr., SF

(415) 379-8000

www.calacademy.org

 

MUSIC

Reverend Horton Heat

It may be hard to believe, but the rockabilly juggernaut that is the Reverend Horton Heat will be hitting the 25 year mark soon — and as fans of the Texas trio know, the band’s strong suit is its live show. So in fitting fashion, it has decided to celebrate its upcoming milestone by filming a live set in our fair city’s legendary music venue, the Fillmore, for a special release next year. Although the band will be sure to touch on material from its latest album, Laughin’ and Cryin’ With The Reverend Horton Heat, expect Jim Heath, Jimbo Wallace, and Paul Simmons to dig into their back catalog for some oldies and goodies as well. (Sean McCourt)

With Split Lip Rayfield, Hillstomp

9 p.m., $25

Fillmore

1805 Geary, SF

www.thefillmore.com

 

FRIDAY 13

EVENT

Terry Zwigoff

On Aug. 10, there were two things of utmost importance you should’ve celebrated: National S’mores Day and the arrival of Terry Zwigoff’s 1995 documentary Crumb on Criterion Collection DVD. Zwigoff, personal hero of many (including myself), will be at Amoeba to sign copies of that new release plus his 1985 film Louie Blue, also slated for Criterion treatment. Blues musicians Frank Fairfield and Blind Boy Paxton will accompany, which fits the bill since Zwigoff has made the blues and its many subgenres a focus of his films. He probably saw some of himself in Seymour, the LP-loving and lovable schlub in Ghost World (2001), just as he understood artist R. Crumb’s grotesque genius. (Lattanzio)

6 p.m., free

Amoeba Music

1855 Haight, SF

(415) 831-1200

www.amoeba.com

 

COMEDY

Bobcat Goldthwait

Although he is perhaps most initially recognizable for his high-pitched, scratchy voice and wacky mannerisms from his appearances in 1980s movies and comedy specials, Bobcat Goldthwait is a man of many talents. From his breakout acting roles in flicks, including the Police Academy series, to his live album Meat Bob, to directing his first film Shakes The Clown in 1991, the versatile performer has had an ever-expanding resume. He even opened for Nirvana on its 1993 U.S. tour. Last year saw the release of his critically acclaimed film World’s Greatest Dad, and his newest project is directing a U.K. musical production based on the Kinks’ Schoolboys in Disgrace album. Be sure to catch the hilarious — and busy — man live on stage while you can. (McCourt)

Through Sat/14

8 p.m. and 10:15 p.m., $20.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

 

SATURDAY 14

MUSIC

Stone River Boys

Although their recent debut album Love On The Dial was born in the midst of enduring personal tragedies, the Stone River Boys created a collection of inspiring tunes that meld country with a host of other roots rock influences. Featuring guitarist Dave Gonzalez (the Paladins and the Hacienda Brothers) and singer Mike Barfield (the Hollisters), the group came together a couple of years ago while the two were trying to help raise money for friend and fellow musician Chris Gaffney’s cancer treatments. “Gaff” passed away before the benefit tour could begin, but the resulting music is a fitting tribute, carrying the torch and keeping the infectious spirit of their friendship alive. (McCourt)

With Carolyn Wonderland, Mother Truckers

9 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

SUNDAY 15

MUSIC

Dan Sartain

How did a lip-stachioed rocker from Birmingham, Ala., become the poster child for the garage roots revival? Well, he didn’t really; Jack White already had that crown. But years of paying tribute to the gods of garage and blues eventually landed Sartain on a tour with the White Stripes in 2007 — the subsequent 7-inch release for White’s Third Man label now seems like your textbook well, of course! facepalm moment. The pair’s aesthetics of “garage-a-billy” with a Morricone spaghetti western tinge are invariably complementary. And although it may seem a disservice to all the time Sartain put into his sound before this epic meeting of minds, you have to admit there are worse career maneuvers than being linked to Jack White. (Peter Galvin)

With Leopold and His Fiction, Twinks

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

MUSIC

Rasputina

Fourteen years on from the advent of Rasputina’s cello-goth-lite musical stylings on Thanks for the Ether, the trio is touring behind its latest record Sister Kinderhook. Vocalist-songwriter-cellist Melora Creager is the only remaining original member (in fact, the band’s lineup has even changed since recording the album, with percussionist Catie D’Amica stepping down). Rasputina seems to be maintaining its historical fascination here — the album’s embroidered cover anachronistically purports that it was “wrought by Rasputina circa 1809.” They’re well-matched with supporting act Larkin Grimm, a skilled practitioner of weird folk and one-time member of Dirty Projectors whose riveting life story incorporates being born into a cult, studying at Yale, and spending time in Thailand and Guatemala. (Sam Stander)

With Larkin Grimm

8 p.m., $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

MONDAY 16

EVENT

Alison Gopnik

UC Berkeley psychology and philosophy professor Alison Gopnik is responsible for groundbreaking work exploring the ways young children think and learn. She’ll be reading from her latest book, The Philosophical Baby, just a few blocks from Berkeley campus. A Chronicle bestseller, the book continues to delve into developmental psychology for new insight into some momentous topics (it is, after all, subtitled What Children’s Minds Tell Us About Truth, Love, and the Meaning of Life). Heavy subject matter, to be sure. But since it’s also about babies, you can temper those overwhelmingly deep thoughts with cuteness and chortling. Oh, and an inborn template for the scientific method, apparently. (Stander)

7:30 p.m., free

Pegasus Books Downtown

2349 Shattuck, Berk.

(510) 649-1320

www.pegasusbookstore.com

 

TUESDAY 17

EVENT

“Idiolexicon”

It’s changed over the years, for better and for worse, but the Bay Area is still a hospitable place for poets. Just look at the newly opened café-performance space Rancho Parnassus. According to its website, RP’s goal is “to get the abundant untapped talent around Sixth Street working together.” Toward this end, the venue is hosting an installment of the “Idiolexicon” series, with readings from local poets Carrie Hunter, Della Watson, and Jessica Wickens. All three are billed as experimental, but their work also bears more than a hint of high-modernist influence. Watson’s unconventional syntax is reminiscent of Gertrude Stein, while Hunter’s “Kine(sta)sis” evokes Poundian Imagism. On the page, it’s all pretty effective stuff. Come to the reading, and you can decide how it plays live. (Zach Ritter)

7 p.m., free

Rancho Parnassus

132 Sixth St, SF

(415) 503-0700

www.idiolexicon.com 


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Bay Area assemblage

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arts@sfbg.com

FILM/MUSIC/VISUAL ART Since July 9, local artist David Wilson has programmed the Friday night L@TE shows at the Berkeley Art Museum, in conjunction with “Gatherings,” his installment in the site’s MATRIX series. On Friday the 13th, Wilson concludes his summer contributions to L@TE with presentations by Jamie Stewart, the veritable prince of darkness for Oakland-based indie band Xiu Xiu, and Bay Area film critic Max Goldberg. The program is not only about gatherings in nature but also the assemblage of disparate art forms. Wilson has traversed between media to suss out the kind of aesthetics you can see, and invisible aesthetics that can only be heard. Or as he puts it in an e-mail: “I have been organizing a seasonal series of performances that foster collaborations with different artists and performers and bring people together in unique circumstances.”

Adjacent to Thom Faulder’s BAMscape — a massive orange installation that doubles as sculpture and furniture, beckoning spectators to “sit on it” but also turning them off with its uncomfortable wood seating — Wilson has placed what he calls “a large cove structure of found wood.” It works like an indoor amphitheater. This summer it has become the playing space of musicians such as Grouper and Gamelan Sekar Jaya. Wilson also has framed some works in conjunction with the interactive architecture installed in the gallery. “I’ve been making art about place and experience in place,” he writes. “Often this takes shape as a series of drawings made during explorations through the hills, or as a single drawing of a place.”

When he’s not brooding onstage or exploring childhood trauma in Xiu Xiu, Oakland native Stewart has cultivated a rather self-effacing hobby: bird-watching. “I find myself inexplicably in North Carolina,” he tells me in a phone interview. He’s been living there for about two years. “There are a lot of hunting stores … [with] rows and rows of different animal calls. A lot of these are really horrifying. The hunting bird calls sound like the environment completely exploding.”

I ask Stewart not to be totally forthcoming about his performance, as the element of mystery and the unexpected will be crucial to this event. “It’s an ambient piece,” he says. “I have a really extensive collection of gongs and animal calls and I will be using these together, but with long periods of silence. It’s an attempt to incorporate ideas of 1950s minimalist composition insofar as focusing on the pauses in sound, animal sounds, and a certain amount of physicality.”

In trying to realize the chasm between din and utter silence, Stewart cites composer Rhys Chatham’s Two Gongs (1971) as an inspiration. Of ambient music, Stewart explains, “It ends up being less of a musical experience and more of a psychological and physical experience.”

The aural and physical aspects of Stewart’s contribution — since he will be running from gong to gong — collide with the almost exclusive visual focus of Goldberg’s carefully curated selection of short films, all culled from Canyon Cinema. In the same way that the aural, physical, and visual get cozy and find a crossroads at BAM, the trio of Wilson, Stewart, and Goldberg will gather and treat BAM like a bazaar for the exchange of artistic interests.

Goldberg, a friend of Wilson’s and an admirer of Xiu Xiu (and Guardian contributer), says in an interview that the films he curated are “tuned into different ideas about recording nature. It’s not just observing. You’re in the midst and you encounter it.” For the exhibit, he sought “aesthetically amazing works” because he is “eager to capture the eyes of people who might not know about experimental cinema.”

The six shorts include films by Jeanne Liotta, Len Lye, and avant-garde household name (because there are so many of those!) Stan Brakhage. One of the most stunning works is Ben Russell’s 2007 Black and White Trypps Number Three, which turns a mosh pit into a fugue state with epileptic, chiaroscuro-heavy visuals. “They’re all films with no spoken language, and that was unintended,” Goldberg tells me. He’s curious about BAM-as-theater since it is “not a controlled environment for viewing films.” The projector will be placed right in the audience, in BAMscape’s center.

While Stewart’s performance and Goldberg’s handpicked film selection will not occur at the same time, they will operate in tandem, addressing the aesthetic concerns of place — and its, well, place in nature — while creating a multisensory experience: a disquieting yet provocative full-course feast for the open eyes, ears, and mind.

L@TE: JAMIE STEWART AND FILM PROGRAM BY MAX GOLDBERG

7:30 p.m., $5

Berkeley Art Museum

2625 Durant, Berk.

(510) 642-0808

www.bampfa.berkeley.edu

 

Selective electives

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caitlin@sfbg.com

CAREERS AND ED Heed we now Mark Twain: “I never let my schooling interfere with my education.” Holler, MT — that degree on your wall don’t mean a thing if it ain’t got that swing. Why not finish out your coldest winter with an unexpected course in a new — and maybe even marketable — skill?

 

INTRODUCTION TO FIELD ORNITHOLOGY

“Isn’t that a magnificent sulfur-bellied flycatcher!” Joe Morlan has been teaching this City College course for more than 30 years, and his weekend field trips are sure to increase your feathered friend-spotting wingspan.

Sept 14–Oct 26, 7–9:30 p.m., $130–$140. Marina Middle School, 3500 Fillmore, SF. (415) 561-1860, www.ccsf.edu

 

INTRODUCTION TO ANIMATION

What kid doesn’t live in her own cartoon strip? Sirron Norris (painter of sardonic blue bears and “Victorion,” the gentrification bot) empowers young people to give birth to their illustrated worlds at his Mission District studio and gallery.

Aug 26–Sept. 16, 4–5 p.m. $100. Sirron Norris Studio and Gallery, 1406 Valencia, SF. (415) 648-4191, www.sirronnorris.com

 

VIDEO ACTION SKILLSHARE

Calling all activists: up the evocation of your iPhone captures, share production tips with camerapeople-in-arms, even make your footage into an episode of Berkeley’s BeTV at this East Bay Free Skool offering.

Third Thursdays, 7–8:30 p.m., free. Berkeley Community Media, 2238 Martin Luther King, Berk. eastbayfreeskool.wikia.com

 

BELLY DANCE FUNDAMENTALS

Grab your zils (scientific name: handheld clicky-clackers) and turn your paunch to power in this six-week course, which starts at hand floreos and undulates up to the shimmy step.

Tues and Fri 6:30–-7:30 p.m., Sat 11 a.m.–12 p.m., $10 drop-in, $48 for six classes. Fat Chance Belly Dance, 670 South Van Ness, SF. (415) 431-4322, www.fcbd.com

 

YOUTH SUPER SCULPTURE

The perfect class for young’uns to get started on their fire arts career — eight to eleven-year-olds can enjoy this Crucible primer on the joy of creative building.

Sept 20- Oct 26, 4–6 p.m. $240. The Crucible, 1260 Seventh St., Oakl. (510) 444-0919, www.thecrucible.org

 

HONEYBEE BASICS

Their hives were recently the victims of a distressing insecticide attack — but the urban agriculturists at Hayes Valley Farm soldier on in their mission to educate peeps on the beauty of urban beekeeping.

Sept 20, 10 a.m.- 12 p.m. $20–$40 sliding scale. Hayes Valley Farm, 450 Laguna, SF. www.hayesvalleyfarm.com

 

EXTREME STRETCHING

It’s the fast track to that contortionist career you’ve always dreamed about! A crash course in control, stability, and limber limbs at SF’s premier spot for circus learnin’.

Sept.8–Dec 8, 5:30–7:30 p.m., $480. Circus Center, 755 Frederick, SF. (415) 759-8123, www.circuscenter.org

Rep Clock

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Schedules are for Wed/11–Tues/17 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Other Cinema and Alternative Digital Domain present: A Mid-Summer Night’s Delirium,” Other Cinema fundraiser with works by Omori, Craig Baldwin, and more, Sat, 9.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, Berk; (510) 841-4824, www.bfuu.org. Free. Inner Tour (Alexandrowicz, 2001), Thurs, 7:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. Fruit Fly (Mendoza, 2009), Wed-Thurs, 2:30, 4:45, 7, 9:30. Metropolis (1927), Fri-Sun, 2, 5, 8. Restored version.

CAVALLO POINT Fort Baker, 601 Murray Circle, Sausalito; www.sausalitofilmfestival.com. Most shows $12. “Sausalito Film Festival,” indie films, Fri-Sun.

CERRITO 10070 San Pablo, El Cerrito; www.rialtocinemas.com. $7. “Cerrito Classics:” To Catch a Thief (Hitchcock, 1955), Thurs, 7:15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. Anton Chekhov’s The Duel (Koshashvili, 2010), call for dates and times. The Girl Who Played With Fire (Alfredson, 2009), call for dates and times. The Girl With the Dragon Tattoo (Oplev, 2009), call for dates and times. Joan Rivers: A Piece of Work (Stern and Sundberg, 2010), Wed-Thurs, call for times. Lourdes (Hausner, 2009), Aug 13-19, call for times.

“FILM NIGHT IN THE PARK” This week: Creek Park, 451 Sir Francis Drake Blvd, San Anselmo; (415) 272-2756, www.filmnight.org. Donations accepted. The World’s Fastest Indian (Donaldson, 2005), Fri, 8; Mamma Mia! (Lloyd, 2008), Sat, 8.

FORBIDDEN ISLAND TIKI LOUNGE 1304 Lincoln, Alameda; www.forbiddenislandalameda.com. Free. “Forbidden Thrills: Elvis D-Day Tiki Party!”, clips of the King and drink specials, Mon, 9:15.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Destination Moon (Pichel, 1950), Wed, 7:30.

JACK LONDON SQUARE East lawn, Oakl; www.jacklondonsquare.com. Free. “Waterfront Flicks:” Monsters vs. Aliens (Letterman and Vernon, 2009), Thurs, 7:30.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Akira Kurosawa Centennial:” Dodes’ ka-den (1970), Wed, 7; Kagemusha (1980), Sun, 7; Seven Samurai (1954), Tues, 7. “Modernist Master: The Cinema of Francesco Rosi:” Chronicle of a Death Foretold (1987), Thurs, 7. “Criminal Minds: True Crime Cinema:” The Rise and Fall of Legs Diamond (Boetticher, 1960), Fri, 7; Al Capone (Wilson, 1959), Fri, 9. “Viva La Revolución: Celebrating the Hundredth Anniversary of Mexico’s Revolution:” Prisoner Number 13 (de Fuentes, 1933), Sat, 6:30; El Compadre Mendoza (de Fuentes, 1933), Sat, 8:15.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-9. The Human Centipede (Six, 2009), Wed-Fri, 7:15, 9:20 (also Wed, 2). “Atheist Film Festival,” Sat, 10am-midnight. Visit www.atheistfilmfestival.org for details. All screenings free. Babies (Balmès, 2010), Sun-Mon, 7:15, 9:15 (also Sun, 2, 4). The Killer Inside Me (Winterbottom, 2010), Aug 17-19, 7, 9:20 (also Aug 18, 2).

REDWOOD GARDENS 2951 Derby, Berk; (510) 684-1787. $7-20. Cuba feliz (Dridi, 2000), Sun, 6. Benefit for Berkeley Palma Soriano Sister Cities Association.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-11.50. “Summer in Italy:” Swept Away (Wertmuller, 1974), Wed, 6:30, 8:45; Death in Venice (Visconti, 1971), Thurs, 6:15, 8:45. Lourdes (Hausner, 2009), Aug 13-19, 7, 9 (also Aug 14-15, 3, 5).

VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10. “Winding Road to Peace: Three War Films by Kon Ichikawa and Nagisa Oshima:” Fires on the Plain (Ichikawa, 1959), Wed, 7; Merry Christmas, Mr. Lawrence (Oshima, 1983), Wed, 4:30 and Thurs, 7; The Burmese Harp (Ichikawa, 1956), Thurs, 4:30. “Bay Area Filmmakers Series Vol. 2: Junichi Suzuki War Documentaries:” Toyo’s Camera (2008), Aug 13-19, 12:50 and 5; 442: Live With Honor, Die With Dignity (2010), Aug 13-19, 2:50 and 7.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Something From Nothing: Films on Design and Architecture:” Infinite Space: The Architecture of John Lautner (Grigor, 2009), Sun, 2.

Stage listings

0

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

THEATER

OPENING

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Opens Fri/13, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Sept. 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

Skin Tight CounterPULSE, 1310 Mission; www.counterpulse.org. $20 ($35 for gala opening). Opens Thurs/12, 8pm. Runs Thurs-Sat, 8pm. Through August 28. Rapid Descent Physical Performance Company presents the SF premiere of Gary Henderson’s play.

BAY AREA


ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Thurs/12, August 19, 26, 9pm. Through August 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Agnes the Barbarian EXIT Theatre, 156 Eddy; 289-6766, www.thunderbirdtheatre.com. $20-25. Thurs-Sat, 8pm. Through Sat/14. Most parents get annoyed when their offspring show signs of coarsening, particularly during those awkward teenage years, but not Conan the Barbarian (Jason Harding), oh no. Quite to the contrary, Conan despairs over his teenage daughter’s bookish ways and socialist inclinations, and determined to set her on the path to barbarism—partly out of fatherly pique and partly because his mind is being controlled by his evilly bureaucratic Grand Vizier (Dana Goldberg)—he sends her on a hero’s quest to kill the monstrous Gargranox (Cary Klataske). Clad in the requisite fur-and-chainmail bikini ensemble, young Agnes (Jaime Lee Currier) is aided on her journey by a pair of "Holy Grail"-styled peasants The Bastards (Jason Pienkowski and Mary Bishop), and the banished court magician Shitake (Tavis Kammet) plagued by the dread "curse of exposition". During her unwilling pursuit of her barbarian birthright—Agnes faces off with a 5,000 year-old sorceress, acquires an "enchanted sword", confronts a monster, avoids assassination, and rescues her father’s kingdom from the dread influence of Gygax’ 15-point takeover plan. Penned by Jason Harding, a core-member of the Thunderbirds for 10 years, and author of the ribald pirate farce "Lusty Booty," and directed by 6-year T-bird veteran Shay Casey. (Gluckstern)

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

Dead Certain Royce Gallery, 2901 Mariposa; (866) 811-4111. $12-28. Thurs-Sat, 8pm. Through Sat/14. Expression Productions presents a psychological thriller by Marcus Lloyd..

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

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

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

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

Sex Tapes for Seniors Victoria Theatre, 2961 16th; (800) 838-3006. $20-40. Fri-Sat, 8pm; Sun, 2pm. Through August 22. An original musical by Mario Cossa, with a cast of characters between the ages of 52 and 75.

Show and Tell Thick House, 1695 18th St; (800) 838-3006, www.symmetrytheatre.com. Thurs-Sat, 8pm; Sun, 5:30 pm. Through August 22. $25. Symmetry Theatre Company presents a play by Anthony Clarvoe.

This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sept. 4. $15-20. The kinetic company Mugwumpin presents a new show.

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

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

BAY AREA

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

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

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

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

The Pirates of Penzance Mountain View Center for the Performing Arts, 500 Castro, Mountain View; 227-4797, www.lamplighters.org. $17-50. Sat/14, 8pm, Sun/15, 2pm. Lamplighters presents Gilbert and Sullivan’s swashbuckling classic.

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

PERFORMANCE/DANCE

Charlie Ballard Purple Onion, 140 Columbus; www.brownpapertickets.com. Wed/11, 8:30pm. $10. The gay comedian records a show for DVD at Phyllis Diller’s old stomping grounds.

"Bare Bones Butoh Presents: Showcase 18" Studio 210, 3435 Cesar Chavez; 821-7124. Fri/13-Sat/14, 8pm. A pair of benefit performances for members of the butoh and performance art communities.

"City Solo" Off-Market Theater, 965 Mission; www.cafearts.com. Sun/15, 7pm. $15-20. Solo performances by Coke Nakamoto, Jawad Ali, Enzo Lombard, and Martha Rynberg.

Bobcat Goldthwait Cobb’s Comedy Club, 915 Columbus; 928-4320; www.cobbscomedyclub.com. Fri/13-Sat/14, 8 and 10pm. $20.50. The comedian and director hits town.

BAY AREA
"New Works Festival" Lucie Stern Theatre, 1355 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Dates and times vary. Through August 22. $15-25 ($75 for festival pass). TheatreWorks presents its ninth annual festival, with Kevin Merritt and Kevin So’s Great Wall, Jeff Hughes’ Red Clay, and readings.

The yellow wallpaper

0

arts@sfbg.com

HAIRY EYEBALL New York City construction workers at the World Trade Center site recently unearthed an 18th-century ship hull. More interesting is that scientists believe that the structure was part of the massive landfill that extended lower Manhattan further into the Hudson River. You don’t have to read too deep to hit on the symbolism of this story, even if the occurrence at its center isn’t so uncommon in a city as densely developed and old as New York (see the 1991 discovery of a 200-year old African burial ground, also in lower Manhattan). Beneath the site where the Twin Towers fell lies further wreckage, older ruins. Nothing is ever truly gone. What lies buried will eventually surface. The present is always haunted by the past.

The same could be said of the art world, which has recently been holding some flashy curatorial séances of its own. Two exhibits don’t necessarily make a trend, but the Berkeley Art Museum’s current “Hauntology,” recently reviewed in this paper, and the Solomon R. Guggenheim Musuem’s ongoing exhibit “Haunted: Contemporary: Photography/Video/Performance,” both summon the specters of late-1980s academic theory (Derrida in name and word, in the case of BAM’s show) in their selection of works that address the unseen yet felt presences — aesthetic, historical, political — floating amid the present.

You can also add “Now, It’s About What You Can’t See” to the list, although this group show at Triple Base Gallery of paintings, drawings, and installations is not as enthralled by its organizing principle — what is absent may not be forgotten — as the previously mentioned exhibits are to critical theory and now-old debates around appropriation in photography. As Triple Base’s statement declares, though the artists vary by age and medium, their works, “provide faint shadowy traces of moments to imagine what once existed and hint at an ever-evolving history.”

The faintest traces belong to Rachel E. Foster’s wall installation, which is practically invisible from certain angles. Only by moving back and forth in front of the surface does the repeatedly painted word “ghost” emerge from the seemingly contiguous white field of the gallery’s wall. As in her older works involving text, here, Foster cleverly collapses medium and message, using a representational strategy to bring a word’s meaning to life. In this case, the word “ghost” becomes just that.

Unfortunately, it’s hard not to read Foster’s installation as a commentary on the small group of Eleanor Kent’s early oil paintings, which are hung on the same wall. Inspired by her life in Noe Valley in the 1960s when she was still associated with the Bay Area Figurative movement, Kent’s small-scale domestic scenes — her son playing, a couple talking over dinner — aren’t by themselves elegiac. But Foster’s apparitional wallpaper imbues Kent’s facelessness figures and rough outlines with an air of loss that might not be present otherwise.

Wallpaper is put to different use in Mara Baldwin’s How to remember where you put something, the sharpest and most moving articulation of the show’s preoccupation with absence and memory. Baldwin, it appears, has removed and rehung a large section of old wallpaper. The yellowish pattern of red and yellow flowers has faded with age, as revealed by two brighter rectangles near the section’s center that suggest the spaces where perhaps art or photos had once been hung (curiously, no nail holes are visible). But looking closer, you realize that the paper in the less-faded sections is not the same paper at all, but a continuation of the wallpaper’s design in watercolor.

The piece’s two painted sections aren’t simply indexes for what’s gone missing (which may not have even existed in the first place). Executed by Baldwin’s steady, patient hand, the painted sections also draw attention to what they are intended to replicate: the banal, mass-produced wallpaper that surrounds them. By flattening background and subject, Baldwin makes painting the aid to memory of the piece’s title, while also suggesting that “putting on a new coat of paint” always involves some form of erasure. Chechu Alava’s soft-focus portrait of a sylph-like young woman in a slip is more conventionally ghostly, but not nearly as haunting as Foster’s hidden graffiti or Baldwin’s yellow wallpaper.

 

MORE TOPOGRAPHICS

As I wrote two columns ago in my review of the multi-gallery show “They Knew What They Wanted,” the George Eastman House’s 1975 exhibit “New Topographics” — currently hanging in a reassembled version at SFMOMA — continues to cast its shadow over contemporary art and curatorial practice, particularly where landscape is concerned.

“Land Use,” at Oakland’s Swarm Gallery, could easily be a satellite to both exhibits. Bill Mattick’s color photographs documenting the ecological cost of urban and industrial development in Southern California are the closest relatives to the grim indictments of such “New Topographic” participants as Joe Deal, Robert Adams, and Lewis Baltz. Chris Sicat’s pieces of reclaimed wood “colored in” with soft graphite pencils are less successful as sculptures than as documents of the artist’s attempts to work within natural form of his materials. Sculptor Reenie Charrière takes a similar tack with manmade waste, aggregating the plastic bits that don’t make it to the recycling center into playful, biologic forms.

NOW, IT’S ABOUT WHAT YOU CAN’T SEE

Through Aug. 29

Triple Base

3041 24th St., SF

(415) 643-3943

www.basebasebase.com

LAND USE

Through Sept. 12

Swarm Gallery

560 Second St, Oakl.

(510) 839-2787

www.swarmgallery.com

Rep Clock

0

Schedules are for Wed/4–Tues/10 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “ANSWER Coalition Film Festival:” Maquilapolis (2006), Sat, 7; 9 Star Hotel (2007), Sat, 8:30; Cuba: An African Odyssey: Part One, Congo and Guinea Bissou (2007), Sun, 5; Part Two, Angola (2007), Sun, 7:30.

BRIDGE 3010 Geary, SF; (415) 668-6384. $10. “Rocksploitation with Citizen Midnight:” American Pop (Bakshi, 1981), Sat, midnight.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “Dennis Hopper: Misfits and Outsiders:” •Easy Rider (Hopper, 1969), Wed, 2:40, 7, and Colors (Hopper, 1988), Wed, 4:35, 8:55; •Blue Velvet (Lynch, 1986), Thurs, 2:30, 7, and River’s Edge (Hunter, 1986), Thurs, 4:55, 9:20; •Rebel Without a Cause (Ray, 1955), Fri, 2:30, 7, and Hoosiers (Anspaugh, 1986), Fri, 4:40, 9:10; Giant (Stevens, 1956), Sun, 2, 7. “Peaches Christ Presents: A Night of 1,000 Showgirls:” Showgirls (Verhoeven, 1995), Sat, 8.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. Anton Chekhov’s The Duel (Koshashvili, 2010), call for dates and times. The Girl Who Played With Fire (Alfredson, 2009), call for dates and times. The Girl With the Dragon Tattoo (Oplev, 2009), call for dates and times. Joan Rivers: A Piece of Work (Stern and Sundberg, 2010), Wed-Thurs, call for times. Let It Rain (Jaoui, 2010), call for dates and times. “San Francisco Opera Grand Opera Cinema Series:” “Don Giovanni by Amadeus Mozart,” Thurs, 7. San Francisco Jewish Film Festival, Sat-Mon. See film listings.

“FILM NIGHT IN THE PARK” This week: Dolores Park, Dolores and 19th St, SF; (415) 272-2756, www.filmnight.org. Donations accepted. Ferris Bueller’s Day Off (Hughes, 1986), Sat, 8.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Woman in the Moon (Lang, 1929), Wed, 7:30.

MANDELA VILLAGE ARTS CENTER 1357 Fifth St, Oakl; www.brainwashm.com. $10. “16th Annual Brainwash Drive-In Bike-In Walk-In Movie Festival,” independent films from around the world, Sat and Aug 13-14, 9pm.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100 (reservations required). $10. “CinemaLit: Musicals With a Message:” Hair (Forman, 1979), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Akira Kurosawa Centennial:” The Idiot (1951), Wed, 7; High and Low (1963), Sat, 5:30. “A Theater Near You:” Hadewijch (Dumont, 2009), Thurs, 7; The River (Renoir, 1951), Sun, 7. “Criminal Minds: True Crime Cinema:” Compulsion (Fleischer, 1959), Fri, 7; Boxcar Bertha (Scorsese, 1972), Fri, 9:10. “Modernist Master: The Cinema of Francesco Rosi:” Lucky Luciano (1973), Sat, 8:10; Just Another War (1970), Sun, 5.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-9. Dead Man (Jarmusch, 1996), Wed, 2, 7, 9:25. Calvin Marshall (Lundgren, 2010), Thurs, 7:15, 9:15. Exit Through the Gift Shop (Banksy, 2010), Fri-Mon, 7:15, 9:15 (also Sat-Sun, 2; Sun, 4). The Matter of Everything (Lappano, 2009), Tues, 7, 9:15.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-11.50. The Cremaster Cycle (Barney, 1995-2002) plus “De Lama Lamina” (Barney, 2004), Wed-Thurs. Check web site for schedule. “ATX Down and Dirty Film Tour:” Total Badass (Ray, 2010), with “CrashToons,” Wed, 7; Hell on Wheels (Ray, 2007), with “CrashToons,” Wed, 9:15.

Stage listings

0

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

THEATER

OPENING

Divalicious New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $22-28. Previews Thurs/4, 8pm. Opens Sat/7, 8pm. Runs Wed-Sat, 8 p.m.; Sun, 2pm. Through August 22. Leanne Borghesi takes on the music of legends ranging from Garland to Midler.

Sex Tapes for Seniors Victoria Theatre, 2961 16th; (800) 838-3006. $20-40. Previews Thurs/5, 8pm. Opens Fri/6, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through August 22. An original musical by Mario Cossa, with a cast of characters between the ages of 52 and 75.

Show and Tell Thick House, 1695 18th St; (800) 838-3006, www.symmetrytheatre.com. Opens Fri/6, 8pm. Runs Thurs-Sat, 8pm (also Sat/7, 5:30pm); Sun, 5:30 pm. Through August 22. $25. Symmetry Theatre Company presents a play by Anthony Clarvoe.

This is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Previews Fri/6 and Sun/8, 8pm. Opens Mon/9, 8pm. Runs Thurs-Sun, 8pm. $15-20. The kinetic company Mugwumpin presents a new show.

This World and After Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Previews Fri/5-Sat/6, 8pm. Opens Sat/7, 8pm. Runs Thurs-Sat, 8pm. Through August 28. $18-24. Sleepwalkers Theatre presents a trilogy of plays by J.C. Lee.

BAY AREA

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Opens Fri/6. Through Sept. 5. Dates and times vary. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Thurs/5, Aug 12, 19, 26, 9pm. Through Aug 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Agnes the Barbarian EXIT Theatre, 156 Eddy; 289-6766, www.thunderbirdtheatre.com. $20-25. Thurs-Sun, 8pm. Through August 14. Thunderbird Theatre Company presents a new comedy by Lusty Booty author Jason Harding.

*Cat on a Hot Tin Roof Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $26-38. Wed-Sat, 8pm. Through Sept. 4. Boxcar Theatre begins an ambitious three-play repertory salute to Tennessee Williams with this swift, lean and thoughtful production of the 1955 Pulitzer Prize–winning family drama set on the embattled Mississippi estate of Big Daddy Pollitt (Michael Moerman) on the evening of his 65th (and final) birthday. The play’s action unfolds inside the fraught bedroom of favored son and former star athlete Brick (Peter Matthews)—a depressed and repressed alcoholic, literally and symbolically hobbled by a fresh fall on the track field the night before—and his frustrated but determined wife, Maggie “the Cat” (Lauren Doucette), the play’s irrepressible life force and gleaming wit who will get her man back and fend off a property-grab from her conniving in-laws (Brian Jansen and Hannah Knapp) to boot. Boxcar artistic director Matthews’ Brick is an apt tangle of glassy-eyed testiness, haunted moroseness, and grudging respect and compassion. He shares viable chemistry with Doucette, who ably summons an intelligent vitality and frank sensuality in the central role. Director Jeffrey Hoffman gets enjoyable performances all around—Moerman’s tyrannical yet concerned, vulnerable Big Daddy is especially fine—and his staging, set in the round in knee- and should-rubbing proximity to the audience, invites a rare sense of intimacy. This is further heightened, if only minimally, by his use of an actor (Seth Thygesen) as the palpable presence of Brick’s grief, in the form of dead friend and closeted love, Skipper. (Avila)

Dead Certain Royce Gallery, 2901 Mariposa; (866) 811-4111. $12-28. Thurs-Sat, 8pm. Through August 14. Expression Productions presents a psychological thriller by Marcus Lloyd..

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

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

Piaf: Love Conquers All Eureka Theatre, 215 Jackson; (800) 838-3006, www.brownpapertickets.com. $25-36. Tues-Fri, 8pm; Sat, 2 and 8pm. Through Sat/ 7. Naomi Emmerson’s solo performance as the iconic French diva is expertly crafted and fully committed, and as such makes just worthwhile Roger Peace’s otherwise pedestrian musical stagger down memory lane with the lovelorn, increasingly drug addled and generally tragic (if also spunky) heroine of postwar French culture. Amid the chronological recap of Édith Piaf’s storied career, aficionados in particular should be pleased with Emmerson’s evocative presence, including a confident tremolo voice and cool élan, which holds its own against Marion Cotillard’s turn in La Vie En Rose. (Avila)

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

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

BAY AREA

Auctioning the Ainsleys Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sun/8. TheatreWorks begins its 41st season with a world premiere of a play by Laura Schelhardt about a family putting their lives up for sale.

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

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

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

PERFORMANCE/DANCE

“AfroSolo Arts Festival” Yerba Buena Gardens, 701 Mission; (415) 771-AFRO, www.afrosolo.org. Sun/8, 5:30pm. The festival continues with a performance by the Junius Courtney Big Band Orchestra.

BAY AREA

“New Works Festival” Lucie Stern Theatre, 1355 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Through August 22. $15-25 ($75 for festival pass). TheatreWorks presents its ninth annual festival, with a reading of Great Wall by Kevin Merritt and Kevin So.

Alerts

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alert@sfbg.com

THURSDAY, AUG. 5

Power on


Gather with the public power supporters and advocates who brought us the No on 16 campaign, which blocked PG&E’s attempt to solidify its monopoly. Attend a workshop that will analyze the campaign and election victory, discuss current challenges to public power, and find common ground for the future push for true power to the people. The workshop is followed by a festive buffet, awards ceremony, music, and more.

1 p.m. workshop, 5:30 p.m. party; free

The Merchants Exchange Building

465 California, SF

www.celebrateno16.org

Zero waste lunches


Learn about the impact that your daily lunches have on the environment and become more informed about the amount of waste created by takeout food and prepackaged lunches. Find out how you can change your habits, including what to buy at farmers markets and how to pack your food to create zero- waste lunches.

Noon, free

Green Zebra Environmental Action Center

Suite 9, 50 Post, SF

www.thegreenzebra.org

FRIDAY, AUG. 6

Worker Cooperative Conference


The public is invited to attend this national conference on the increasingly celebrated concept of worker cooperatives (think Cheeseboard and Arizmendi). Workshops and speakers will look at worker cooperatives as a remedy for larger social and economic problems such as job loss and environmental damage and will present innovative approaches to common challenges cooperative businesses face in accountability and management, financing, governance, vision, and growth.

Fri. 9 a.m.–midnight, Sat. 9 a.m.–11 p.m.;

Sun. 9 a.m.–5 p.m.; $90–$300

Clark Kerr Conference Center

UC Berkeley

2601 Warring, Berk.

www.usworker.coop

SATURDAY, AUG. 7

"Choking on Oil"


Get together with others who are frustrated by the BP oil spill catastrophe and learn about the surrounding issues at this networking performance featuring poets, artists, special guest speakers, and a silent auction to help raise funds for charities. Hosted by Out of Our poetry magazine.

7 p.m., free

Viracocha

998 Valencia, SF

www.outofour.com

Lantern ceremony


Commemorate the 65th anniversary of the atomic bombing of Hiroshima at this Japanese-style peace event. Participants are invited to decorate candlelight peace lanterns that will be floated at sunset during a ceremony that includes reading a message sent by the mayor of Hiroshima and Japanese bamboo flute music. Materials provided.

6:30 p.m., free

Berkeley Aquatic Park

Addison at Bolivar, Berk.

(510) 595-4626

TUESDAY, AUG. 10

Chew on this

Examine the journey our food takes before it reaches our plates, in what ways the supply chains are broken, and what we can do to fix it. Hear about food justice best practices from local professionals, experts, and activists using a labor perspective. Presented by Pursue: Action for a Just World.

6:30 p.m., $10

Local Mission Eatery

3111 24th St., SF

www.fruitsofourlabor.eventbrite.com

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

Bondassage gets at that kink in your back

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Headphones pump cool, slow beats into your ears as hands wander over your back’s knots. Assured, soothing touch works its way down your spine. A feather tickles your lumbar. Is that a whip running over your ass? Relax, you’re in the hands of professionals. “I wanted to make it accessible to quote-unquote newbies,” Jaeleen Bennis says of her S&M-massage hybrid, Bondassage. “It’s great for people who are afraid to take that first step of going to see a dominatrix.”

It was a simple equation for Bennis, a certified massage therapist with 20 years of experience and a professional dominatrix with five years under her latex belt, to (spike-heeled) boot. Why not handcuff together the two things that brought her joy? The fruit of her joyful union combines the soothing touch of therapeutic body work with something a little darker. 

Here’s a table side view: Bondassage customers are blindfolded, a collar placed on their neck, and cuffs on their wrists and ankles. “You’re lightly tied to the table,” Bennis told me over the phone. “There’s no crazy positions or anything.” Those headphones block out all noise from the room so what comes next can’t be anticipated by happy victims. Hint: prop play may figure even more prominently in Bondassage than realignment of that tricksy vertebrae from last week’s soccer game.

The formula appears to have found its audience in health-hungry Bay Area kinksters. “Everything is moving so fast for me!” Bennis told me, happy as hell with the way her passion has taken off. Though the lady herself is based out of Capitola, you have lots of options if you’d like to get caned (therapeutically) up here in the Bay. To date she’s trained 14 sex positive body workers in the art of Bondassage, including a phalanx around SF, Oakland, and Berkeley, and one outlier in the sexy slums of Indiana. Bennis and partner Mistress Montaine are taking the act to the road this fall, when they’ll be teaching workshops on the form around the country. Get in while the getting’s good people, it’s not every day that a new form of sensual touch comes around (but if you know of one, give a girl a shout, willya?).

 

For appointments, contact one of the practicioners listed at www.bondassage.com

Our Weekly Picks: July 28-August 3, 2010

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WEDNESDAY 28

VISUAL ART

“(Por)trait Revealed: A Juried Exhibition of Portrait Photography”

The latest RayKo offering runs the gamut of portraiture in American photography: Elvis impersonators, Arbus-esque twins (potentially Kubrick-esque too), among others. Combining You Are What You Eat by Mark Menjivar and Fritz Liedtke’s Skeleton in the Closet, this exhibit looks up and down the non-proverbial food chain and an obsession with keeping up appearances: the ectomorphic, the body-dysmorphic, and finally, the contents of the American fridge. This raw size-up of eating disorders and trends might leave you hungry, so I found several nearby restaurants (Supperclub, La Briciola, Chaat Café) with decent reviews on Yelp to make you feel better –– or possibly worse –– about yourself. (Ryan Lattanzio)

Through Sept. 10

Reception 6 p.m., free

RayKo Photo Center

428 Third St., SF

(415) 495-3773

www.raykophoto.com

 

THURSDAY 29

COMEDY

Tracy Morgan

Getting his first major mainstream exposure on the TV show Martin in the mid-1990s, Tracy Morgan quickly went on to join the cast of Saturday Night Live based on the strengths of his hilarious comedic talents. On SNL he created classic characters such as the moonshine-swilling “Uncle Jemima” and performed a host of side-splitting celebrity impersonations. Now turning the tables, in a manner of speaking, he pokes fun at his own celebrity on the hit NBC show 30 Rock in the guise of “Tracy Jordan” — Morgan has proven on the air that anything is possible, so expect nothing less when he hits the stage in front of a live audience. (Sean McCourt)

Thurs/29–Sat/31, 8 p.m. (also Fri/30–Sat/31, 10:15 p.m.);

Sun/1, 7:30 p.m., $40.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.livenation.com

 

DANCE

Napoles Ballet Theater

Napoles Ballet Theater might be considered a newbie in terms of other dance companies in the Bay Area, but this ballet-based modern dance company has a Cuban flair that says: NBT is here to stay. Under the artistic direction of Cuban choreographer Luis Napoles, NBT’s “First Home Season” features six different ballets by Napoles and includes the world premiere of his newest work, Lecuona. Reinventing classical ballet with elements of Afro-Cuban dance, contemporary movement, theater, and jazz, it wouldn’t be surprising if NBT’s first full-length performance in SF marks the first of many seasons to come. (Katie Gaydos)

Thurs/29-Sat/31, 8 p.m.; Sun/1, 4 p.m., $20

Dance Mission Theater

3316 24th St., SF

(415) 273-4633

www.napolesballet.org

 

FRIDAY 30

DANCE

“ODC’s Summer Sampler”

If you’re in the mood for modern dance but not sure if you can commit to sitting through a full-length performance, contemporary dance company ODC has what you want. With wine sampling, hors d’oeuvres, and a one-hour showing of some of ODC’s best works, its fourth annual “Summer Sampler” will satisfy your appetite without overloading your senses. The dance portion of the evening includes choreography by ODC artistic directors Brenda Way and KT Nelson, with audience favorites such as Nelson’s Stomp a Waltz (2006), Way’s John Somebody (1993), and ODC’s most recent premiere: Way’s sassy satire on feminine manners, Waving Not Drowning (A Guide to Elegance). (Gaydos)

Through Sat/31

6:30 p.m. (also Sat/31, 4:30 p.m.), $20

ODC Dance Commons

351 Shotwell, SF

www.odcdance.org

 

MUSIC

Zola Jesus

Opera is hardly the musical language of the young, but 21-year-old Nika Roza Danilova is as suited to the form as any goth kid from Madison, Wis/, can be. Danilova’s opera is no Carmen after all; she uses the techniques but favors atmospheric noise and murky echo, letting those sounds take the foreground over her powerful voice. As a sometime member of the band Former Ghosts and one-half of the synth-pop duo Nika + Rory (where she makes a significant case for the benefits of Auto-Tune), Danilova seems primed to find herself the catalyst for a new generation of opera singers — and fans. (Peter Galvin)

With Wolf Parade and Moools

8 p.m., $27.50

Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

www.thefoxoakland.com

 

DANCE

Man Dance

His experiences running Central Dancer Theater in Nebraska had taught Man Dance Company founder Bryon Heinrich that audiences like theme-based programs. So for the company’s (sold-out) opening season last year, he let himself be inspired by ballet. This time he looked to romance in ballroom dancing. Joining his own company of seven men — women appear as guest artists — are ballroom professionals Roby Tristan, Chelsea Wielstein, and Eric Koptke. The first half of the evening offers mixed choreography, including young Alec Guthrie’s award-winning trio which he will perform in pointe shoes. The second half, “It Takes Two to Tango,” is a love story for ballroom and ballet dancers. (Rita Felciano)

Through Sat/31

8 p.m., $25–$45

San Francisco Conservatory of Music

50 Oak, SF

1-800-838-3000

www.mandance.org

 

VISUAL ART

“Between Currencies”

Texas-raised artist Erik Parra’s collage works prominently feature photographic images with an abiding retro aesthetic (probably because they appear to be actual old photographs), dappled with blobs or confetti-like clouds of color. The appealing result is vibrant and surprising, humorous but also a bit eerie, as colors creep into a black-and-white plane like so many stills from a forgotten, more austere version of Pleasantville (1998). Though perhaps it’s irrelevant to the ideas behind Parra’s art, this critically skewed lens on images of the not-so-distant past seems curiously complementary to the recent premier of Mad Men‘s fourth season. The gallery show opens today, but the official reception happens a week later. (Sam Stander)

Through Sept. 11

Reception Aug. 6, 5–8 p.m., free

Johansson Projects

2300 Telegraph, Oakl.

(510) 444-9140

www.johanssonprojects.com

 

SATURDAY 31

EVENT

Mama Calizo’s Voice Factory wake for 1519 Mission

Mama Calizo’s Voice Factory, having a few years ago taken over the space formerly occupied by the Jon Sims Center for the Arts, has carried forward nearly three decades of work by queer artists at 1519 Mission St. MCVF (and its new but unaffiliated off-shoot, THEOFFCENTER) promises to continue the mission of incubating queer performance, but the traditional Mission Street incubator must close its doors at the end of the month. A search for a new permanent home is underway, but in the meantime, MCVF will hold a “final performance and wake” on Saturday night to mourn, remember, and celebrate. (Robert Avila)

8 p.m., free

Mama Calizo’s Voice Factory

1519 Mission, SF

www.mcvf.org

www.theoffcenter.org

 

MUSIC

Swingin’ Utters

San Francisco’s street-punk stalwarts the Swingin’ Utters have steadily built a loyal following since they formed back in the late ’80s in Santa Cruz, and the band is back in action with a new seven-inch titled “Brand New Lungs.” Teeming with all the working-class attitude and piss and vinegar that fueled their early releases, the three-track single features Johnny Bonnel’s wonderfully ragged vocals once again mixing with Darius Koski’s searing guitars and the jackhammer rhythms of the rest of the group. A new full-length album, Here, Under Protest, is due in October, so catch them now before they hit the road for extended U.S. and European tours. (McCourt)

With Cute Lepers and Stagger and Fall

9 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slimstickets.com

 

EVENT

25th Annual Berkeley Kite Festival

Only in Berkeley do the world’s largest octopi fly through the sky in a giant octopile. No, the East Bay is not home to a freak show aquarium (as far as I know) — but it does host the annual Berkeley Kite Festival. So bust out your most impressive kites — bigger is not always better (especially when you’re trying to avoid kite-on-kite collisions) — and head over to Berkeley Marina. This might be your only chance to watch 30,000 square feet of creature kites take flight, eat corn on the cob at the kite ballet, and cheer on the Berkeley Kite Wranglers in the West Coast Kite Championships. (Gaydos)

Through Sun/1

10 a.m.–5 p.m., free

(free shuttle service to and from North Berkeley BART, 11 a.m.–5:30 p.m.)

Berkeley Marina, Cesar Chavez State Park

www.highlinekits.com

 

FILM

“Midnites for Maniacs: Macho Man-iacs Quadruple Feature”

In typical Castro Theatre tradition, Midnites For Maniacs unites Bay Area movie geeks with esoteric tastes and a palate for the weird and cult-y. Saturday is “Macho Man-iacs,” the quinto-mother of all manly movies with Stallone-starring Nighthawks (1981), Jean Claude Van Damme’s breakout film Bloodsport (1986), and two gems from the mine of John Carpenter B-movie bliss: They Live (1988) and Big Trouble in Little China (1986). Finally, this testosterone-charged program, with no X chromosomes in sight, concludes with a “Secrete Midnite Film.” All we know is it’s from 1989, not on DVD, and as the website insists, “You won’t believe there’s a 35mm print of this!” I’d bet money it’s a low-budget action flick starring a retrosexual with bad hair. (Lattanzio)

Films start at 2 p.m., $10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

MONDAY 2

MUSIC

Bomb the Music Industry!

If punk rock’s traditional values are DIY and egalitarianism, then Jeff Rosenstock of Bomb the Music Industry! is a stone cold reactionary. He’s known for blurring the line between fans and bandmates until it’s more or less invisible — bring a guitar or horn to a BTMI show, and there’s a good chance you’ll be invited onstage. Unswerving as the band’s commitment to aesthetic integrity might be, however, nobody could ever accuse BTMI of taking itself too seriously. Like their labelmates Andrew Jackson Jihad, Rosenstock and company leaven their scathing social commentary with lighthearted wit and eminently pogo-worthy arrangements. (Zach Ritter)

With Shinobu and Dan Potthast

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

TUESDAY 3

THEATER

MacHomer: The Simpsons Do Macbeth

Two of the most influential cultural icons ever, Shakespeare and The Simpsons, and two of art’s saddest sacks, Homer and Macbeth, finally arrive together on one stage, and in the form of one actor, in MacHomer: The Simpsons Do Macbeth. This solo show puts the Bard in Bart as Canadian import Rick Miller performs a daunting feat of incantation –– aside from that bewitching incantation “Double, double, toil and trouble” –– with voice impressions of more than 50 characters from the animated series. Miller is damn’d spot on, in both his display of an uncanny vocal talent and a commitment to making Shakespeare more accessible for younger audiences. (Lattanzio)

Through Aug.. 7

8 p.m. (also Aug. 6–7, 10:30 p.m.), $30–$40

Bruns Amphitheater

100 California Shakespeare Way, Orinda

(510) 548-9666

www.calshakes.org 

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Local ‘bucha bottlers rise effervescently over booze content controversy

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At first, we were frightened. My god, they’re taking our kombucha! But though distribution of our liquid love has drastically slowed, there’s one good thing about the ‘bucha alcohol labeling debacle: it’s been great for local businesses. That’s because while bigger companies are halting production, the small scale of the Bay Area’s local kombucha operations are allowing them to dodge the labeling problems of national chains.

In mid-June the hammer dropped. Trashy media found a way to link the sudden dearth of kombucha on shelves to Lindsey Lohan’s hot mess, but the official verdict was that the alcohol content in the live-fermentation tea drinks had tested at levels above the .5% legal limit for non-alcoholic beverages, causing a nationwide forehead slapping Eureka moment who all those who use the stuff as holistic hangover cure. Bay Area distributor UNFI stopped delivering the stuff. Whole Foods and Rainbow Grocery nearly emptied their shelves of our liquid love. GT’s, the country’s largest kombucha producer, halted production of its lines, its current voicemail stating “We are working quickly to identify the possible causes and which lot codes and or regions are being potentially affected. We are trying our best to have product back on the shelves of stores as soon as possible.”

But a few kombuchas remained serene in their squat little bottles. SoMa’s House Kombucha, which has been selling its wares in farmers markets since the fall of 2009 and bottling for stores since early this year, was one of them. “Rather than it sitting on a shelf for six months in a warehouse somewhere, we get our product to our customers pretty fast,” says founder Rana Chang. “We’re not distributing to Michigan.” The problem of heightened alcohol levels has been shown to be caused by the continued fermentation that takes place after kombucha has been bottled, usually after it has left company facilities. In other words, the longer your bottle of ‘bucha sits and waits to be shipped to you or yet another warehouse, the more boozy it will be.

So small outfits, which distribute to their local retail sources a few times a week, have a leg up on the competition. For once! “It’s about time,” says Chris Campagna of Bay Area-based Rejuvenation Company, who says his company ran “a gamut of tests” on its kombucha, but did not pull their bottles from shelves because no labeling disreprencies were found. “It’s becoming apparent the benefit of small local companies. We have to fight for the small amount of shelf space we get, but now we’re seeing an increase in volume, better presence in accounts, and new accounts on the horizon.” 

Chang also noted a considerable uptick in business and said that House is now looking for expanded facilities and to hire new staff to keep up with demand. “It’s been an extraordinary opportunity to get into some stores where [before the voluntary recalls] shelves were so crowded with other products we couldn’t get in,” she told SFBG. A full list of stores selling both Rejunevation and House are available on their websites (including health food standards Rainbow, Other Avenues, and Berkeley Bowl), so dry your eyes, hop on your trike, and head out for some pro-biotic lovin’.

Best of the Bay 2010 Editors Picks: Food and Drink

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Best of the Bay 2010 Editors Picks: Food and Drink


BEST PERKS FOR PROUD PERVERTS

A Web search for every cafe, a cafe for every Web search? All well and good, but what if your search is for the best goldarn double-sided dildo there is — and you’re sick of that uptight suit over there eyeing your Googles? Proudly pervy surf-and-sippers, you officially have a kick-it spot. Kink café and boutique Wicked Grounds not only brews steamy cups of Ritual coffee, but hosts regular meet-and-munches where you can warm up to your next dom, sub, or whatever you’re into these days. The welcoming staff can be easily convinced to serve coffee from a dog bowl for the right slave. (Caution: contents may be hot!) They might also be able to help out with that just-right vibe hunt: shelves by the front counter stock all the finest gear in Super Sexy Toyland.

289 Eighth St., SF. (415) 503-0405, www.wickedgrounds.com

 

BEST EFA DOSE ON TOAST

When it comes to sardines, you have to think outside the earthquake shelter. On the flavor-ometer, the tinned food of last resort (served on tarps in the shelter with Saltines and stale water) bears no resemblance to its freshly grilled or roasted self. Not only are the little silver herrings tasty, they pack a megadose of essential fatty acids, the stuff nutritionists keep nagging us to eat more of. But no one needs to tell this to the Italian-inspired chefs who created the sardine sandwich at Barbacco Eno Trattoria, the more casual relation of Perbacco in the Financial District. Unlike restaurants that play it safe with sardines by smothering them in mayonnaise and lemon juice, Barbacco tops its sardines with seared calamari. Not most people’s first choice, perhaps, but the two get along swimmingly, especially when served on an Acme torpedo roll and slathered with arugula and “roasted tomatoe condimento.”

220 California, SF. (415) 955-1919, www.barbaccosf.com

 

BEST HOLE IN ONE

When people start trash-talking donuts, it’s hard not to imagine a life in which the person was weaned on Hostess or Entenmann’s and maybe stepped up to Dunkin’ or Krispy Kreme on special occasions. In other words, we’re talking a lifetime of mass production, where the only donuts these people have encountered spent their nasty, brutish, and short lives being callously blended in giant vats and stuffed into huge ovens, untouched — nay, unkneaded! — by human hands. Not so at Dynamo Donuts & Coffee, the small, open-air stand in the Mission that is diligently working to give donuts a good name. Each day the artisanal bakery makes seven to 10 types of donuts, all by hand. Standouts include the maple-glazed bacon apple, spiced chocolate, and lemon Sichuan filled with lemon curd and Dynamo’s incomparable “dredge.”

2670 24th St., SF. (415) 920-1978, www.dynamodonut.com

 

BEST FOWL TO TABLE

Which came first: the chickens or the eggs? At Stable Cafe, what probably came first was a commitment to fresh, local, sustainable food, which led to its farm in Santa Rosa, which led to its chickens, which led to its eggs, which led to its egg and cheese breakfast sandwich, which is a savory, molten marvel of scrambled egg and cheddar on thick, toasted Acme bread. But this light, airy Mission District cafe, beautifully renovated by architect Malcolm Davis in one of SF’s original carriage houses, brings that kind of integrity to everything it does. Its credo seems to be, do a small number of things well (know thy chickens; bake thy own muffins) — and adhere it does. And if you want to pay homage to the laying lovelies who created your eggs, Stable has their photos on the wall.

2128 Folsom, SF. (415) 552-1199, www.stablecafe.com

 

BEST CZECHVARS WITH A TWIST OF BOHEMIA

For a city with such a strong bohemian reputation, San Francisco has surprisingly few spaces that capture some of the flavor of the actual place. Yes, Virginia, there really is a Bohemia — and its capital is Prague. (One prefers the emphatic German spelling: PRAG. No lazy French vowels trailing behind, doing nothing!) And, speaking of nothing, nothing says Prague quite like a mug of the beer known to the Czechs as Budvar but to us, we of the North American market — perhaps because of a potential conflict with Budweiser — as Czechvar. A splendid place to enjoy said beer, whatever its name, is at the aptly named Café Prague. The feel inside is wonderfully Mitteleuropean, while the calorie-rich food emphasizes such basics as starch, meat, and fat. You probably won’t leave hungry, or sober.

2140 Mission, SF. (415) 986-0269

 

BEST CULINARY MULTIPLE PERSONALITY

Photo by Ben Hopfer

Don’t be deceived; Red Crawfish isn’t some kind of Red Lobster knockoff. The name is (we guess) a sly joke, and the restaurant does offer crawfish. But neither the jokey name nor the serving of crawfish is what makes the restaurant special. No, the reason you’ll remember Red Crawfish is because of its split personality. And although in human beings, split personalities are generally problem personalities, it’s different — and better — with restaurants (in this case, all Jeckyll and no Hyde). By day, Red Crawfish is an ordinary-looking Tenderloin restaurant that lays out an agreeable east Asian menu. But when the sun goes down, the place morphs smoothly into a Cajun spot whose gumbo is superb. Good gumbo doesn’t exactly grow on trees in these parts, so for this dish alone, let us all give thanks to Red Crawfish, whichever one it may be.

611 Larkin, SF. (415) 771-1388

 

BEST MEXICAN LESSON

If Mexican cooking is underrated in this country, part of the reason must be that we’ve been exposed to fast-food chain tacos and, even in our very own Mission District, overexposed to the burrito — which isn’t even authentically Mexican. God save the burrito anyway; it gives a lot of bang for the buck, and that’s important in these shriveled times for starving students and plenty of others. But there’s a real education to be had as well in the foods of Mexico, and a good place to audit the class is Nopalito, an offshoot of the highly regarded Nopa. The care taken about ingredients matches that of the nearby mothership, and the menu ranges nimbly across regional specialties, many of which are unfamiliar. The carnitas are recognizable, but they are also spectacular. It will be as if you’ve never had them before.

306 Broderick, SF. (415) 437-0303, www.nopalitosf.com

 

BEST PUPUSAS AND GOOOAAAALLL!!!S

Football and food take on more global connotations at Balompié, and that’s just bueno. The restaurant is well-hung with huge flat-screen televisions showing soccer matches from around the world, and the food is splendidly Salvadorian at a modest cost. This means lots of pupusas and pasteles, along with exotica like pacaya (pickled date palm blossoms), and — to rinse down all this bounty — the Salvadorian beer Regia, which comes in bottles that resemble howitzer munitions. But the best thing about Balompié is that at its heart it’s a sports bar. Men like to watch sports on big TVs while drinking beer, and it doesn’t matter whether they’re speaking Spanish, drinking Regia, or pulling for Costa Rica, pupusas in hand.

3349 18th St. (also at 525 Seventh St. and 3801 Mission), SF. (415) 648-9199 (558-9668, 647-4000)

 

BEST CREPE ME UP BEFORE YOU GO-GO

What do we miss most about Paris in the spring? The hip-hop boys with their gold chains and exposed biceps, the gamine girls in strappy heels, the constant elusive threat of rain, the crowds at Paris-Plages, laden with beer bottles, acoustic guitars, and joie de vivre. But above all, we can’t help reminiscing about those street crepes, fresh off the griddle, just the ticket for staving off those inopportune late-night hunger pangs, and great for soaking up any excess vin ordinaire in the bargain. Hooray! The 11th Street corridor’s Crepes A Go Go serves up the best street crepes this far side of the Maginot line. Starting at just $2.50, each crepe is made to order, and filled to oozing point with a decidedly Californian array of savory or sweet options. Open until 4 a.m. on weekends, with complimentary French hip-hop and comfy street-side sofa seating in the bargain. Take that, bacon-wrapped hotdog cart.

350 11th St. and other locations, SF. (415) 503-1294

 

BEST SCONES WITH A SIDE OF ASIMOV

Do you remember when the venerable coffee shop was a place people gathered to hang out instead of network? Where gamers would shuffle their Magic decks, writers would swap paragraphs, readers would sit quietly for hours with a good book and a pot of tea, and caffeine-fueled college kids would cram like the dickens? Welcome to Borderlands Café, the newest darling of the Valencia Street corridor. An offshoot of the classic Borderlands Books sci-fi bookstore, it’s already attracted quite a cross-section of trend-spotting caffiends and café nostalgists who just want to converse without being shushed by perfectly-coiffed app-oholics. And with a huge selection of magazines, comfy chairs, and scrumptious cheddar cheese and onion scones, Borderlands has a lot to offer even the solo café dweller. Except for Wi-Fi, which is actually our favorite perk of the place.

Borderlands Café, 870 Valencia, SF. (415) 970-6998, www.borderlands-cafe.com

 

BEST MOUTHWATERING MAYAN

It’s not situated in a chic location, unless you’re looking for snazzy new rims or a car wash. But Poc Chuc is well worth a trip down a less-bustling stretch of 16th Street for its unique Spanish-Mayan fusion cuisine. Open for lunch and dinner five days a week, the small, unadorned restaurant offers an array of dishes that inject an ancient, mouthwatering twist into standard Latin American fare. (Think plenty of smoked turkey, grilled tomatoes, pickled onions, and, of course, maize in several iterations.) A platillo Maya appetizer platter combines some of its tastiest, bite-sized creations, with plenty to share among a group — but no fighting over the pork empanadas or turkey salbutes! Main dishes include the signature Poc Chuc — grilled citrus-marinated pork topped with grilled tomatoes — and a reliable daily specials menu. Go for the mole!

2886 16th St, SF. (415) 558-1853, www.pocchuc.com

 

BEST GOOEY MAGIC (NO ELVES REQUIRED)

If you don’t like cookies, feel free to skip ahead. But if you were born with taste buds and an appreciation for delicious gooeyness, you’d do well to hit up Anthony’s Cookies. There is indeed an Anthony — likely you’ll see the man himself when you stumble into his Valencia Street shop, lured by the prospect of fresh, hot, calories-be-damned treats. And if Anthony looks like the happiest guy on planet Earth, he probably is — he bakes cookies for a living, after all — using only natural ingredients. Who’s magical now, Keebler Elves? Flavors include the usual suspects, plus variations on chocolate chip (semisweet, with walnut, using white chocolate … ) done to soft-meets-crisp perfection, plus inspired creations like cookies and cream and whole wheat oatmeal.

1417 Valencia, SF. (415) 655-9834, www.anthonyscookies.com

 

BEST XXX

Sink happily into the dark brown booths at Baker and Banker for a memorable Cal cuisine dinner — sweet corn bisque with a plump lobster hush puppy, maybe, or sausage-stuffed quail in a coffee-molasses glaze. Husband and wife chef duo Jeff Banker and Lori Baker get it right with each dish. But you could visit for dessert alone with Lori’s ever-changing wonderland of a dessert menu. In fall, dessert might be pumpkin cobbler, steaming hot with a crunchy top and cooled with candied pumpkin seed ice cream. In summer, a cherry tarte tatin accented by salted caramel and amaretti rules. Awesomely, the Baker and Banker’s XXX triple-dark chocolate layer cake is a constant. This orgiastic slice stands tall with a bottom layer of dark, dense flourless chocolate. Not to be outdone, the middle is a tangy chocolate cheesecake, while the top finally gives you a density break with traditional chocolate cake. One of the more satisfying threesomes in town.

1701 Octavia, SF. (415) 351-2500, www.bakerandbanker.com

 

BEST FRESH KASHI PAN

Sandbox Bakery is a pocket-sized cafe in Bernal Heights serving Ritual Roasters and De La Paz coffee with classic pastries like Valhrona chocolate croissants or orange currant scones. But it doesn’t end there. Owner and pastry chef Mutsumi Takehara’s background ranges from Slanted Door to La Farine, and her creations span a world of taste. Sandbox’s Japanese sweet bread, or kashi pan, is a lightly sweet brioche filled with the likes of melon or yuzu marmalade with sage. Or, in its savory form, it comes challah-like with negi-miso, curry or red bean paste filling. Daily special sandwiches often express a fusion of cuisines: Thai chicken croque-monsieur; an apple, smoked gouda, and rosemary spread over fresh baguette, or a teriyaki chicken rice burger with sticky rice as bun. A Zen-like experience with Parisian spirit.

833 Cortland, SF. (415) 642-8580 , www.sandboxbakerysf.com

 

BEST HOT HAKKA

Not familiar with Hakka cuisine, the regional cooking style of Southeast China that’s got food bloggers in a hot lather? It’s time you became acquainted. Head to the Outer Richmond and get schooled at Hakka Restaurant. Hakka looks like any other nearby Chinese joint, but there’s a legitimate pride in the service and an uncommon freshness to the food. Dishes include salt-baked chicken, fried strips of pumpkin coated in salted egg, crisp Chinese broccoli sautéed in rice wine, and ngiong tew foo, or stuffed tofu cubes. Kiu nyuk, a beloved Hakka dish, has two known versions, the more common served here: fatty pork belly layered over preserved mustard greens and mushrooms in a dark and complexly herbal sugar-soy sauce. Slice through layers of skin and fat to the tender anise-scented meat and you’ll be hooked on Hakka.

4401-A Cabrillo, SF. (415) 876-6898 BEST FRIENDLY YEMENI

This spring, on the western edge of the Tenderloin, a humble little restaurant opened quietly: Yemeni’s. Owner Ali Abu Baker and his staff convey a warmth almost equal to that of the piping Yemeni bread coming from the oven (useful for sopping up hummus with strip steak). Shawerma, baba ganoush, tabbouleh, and other Middle Eastern favorites are available. But the real draws are traditional Yemeni dishes like salteh, the country’s national dish: a meat stew topped with hilbeh — a tomato-based, chutney-like dip spiced with fenugreek, garlic, and cardamom — and zhug/sahaweq, a hot pepper sauce. Sip Yemeni coffee accented with a spice mix called hawayij. Baker shares his passion for his native country’s food at prices that encourage feasting for mere dollars. Stop into neighboring Queen of Sheba market for Middle Eastern groceries to complete your culinary journey.

1098 Sutter, SF. (415) 441-8832, www.yemenirestaurant.com

 

BEST SLAMMIN’ KOREAN STEAK SANDWICH

Rhea’s Deli is an unassuming, even demure, counter hidden inside a Mission District convenience store. But then the bad-ass $8 Korean steak sandwiches come out and the gloves come off. You’ll be fighting for — or at least gladly waiting up to 30 minutes in line for — a chance to sink your teeth into one of these babies. (Smart steakers call ahead and preorder). Once you’ve scored, it’s tempting to wolf down this mountain of tender, spicy Korean beef, shredded cabbage, red onions, and cheddar cheese on a crunchy baguette. Avoid this animal urge and take it slow, allowing the pleasure to last. Rhea’s offers an array of other savory lunchables as well, from a katsu sandwich with pork loin fried in Japanese breadcrumbs to a 19 Street sandwich with roast beef, Vermont cheddar, pepper jack, avocado, and pickled jalapenos. But, you know, steak.

800 Valencia, SF. (415) 282-5255

 

BEST BEELZEBUB BREW

The appropriately named Coffee Bar offers a double whammy of appeal: it occupies an impeccably cool industrial-looking space for laptop workaholics and serves some truly eye-opening coffee. Mr. Espresso coffee beans provide the kick in bracing espressos and cappuccinos; an ultra-expensive, ultra-shiny Clover machine dispenses perfect single cups. Unlike chain-like offerings of watered-down, cloyingly sweet mochas and “specialty” coffees, the additional drink menu items here are crafted with punch. Vietnamese or Havana coffees (conveniently hot or iced for those variable summer days) are sure things. But our taste buds go up in flames for Coffee Bar’s El Diablo. A devilishly smooth mix of espresso, chipotle-infused milk, and Guittard chocolate, the robust brew marries a hint of cocoa sweetness to subtle heat. Yes, we’re probably going to hell for worshipping El Diablo. But at least we’ll be awake for it.

1890 Bryant, SF. (415) 551-8100, www.coffeebar-usa.com

 

BEST OCCASIONAL KANGABURGER

Trek to a mellow stretch of Clement Street and enter the “five-star dive” environs of Tee Off Bar & Grill. You might assume it’s all right for a beer and little else — but you’d be wrong. The place is comfortably worn, sure. But regulars and staff soon feel like old friends, often sharing one of their spare Bronx Bombers (fiery BBQ chicken wings) or beer-battered mushrooms. The next surprise comes when you exit the dim interior to a sunny back patio with picnic tables and random paraphernalia from popular pirate parties (ask your bartender). A chalkboard reveals weekend specials. Wait! Is that a $20 kangaroo burger? After you’ve balked at the price, you can’t pass up this adventurous challenge, especially when the burger is plumped up with fried onions and kiwi relish. Make sure you call ahead, since Tee Off only serves it on occasional weekends and until supplies run out. If the roo’s already hopped, other worthy eats like ostrich burgers or Paul’s Crafty mac ‘n’ cheese, a four-cheese blend with pancetta blessed by Guy Fieri himself, will satisfy.

3129 Clement, SF. (415) 752-5439, www.teeoffbarandgrill.com

 

BEST DEVILED DELIGHT

When the rustic-chic Marlowe first opened, it offered a seemingly straightforward menu of bistro staples like steak frites and cheesy cauliflower gratin that seemed anticlimactic. But chef Jennifer Puccio’s faith in the classics and elegant marshaling of simple ingredients soon paid off: raves began to roll in — especially for the jaw-widening burger loaded with caramelized onions, horseradish aioli, and bacon. But the burger isn’t the only star on the lunch menu. Diving into Marlowe’s deviled egg sandwich is not settling for second best. Simple in presentation, it’s one of the finest egg sandwiches out there, an open-faced beauty with a layer of crisp, meaty bacon, aged provolone, pickled chilis, and horseradish aioli on the side (perfect for accompanying fries). Order addictive brussels sprout chips and let the office know you won’t be back for a while. The only proper way to wrap up such a heartwarming lunch is to take a nap.

330 Townsend, SF. (415) 974-5599, www.marlowesf.com

 

BEST SOUS-VIDE SOUS-BUDGET

One expects to shell out a pretty penny to partake of gourmet cooking techniques like sous-vide, or vacuum-packed slow cooking. But Berkeley’s eVe defies such expectations with a palate-tickling, surprisingly filling two-course prix fixe menu for $25 that includes several sous-vide items. The set menu offerings change often (additional items are steadfastly priced at $11 each), but husband-and-wife chef team Christopher and Veronica Laramie always keep it lively, highlighting the tastes of Veronica’s native Peru. Grilled squid ink risotto gets a tart kick from candied kumquats and yuzu. Diver scallops are brightened by lime leaf, edamame, mint, and delicate salmon roe. A sizable piece of fatty-licious pork belly pairs with a warm watermelon radish, chive flower, and a paper-thin slice of candied Buddha’s hand. Dessert might be goat brie sweetened with apricot, red wine, and a welcome contrast of shallots and flax seeds. In other words, world-class gastronomie d’avant-garde priced to appeal to ramen-weary students.

1960 University, Berk. (510) 868-0735, www.eve-berkeley.com

 

BEST BAR BRUNCH WITH BUNNY CHAO

It is with humor and reverence that one dines at Three Papayas, a pop-up Sunday brunch from 12 p.m.-4 p.m. at Doc’s Clock bar. Mismatched Michael Jackson placemats abound, and Bibles and porn-laced comic books act as menu-holders. Creative chef Ta-Wei Lin emphasizes fresh and funky Vietnamese and Thai flavors. His menu of four or five changing items per week (everything is $8) might include pan-fried rabbit, Filipino sisig, chicken or vegan Vietnamese crepes, or viet banh canh with clams and coconut sauce. If it’s available, hop on the unusual Bunny Chao, a hollowed-out loaf of bread — filling piled neatly on the side — overflowing with green lentils, veggies, and cardamom pods. Chef Lin garnishes with seasonal fruits like figs, passion fruit, and, of course, papayas, making his plates fun to behold, but even better to eat. In the lovably grungy Doc’s setting, pair your food with a peppery bloody mary, and join your fellow dive-tastic brunchers in a round of hallelujahs.

2575 Mission, SF. (415) 824-3627, www.docsclock.com

 

BEST BIG EASY OVER EASY

Morning at Brenda’s French Soul Food: where to start? Grillades and grits or crawfish beignets? Fried shrimp po’boy or sloppy Josephine? Eggs and andouille? Oui, Oui! This wee spot on Polk Street — open for breakfast, brunch, and lunch — is a showcase of the strikingly huge flavors of New Orleans-style French and Creole cuisines. The portions are big, the atmosphere strikes a note between quaint and cosmopolitan, and wonderfully named Filipino-Creole chef (and New Orleans native) Brenda Buenviaje keeps the flavor flowing. The only drawback, besides having to brave the tiny curbside riots to get in, is having to choose among the many dreamy menu items on offer. Make sure, however, to wash down Brenda’s must-try gumbo with a glass of sweet watermelon iced tea before proceeding to the next steaming dish.

652 Polk, SF. (415) 345-8100, www.frenchsoulfood.com

 

BEST SLICE OF SPICE

From slammin’ New Mexican resto Green Chile Kitchen comes Chile Pies, a low-key dessert café offering a spicy paradise of crave-inducing organic sweets. Seriously, if you thought Southwestern desserts were frozen in a sticky Bimbo-landia of saturated fats, this joint will blow your buds. Blue corn waffle cones, Straus Family soft-serve, Café Gratitude raw vegan ice cream, and fantastic floats (ginger ale with cardamom ice cream, anyone?) are just a few of the tasty treats at the Panhandle hot spot. The main draw is the rotating cast of daily pie specials, from the simple, like banana cream, to the sophisticated, like a tangy green chile apple with walnuts and red chile honey drizzle. Can’t decide between a scoop of Three Twins Ice Cream or a slice of chocolate peanut butter pie? No problem, have both in the form of a frosty pie shake. And then there’s Chile’s piece de resistance: a classic Frito Pie, with organic Niman Ranch beef and Mexican red chile. You can have pie for dinner and dessert.

601 Baker, SF. (415) 614-9411, www.greenchilekitchen.com/chilepies

 

BEST GIANT FEAST FOR GIANTS FANS

Do thoughts of those wallet-demolishing $9 beers at AT&T Park leave you with a sinking feeling in your stomach? There’s no need to get shut out of lunch or dinner plans around game time — hightail it to nearby Hard Knox Café for a true meal steal. Heaping soul food plates of smothered pork chops, Cajun meatloaf, barbecued spare ribs, and chicken and waffles, available at super-affordable prices, will last you all 54 outs and then some. Hard Knox’s no-nonsense shrimp po’boys and hot link sandwiches to go will keep you doing the wave through extra innings at a fraction of ballpark prices. Better yet, order a perfectly battered pile of fried chicken, settle into one of the comfy booths, and watch the entire game on the flat screen. You can order round after round from Hard Knox’s stellar selection of microbrews without missing a minute of the action.

2526 Third St., SF. (415) 648-3770, www.hardknoxcafe.com

 

BEST VIRGIN KICK

Don’t know about you, but we periodically have these Jack Nicholson Five Easy Pieces chicken salad sandwich moments at oyster bars, where we want to say, “We’ll have an order of oysters with lemon, cocktail sauce, and horseradish. Now hold the oysters — and bring me the lemon, cocktail sauce, and horseradish.” That’s why whenever we order a virgin Mary at Rose Pistola in North Beach, we get the spooky feeling that the bartenders have read our mind. The secret of their piquant housemade mix is, according to several staff members, secret (although one staffer did divulge that the bartenders add horseradish to the traditional tomato juice-Tabasco-Worcestershire combo). On top of this, Rose Pistola adds a green olive, pickled onion, and slice of lemon. You won’t even miss the vodka — or the oysters.

532 Columbus, SF. (415) 399-0499, www.rosepistolasf.com

 

BEST MIX MASTER, WITH MARMALADE

Photo by Ben Hopfer

A tucked away, speakeasy-like space on the second floor of the Crescent Hotel, minus the masses and snobbery: that’s where you’ll find the Burritt Room and its founder, master mixologist Kevin Diedrich. In the brick-walled space accented with sparkly chandeliers, black and red couches, and white piano, Diedrich shakes and stirs from a reasonably-sized menu of 18 rotating cocktails. He doesn’t just craft the classics, though there are plenty of those. Diedrich also creates inventive new drinks — often featuring marmalade — like the sparkling Hitachino Sour with bourbon, orange marmalade, lemon, sugar, and orange bitters, topped with Hitachino White beer. His experience lies in some of the country’s greatest bars from East to West. Diedrich sets a welcoming, unpretentious tone, has assembled a tight team of bartenders, and will take you on tasteful journeys nostalgic and new.

417 Stockton, SF. (415) 400-0500, www.crescentsf.com

 

BEST VEGAN CHARCUTERIE

Oh, if all our utopias were this dreamily delish. Ideally situated on green perch of reclaimed woodland on the edge of the UC Berkeley campus, halcyon eatery Gather offers seasonally minded, meticulously sourced food (complete with a sizable, possibly TMI volume, available to diners, detailing all providers and particulars). Vegetarians and vegans will be pleased to know that former Millennium sous chef Sean Baker has given much thought to its selections: the menu is 50 percent vegetarian, the star of which is undoubtedly the artisanal vegan “charcuterie” platter, which might include the most delicate tofu-skin tower or an Tuscan Rose eggplant with cashew “ricotta” and fennel-top pesto. Expect biodynamic and organic California wines, as well as piquant cocktails like the Secret Breakfast, composed of smoked peach scotch, bacon cello, spicy honey, and egg whites.

2200 Oxford, Berk. (510) 809-0400, www.gatherrestaurant.com

 

BEST BOW TO THE ANCIENT BACON GODS OF CATALUNYA

With or without you, we’re set to indulge our love of refined yet pleasure-minded Catalan cooking — and the pitch-perfect Contigo, which translates as “with you,” has us murmuring “Bon profit!” like a native of the land of Gaudi and Dali. The crowds have made this industrial-moderne Noe Valley restaurant the most popular spot in the hood for its wonderfully authentic Catalan tapas, artisanal Spanish and stateside hams, and fresh Catalan flatbreads — studded with wild nettles and porcinis (add a farm egg, anchovies, or Fatted Calf bacon). Aficionados of whole-critter eating won’t shy away from the tripe and chorizo and chickpeas or the oxtail-stuffed piquillo peppers, all sourced from local organic providers. And everyone, including the finicky ankle-biters, will want the albondigas, or pork and ham meatballs. For here the pig reigns supreme, even on the cookie plate, which includes a piglet-shaped peanut butter and bacon number.

1320 Castro, SF. (415) 285-0250, www.contigosf.com

 

BEST ITTY BITTY TREATS FOR TWI-HARDS

Moist and addictive, this blood-red baby is so tiny it’s totally OK to sink your fangs into a foursome and not break the Eternal Oath of Your Diet. Sure, his type wasn’t born yesterday, but damn, the way he stares at you, his skinny jeans, that whipped topping that glistens in the sun … the Rich Red Velvet cupcake at Cups and Cakes Bakery, named for its deep, vampire-luring color and smooth, timeless flavor is enough to blow our Team Edward minds. (Jacobites can tear into other flavors on offer, like Pretty Pretty Princess and Rainbow Bright. Just sayin’.) Did we mention the rich swirl of cream cheese and the crimson sprinkles? Que bella! Step into Jennifer Emerson’s beckoning SoMa bakery and drool over the perfectly constructed cuppies therein. And don’t worry, these beauties won’t make you wait three sequels for your first bite.

451 Ninth St., SF. (415) 437-2877, www.cupsandcakesbakery.com

 

BEST AL FRESCO FEEL-GOOD

Nestled amid boxy-lofty tech startups and the frenetic energy of AT&T Park lies the small green courtyard wonderland of Crossroads Cafe. The sprightly enterprise is a component of the Delancey Street Foundation, one of the country’s most innovative self-help organizations for the homeless, which has filled up this quiet little SoMa block with 370,000 square feet of housing, vocational schools, and the well-regarded Delancey Street Restaurant. But at Crossroads, all that is readily apparent of this commendable social enterprise is the distinct impression that the staff — composed mostly of Delancey residents learning workforce skills — wants to create the best darn cafe ever. Proceeds from the large menu go toward resident education and support. Pass through the small bookstore and grab Michael Chabon’s new bestseller, order a housemade waffle or scoop of coconut ice cream, and settle into a seat on the garden patio for a little soul sunshine.

699 Delancey, SF. (415) 512-5111, www.delanceystreetfoundation.org

 

BEST MICROBREW MUTINEERS

You’re always down for a 40 on the corner, a Bud on the stoop, or a PBR from your purse on Corona Heights. But sometimes you want an actual beer. You know, the kind that doesn’t taste like you wrung out a hipster’s legwarmers in your mouth. You’ve considered venturing into the labyrinth of microbrews, but microbrew culture turns you off — kind of snobby, kind of midlife-crisis-y, definitely confusing. Relax and revolt: Beer Revolution, downtown Oakland’s new grade-A beer store, will guide you into superlative suds with deep knowledge and just the right amount of edge. Staff connoisseurs offer tastes of recommended nectars, and a generous deck studded with picnic tables encourages kicking up your Doc Martens and glugging with abandon. Besides bottled bounty, there’s a spirited band of ever-rotating, ever-satisfying selections on tap, like Meantime Scotch Ale, Caracole Nostradamus, and Alagash Black. Slip on a balaclava and pop a few caps at bland brewskis.

464 3rd St., Oakl. (510) 452-2337, www.beer-revolution.com

 

BEST SWEET BEWILDERMENT

You know those foodies (maybe you’re one) — so up on the blogs and culinary porn rags they think they’ve tasted everything under the sun. Well, unless these epicurean explorers have logged some serious hours at 100% Sweet Dessert Café in the Outer Richmond, they’ve surely left some sugary stones unturned. You simply will not find a menu that covers more enticing and bewildering acreage — at least 10 massive pages illustrated with a complex grid system that showcases a dazzling plethora of Asian desserts. Two you might want to sample: crystal rolls (clear rice paper sachets of sweet sugary goo and fresh mangos and strawberries) or a selection from the extensive jelly drink section of the menu. Sure, the many of the sample photos look like fairy tale versions of your saltwater aquarium’s decorative fauna, but your fish seem to lead delicious lives, right?

2512 Clement, SF. (415) 221-1628

 

BEST TOTALLY WORTH-IT TOOTHACHE

Photo by Ben Hopfer

When Jamie Kasselman hands you a box on your birthday, you better be stoked. Presentation is key. Before opening her candy store in the Marina, she was famous for her impeccable flair for arranging sweets on designer dishes — a clear inspiration for the achingly sweet décor at Sweetdish. Kasselman has it well stocked with classic candies, designer chocolates hailing from mouth-wateringly diverse locales ranging from Colombia to Ghana, and even some treats made closer to home. (Kasselman makes her own line of fantastic homemade flavored marshmallows. Want-want-want!) It can be difficult to decide between all the fanciful bulk candy options — we’re naturally drawn to all the strawberry and lemon goodies — but the pretty salesgirls will feed you samples of from bags of irregulars behind the counter if you ask … sweetly.

2144 Chestnut, SF. (415) 563-2144, www.thesweetdish.com

 

BEST VIRTUAL VEGGIE GURU

Vegetarian goddess Heidi Swanson started her essential 101 Cookbooks blog way back in the ancient year of 2003. It was a way to start putting her massive cookbook collection to use, combining her love of cooking with her interest in photography. The result is a comprehensive vegetarian go-to guide for making simple, delicious recipes infused with her own San Francisco flair. Swanson focuses on natural, whole foods and ingredients, frequenting SF’s many farmers markets and organic foods stores. Then she tells readers how to whip up gems like chile blackberry syrup, Tuscan ribollita, and Rajasthani buttermilk curry. Each post walks you through her experiences with colorful photos and descriptions, substitution suggestions, and cooking tips. She’s since published two meat-free meatspace cookbooks of her own — mere amuses bouches to her blog, which contains reams of virtual veggie lore. If you ever wondered what the name of that funny squash is or what to do with halloumi cheese, give her a click.

www.101cookbooks.com

 

BEST PICKLED PLEASURE REVIVAL

Oh, pickled egg! Like your glass-jarred, vinegar-soaked, bar-top cousins the pig’s foot and the giant gherkin, you have for years endured the tipsy sneers and simulated gagging of drinkers who never gave you a chance. Once the prince of any bar worth its salt, an easy snack for barflies and hofbrauistas alike, you slipped into ovoid obscurity. Now one bar has resurrected your sweet purple form by giving it a gourmet spin. Who’d pass up a go at pickled quail eggs at the Alembic in this age of adventurous eating? It just goes to show that if you repackage something, provide the proper ambience, and price something at $2, you can get someone to eat just about anything. Perfect with Alembic’s saucy cocktails, you’re a hit with highbrow tipplers. Now please put in a good word for your forgotten cousins.

1725 Haight, SF. (415) 666-0822, www.alembicbar.com

 

BEST CUTE CUBANO

Any eatery can slap some pulled pork and pickles on a panini and call it a Cuban sandwich. But true Cuban food connoisseurs venture to Market Street’s upper climes to dig in at the tiny Chan Chan Café Cubano, a cute café by day that at night becomes a paradise of traditional dishes prepared with a gourmet touch. Entrees like ropa vieja and pollo en hoya are spectacular, but you may just pack them up to go after feasting your way through the well-priced tapas menu, which includes scrumptious croquetas, hongos, and camarones criollos. Plus, hello, a couple pitchers of sangria. With true Cuban flair — when the electricity goes out, as it sometimes does, a rewarding fever of culinary improvisation descends — and a laidback, handsome staff (yes, you may have to wait a bit for your order to come out of the one-stove kitchen, but you’ll have plenty to look at), Chan Chan is indeed one of those “hidden gems.”

4690 18th St., SF. (415) 864-4199

 

BEST DAMN CIOPPINO

Photo by Ben Hopfer

Best cioppino? Them’s fightin’ words in San Francisco, where the thick, rich seafood stew originated. But we’re serious. As certified fish freaks always eager for a fix of this blues-obliviating local delicacy, we’ve tried our fair share. And we can safely say that the home-style cioppino at Sotto Mare is the best. The key — besides the incredible tang of the smoky tomato broth and flawlessly fresh crab and fish chunks, scallops, mussels, and shrimp loaded within — is the atmosphere. Run by beloved, no-nonsense North Beach legend Gigi Fiorucci (don’t squeeze that lemon wedge over your superbly grilled sand dabs or he’ll reprimand you), Sotto Mare has a true family feel, a bustling business of diverse diners, and a haphazard décor that recalls San Francisco’s ramshackle maritime past. When that steaming cioppino tureen, more than enough for two, is placed on the table by the gregarious waitstaff, you feel a delicious connection to SF history.

552 Green, SF. (415) 398-3181, www.sottomaresf.com

 

BEST WIENERAMA

Never mind the ubiquitous fancy food carts or “third wave” coffee shops springing up in back alley garages — wieners were everywhere this past year. The explosion of gourmet and not-so-gourmet hot dog stands, joints, and full-on restaurants worked to balance all the epicurean exotica with some down-home comfort for those who were raised in a broke-down Chevy on televised baseball and McDonald’s apple pies. All were worthy, but one in particular consistently heated our buns: Showdogs. This “emporium of sausages” keeps it classy with a spotless, tin-tiled interior and organic ingredients like wild boar and merguez, while still appealing to the everyday eater with a sporty sense of humor — we’re suckers for the 49er, an all-beef Schwartz dog with housemade mustard, arugula, and, gasp, real sauerkraut. Add some barbecue fries and a Trumer Pils, and this hearty barker wins best in show.

1020 Market, SF. (415) 558-9560, www.showdogssf.com

 

BEST PLACE TO HORK DOWN HALF A BIRD

“I just ate half a chicken.” That declaration is written on a Post-it stuck to a cubicle at the Guardian offices. The sticky piece of pastel paper has since been signed by other people besides the original chicken lover. What can you say? Unless you’re the staunchest vegetarian, sometimes you just get the urge to eat half a chicken. Thai BarBQ in Potrero Hill was ideal for such moments, but it’s flown the coop. Luckily, Baby Blues BBQ is here to satisfy those extra-intense and voracious aviary cravings. The restaurant’s Marion County slow-smoked yard bird is served with a tangy barbeque sauce, but be sure to ask for the special Sassy Molassy molasses sauce. Add in corn bread and a choice of two fixins (sautéed okra, mac ‘n’ cheese and corn on the cob are some of the best options) and at a grand total of $15, you’ve got a deal only a fool would cluck-cluck at.

3149 Mission, SF. (415) 896-4250, www.babybluessf.com

 

BEST RAMEN PHENOMENON

We all know about chicken soup for the soul, how about delicious soup for the skin? Because its pork bone broth contains collagen and calcium, tonkotsu ramen has a rep as the genuinely edible version of a spa facial. There are some delicious tonkotsu ramens in Vancouver and San Francisco, but they’re all matched and even superceded by the subtle one at Asuka Ramen, which manages to be rich and light within a single spoon-size sip. Ramen establishments have popped up all over the city in the last year or two, but Asuka steers clear of trendy trappings and delivers the low-priced goods. Tantanmen is Asuka’s go-to dish, but if you don’t confuse greasy strong flavor with deliciousness, its pork-and-egg laden tonkotsu is the type for you.

883 Bush, SF. (415) 567-3153

 

BEST BEEF LULU

If life was little more than vodka and pastries (with no hangovers), we’d be in heaven, and the best place to shop would be Royal Market & Bakery. Even here on this mortal playground, Royal Market and Bakery is in the running for greatest shop. Why? Tasty marinated quail, excellent caviar, homemade hummus, fresh fruit, savory eggplant rolls with cheese, dark Russian chocolates, Turkish coffee, a tremendous selection of chilled vodkas and other liquor, an overflowing nook of flaky pastries, and last but not least, Beef Lulu. A special seasoned dish of ground meat, Beef Lulu is as enjoyable as its name is funny. At a time when the city is being overrun by generic chain supermarkets, Royal makes the case for individuality devoted to regional cuisine. And the prices are better, too.

5335 Geary, SF. (415) 221-5550

 

BEST BASKET OF UBE

On a busy street south of San Francisco lies a little land of leavened love where all your Filipino baked goods needs are met with a sweet smile and an even sweeter pandecoco. We won’t require 20 questions to tell you where: the place is Bread Basket, a starkly outfitted bakery famed for its thrillas from Manila. The neighborhood favorite is BB’s pandesal, swiped fresh out of the ovens while the packs of the bun-like lovelies are still aromatically steamy. Need to bring home a little something for dessert? The joint has cornered the market on delights made from the meat of the ube, or purple yam, which Bread Basket magically transforms into the bun fillings and feathery, marzipan-like candies that sit alongside its more familiar cookies and breads.

7099 Mission, Daly City. (650) 994-7741, www.breadbasketca.com

 

BEST QUE SYRAH, HURRAH

Tucked in a sliver of a space in the West Portal commercial strip is the tantalizing Que Syrah wine bar, founded and presided over with skill and affection by the team of Stephanie and Keith McCardell. Que Syrah is the perfect place to savor a glass of wine in a friendly neighborhood setting: quiet, unpretentious, and specializing in unusual wines from small production wineries from all over the world. Stephanie and Keith serve by the glass or in intriguing flights and provide expert notes about the wine, the winemakers, and the regions involved. Every Thursday night, an array of delectable tapas enliven the tastings — chef Val Desuyo takes inspiration from his regular trips to the restaurants of Barcelona. Plus: quarterly paella parties! Seafood paella and a glass from Penedès? Sì, sì!

230 West Portal Ave., SF. (415) 731-7000, www.quesyrahsf.com

 

BEST LOBSTER ROLLIN’

Whatever queasy misgivings you may harbor about the phrase “mobile seafood shack” will instantly be dispelled once you’ve palmed (or tried to palm) a hefty Maine lobster roll from Sam’s Chowdermobile. We were turned on to this tender, brimming-over prize when one of our East Coast-native amigos texted “lobster roll = real deal” from Golden Gate Park, where you can find the edible aquarium on wheels most weekends. So we tried one for ourselves, and yep. Great lobster rolls at a reasonable price are surprisingly hard to come by ’round these Left Coast parts — we’re crabby that way. Luckily Sam’s, the mobile unit of Half Moon Bay resto Sam’s Chowder House delivers the goods. (The roll proper is enough to feed two — order a single-serving “shortie” if you want one all to yourself.) Prep yourself for crustacean heaven with a bowl of Sam’s New England chowder and a side of Old Bay fries for a true Eastern experience.

www.samschowdermobile.com

 

Rep Clock

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Schedules are for Wed/28–Tues/3 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Cut and Run: Evolution of the Mind, Body, and Medium,” short films, Sat, 8.

BAY MODEL 2100 Bridgeway, Sausalito; www.tiburonfilmfestival.com. Free. Still Bill (Baker and Vlack, 2009), Tues, 6.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, Berk; (510) 841-4824, www.bfuu.org. Free. Saving the Bay: Marvel of Nature, Thurs, 7:30.

BRIDGE 3010 Geary, SF; (415) 668-6384. $10. “Rocksploitation with Citizen Midnight:” Wild At Heart (Lynch, 1990), Sat, midnight.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. San Francisco Jewish Film Festival, Wed-Thurs. See film listings. •Rosemary’s Baby (Polanski, 1968), Fri, 7, and See No Evil (Fleischer, 1971), Fri, 9:35. “Midnites for Maniacs: Macho Man-iacs Quadruple Feature:” Nighthawks (Malmuth, 1981), Sat, 2; Bloodsport (Arnold, 1987), Sat, 4:15; Big Trouble in Little China (Carpenter, 1986), Sat, 6:30; They Live (Carpenter, 1988), Sat, 9:30; “Secret Midnite Film,” Sat, 11:45. “Cinematic Titanic:” War of the Insects (Nihonmatsu, 1968), Tues, 8. Tickets ($30) at www.sfsketchfest.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. Anton Chekhov’s The Duel (Koshashvili, 2010), call for dates and times. The Girl Who Played With Fire (Alfredson, 2009), call for dates and times. The Girl With the Dragon Tattoo (Oplev, 2009), call for dates and times. Joan Rivers: A Piece of Work (Stern and Sundberg, 2010), Wed-Thurs, call for times. Let It Rain (Jaoui, 2010), call for dates and times. Farewell (Carion, 2009), July 30-Aug 5, call for times. “San Francisco Opera Grand Opera Cinema Series:” “La Rondine by Giacomo Puccini,” Thurs, 7 and Sat, 10am. Emma’s Time Machine: Adventures in Time and Space Burtt, 2010), Sun, 6:30. Tickets ($20-40) benefit the Marin History Museum.

“FILM NIGHT IN THE PARK” This week: Creek Park, 451 Sir Francis Drake, San Anselmo; (415) 272-2756, www.filmnight.org. Donations accepted. Fantastic Mr. Fox (Anderson, 2009), Fri, 8; Jaws (Spielberg, 1975), Sat, 8.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Akira Kurosawa Centennial:” One Wonderful Sunday (1947), Wed, 7; Sanjuro (1962), Sat, 6:30; Scandal (1950), Sat, 8:30. “A Theater Near You:” Lourdes (Hausner, 2009), Thurs and Sun, 7. “Criminal Minds: True Crime Cinema:” The Lodger (Brahm, 1944), Fri, 7; The Boston Strangler (Fleischer, 1968), Fri, 8:45. “Modernist Master: The Cinema of Francesco Rosi:” More Than a Miracle (1967), Sun, 5.

PARAMOUNT THEATRE 2025 Broadway, Oakl; 1-800-745-3000, www.ticketmaster.com. $5. King Kong (Cooper and Schoedsack, 1933), Fri, 8.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-9. Harold and Maude (Ashby, 1971), Wed, 2, 7:15, 9:15. Stop Making Sense (Demme, 1984), Thurs-Sat, 7:15, 9:15 (also Sat, 2, 4). The Room (Wiseau, 2003), Sat, midnight. El Topo (Jodorowsky, 1970), Sun-Mon, 7, 9:35 (also Sun, 2, 4:30). Dead Man (Jarmusch, 1996), Aug 3-4, 7, 9:25 (also Aug 4, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-11.50. Exit Through the Gift Shop (Banksy, 2010), Wed, 7:15, 9:15. The Lottery (Sackler, 2010), Wed-Thurs, 7, 9. “Arab Film Festival Presents:” Gaza-strophe: The Day After (Abdellah), plus “Gaza’s Winter,” short films about Gaza and Operation Cast Lead, Thurs, 7. The Cremaster Cycle (Barney, 1995-2002) plus “De Lama Lamina” (Barney, 2004), July 30-Aug 5. Check web site for schedule.

VIZ CINEMA New People, 1746 Post, SF; www.sfindie.com $11.50. “Another Hole in the Head Film Festival”: Death Kappa (Haraguchi, 2010), Thurs, 5; Mutant Girls Squad (Iguchi, 2010), Thurs, 7.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Something From Nothing: Films on Design and Architecture:” The Greening of Southie (Cheney, 2008), Sun, 2.

According to Matthew

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It is an understatement to say that the work of Matthew Barney elicits strong reactions. Critics have alternately hailed him as “the most important American artist of his generation” (that’s the New York Times’ Michael Kimmelman) and complained of his art’s Wagnerian grandiosity, needless inscrutability, pretentiousness, and icy perfection (“loveless” was one of the words the San Francisco Chronicle’s Kenneth Baker used to describe “Drawing Restraint 9,” Barney’s 2006 show at SFMOMA).

As someone whose initial infatuation with Barney’s work is increasingly tempered by skepticism, I think there is truth to both camps. You’ll be able to deliver — or perhaps revise — your own verdict at the Roxie Theater, which is presenting all 7.5 hours of the epic Cremaster Cycle (1995-2002), Barney’s five-part, officially-never-gonna-be-available-on-commercial-DVD magnum opus. The theater is also screening De Lama Lâmina, Barney’s near hour-long 2004 film, in which he collaborates with a Brazilian Carnaval krewe to orchestrate a performance aboard a float in Salvador da Bahia’s annual parade.

Barney’s art becomes increasingly frustrating and seductive the longer one attempts to decode its carefully staged and indisputably visually stunning pageantry, which encompasses death metal covers of Johnny Cash, the esoteric intricacies of Masonic symbolism, Busby Berkeley-style revues in football stadiums, androgynous water sprites, and the complex biology of sexual differentiation in the fetus (the series is named after the muscle that controls the descent of the testes). The one constant is Barney’s display of his body: frequently nearly-nude, but more often subject to some physically demanding ordeal or engaged in an athletic feat.

As Daniel Birnbaum astutely observes in Artforum, “Barney is a believer in ‘the meaning of meaning.'” Which is to say, nothing is done just for show in Barney’s world, even if the systems of meaning he draws upon — developmental biology, Celtic mythology, Mormonism, minimalist sculpture — are themselves enclosed within, and at times frustratingly occluded by, his art’s glossy packaging and Hollywood-level production values. It’s hard not to ask: what does it all mean? But the question easily gets lost within the Cremaster Cycle‘s lavishly appointed echo chambers.

That said, Barney’s art offers no shortage of beautiful moments and otherworldly imagery. His universe encompasses elegance (Aimee Mullins as a gorgeous cheetah woman in Cremaster 3) and horror (the conception scene early on in Cremaster 2). Whether or not all this beauty is truth is still up for debate.

 

THE ODD COUPLE

Robert Koch Gallery is currently home to quite the odd couple. From the 1960s to 1985, Czech artist Miroslav Tichy, formerly a painter, took thousands of surreptitious pictures of women in his hometown of Kyjov using various homemade cameras made from whatever was on hand: cardboard tubes, wood, sanded Plexiglass lenses.

The photographs — creased, badly printed, all in soft focus — are as dreamy as they are creepy: Tichy often cropped off the heads of his unknowing subjects (many of whom are in swimwear), leaving their identities anonymous while reducing them to bared legs and torsos. Despite their aura of timelessness, you feel dirty looking at Tichy’s photos. It’s hard, though, not to keep staring.

Plenty of isolated gams appear in the work of Hungarian artist Foto Ada, also at Koch, but the effect is far less sinister. Ada (maiden name, Ada Ackermann, married name, Elemérné Marsovsky) created her remarkable photo-collages from the late 1930s through World War II, clipping magazine and newspaper images of soldiers, Hollywood starlets, and industrial landscapes into sharp and humorous comments on the accelerated culture of her time. The Nazis, in particular, gets theirs: Hitler and Goebbels converse in skeleton-filled catacombs, appropriately oblivious to the death that surrounds them.

THE CREMASTER CYCLE PLUS DE LAMA LÂMINA

July 30– Aug. 8, $5–$9.75

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

MIROSLAV TICHY + FOTO ADA

Through Aug. 21, free

Robert Koch Gallery

49 Geary, SF

(415) 421-0122

www.kochgallery.com

 

Our Weekly Picks: July 21-27, 2010

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WEDNESDAY 21

MUSIC

Nobunny

There’s no telling where Justin Champlin, clad in tighty-whiteys and a bunny mask, got his rabbit obsession, though Bunnicula comes to mind. Known for his stage antics, the Nobunny leader — and sole member, really, if you exclude the backing musicians shuffling in and out — is something of a rock ‘n’ roll animal classified in the punk rock phylum (or garage rock class). Love Visions (2008), with homages like “Chuck Berry Holiday,” produced catchy tracks faster than a rabbit could procreate. Champlin’s histrionics, and even messier sound, recall the Ramones or more recently, Hunx and His Punx. (Ryan Lattanzio)

With Spits, Scumby, and Carolyn the DJ

9 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

THURSDAY 22

FILM

Five Easy Pieces

A few years after creating wannabe-pop group the Monkees, Bob Rafelson wrote — along with Carole Eastman — and directed 1970’s Five Easy Pieces. Like Easy Rider (1969), it’s a man-is-a-lonely-island-unto-himself picture starring Jack Nicholson and the squalid splendor of the American landscape. Bobby leaves his affluent family for the life of an oil rigger, but what he finds are consequences both understated and overwhelming. Nominated for four Oscars, Pieces is not an easy film. Like the literature of Cormac McCarthy or Hemingway, it’s biblical, masculine stuff. Yet for all its ruggedness, it has a bittersweet side worth noting for Laszlo Kovacs’ muted cinematography, as well as the weepy country tunes of Tammy Wynette. (Lattanzio)

7 p.m., $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

 

VISUAL ART

“Wondrous Strange: A Twenty-First Century Cabinet of Curiosities”

The medieval notion of a cabinet of curiosities or Wunderkammern holds great fascination to this day, even though a room filled with animal bones, coins, and unmarked pottery shards would seem a fairly undisciplined display format for scientific artifacts at this point. But if the Wunderkammern is academically anachronistic, the folks at SFMOMA Artists Gallery still find it a useful vehicle for conveying art and culture. The opening of “Wondrous Strange” will feature a time traveler costume contest, burlesque performance by the Burley Sisters, and music from the Grannies. The opening ceremonies will also extend to the nearby Long Now Foundation (also in Fort Mason’s Building A), where interested parties can check out their prototypes for the 10,000 Year Clock. (Sam Stander)

Through Aug 28

5:30 p.m., free

SFMOMA Artists Gallery

Bldg. A, Fort Mason Center

Marina at Laguna, SF

(415) 441-4777

www.sfmoma.org

 

FILM

Behind the Burly Q

While relatively tame by today’s standards, burlesque was once perceived as a scandalous art form. Featuring comedians, strippers, and satire, burlesque threatened conservative views about sex and sought to undermine accepted social norms. Even though vaudeville-inspired acts have recently made a nostalgic comeback, their roots remain widely misunderstood. Director Leslie Zemeckis’ documentary Behind the Burly Q goes straight to the source to uncover more than just pasties. By interviewing many of the women and men who starred and worked in the industry, Zemeckis traces the often overlooked history of American burlesque and honors all those who managed to use a g-string as a political weapon. (Katie Gaydos)

Thurs/22-Sat/24, 7:30 p.m.;

Sun/25, 4 and 6 p.m., $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

 

FRIDAY 23

MUSIC

Cynic

Along with most of the rest of his band, Cynic guitarist Paul Masvidal avoided an awkward ’90s-metal swan song by disappearing into the jazz scene. Suddenly, in 2006, Masvidal and his main collaborator, drummer Sean Reinert, resurfaced with a renewed sense of purpose, and the release of 2008’s Traced in Air ushered in an era of relentless touring that saw the prog-metallers quickly reestablish their towering reputation. This summer’s Decibel-sponsored headlining tour features the band playing its 1993 classic Focus in its entirety, so prepare for Mixolydian assault. (Ben Richardson)

With Intronaut, Dysrhythmia

8 p.m., $17

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

DANCE

Carmina Burana: Revisited

For a few years, choreographer Enrico Labayen disappeared from the local radar screen. He now has reemerged with an ambitious full-evening work based on two rituals from opposing sides of the planet. Turns out that Labayen, an early member of Alonzo King’s LINES Dance Company who also has 15 years’ experience as an independent choreographer, spent the intervening years in his native Philippines to study the matriarchal aspects of its culture that have long fascinated him. His new Carmina Burana: Revisited delves into Carl Orff’s raucous reimagining of Medieval European Christianity for a work that explores the choreographer’s own memory of Tadtarin, a Philippine ritual that celebrates femininity. (Rita Felciano)

Fri/23-Sat/24, 8 p.m.; Sun/25, 7 p.m., $30

Dance Mission Theater

3316 24th St., SF

(415) 273-4633

www.brownpapertickets.com

 

MUSIC

Grouper

Portland, Ore.’s Liz Harris, who records and performs ambient drone music as Grouper, has composed a new piece specifically for the Berkeley Art Museum, which incorporates video as well as tape music and live instrumentation. This continues the “L@TE: Friday Nights @ BAM/PFA” series’ dedication to avant-garde performance. Previously, L@TE has brought in such luminaries as Terry Reilly and the Residents; later this summer the series features sometime Grouper collaborator Jamie Stewart of Xiu Xiu. Grouper’s premiere of “SLEEP” will be preceded by music from Eugene Petrushansky, who plays early music on a harpsichord of his own construction, an interesting juxtaposition and perhaps fitting complement to Harris’ intense soundscapes. (Stander)

7:30 p.m., $5

Berkeley Art Museum, Gallery B

2625 Bancroft, SF

(510) 642-0808

www.bampfa.berkeley.edu

 

SATURDAY 24

EVENT

Tori Spelling

The Oxygen Network — the equivalent of an unclaimed baggage room for celebrities past their prime — still airs Tori and Dean: Home Sweet Hollywood, where Tori Spelling can be seen redecorating her house or renewing her vows (eep!) But unlike most stars in the dreary constellation of reality TV, Spelling actually isn’t that dumb. With a resume longer than the New York Times best seller list she topped in 2008, she’s the ultimate media mogul. In her new book, uncharted terriTORI, she returns to the Narcissus pool of sTORI Telling with some fresh anecdotes like her bout with H1N1 and her life as a Twit. Err … I mean, a Tweeter. (Lattanzio)

7 p.m., free

Books, Inc.

2251 Chestnut, SF

(415) 931-3633

www.booksinc.net

 

DANCE/MUSIC

“Salsa on the Fillmore”

Why watch Dancing With the Stars when you can dance under the stars? All right, the summer fog might not stay away long enough for us to actually see any stars, but thanks to dance festival “Salsa on the Fillmore,” we can safely say, for once, a night in SF will be hot and sweaty. Forget bar hopping in the Mission. With open dance floors and live music at Yoshi’s, Rasselas Jazz Club, Sheba Piano Lounge, and 1300 on Fillmore, it’s time to go rumba hopping! Start off the night at Fillmore Center Plaza with free salsa lessons by Bay Area Latin dance instructors Juan Gil and Rebecca Miller, and live music by Los Bolores. (Gaydos)

7 p.m.–2 a.m., free–$25

Fillmore between Eddy and Geary, SF

(808) 352-4315

www.salsaonfillmore.com

 

MUSIC

Bay Area Rockin’ Solidarity Labor Chorus

If you have any affinity at all for the American labor movement, these are depressing times. All that populist energy generated in the wake of 2008’s financial meltdown seems to have been wasted on fruitless antigovernment paranoia, while essential state services are being eliminated nationwide, taking thousands of union jobs with them. Those sympathetic to the cause of social justice can be forgiven for not feeling much like singing. On the other hand, nothing rabble-rouses like a good anthem, and no movement ever got far on despair. The Bay Area Rockin’ Solidarity Labor Chorus realizes this, and is presenting, as part of the Bay’s yearly LaborFest, a program of union songs old and new, celebrating victories won and anticipating those still to come. (Zach Ritter)

7 p.m., $5

ILWU 34 Hall

801 Second St., SF

(415) 648-3457

www.laborfest.net

 

SUNDAY 25

MUSIC

Queensryche

Queensryche and burlesque. On the one hand, it’s a completely arbitrary juxtaposition, akin to, say, “submarines and kumquats.” On the other, it makes perfect sense. The veteran Seattle prog-metal act have always had a flair for the theatrical, the lushly orchestrated, the ever-so-slightly over the top. And during a break in the recording of its new album, the band decided to really go for broke, setting out on the road with the “world’s only adults-only rock show,” featuring contortionists, trapeze artists, jugglers, and other delights. If you’ve been waiting your entire life to combine scantily clad women and immaculately composed concept albums, wait no longer. (Richardson)

8 p.m., $40

Regency Ballroom

1290 Sutter, SF

(415) 673-5716

www.theregencyballroom.com

 

MUSIC

Bomba Estéreo

While our government issues frantic safety advisories to Colombia-minded travelers, Locumbia ticks out a merry beat toward a perch atop South America’s creative culture heap. Medellín, Bogotá, Chico Trujillo, the via-L.A. party tunes of Very Be Careful — this a land where you festivate like you mean it, even if a decades-long battle between the guerrillas and army rages in the hinterlands. Lucky for media-boozled us: the international tour. Bomba Estéreo mixes hawt psychedelic cumbia beats with Caribbean folkloric sound and enough echo to qualify as a dance group. Speaking of dance group — start one under the Stern Grove green at the group’s free show. (Caitlin Donohue)

  With Jovanotti

2 p.m., free

Sigmund Stern Grove

Sloat and 19th Ave., SF

(415) 252-6252

www.sterngrove.org

 

TUESDAY 27

MUSIC

Obits

The album cover for Obits’ I Blame You claims it is “Xtra Compressed for Maximum Listener Fatigue,” and, while 41 minutes doesn’t seem like such a short album these days, the music itself has a tight, claustrophobic intensity that really good garage rock delivers so well. Lead guitarist Rick Froberg, formerly of Hot Snakes and Drive Like Jehu, journeys through all manner of rock in those 41 minutes, skewing the familiar sounds of surfer twang and post-punk into a nonstop groove that leaves the listener just as breathless as the cover promises. Obits knows you don’t have to break any musical barriers to crack a few eardrums. (Peter Galvin)

With Night Marchers and Moonhearts

9 p.m., $14

Bottom of the Hill

1233 17th St, SF

(415) 621-4455

www.bottomofthehill.com

 

EVENT

“Visions of the Gameocalypse”

In a world where gaming is “no longer just for kids!” or nerds, and where major members of the artistic establishment (cough-Ebert-cough) take up arms against the perceived aesthetic immaturity of videogames for no good reason, it would do us all a little good to get a firmer grasp on how computerized gaming has developed. Jesse Schell, CEO of Schell Games and author of The Art of Game Design: a book of lenses, will be presenting his thoughts on the “social, cognitive, and technological trends” in gaming. We can only hope the event’s gloomy title, “Visions of the Gamepocalypse,” is tongue-in-cheek, though it definitely implies a refreshingly futurist approach to games. (Stander)

7:30 p.m., $10

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF

(415) 978-2787

www.ybca.org 


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Against nostalgia

0

arts@sfbg.com

VISUAL ART/MUSIC Whether through the distorted visual crackle of old videotape or the gauzy gaze of a photograph, there is a class of artwork that challenges the spectator to engage with something not immediately present. It’s as if there is something floating behind the image at hand, which the mind is desperately hungry to grasp, but cannot perceive. This effect we call “haunting,” and often leave it at that. But 17 years ago, French philosopher Jacques Derrida developed a way of thinking about the concept of the ghost in terms of its symbolic relevance to our experience of history, and his “hauntological” approach continues to inform strains of art and music criticism as well as political philosophy.

Inspired by Derrida along with a recent spate of hauntologically inclined British electronic music, the Berkeley Art Museum’s “Hauntology” exhibit assembles an array of such unsettling works across several media. Curated by local artist/musician Scott Hewicker and BAM director Lawrence Rinder, the small but affecting gallery is composed mostly of selections from BAM’s collection that fit in one way or another into the rubric of hauntology.

Working, with a few exceptions, from within the museum’s existing collection was ultimately liberating, according to Hewicker. “I think we wanted to take it another step further in some other open direction, and kind of be very poetic about it, and not be in this defined realm that doesn’t really have a very strict … defined realm,” Hewicker laughingly explains, on the opening day of the exhibit.

Besides that circumstantial constraint, the idea of a hauntology show presents a couple other interesting conundrums. For one thing, hauntology is not a genre of art; it’s an I-know-it-when-I-see-it affair at best, more of a critical framework than a set of conventions. For another thing, there is no defined hauntological movement in visual art (though there is arguably one in music), now or at any point in the past.

What defines hauntological art is loosely derived from Derrida’s idea, as quoted in the exhibit’s manifesto, of “the persistence of a present past,” a past not immediately perceptible but always exerting itself on the present. Hewicker and Rinder interpret this in a number of ways through their selections. The 1820 painting by an unknown artist View of Providence, Rhode Island invites questions of context — who painted this? and why? — and its ominous black grids of windows necessitate a similar curiosity: what’s behind them? In Roger Ballen’s Twirling Wires (2001), on the other hand, the question has more to do with what is actually transpiring in the photograph of a blanket-swaddled man seemingly menaced by a floating mass of wires.

Besides Derrida’s foundational 1993 book Specters of Marx, the curators point to British music journalist Simon Reynolds’ writings on electronic musicians such as Burial and the various artists on the Ghost Box label. Reynolds seems to have opened up the field for discussing hauntological aesthetics in modern popular culture. Another acknowledged inspiration is Adam Harper’s blog, Rouge’s Foam (www.rougesfoam.blogspot.com), which treats music and visual art from a hauntological perspective. Hewicker elaborates: “He was sort of the motivation for the show in the sense that he called for kind of a nonstylistic approach to art in a hauntological sense — that it wasn’t just about spooky images, necessarily, but … these things that have these layered meanings beneath them.”

Perhaps the most exciting issue raised by the show is that of medium — what it communicates (i.e. artistic medium as spirit medium), and what it means to make the medium the subject of a piece. Much of the exhibit consists of two-dimensional visual art, but the few deviations stand out. On the inclusion of video, audio, and sculpture, Rinder muses over e-mail, “People don’t think in as clearly material or disciplinary categories as they used to. So it felt natural to select from this broad range of works.”

Despite the fundamental role music plays in the exhibit’s conception, only one audio piece was incorporated into the exhibit, Ivan Seal’s Stuttering Piano (2007). Seal has produced cover art for such releases as the 2008 reissue of Persistent Repetition of Phrases by hauntological ambient project the Caretaker, but none of his visual art was in the collection. His audio works often accompany his paintings, so the curators saw this as an intriguing “solution” to that unavailability.

Lutz Bacher’s video piece Olympiad (1997) is a silent stuttering image, the deteriorated quality of which makes it disorienting to watch; many works in the exhibit similarly hound the viewer via their chosen medium. Paul Sietsema’s 2009 diptych Ship Drawing, oriented as the gallery’s centerpiece, is as concerned with medium as any piece in the show. One side depicts a drawing of a ship — note, specifically a drawing of one, since the weathered paper it appears on is also rendered in ink. The other half simply shows a blank bit of the same paper. Thus, the medium becomes the subject. In this way, even the nature of their own production is part of the past that haunts these works.

So all this art, spanning centuries, cultures, and movements, brought together at BAM — why now? Hewicker cites “ghosts that people are not addressing” as evidenced by the “Tea Party movement, the sort of revisionist nostalgia, the rewriting of textbooks in Texas.” Derrida’s ideas are still relevant to today’s political world, and that resonates in how this art affects us, whether it was created in 1658 or 2008.

As one would hope from a thoughtfully curated show, motifs emerge among the included works. There are myriad obscured faces, indecipherable objects, and artworks within artworks, as well as subtler commonalities. This conspires to reinforce the sense of hauntedness in the exhibit, as if something has come down through the ages to inspire art that not only, as Rinder puts it, “[evokes] futuristic ruins, displaced subjectivities, and uncanny silences,” but more important, leaves us ill at ease.

HAUNTOLOGY

Through Dec. 5, $5–$8 (free for students and children)

Berkeley Art Museum

2626 Bancroft, Berk.

(510) 642-0808

www.bampfa.berkeley.edu