California

Don’t vent, organize and “primary” a Democrat near you

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Don’t vent, organize and “primary” a Democrat near you

By Norman Solomon

Norman Solomon is co-founder of RootsAction.org and founding director of the Institute for Public Accuracy. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.” He writes the Political Culture 2013 column.

Progressives often wonder why so many Republican lawmakers stick to their avowed principles while so many Democratic lawmakers abandon theirs. We can grasp some answers by assessing the current nationwide drive called “Primary My Congressman” — a case study of how right-wing forces gain ground in electoral terrain where progressives fear to tread.

Sponsored by Club for Growth Action, the “Primary My Congressman” effort aims to replace “moderate Republicans” with “economic conservatives” — in other words, GOP hardliners even more devoted to boosting corporate power and dismantling the public sector. “In districts that are heavily Republican,” the group says, “there are literally dozens of missed opportunities to elect real fiscal conservatives to Congress — not more ‘moderates’ who will compromise with Democrats. . .”

Such threats of serious primary challenges often cause the targeted incumbents to quickly veer rightward, or they may never get through the next Republican primary.

Progressive activists and organizations could launch similar primary challenges, but — to the delight of the Democratic Party establishment — they rarely do. Why not?

Here are some key reasons:

*  Undue deference to elected Democrats.

Members of Congress and other elected officials deserve only the respect they earn. All too often, for example, plenty of Congressional Progressive Caucus members represent the interests of the establishment to progressives rather than the other way around. 

*  Treating election campaigns more like impulse items than work that requires long-term planning and grassroots follow-through.

The same progressives who’ve spent years planning, launching and sustaining a wide range of community projects are apt to jump into election campaigns with scant lead time. Progressives need to build electoral capacity for the long haul, implementing well-planned strategic campaigns with candidates who come out of social movements and have a plausible chance to win on behalf of those movements.

*  Assuming that millions of dollars are necessary to win.

Yes, successful campaigns require effective fundraising — but money is often a less significant obstacle than a shortage of commitment and willingness to do painstaking grassroots organizing.

*  Self-marginalization by ignoring elections.

Some on the left prefer to stay out of electoral contests while focusing on the next protest demonstration — thus leaving the electoral field to battles between corporate Democrats and Republicans. One sure result: a progressive won’t win.

*  Self-marginalization with third-party efforts in partisan races.

In congressional races, Green Party and other progressive third-party candidates have a zero record of success in our lifetimes. In other races with party affiliations also on the ballot (such as governor and state legislature), victories have been almost nonexistent. In such races, the corporate-military complex is not in the slightest threatened by third-party candidates, who rarely get higher than a low single-digit percentage of the vote. In nonpartisan races, by contrast, there are examples of successful and uplifting campaigns by third-party candidates, as with Green Party member Gayle McLaughlin, the mayor of Richmond, California. 

By changing just a few words in the Club for Growth’s “Primary My Congressman” manifesto, progressives have a road map for electoral progress: In districts that are heavily Democratic, there are literally dozens of missed opportunities to elect real progressives to Congress — not more of those who go along with the Obama White House as it keeps compromising with Republicans.

Anyone serious about getting genuine progressives elected to Congress next year should be engaged in developing campaigns now. To avoid the impulse-item syndrome, that means identifying key races where progressives have a real chance to win, while remaining mindful that election campaigns should be subsets of social movements and not the other way around.

If there’s a defining issue that now separates the Obama party leadership from social decency, it is the president’s push to cut Social Security benefits. Less ballyhooed but also crucial is his push to cut Medicare benefits and the ever-present danger of cuts to already woefully-underfunded Medicaid. Meanwhile, Democratic leaders are unwilling to seriously cut the enormous military budget.

Any incumbent Democrat who is not serving progressive interests should be weighed as a possible primary target. And the most fruitful primary challenges are beckoning in heavily Democratic districts where there are many progressive voters and incumbents aren’t measuring up.

By that standard, the Congress members who may be vulnerable to a primary challenge include the 44 who tout their membership in the Progressive Caucus but have refused to sign the letter (initiated by Congressmen Alan Grayson and Mark Takano) promising not to vote to cut Social Security, Medicare or Medicaid benefits.

A good starting point to consider launching a primary challenge in your area would be to look at those 44 members of Congress who continue to refuse to make such a promise, leaving themselves wiggle room to vote for cuts in three crucial programs of the social compact. To see the list of those self-described “progressives,” click here. (Meanwhile, wherever you live, you can let your Congress member and senators know what you think of proposals for such cuts by clicking here.)

It’s fair to say those 44 members of Congress are among the many Democratic incumbents showing themselves to be more afraid of the Obama White House and the Democratic Party hierarchy than they are of voters in their own districts. Progressives in and around those districts need to do less venting and more organizing.

Norman Solomon is co-founder of RootsAction.org and founding director of the Institute for Public Accuracy. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.” He writes the Political Culture 2013 column.

   

Another attack on public-employee unions

Zelda Bronstein
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Another attack on public-employee unions

Big-business and conservative interests have been trying to years to find a way to undermine the political clout of organized labor, particularly unions like the teachers and nurses, who have played a huge role in progressive campaigns. And now there’s a new tactic.

The anti-union folks have gone to court to try to do what they haven’t been able to do in the legislative arena: take away the ability of public-employee unions to use membership dues for political campaigns:

In a scarcely-noticed lawsuit filed Monday in federal district court in Los Angeles, a conservative nonprofit, the Center for Individual Rights, claims that California’s system for collecting union dues from government employees abridges free speech safeguards by compelling employees to subsidize union political advocacy and activities with which they disagree.

Peter Scheer, who runs the California First Amendment Coalition, notes that current law is on the side of the unions — but five Supreme Court justices have been critical of the prevailing case law.

And if they prevail? Public employee unions, not just in California but across the country, would lose the bulk of their dues funding-and with it, the ability to wield decisive political influence in state and local governments everywhere. That is a big deal.

Yep. It’s a big deal. It could do what corporate America has been trying to do for years — eliminate the one remaining power base with the money to challenge right-wing efforts. If this gets all the way to the Supremes, it will be a few years away, but we need to keep an eye on it.

Aquarius rising

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Aquarius rising

FILM Under the guidance of charismatic, luxuriously-bearded leader Father Yod (once named Jim Baker, later known as YaHoWha), the Source Family operated one of the country’s first health food restaurants. They lived in a Hollywood Hills mansion, wore flowing robes, assumed dreamy new names, meditated, and studied Father Yod’s custom blend of Eastern and Western philosophy and mysticism.

As the home movies that comprise Maria Demopoulos and Jodi Wille’s documentary, The Source Family, suggest, there were golden moments aplenty, even as the mainstream began to view the group with suspicion (and an aging Father Yod’s decision to take multiple wives confused some members — particularly the woman he was already legally married to). Tapping into the group’s extensive film and music archives, as well as interviews with surviving members, The Source Family (opening here with a big gala Thu/2 and running through May 9 at the Roxie) offers a captivating look at what had to be the most earnest (and most photogenic) cult of the 1970s. I spoke with Demopoulos and Wille to learn more.

San Francisco Bay Guardian When did you first hear about the Source Family, and how did you hook up with “Family historian” Isis Aquarian?

Jodi Wille In 1999, a friend showed me a CD box set with all nine of the original Family records. I’d been obsessed with cults, communes, and radical groups from the 1960s and ’70s for 20 years — but I’d never heard of the Source Family. I was shocked that this existed, and that they had this kind of musical output. Also, there were pictures of them looking very beautiful and stylish. But I went online and there was nothing there [about them].

One day, my then-husband, [Feral House publisher] Adam Parfrey, came home with a DVD he’d found at Amoeba Records: a very limited-release student film on the Source Family. We watched it, and I was struck by how thoughtful and charming the Family members were in the interviews.

I went online again, and this time there was a website. I’m a book publisher, too — I put out books on counterculture, sustainability, and things like that [on Process Media and Dilettante Press] — so I emailed, asking if they’d ever considered doing a book. Isis Aquarian wrote back and said [she and her Source Family brother Electricity] had been working on a book for seven years. So I started going through her massive archives with her; we worked to expand the book, which had been written for Family members, for the public. As we were doing that, we were filming interviews with other Family members. When Isis let me know about the film component to her archive, I realized that this was an extraordinary story that had all of the elements we would need for a great documentary.

At that point, I brought in Maria, a close friend of mine who had become a very talented commercial director. Before the book, [The Source: The Untold Story of Father Yod, Ya Ho Wa 13, and The Source Family], people were really private about their experiences, and I think some of them were uncomfortable about going public. But the book was received positively; it told the story from the believers’ point of view and I think that helped develop their trust. So we were very lucky to get incredible access.

SFBG You were friends with Isis, who’s credited as an associate producer, by the time you started working on the film — yet it offers a balanced portrait. How did you stay objective?

JW Isis has done an enormous amount of work helping us in many ways, but she was not involved creatively. That was really important to us, to have that freedom, and she agreed to that. But I became close to some Family members, so I think bringing Maria in was really essential to help with the balance.

Maria Demopoulos I think, objectivity aside, we just focused on letting the Family members speak for themselves, and trying to go for as much authenticity as possible, hearing all perspectives. We worked hard to represent as many Family members as possible and really tell the story from an insider’s point of view.

JW We tried to reflect the overall feelings that we were getting from Family members, because everyone had completely different experiences within the Family, and everybody had strong opinions about it.

And it’s not really about being objective — no filmmaker or documentary is ever truly objective. It’s just about being open and letting people come to their own conclusions.

SFBG Since you had access to all of that footage, what was the editing process like?

MD It was extremely difficult, but honestly, we hit the jackpot. It was just like an incredible gift and honor to go through the archive. We had a three-and-a-half-hour cut, and we just kept whittling it down. Often times, we just had to stay focused; even if we had some fantastic footage, if it didn’t absolutely serve the story, we had to pull it out. It was difficult, but that’s actually a great problem to have.

JW And I’d like to give credit to Isis Aquarian for preserving that archive. There were hundreds or maybe thousands of groups like this that existed. But most of them didn’t document themselves, or if they did, they didn’t hold on to the artifacts or preserve the documents. She’s a true documentarian, even now.

SFBG Did you encounter any resistance from former members, or anyone who thought the documentary shouldn’t be made?

MD From the Family members’ perspective, no. They were extremely cooperative. [On the other hand,] since the Source Family existed in Hollywood, they had many connection to celebrities. We approached a lot of celebrities who were around at that time, and we had a tough time getting access to them.

JW The Source Family members all knew about the book, and they knew that people in their 20s and 30s had become fans of the Family. So I think that made them a lot more open to talking to us. But as far as people like Warren Beatty and Donald Sutherland, who were actually friends with Father Yod, I don’t think they were aware of that phenomenon. They were still thinking about how the Source Family was perceived with a lot of controversy back in the ’70s. I think it’s possible that those people, besides being really busy, weren’t quite sure what we were doing with the material, or if they wanted to associate themselves with it.

SFBG Also, now that decades have passed, when people hear “Southern California cult” and “the Family,” they automatically think “Manson.”

JW For me, that was an important inspiration to make this film. Again, when you speak with the participants, or even with scholars, you find it’s a very different story. We have such a primitive understanding of what these radical, social, and spiritual experiments were really doing back in the 1960s and ’70s, and the kinds of effects that they were having on the participants’ lives.

Maria and I interviewed about 40 of them just for The Source Family, and I’ve gotten to know members of other groups over the years. I find that these groups, more often than not, were very important cultural incubators. A lot of progressive ideas came from them, including the slow food movement, the mind-body-spirit movement, the natural birthing movement. A lot of tech-industry people came from these experiments — San Francisco was a hotbed for them. And many of them were harmless. They didn’t create any major havoc. They were high-risk experiments, of course, but a lot of what people took away was deep and transformative.

SFBG Music plays a huge part in the film, and again, you had a lot of material to choose from. How did you decide which songs to match with the footage?

JW I knew the music really well, and then our editor, Jennifer Harrington, did an incredible job working with the music, and Maria pitched in, too. We did it by knowing the music and thinking about the mood, and just playing with stuff to see what fit.

MD We often chose songs that actually lyrically fit with what was happening in that particular scene. The music was incredibly well-suited to what was happening, because they’re basically singing their own story.

SFBG I missed The Source Family when it played the San Francisco International Film Festival last year, but I heard the Q&A got pretty colorful. How have screenings been going overall?

MD Response has been great. We’ve been selling out shows, and the Q&As have been very lively. A lot of people who participated in social experiments or lived in communes have been coming to the Q&As, but we’ve been getting a lot of younger kids as well. It’s been intergenerational.

JW That was the fun part in San Francisco, because there were two or three people in the audience who were in different communities who spoke up during the Q&A, and it became this really interesting group therapy session. And it’s not about us saying, “Oh, it was this way.” It’s us opening up new ideas so people can have new discussions about what was really going on back then.

SFBG What’s the opening event going to be like?

JW For the various premieres, we have Source Family members showing up to do Q&As in eight cities. We’ve got three in San Francisco: Isis, Electricity, and Galaxy — who was the fashion designer in the family. Also at the Roxie, we’re going to have food made from original Source Family recipes.

We’ll also have tribute bands in six cities. In San Francisco, after the screening, the Source Family tribute band is going to be playing at the Chapel [at 777 Valencia] — they’re called the Penetration Blues Band, with Michael Beach from Electric Jellyfish and Colossal Yes, Noel von Harmonson from Comets On Fire and Sic Alps, [and others]. It’s going to be a really fun night! *

THE SOURCE FAMILY

Opening event Thu/2, 7pm (complete experience with food, film, and concert, $40; film only, $10; concert only, $15)

Film runs May 3-9, 7:15 and 9:30pm (also Sat/4-Sun/5, 2:45pm), $6.50–$10

Roxie

3117 16th St., SF

www.roxie.com

Assembly committee OKs moratorium on fracking in California

Sasha Cuttler And Mary Magee
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Three bills seeking to impose moratoriums on fracking in California won approval at the California Assembly Natural Resources Committee in Sacramento on April 29, an important milestone for environmentalists who ultimately plan to push for a permanent ban on the practice.

Assembly Bill 1301, introduced by Assembly Member Richard Bloom (D-Santa Monica), is backed by a host of statewide environmental organizations including the Center for Biological Diversity, Food & Water Watch, and Clean Water Action. That bill and AB 1323, similar legislation sponsored by Holly Mitchell of Culver City, seek to halt the controversial oil-and-gas extraction method in California until possible health and environmental impacts have been adequately reviewed.

“It’s an important step,” notes Adam Scow, California campaigns director for Food & Water Watch in San Francisco. “In theory, the quickest timeline the bill could pass is [sometime] this year.” He added, “Gov. Jerry Brown has the power to issue a moratorium now,” but “Brown is repeating industry talking points that fracking can be done safely.”

A third bill, AB 649, would create moratoriums on fracking only nearby sensitive sites such as aquifers or agricultural lands, but that proposal received less support from fracking opponents who believe it should be subjected to a blanket moratorium and ultimately banned. All three bills won approval from the Natural Resources Committee, and are now headed for the Assembly Appropriations Committee.

Short for hydraulic fracturing, fracking is an oil and gas extraction method that utilizes high-pressure water and toxic chemicals to fracture shale deep underground. It’s prompted fierce opposition in New York, Pennsylvania and throughout western states, where fears about groundwater contamination and long-term ecological impacts are growing as the practice is more widely adopted.

“It uses huge amounts of water,” Wenonah Hauter, executive director of Food & Water Watch, told the Bay Guardian in an interview. “It pollutes the water with chemicals that don’t even have to be disclosed, and the wastewater either stays underground and we don’t really know what happens to it, or it has to be disposed of through injection wells that are associated with earthquakes.”

And yet, powerful momentum is building in the petroleum industry around oil extraction from the Monterey Shale, a geologic formation estimated to contain 15 billion barrels of oil that would have been inaccessible but for technological advancements in fracking. The Western States Petroleum Association, a powerful industry lobby, placed the vast California fossil fuel reserve in the crosshairs in a mid-March report, along with the outright giddy pronouncement that “this oil, if prudently and safely developed, could dramatically change our state’s energy security picture for decades to come and usher in an era of unprecedented prosperity.”

All of which amounts to stringent opposition to bills that would impose a moratorium until health and environmental impacts can be carefully evaluated. According to this article in High Country News, that industry association spent $8.5 million last year lobbying state government.

While things still hang in the balance in California as far as fracking is concerned, the mad dash for shale oil has already transformed vast swaths of rural landscape in North Dakota, where oil production has shot up dramatically in recent years. According to a study released by the Western Organization of Resource Councils, fracking and other oil and gas extraction practices result in the permanent removal of seven billion gallons of water from the hydrologic cycle each year in North Dakota, Montana, Wyoming, and Colorado.

Teachers try to dis-accredit accreditation group

Zelda Bronstein
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Teachers try to dis-accredit accreditation group

The union representing teachers at San Francisco City College have fired back at the accreditation commission that’s threatened to shut the school down and forced dramatic changes in its mission. The California Federation of Teachers and AFT Local 2121 filed a legal complaint May 1 charging the Accrediting Commission for Community and Junior Colleges with violating its own rules and federal law — and the complaint asks the federal Department of Education to withdraw the accreditation of the accreditation commission.

The language of the 260-page complaint is harsh:

The Commission has violated nearly every Federal regulation which guides it, disregards its own policies, misrepresents
its actions or legal requirements, fails to respect the law and public policy of the State,violates Federal common law due process and California common law fir procedure, and acts arbitrarily, capaciously, unfairly and inconsistently in evaluating colleges and
districts throughout the State, thereby harming colleges, students, faculty and staff, boards of trustees and ultimately the People.

But in the end, union members on a conference call noted, the big issue is whether the ACCJC ought to be evaluating classroom instruction and offering constructive criticisms (which is what these panels have tended to do in the past) — or ought to be looking at overall college finances, including retirement costs and management structure.

For example, the ACCJC wants City College to pre-fund some of its retiree health-care benefits — diverting money that could be used right now in classrooms. “Accreditation agencies shouldn’t be looking at [those types of] finances,” union spokesperson Fred Glass said.

Alisa Messer, president of the Local 2121, said that the commission’s threat to withdraw accreditation from City College “has thrown the college into turmoil,” which is hardly news. Jim Mahler, president of the CFT Community College Council, took the broader view, saying that schools are now so afraid of the ACCJC that they’re spending disproportionate amounts of money and time just trying to please the agency.

CFT President Joshua Pechthalt said the goal of the legal filing was to get the ACCJC to withdraw its “show cause” order at City College — and the change the overall approach the accreditors are taking. “No other body operates like this,” he said. The Department of Education has to accredit the accreditors, and the ACCJC comes up for review this year — so in a sense, the unions want to put the oversight agency under the same type of scrutiny the schools are enduring.

So far, no response from ACCJC.

UPDATE: ACCJC posted the following on its website:

While we understand there is interest in obtaining information in this regard directly from the ACCJC,
the Commission will maintain its normal practice of reviewing third party comment and communicating
about that comment directly to the affected member institution. Further, complaints against the ACCJC
are treated formally, in accordance with policy; comment from the organization or its officers is limited
during this time.

 

 

Scenes from the struggle for economic justice

Andrew Lam
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Scenes from the struggle for economic justice

Hacking Oakland’s budget

Sporting trucker hats, nose rings, and in activist Shawn McDougal’s case, a white tee with “Revolutionary” printed across the front in simple black lettering, the young, energetic activists assembled at Sudo Room, an Oakland hacker space, come across as unlikely ballot-initiative proponents. Nevertheless, in a few short weeks, the all-volunteer Community Democracy Project crew intends to hit the pavement and begin collecting signatures for a measure to introduce “participatory budgeting” to Oakland city government.

Their objective is to set up a kind of direct democracy system for hashing out the city’s discretionary spending. The proposal would create a charter amendment and a new Oakland city department to reconfigure the politically contentious budget allocation process, by “shifting accountability in a way that more people are able to engage,” says organizer Sonya Rifkin.

The proposal envisions convening democratic “neighborhood assemblies,” each of which would represent roughly 4,000 Oaklanders. Any resident age 16 or older would be free to attend meetings and vote on NA proposals. The NA proposals would then be forwarded onto citywide committees and synthesized as proposals for the ballot, whereupon the electorate would have the final say.

For the Community Democracy Project organizers, who mostly became acquainted through Occupy Oakland, the radical concept is just as much about achieving equitable budget allocation as it is about stoking the embers of community building. To place it on Oakland’s city ballot, the ambitious campaigners hope to collect 40,000 signatures in the next six months.

It’s a tall order, yet the activists appear undaunted. It’s a movement, McDougal says, comprised of “regular people, realizing that they don’t have to be spectators. They can be participants.” (Rebecca Bowe)

Solidarity with Bangladeshi sweatshop workers

News of a Bangladesh factory collapse last week that killed hundreds of low-wage workers reached San Francisco just as labor organizers were preparing to rally for stronger safety measures in overseas sweatshops.

Last November, a fire broke out in the Tarzeen Fashions factory in Bangladesh, killing 112 employees who produced garments for Walmart and other retailers. Sumi Abedin, a 24-year-old garment worker who earned about $62 a month working 11-hour days, six days a week, survived the blaze.

Through a translator, Abedin told reporters, “We were trying to exit through the staircase, and then we saw a lot of burned bodies, injured bodies. And I jumped through a third floor window because I thought, instead of being burned alive, even if I die, my mother will get my body.”

Abedin was standing outside San Francisco’s Gap headquarters, flanked by Bay Area activists from Jobs with Justice, Unite HERE, Our Walmart, and others. They were there to call on the popular retailer to sign a fire-safety agreement to implement renovations, at an estimated cost of about 10 cents per garment. In a statement, Gap noted that it had implemented its own four-point plan “to improve fire safety at the selected factories that produce our products.”

Gap had no direct connection with the Tarzeen Fashions blaze that Abedin narrowly escaped. Yet Bangladesh Center for Worker Solidarity organizer Kalpona Akter explained that the campaign was targeting Gap because “they’re saying they have corporate social responsibility,” yet have refused to sign onto the worker-sanctioned, legally binding fire safety agreement endorsed by BCWS, which brands such as Tommy Hilfiger and German retailer Tchibo have committed to. “This is one appropriate thing Gap can do in this moment,” Akter said, “if they really wanted to prevent this death toll in other parts of the world.” (Bowe)

Making job-training programs actually work

The phrase “welfare” may conjure up the image of a couch potato catching up on daytime soaps while the checks roll in, but Karl Kramer of the San Francisco Living Wage Coalition says it’s simply not the case — some people are not only working to earn those meager checks, they’re faced with few options once their participation in such programs comes to an end.

In San Francisco, many recipients of public assistance are part of the local Community Jobs Program, designed to provide unemployed people with on-the-job experience to help them land on their feet after six months. In practice, however, “it’s not happening,” Kramer says. “They’re dead-end programs. People aren’t moving onto jobs, and at the end of the Community Jobs program, they’re cut off completely.”

Part of the problem is that few pathways exist to connect the workers with actual paid gigs once they’ve finished. So the Living Wage Coalition is pushing for legislation that would improve and expand upon the Community Jobs Program, by raising the wage rate from $11.03 to $12.43 per hour, giving participants the option of working 40 hours a week, extending the program from six months to one year to square with eligibility requirements for many job listings, and creating an advisory committee to facilitate entry-level job creation in city departments.

“There has not been political will to really make these programs successful,” Kramer notes. And in the meantime, “people don’t connect it with why there’s such a growth of homeless families” in San Francisco. (Bowe)

Basic rights for domestic workers

The California Domestic Workers Bill of Rights would apply basic federal labor protections (such as a minimum wage, the right to breaks, and basic workplace safety standards) to domestic workers. If it becomes law, credit will go in part to its author, Assemblymember Tom Ammiano, but also to the California Domestic Workers Coalition, which has been pushing the issue for years.

Supporters of the bill say it’s unconscionable that domestic workers — the people who care for our children and grandparents and tend our homes — are one of just two occupations exempt from the Fair Labor Standards Act of 1938, the other being farm workers (another profession with a well-documented history of labor abuses, and also one comprised largely of unpaid immigrants). “We need to have protections for the people who do really important work,” Katie Joaquin, campaign coordinator for the coalition, told the Guardian.

As we reported recently (“Do We Care?,” 3/26/13), Gov. Jerry Brown vetoed the measure last year after it was overwhelmingly approved by the Legislature, expressing the paternalistic concern that it may reduce wages or hours of domestic workers. But its supporters have come back stronger than ever this year. Now know as Assembly Bill 241, the measure cleared the Assembly Labor Committee on a 5-2 vote on April 24 and it now awaits action by the Assembly Appropriations Committee. They say this bill, which New York approved in 2010, is a key step toward valuing caregiving and other undervalued work traditionally performed by women. (Steven T. Jones)

Love spells trouble

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Love spells trouble

emilysavage@sfbg.com

TOFU AND WHISKEY The twin star driving forces behind Bleached (hellobleached.tumblr.com) have been around. Not in a cruising with delinquents kind of way, but that’s probably where their music is best blasted — careening down the California coast in a shiny convertible with a shitty ex-lover or two, rooftop down, an open bag of Flamin’ Hot Cheetos, lipstick-stained cola can, and the stereo crackling.

Really though, being around more refers to the basic facts that singer-guitarist Jennifer Clavin and bassist Jessie Clavin have been playing music together for a long time, since junior high, and have toured nearly as long. More so, they’ve been connected since birth — they’re sisters who grew up together in the sleepy San Fernando Valley and reached for instruments partially out of boredom and isolation.

Their first notable band was early Aughts-born Mika Miko, which became known for its near-residency at formerly grimy downtown LA venue the Smell — and its frenetic live shows on tour with bands like the Gossip and No Age.

“Mika Miko was a mutual breakup,” younger sister Jessie says with a casual Valley girl affect from the dusty tour road between El Paso and Austin, Texas. “It ended because everyone wanted to do something else, go different directions. But me and Jen still wanted to play music together.”

They began slowly picking up the pieces for Bleached shortly after Mika Miko’s 2010 breakup and released three well-received seven-inches, but had yet to debut a proper LP until just recently. On April 2, they unfurled a melodious, punks-in-the-sun full-length, the punchy pop Ride Your Heart on Dead Oceans. On tour promoting the new record, Bleached will be in San Francisco Sun/5 at the Independent, 628 Divisadero, SF. www.theindependentsf.com.

So while Jen and Jessie are blood-related and forever sonically entwined, there’s an exhilarating feeling of something new afoot at this very moment in time. “I feel like it’s a new little chapter right now for us,” Jessie says. “For so long we were just like, playing live shows with songs from the seven-inches, and that’s basically all people really knew. So now that it’s out, this tour just feels really exciting — people are going to have the record, they’ll know what to expect.”

“At the beginning [of Bleached] everyone was comparing us to every current girl band, but not anymore, maybe now that our record came out, that’s why it’s changed.”

The rock’n’roll record hints at early punk like the Ramones around its edges on opener “Looking for a Fight,” but that’s washed away with cooling waves of jangly California surf pop melodies and mid-century teen dream vocals on songs like “Dreaming Without You” and “Dead Boy.” And despite the inherent upbeat nature of the tracks, much of the lyrics in songs like “Love Spells” and “When I Was Yours” reflect a somewhat darker time for singer Jen, who moved to New York briefly between the fall of Mika Miko and rise of Bleached. Suffice to say, she’s not singing about her cats or whatever.

In NYC she joined the band Cold Cave, desperately missed her sister, dated the wrong kind of boy, and wrote breakup songs for the band she’d soon reform back on the West Coast. “I was going through a really rough time,” Jen says as Jessie passes her the phone. “I moved back to LA and stayed in [our] parent’s house in the desert for a month…and locked myself in my room, kept myself distracted by writing a bunch of songs.”

Ride Your Heart was recorded and produced last fall in various studios in Burbank and at Bedrock LA in Echo Park. At the time, Jen was listening to a lot of Blondie (there’s a song on the album called “Waiting By the Telephone”), and both sisters survived on a steady diet of Bowie — Ziggy Stardust era — along with the the Stones, Velvet Underground, and the Kinks. “We communicate better when we know exactly what we’re listening to,” Jessie says.

And communication is key to any relationship, particularly the mythic sibling-bandmate dynamic. Though this one seems far less tumultuous then those widely discussed rock’n’roll brotherhoods. “We’ve been doing this for so long. It helps to work through it and get stronger,” says Jessie. That connection was tested when Jen was in New York. While she was with Cold Cave, she was still occasionally working on songs for an early version of Bleached, but the distance was too great. “We were trying to still write back and forth, but it was just difficult, it wasn’t the same as when we’re in the room together and start playing and Jen starts singing and has the melody. It just didn’t work out.”

Now, Jen lives in Hollywood, walking distance from the Universal backlot, and Jessie lives in Silverlake. The local LA bands they listen to are most frequently their friends’ acts, including Pangea and Audacity, and they like Oakland’s Shannon and the Clams, and other Burger Records acts. As is the current zeitgeist, Jessie says Bleached might soon be doing a tape with Burger too.

“We grew up with mixtapes. I definitely remember first hearing the Germs [that way],” Jessie says. “I was transitioning from listening to like, KROQ alternative to like, underground, but then I’d go to school in a Germs shirt and think I was really cool.”

Laughing, she adds, “Well I wouldn’t say cool, but definitely different.”

 

STEREO TOTAL

Oui! The multilingual French-German power-pop duo Stereo Total is back with a new album, Cactus Versus Brazel on Kill Rock Stars, packed with the expected adorable electro ditties, and a rejuvenated je ne sais quoi. With Super Adventure Club, Giggle Party.

Wed/1, 8pm, $15. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com.

 

MARIEE SIOUX

Crystalline psych-folk crooner Mariee Sioux’s twinkly followup to debut Faces in the Rocks (2007), Gift for the End was released a whole year ago, but there was never a proper SF release party (and there was some drama with the label it was supposed to be on going defunct) so the local songwriter is celebrating now. It’s a haunting, whispery, tender album, like a less annoying Joanna Newsom selection, and deserving of attention — no matter if that’s taking place on a much later date. With Alela Diane, Conspiracy of Venus.

Thu/2, 8:30pm, $16. Great American Music Hall, 859 O’Farrell, SF. www.slimspresents.com

 

MIKE PATTON/WAXWORKS

Experimental contemporary live music always seems to creep its way into the SF International Film Festival. And who better to bring weirdo sound experiments than the current king of such things: Mike Patton. The operatically inclined Patton, perhaps best known as the debonaire genius behind Faith No More and Mr. Bungle (and recently as songwriter for the film The Place Beyond the Pines), will appear alongside three percussionists: Scott Amendola, Sleepytime Gorilla Museum’s Matthias Bossi, and William Winant at the Castro. The quartet, which has never before performed in this arrangement, will play an original score to 1924 German expressionist silent film, Waxworks.

Tue/7, 8:30pm, $22–$27. Castro Theater, 429 Castro, www.sffs.org.

 

Events Listings

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

WEDNESDAY 1

3D Printing Discussion Adobe Systems, 601 Townsend, SF. www.codame.eventbrite.com. 6-9pm, $10 donation suggested. Seeing 3D printing in action can kind of blow your mind. If you’re ready for it, join CODAME, a nonprofit organization working to blend technology and creativity as it delves into this way of the future. 3D printing guru Scott Summit will lead the discussion. If you’re more of a visual person don’t worry, the evening won’t be all tech talk. Demonstrations, surprise guests, and on-site creations are promised.

THURSDAY 2

“Portraits of Wild Mushrooms” The Bone Room, 1573 Solano, Berk. www.boneroompresents.com. Through July 1. Opening reception: 7pm, free. Mushroom art, free wine, and pizza. Need we say more? Celebrate the Bone Room’s grand opening of their new show “Emerging from the Underworld: Portraits of Wild Mushrooms.” While you chow down on a slice of pie, check out the paintings and archival-quality prints by Lucy Martin to transport yourself into the mystical, magical fungus kingdom.

“Memories of the Game” George Krevsky Gallery, 77 Geary, SF. www.georgekrevskygallery.com. 6-9pm, free. Baseball season is heating up. If game days just aren’t enough of America’s favorite pastime for you then head over to the George Krevsky Gallery for an evening of poetry, literature, music, and video all dedicated to the sport. Marty Lurie host of KNBR’s Giants Pre-Game show will MC the evening’s lineup. Also check out the gallery’s art exhibit “Out of the Park,” which runs through May 25.

FRIDAY 3

Gay Date Night Cinco De Mayo Celebration Pisco Latin Lounge, 1817 Market, SF. www.gaycouplesinstitute.org. 6-7:30pm, free if you RSVP 24 hours prior to event. If guzzling down pitchers of margaritas in honor of Mexican independence is not exactly how you’d like to spend your Friday night, the Pisco Latin Lounge has an option that is a little less loco and a little more laid back. The Gay Couples Institute is sponsoring an evening at Pisco Latin Lounge where couples can enjoy complimentary drinks, appetizers, and enter to win miscellaneous prizes.

Jack London Night Market Jack London Square, Oakl. 6-10pm, free. Bring together local artisans, music, and food, and chances are you’ve got an entertaining evening. Add in local fruit vendors, street performers, and alcohol and it’s pretty hard to go wrong. Head over to this monthly event and take advantage of warming weather complete with a waterfront view.

SATURDAY 4

Japantown Children’s Day Festival Japantown Peace Plaza, 1610 Geary, SF. www.jccnc.org. 11am-4pm, free. In celebration of Japan’s national holiday to celebrate children, the Japanese Cultural and Community Center of Northern California is holding a day filled with food and hands-on crafts for kids.

Liberation with Benefits Drag Show and Dance Party The Legionnaire Saloon, 2272 Telegraph, Oakl. www.southernersonnewground.org. 8pm-2am, $5-20 donation suggested. Support national equality tonight in true San Francisco fashion. This benefit — complete with performances by local drag legends such as Lady Rose and Renato, and music by three different DJs — will support Southerners on New Ground (SONG), an organization dedicated to defeating anti-LGBT laws in the South.

Sherlock Holmes Mystery Ball Masonic Lodge of San Mateo, 100 N. Ellsworth, San Mateo. www.peers.org/holmes.html. Doors open 6:45pm, $15 advance, $20 door. Why spend another evening playing Clue and watching CSI when you could solve a mystery decked out in Victorian garb. The ball will include a formal dance lesson to the tunes of chamber ensemble Bangers & Mash, and of course a mystery. If you work up an appetite after mastering the grand waltz, a light buffet will be provided. Don’t fret if a corset and lacey ball gown just aren’t a part of your wardrobe. 19th and 21st century evening attire is admired but not required.

SUNDAY 5

Urban Air Market Octavia and Hayes, SF. www.urbanairmarket.com. 11am-6pm, free. It’s not unusual for Bay Area fashion to come with an eco-friendly kick. Sustainable design is not only an element, but the main attraction at this weekend’s Urban Air Market — a biannual festival which features over 130 designers whose products are well designed, local, and sustainable. Dreamboat Dresses’ quirky frocks, Heliotrope’s all natural beauty and body products, and Jfish Designs’ modern ceramics are just a few vendors who will be present. We think it’s safe to say chances of buyer’s remorse here are slim to none.

MONDAY 6

Free salsa concert Oakland City Center, 500 12th St., Oakl. www.oaklandcitycenter.com. If a case of the Mondays is getting you down, spice it up with a mid-day salsa concert. Oakland City Center’s spring and summer concerts are back and in full swing. Soak up some afternoon sun and jam out to the contemporary Cuban tunes of salsa band Rumbaché. But if your boss gets on your back about the extra long lunch break, don’t blame us.

TUESDAY 7

Helen Suzman exhibit and panel Jewish Community Center, Katz Snyder Gallery, 3200 California, SF. www.jccsf.org. Through Aug. 31. Opening reception: 7pm, free. RSVP to arts@jccsf.org required. Helen Suzman, a South African anti-apartheid activist and politician will be honored through a graphic panel and memorabilia exhibit. Suzman’s nephew will be at tonight’s event to reminiscence and share stories of his aunt’s life, work, and legacy.

 

Music Listings

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

WEDNESDAY 1

ROCK/BLUES/HIP-HOP

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

Face Jam, Easway Slim’s. 9pm, $15.

Family Crest, Foolproof Four, Roem Baur Bottom of the Hill. 9pm, $10.

Kontravoid, Scott Arford, DJ Justin, DJ Crackwhore Elbo Room. 9pm, $8.

“Live Hardcore Karaoke with Girl-illa Biscuits, DJ Ty Webb Hemlock Tavern. 9pm, free.

Harvey Mandel Biscuits and Blues. 8 and 10pm, $18.

My Revolver, Trainwreck Riders, Vows Great American Music Hall. 8pm, $15.

“Ourshelves Benefit Concert” 50 Mason Social House, SF; www.50masonsocialhouse.com. 7pm, $10. With Dawn Oberg, Ira Marlowe.

Terry Savastano Johnny Foley’s. 10pm, free.

Sleepy Sun, Feral Ohms, Meg Baird, DJ Brett Wilde Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, $15.

Stereo Total, Super Adventure Club, Giggle Party Rickshaw Stop. 8pm, $15.

JAZZ/NEW MUSIC

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

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

Terry Disley’s Rocking Jazz Trio Burritt Room, 417 Stockton, SF; www.mystichotel.com. 6-9pm, free.

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

Craig Ventresco and Meredith Axelrod Cafe Divine, 1600 Stockton, SF; www.cafedivinesf.com.7-9pm, free.

FOLK/WORLD/COUNTRY

Cha Ching Boom Boom Room. 8pm, $5.

Subcontinental Drift Cafe Du Nord. 8pm, $5.

Timba Dance Party Bissap Baobab, 3372 19th St, SF.; www.bissapbaobab.com 10pm, $5. With DJ Walt Diggz.

DANCE CLUBS

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

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

Coo-Yah! Slate Bar, 2925 16th St, SF; www.slate-sf.com. 10pm, free.

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

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

THURSDAY 2

ROCK/BLUES/HIP-HOP

Beautiful Machines, Moonlight Orchestra, KnightressM1 Bottom of the Hill. 9pm, $10.

Frank Bey Biscuits and Blues. 8 and 10pm, $20.

City Tribe, Before the Brave, Cold Eskimo Brick and Mortar Music Hall. 9pm, $10.

Clinic, No Joy, popscene DJs Rickshaw Stop. 9:30pm, $15–$20.

Custom Kicks, Acorn Bcorn, Vignettes Hemlock Tavern. 8:30pm, $7.

Guido vs Bob B. Johnny Foley’s Dueling Pianos. 10pm, free.

Robyn Hitchcock and the Venus 3, Colin Meloy, Amanda Palmer, Rhett Miller, Young Fresh Fellows Fillmore. 8pm, $35.

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

Bob Schneider Swedish American Hall. 7:30pm, $20.

Drew Schofield Hotel Utah. 8pm, $8.

Mariee Sioux, Alela Diane, Conspiracy of Venus Great American Music Hall. 8:30pm, $16

Naked Soul Boom Boom Room. 8pm, $8.

Zomboy DNA Lounge. 8pm, $15.

JAZZ/NEW MUSIC

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

Jason Moran SFJazz Center, 201 Franklin, SF; www.sfjazz.org. 7;30pm, $25–$60.

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

FOLK/WORLD/COUNTRY

Pa’lante! Bissap Baobab, 3372 19th St, SF.; www.bissapbaobab.com 10pm, $5.

Two Man Gentleman Band, Misisipi Mike and the Midnight Gamblers Amnesia. 9pm,$7.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $8. With Pleasuremaker, Senor Oz.

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

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

Supersonic Lookout, 3600 16th St., SF; www.lookoutsf.com. 9pm. Global beats paired with food from around the world by Tasty. Resident DJs Jaybee, B-Haul, amd Diagnosis.

Tropicana Madrone Art Bar. 9pm, free. Salsa, cumbia, reggaeton, and more.

FRIDAY 3

ROCK/BLUES/HIP-HOP

Back Pages Johnny Foley’s. 10pm, free.

Buckeye Knoll, Choirs, Emily Moldy Band Bottom of the Hill. 9:30pm, $10.

Creeping Pink, Slam Dunk, Pure Bliss, Violent Change Thee Parkside. 9pm, $7.

Forrest Day, Latyrx, Ghost and the City Great American Music Hall. 9pm, $21–$26.

Dead Skeletons, Old Testament, Mark Matos/Os Beaches, Infinity Rider Brick and Mortar Music Hall. 9pm, $20–$35 (three-day pass).

Funk Revival Orchestra Boom Boom Room. 8pm, $10.

Helmet DNA Lounge. 8pm, $20.

Killing Joke, Czar Fillmore. 9pm, $35.

K’s Choice, Ash Thursday Cafe Du Nord. 9pm, $20.

Little Boots, Avan Lava, Feathers, popscene DJs Rickshaw Stop. 9pm, $15–$20.

Mindless Self Indulgence, Chantal Claret Regency Ballroom. 8:30pm, $27.

Pierced Arrows, Pins of Light, New Flesh Elbo Room. 9pm, $12.

Poor Man’s Whiskey, Lonesome Locomotive Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, $18–$20.

Alice Russell Mezzanine. 9pm, $20–$25.

Nathan Temby, Chris A., Bob B. Johnny Foley’s Dueling Pianos. 10pm, free.

Vietnam, Gap Dream Independent. 9pm, $15.

Sharrie Williams Biscuits and Blues. 8 and 10pm, $22.

Young Fresh Fellows, Peter Buck, Chuckleberries Hemlock Tavern. 9pm, $18.

JAZZ/NEW MUSIC

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

“COPUS Artist Showcase” WestSide ArtHouse, 540 Balboa, SF; www.copusmusic.com. 8pm, $10. With Jonny Mac, and open mic.

Rachelle Ferrell Yoshi’s SF. 8pm, $32; 10pm, $28.

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

Jason Moran “Fats Waller Dance Party” SFJazz Center, 201 Franklin, SF; www.sfjazz.org. 7;30pm, $30–$50.

Prince de Dame Center for New Music, 55 Taylor, SF; www.centerfornewmusic.com. 8pm, $10–$20.

FOLK/WORLD/COUNTRY

Rustabouts Bluegrass Band Plough and Stars. 9pm, $6.

DANCE CLUBS

Funkin’ Fridays with Swoop Unit Amnesia. 6pm.

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

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

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

Strangelove Cat Club. 9:30pm, $3–$7. Industrial and goth with DJs Tomas Diable, Joe Radio, Skarkrow, and Fact 50.

Twitch DNA Lounge. 10pm, $8. With Youth Code, Sewn Leather, resident DJs Justin, Omar, Rachel Aiello, Kevin Sniecinski.

SATURDAY 4

ROCK/BLUES/HIP-HOP

American Professionals, Bobbleheads, Last Out Thee Parkside. 4pm, free.

Bob B., Nathan Temby, Chris A. Johnny Foley’s Dueling Pianos. 10pm, free.

Claire on a Dare, Son of Invention, Night Falls 50 Mason Social House, SF; www.50masonsocialhouse.com. 10pm, free.

Conquest for Death, Complete Disorder, Bankrupt District El Rio. 10pm, $7.

Creative Adult, Spitting Image, Curiosity, Know Secrets Thee Parkside. 9pm, $8.

Dead Meadow, Dead Skeletons, LSD and the Search for God, Shine Brothers Brick and Mortar Music Hall.10pm, $20–$35 (three-day pass).

Dirty Hand Family Band Riptide Tavern. 9pm, free.

Electric Jellyfish Hemlock Tavern. 5pm, $6.

Fallen Riviera Neck of the Woods, 406 Clement, SF; www.neckofthewoodssf.com. 8pm.

Foxtails Brigade, Battlehooch, Hogs of Change Bottom of the Hill. 9:30pm, $12.

Frightwig, Gone to Ground, Quaaludes Cafe Du Nord. 9pm, $12.

Infamous Stringdusters Great American Music Hall. 9pm, $22–$25.

Javelin, Helado Negro, Silver Hands, EpicSauce DJs Rickshaw Stop. 9pm, $12.

New Spell, Anita Stryker, Odd Owl Amnesia. 9pm.

Os Mutantes, Capsula, Killbossa Independent. 9pm, $25.

Prizehog, Drunk Dad, Connoisseur Hemlock Tavern. 9:30pm, $7.

“Rock for Life” Sutter Room at the Regency, 1290 Sutter, SF; rockforlifesf.eventbrite.com. 7pm, $10–$15. With Global Affront.

Caitlin Rose Brick and Mortar Music Hall. 7pm, $15.

Scissors for Lefty, Beta State, Breakdown Valentine, Deer Park Avenue Slim’s. 9pm, $13.

Stone Foxes, Little Hurricane, She’s Fillmore. 9pm, $21.50.

Taaryn, Light Fantastic Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, $15.

Tall Shadows Johnny Foley’s. 10pm, free.

Voodoo Fix Boom Boom Room. 8pm, $10.

Sharrie Williams Biscuits and Blues. 8 and 10pm, $22.

JAZZ/NEW MUSIC

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

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

Booker T. Jones Yoshi’s SF. 8pm, $35; 10pm, $28.

Jason Moran Bandwagon and Skateboarders SFJazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $20–$40.

Trespassers/Adrian, Buckaroogirl SF Live Arts @ Cyperian’s, 2097 Turk, SF; noevalleymusicseries.com. 8pm, $15.

FOLK/WORLD/COUNTRY

La Santa Cecilia, Dr. Loco’s Rockin’ Jalapeno Band Yerba Buena Gardens Festival, Mission between Third and Fourth St, SF; www.ybgfestival.org. 1-3pm, free.

DANCE CLUBS

Bootie SF DNA Lounge. 9pm, $10–$15.

Cockfight Underground SF, 424 Haight, SF; (415) 864-7386. 9pm, $7. Rowdy dance night for gay boys .

Foundation Som., 2925 16th St, SF; (415) 558-8521. 10pm, $5–$10. DJs Shortkut, Apollo, Mr. E, Fran Boogie spin Hip-Hop, Dancehall, Funk, Salsa.

Go Bang! Stud. 9pm, $7. With DJs Pavone, Pone, Steve Febus, Segio Fedasz, and more.

Haceteria Deco Lounge, 510 Larkin, SF; www.decosf.com. 9pm, free before 11pm, $3 after.

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

Saturday Night Soul Party Elbo Room. 10pm, $5–$10. With DJs Lucky, Paul Paul, Phengren Oswald.

SUNDAY 5

ROCK/BLUES/HIP-HOP

Absurdo, Side Effects, Ruleta Rusa, Brain Rash Knockout. 4:30pm, $7.

Bleached, Ex Cops Independent. 8pm, $14.

HIM, Eyes Set Kill Fillmore. 8pm, $41.50.

Psyclon Nine, Vile Augury DNA Lounge. 9pm, $15.

Terry Savastano Johnny Foley’s. 10pm, free.

Spider Heart, Brubaker, Rare Animals Bottom of the Hill. 7pm, $10.

Spirit Family Reunion Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, $12.

Taxes, Major Powers and the Lo-Fi Symphony, Tall Sheep Cafe Du Nord. 7:30pm, $10.

Tesla Regency Ballroom. 8pm, $38.

Touche, Seatraffic, DJ CoolGreg Thee Parkside. 8pm, $8.

UV Race, Shannon and the Clams, Life Stinks Rickshaw Stop. 8pm, $10.

Justin Vivian Bond, Carletta Sue Kay Great American Music Hall. 8pm, $27.

JAZZ/NEW MUSIC

Jason Moran Bandwagon and Skateboarders SFJazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $20–$40.

Noertker’s Moxie, Blue Lotus Musicians’ Union Hall, 116 Ninth St, SF; www.noertker.com. 7:30pm, $10.

Kally Price Old Blues and Jazz Band Amnesia. 8pm, $5.

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

Kim Waters Yoshi’s SF. 7pm, $24; 9pm, $18.

FOLK/WORLD/COUNTRY

Brazil and Beyond Bissap Baobab, 3372 19th St, SF.; www.bissapbaobab.com. 6:30pm, $5.

Doncat, Mosshead, Windham Flat Thee Parkside. 4pm, free.

No One From Nashville Tupelo, 1337 Grant, SF; www.tupelosf.com. 4-7pm, free.

Dance clubs

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

MONDAY 6

ROCK/BLUES/HIP-HOP

BLAMMOS!, Dandy Lions, Jazz Guys Bottom of the Hill. 9pm, $8.

Damir Johnny Foley’s. 10pm, free.

Jerry Joseph and Walter Salas-Humarar Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, $15–$17.

FOLK/WORLD/COUNTRY

Front Country Amnesia. 9pm.

DANCE CLUBS

Bass is Great Elbo Room. 9pm, $5. With Mad Vatsky, Cosby Kid, Megabus.

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

Death Guild DNA Lounge. 9:30pm, $3–$5.

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

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

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

TUESDAY 7

ROCK/BLUES/HIP-HOP

B. Hamilton, bad Bad Hemlock Tavern. 8:30pm, $6.

Cool Ghouls, Pyyramids, Hindu Pirates Brick and Mortar Music Hall. 9pm, free.

Kegals, Loss, Breaks, DJ Motorchad Knockout. 9:30pm, $7.

Kvelertak, Cancer Bats, Black Tusks Slim’s. 7:30pm, $15.

Outsiders, With Wolves, Boo Radley’s House Bottom of the Hill. 9pm, $8.

Stan Erhart Band Johnny Foley’s. 10pm, free.

Joseph Vincent Cafe Du Nord. 7:30pm, $12.

JAZZ/NEW MUSIC

Terry Disley’s Mini-Experience Burritt Room, 417 Stockton, SF; www.mystichotel.com. 6-9pm, free.

“Inspire Music presents HipKids Chorus and VOICES Chorus” Yoshi’s SF. 7:30pm, $8–$25.

DANCE CLUBS

Pendulum Elbo Room. 10pm, $5. Gothik danse party with DJs Nako and Hether.

 

Film Listings

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

SAN FRANCISCO INTERNATIONAL FILM FESTIVAL

The San Francisco International Film Festival runs through May 9 at the Castro Theatre, 429 Castro, SF; New People Cinema, 1746 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Sundance Kabuki Cinemas 1881 Post, SF. For tickets (most shows $10-15) and complete schedule, visit festival.sffs.org.

OPENING

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

Bert Stern: Original Mad Man Mad man, cad man: both describe photographer Bert Stern, famed for his groundbreaking vodka ads as well as his “Last Sitting” session with Marilyn Monroe (a series he recently re-created, rather regrettably, with Lindsay Lohan). Now in his 80s, he’s coaxed in front of the camera by longtime muse Shannah Laumeister; though their closeness (despite a 40-year age difference) means Bert Stern: Original Mad Man contains a few uncomfortably intimate moments, it also makes for some remarkably candid interviews. And what a life he’s had, melding his voracious appetite for women with a talent for capturing them in stunning, creatively innovative photographs. Though his parade of exes (including celebrated ballet dancer Allegra Kent) remember him with a certain amount of curled-lip disdain, his iconic work — 1959 documentary Jazz on a Summer’s Day, the poster for former co-worker Stanley Kubrick’s 1962 Lolita (those heart-shaped glasses? Stern’s idea) — speaks for itself. (1:50) Opera Plaza, Shattuck. (Eddy)

Iron Man 3 Well, shit. Looks like we got a trilogy on our hands. (2:06) Balboa, Marina, Presidio.

Kon-Tiki This Best Foreign Language Film nominee from Norway dramatizes Thor Heyerdahl’s 1947 Kon-Tiki expedition. (1:58) Embarcadero.

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

The Source Family See “Aquarius Rising.” (1:38) Roxie.

ONGOING

The Angels’ Share The latest from British filmmaker Ken Loach (2006’s The Wind that Shakes the Barley) and frequent screenwriter collaborator Paul Leverty contains a fair amount of humor — though it’s still got plenty of their trademark grit and realism. Offered “one last opportunity” by both a legal system he’s frequently disregarded and his exasperated and heavily pregnant girlfriend, ne’er-do-well Glaswegian Robbie (Paul Brannigan) resolves to straighten out his life. But his troubled past proves a formidable roadblock to a brighter future — until he visits a whiskey distillery with the other misfits he’s been performing his court-ordered community service with, and the group hatches an elaborate heist that could bring hope for Robbie and his growing family … if his gang of “scruffs” can pull it off. Granted, there are some familiar elements here, but this 2012 Cannes jury prize winner (the fest’s de facto third-place award) is more enjoyable than predictable — thanks to some whiskey-tasting nerd-out scenes, likable performances by its cast of mostly newcomers, and lines like “Nobody ever bothers anybody wearing a kilt!” (not necessarily true, as it turns out). Thankfully, English subtitles help with the thick Scottish accents. (1:41) Embarcadero. (Eddy)

Arthur Newman (1:41) Metreon.

The Big Wedding The wedding film has impacted our concepts of matrimony, fashion, and marital happiness more than all the textbooks in the world have affected our national testing average; but it’s with that margin of mediocrity I report from the theater trenches of The Big Wedding. With this, the wedding movie again peters to a crawl. Susan Sarandon (an actress I love with a loyalty beyond sense) is Bebe, the stepmother/caterer swept under the rug by the selfishness of her live in lover Don (De Niro), his ex-wife/baby momma Elle (Diane Keaton) and their racist wackjob future in-laws. When Don and Elle faced the end of their marriage, they tried to rekindle with a Columbian orphan. Cue Ben Barnes in brownface. Alejandro is set to wed Amanda Seyfried and when his mother ascends from Columbia for the wedding, he decides Don and Elle have to act like their marriage never ended &ldots; which makes Bebe a mistress. Surprise! A decade of caring selflessly for your lover’s kids has won you a super shitty wedding you still have to cater! To give you a sense of the conflict management on display, Bebe — the film’s graceful savior —drops a drink on Don before fleeing the scene in her Alfa Romeo; she’s the one character not determined to act out her more selfish urges in the style of an MTV reality show. Despite some less imaginative conflicts and degrading “solutions,” this blended family still speaks some truth about the endearing embarrassment of the happy family. (1:29) 1000 Van Ness, Presidio, SF Center. (Vizcarrondo)

Blancanieves If you saw the two crappy overblown Hollywood takes on Snow White last year, my condolences. This is probably its best cinematic incarnation ever not made by someone called Walt. Pablo Berger’s Blancanieves transplants the tale to 1920s Spain and told (à la 2011’s The Artist) in the dialogue-free B&W style of that era’s silent cinema. Here, Snow is the daughter of a famous bullfighter (a beautiful performance by Daniel Giménez Cacho) who’s paralyzed physically in the ring, then emotionally by the death of his flamenco star wife (Inma Cuesta) in childbirth. He can’t bring himself to see his daughter until a grandmother’s death brings little Carmencita (the marvelous Sofía Oria) to the isolated ranch he now shares with nurse-turned-second-wife Encarna — Maribel Verdú as a very Jazz Age evil stepmother. Once the girl matures (now played by the ingratiating, slightly androgynous Macarena García), Encarna senses a rival, and to save her life Carmen literally runs away with the circus — at which point the narrative slumps a bit. But only a bit. Where The Artist was essentially a cleverly sustained gimmick elevated by a wonderful central performance, Blancanieves transcends its ingenious retro trappings to offer something both charming and substantiative. Berger doesn’t treat the story template as a joke — he’s fully adapted it to a culture, place, and time, and treats its inherent pathos with great delicacy. (1:44) Embarcadero, Shattuck, Smith Rafael. (Harvey)

The Company You Keep Robert Redford directs and stars as a fugitive former member of the Weather Underground, who goes on the run when another member (Susan Sarandon) is arrested and a newspaper reporter (Shia LaBeouf) connects him to a murder 30 years earlier during a Michigan bank robbery. Both the incident and the individuals in The Company You Keep are fictive, but a montage of archival footage at the start of the film is used to place them in the company of real-life radicals and events from the latter days of the 1960s-’70s antiwar movement. (The film’s timeline is a little hard to figure, as the action seems to be present day.) Living under an assumed name, Redford’s Nick Sloan is now a recently widowed public interest lawyer with a nine-year-old daughter, still fighting the good fight from the suburbs of Albany, NY — though some of his movement cohorts would probably argue that point. And as Nick heads cross-country on a hunt for one of them who’s still deep underground, and LaBeouf’s pesky reporter tussles with FBI agents (Terrance Howard and Anna Kendrick) and his besieged editor (Stanley Tucci) — mostly there to pass comment on print journalism’s precipitous decline — there’s plenty of contentious talk, none of it particularly trenchant or involving. Redford packs his earnest, well-intentioned film with stars delineating a constellation of attitudes about revolution, justice, and violent radical action — Julie Christie as an unrepentant radical and Nick’s former lover, Nick Nolte and Richard Jenkins as former movement members, Brendan Gleeson as a Michigan police detective involved in the original investigation, Chris Cooper as Nick’s estranged and disapproving younger brother. But their scrutiny, and the film’s, feels blurry and rote, while the plot’s one major twist seems random and is clumsily exposed. (2:05) Albany, SF Center, Sundance Kabuki. (Rapoport)

The Croods (1:38) Metreon, 1000 Van Ness.

Disconnect (1:55) 1000 Van Ness, SF Center, Sundance Kabuki.

Evil Dead “Sacrilege!” you surely thought when hearing that Sam Raimi’s immortal 1983 classic was being remade. But as far as remakes go, this one from Uruguayan writer-director Fede Alvarez (who’d previously only made some acclaimed genre shorts) is pretty decent. Four youths gather at a former family cabin destination because a fifth (Jane Levy) has staged her own intervention — after a near-fatal OD, she needs her friends to help her go cold turkey. But as a prologue has already informed us, there is a history of witchcraft and demonic possession in this place. The discovery of something very nasty (and smelly) in the cellar, along with a book of demonic incantations that Lou Taylor Pucci is stupid enough to read aloud from, leads to … well, you know. The all-hell that breaks loose here is more sadistically squirm-inducing than the humorously over-the-top gore in Raimi’s original duo (elements of the sublime ’87 Evil Dead II are also deployed here), and the characters are taken much more seriously — without, however, becoming more interesting. Despite a number of déjà vu kamikaze tracking shots through the Michigan forest (though most of the film was actually shot in New Zealand), Raimi’s giddy high energy and black comedy are replaced here by a more earnest if admittedly mostly effective approach, with plenty of decent shocks. No one could replace Bruce Campbell, and perhaps it was wise not to even try. So: pretty good, gory, expertly crafted, very R-rated horror fun, even with too many “It’s not over yet!” false endings. But no one will be playing this version over and over and over again as they (and I) still do the ’80s films. (1:31) Metreon, 1000 Van Ness. (Harvey)

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

From Up on Poppy Hill Hayao (dad, who co-wrote) and Goro (son, who directed) Miyazaki collaborate on this tale of two high-school kids — Umi, who does all the cooking at her grandmother’s boarding house, and Shun, a rabble-rouser who runs the school newspaper — in idyllic seaside Yokohama. Plans for the 1964 Olympics earmark a beloved historic clubhouse for demolition, and the budding couple unites behind the cause. The building offers a symbolic nod to Japanese history, while rehabbing it speaks to hopes for a brighter post-war future. But the past keeps interfering: conflict arises when Shun’s memories are triggered by a photo of Umi’s father, presumed lost at sea in the Korean War. There are no whimsical talking animals in this Studio Ghibli release, which investigates some darker-than-usual themes, though the animation is vivid and sparkling per usual. Hollywood types lending their voices to the English-language version include Jamie Lee Curtis, Christina Hendricks, Ron Howard, and Gilllian Anderson. (1:31) Opera Plaza, Shattuck. (Eddy)

GI Joe: Retaliation The plot exists to justify the action, but any fan of badass-ness will forgive the skimpy storyline for the outlandish badassery in GI Joe: Retaliation. Inspired by action figures and tying loosely to the first flick, Retaliation starts with a game of “secure the defector,” followed by “raise the flag,” but as soon as the stakes aren’t real, the Joes outright suck. They don’t have “neutral,” which is maybe why a mission to rescue and revive the Joes as a force is the most ferocious fight that ever pit metal against plastic. The set pieces are stunning: a mostly silent sequence with Snake Eyes (Ray Park) and Jinx (Elodie Yung) on a mountainside will leave the audience gaping in its high speed wake, and a prison break featuring covert explosives is nonstop amazing. You’ll notice an emphasis on chain link fences and puddles (terra nostra for action figures) and set pieces conceived as if by kids who don’t have a concept of basic irrefutable truths like gravity. It’s just that kind of imagination and ardor and limitlessness that makes this Joe incredible, memorable, and a reason to crack out your toys again. (1:50) Metreon, 1000 Van Ness. (Vizcarrondo)

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

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

Lords of Salem (1:41) Metreon.

Mud (2:15) California, Metreon, Piedmont.

No Long before the Arab Spring, a people’s revolution went down in Chile when a 1988 referendum toppled the country’s dictator, Augusto Pinochet, thanks in part to an ad exec who dared to sell the dream to his countrymen and women — using the relentlessly upbeat, cheesy language of a Pepsi Generation. In No‘s dramatization of this true story, ad man Rene Saavedra (Gael Garcia Bernal) is approached by the opposition to Pinochet’s regime to help them on their campaign to encourage Chile’s people to vote “no” to eight more years under the brutal strongman. Rene’s well-aware of the horrors of the dictatorship; not only are the disappeared common knowledge, his activist ex (Antonia Zegers) has been beaten and jailed with seeming regularity. Going up against his boss (Alfredo Castro), who’s overseeing the Pinochet campaign, Rene takes the brilliant tact in the opposition’s TV programs of selling hope — sound familiar? — promising “Chile, happiness is coming!” amid corny mimes, dancers, and the like. Director-producer Pablo Larrain turns out to be just as genius, shooting with a grainy U-matic ’80s video camera to match his footage with 1988 archival imagery, including the original TV spots, in this invigorating spiritual kin of both 2012’s Argo and 1997’s Wag the Dog. (1:50) New Parkway, Shattuck. (Chun)

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

Olympus Has Fallen Overstuffed with slo-mo shots of the flag rippling (in breezes likely caused by all the hot air puffing up from the script), this gleefully ham-fisted tribute to America Fuck Yeah estimates the intelligence of its target audience thusly: an establishing shot clearly depicting both the Washington Monument and the US Capitol is tagged “Washington, DC.” Wait, how can you tell? This wannabe Die Hard: The White House follows the one-man-army crusade of secret service agent Mike Banning (Gerard Butler), the last friendly left standing when the President (Aaron Eckhart) and assorted cabinet members are taken hostage by North Korean terrorists. The plot is to ridiculous to recap beyond that, though I will note that Morgan Freeman (as the Speaker of the House) gets to deliver the line “They’ve just opened the gates of hell!” — the high point in a performance that otherwise requires him to sit at a table and look concerned for two hours. With a few more over-the-top scenes or slightly more adventurous casting, Olympus Has Fallen could’ve ascended to action-camp heights. Alas, it’s mostly just mildly amusing, though all that caked-on patriotism is good for a smattering of heartier guffaws. (2:00) 1000 Van Ness, SF Center. (Eddy)

On the Road Walter Salles (2004’s The Motorcycle Diaries) engages Diaries screenwriter Jose Rivera to adapt Jack Kerouac’s Beat classic; it’s translated to the screen in a streamlined version, albeit one rife with parties, drugs, jazz, danger, reckless driving, sex, philosophical conversations, soul-searching, and “kicks” galore. Brit Sam Riley (2007’s Control) plays Kerouac stand-in Sal Paradise, observing (and scribbling down) his gritty adventures as they unfold. Most of those adventures come courtesy of charismatic, freewheeling Dean Moriarty (Garrett Hedlund of 2010’s Tron: Legacy), who blows in and out of Sal’s life (and a lot of other people’s lives, too, including wives played by Kristen Stewart and Kirsten Dunst). Beautifully shot, with careful attention to period detail and reverential treatment of the Beat ethos, the film is an admirable effort but a little too shapeless, maybe simply due to the peripatetic nature of its iconic source material, to be completely satisfying. Among the performances, erstwhile teen dream Stewart is an uninhibited standout. (2:03) Four Star, Smith Rafael. (Eddy)

Oz: The Great and Powerful Providing a backstory for the man behind the curtain, director Sam Raimi gives us a prequel of sorts to 1939’s The Wizard of Oz. Herein we follow the adventures of a Depression-era Kansas circus magician named Oscar (James Franco) — Oz to his friends — as he cons, philanders, bickers with his behind-the-scenes assistant Frank (Zach Braff), and eventually sails away in a twister, bound for a Technicolor land of massively proportioned flora, talking fauna, and witches ranging from dazzlingly good to treacherously wicked. From one of them, Theodora (Mila Kunis), he learns that his arrival — in Oz, just to clarify — has set in motion the fulfillment of a prophecy: that a great wizard, also named Oz, will bring about the downfall of a malevolent witch (Rachel Weisz), saving the kingdom and its cheery, goodhearted inhabitants. Unfortunately for this deserving populace, Oz spent his last pre-twister moments with the Baum Bros. Circus (the name a tribute to L. Frank Baum, writer of the Oz children’s books) demonstrating a banged-up moral compass and an undependable streak and proclaiming that he would rather be a great man than a good man. Unfortunately for the rest of us, this theme is revisited ad nauseam as Oz and the oppressively beneficent witch Glinda (Michelle Williams) — whose magic appears to consist mainly of nice soft things like bubbles and fog — stand around debating whether he’s the right man for the task. When the fog clears, though, the view is undeniably pretty. While en route to and from the Emerald City, Oz and his companions — among them a non-evil flying monkey (voiced by Braff) and a rather adorable china doll (Joey King) — wander through a deliriously arresting, Fantasia-esque landscape whose intricate, inventive construction helps distract from the plodding, saccharine rhetoric and unappealing story line. (2:07) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Rapoport)

Pain & Gain In mid-1995 members of what became known as the “Sun Gym Gang” — played here by Mark Wahlberg, Dwayne Johnson, and Anthony Mackie — were arrested for a series of crimes including kidnapping, extortion, and murder. Simply wanting to live large, they’d abducted one well-off man (Tony Shalhoub) months earlier, tortured him into signing over all his assets, and left him for dead — yet incredibly the Miami police thought the victim’s story was a tall tale, leaving the perps free until they’d burned through their moolah and sought other victims. Michael Bay’s cartoonish take on a pretty horrific saga repeatedly reminds us that it’s a true story, though the script plays fast and loose with many real-life details. (And strangely it downplays the role steroid abuse presumably played in a lot of very crazy behavior.) In a way, his bombastic style is well-suited to a grotesquely comic thriller about bungling bodybuilder criminals redundantly described here as “dumb stupid fucks.” There have been worse Bay movies, even if that’s like saying “This gas isn’t as toxic as the last one.” But despite the flirtations with satire of fitness culture, motivational gurus and so forth, his sense of humor stays on a loutish plane, complete with fag-bashing, a dwarf gag, and representation of Miami as basically one big siliconed titty bar. Nor can he pull off a turn toward black comedy that needs the superior intelligence of someone like the Coen Brothers or Soderbergh. As usual everything is overamped, the action sequences overblown, the whole thing overlong, and good actors made to overact. You’ve got to give cranky old Ed Harris credit: playing a private detective, he alone here refuses to be bullied into hamming it up. (2:00) Metreon, 1000 Van Ness, Shattuck. (Harvey)

The Place Beyond the Pines Powerful indie drama Blue Valentine (2010) marked director Derek Cianfrance as one worthy of attention, so it’s with no small amount of fanfare that this follow-up arrives. The Place Beyond the Pines‘ high profile is further enhanced by the presence of Bradley Cooper (currently enjoying a career ascension from Sexiest Man Alive to Oscar-nominated Serious Actor), cast opposite Valentine star Ryan Gosling, though they share just one scene. An overlong, occasionally contrived tale of three generations of fathers, father figures, and sons, Pines‘ initial focus is Gosling’s stunt-motorcycle rider, a character that would feel more exciting if it wasn’t so reminiscent of Gosling’s turn in Drive (2011), albeit with a blonde dye job and tattoos that look like they were applied by the same guy who inked James Franco in Spring Breakers. Robbing banks seems a reasonable way to raise cash for his infant son, as well as a way for Pines to draw in another whole set of characters, in the form of a cop (Cooper) who’s also a new father, and who — as the story shifts ahead 15 years — builds a political career off the case. Of course, fate and the convenience of movie scripts dictate that the mens’ sons will meet, the past will haunt the present and fuck up the future, etc. etc. Ultimately, Pines is an ambitious film that suffers from both its sprawl and some predictable choices (did Ray Liotta really need to play yet another dirty cop?) Halfway through the movie I couldn’t help thinking what might’ve happened if Cianfrance had dared to swap the casting of the main roles; Gosling could’ve been a great ambitious cop-turned-powerful prick, and Cooper could’ve done interesting things with the Evel Knievel-goes-Point Break part. Just sayin’. (2:20) California, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. (Eddy)

Quartet Every year there’s at least one: the adorable-old-cootfest, usually British, that proves harmless and reassuring and lightly tear/laughter producing enough to convince a certain demographic that it’s safe to go to the movies again. The last months have seen two, both starring Maggie Smith (who’s also queen of that audience’s home viewing via Downton Abbey). Last year’s The Best Exotic Marigold Hotel, in which Smith played a bitchy old spinster appalled to find herself in India, has already filled the slot. It was formulaic, cute, and sentimental, yes, but it also practiced more restraint than one expected. Now here’s Quartet, which is basically the same flower arrangement with quite a bit more dust on it. Smith plays a bitchy old spinster appalled to find herself forced into spending her twilight years at a home for the elderly. It’s not just any such home, however, but Beecham House, whose residents are retired professional musicians. Gingerly peeking out from her room after a few days’ retreat from public gaze, Smith’s Jean Horton — a famed English soprano — spies a roomful of codgers rolling their hips to Afropop in a dance class. “This is not a retirement home — this is a madhouse!” she pronounces. Oh, the shitty lines that lazy writers have long depended on Smith to make sparkle. Quartet is full of such bunk, adapted with loving fidelity, no doubt, from his own 1999 play by Ronald Harwood, who as a scenarist has done some good adaptations of other people’s work (2002’s The Pianist). But as a generator of original material for about a half-century, he’s mostly proven that it is possible to prosper that long while being in entirely the wrong half-century. Making his directorial debut: 75-year-old Dustin Hoffman, which ought to have yielded a more interesting final product. But with its workmanlike gloss and head-on take on the script’s very predictable beats, Quartet could as well have been directed by any BBC veteran of no particular distinction. (1:38) Smith Rafael. (Harvey)

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

Room 237 What subtexts, hidden meanings, conspiracy theories, and strange coincidences are hidden within Stanley Kubrick’s 1980 horror masterpiece The Shining? Former San Franciscan Rodney Ascher’s wonderfully spooky and unconventional doc burrows deep down the rabbit hole with five Shining-obsessed people, who share their ideas in voice-over as images from that film (and others chosen for reasons both obvious and curious) flow together on the screen. Innovative sound design and a throwback electronic soundtrack contribute to Room 237‘s spellbinding vibe. You’ll never watch The Shining the same way again. (1:42) Roxie. (Eddy)

The Sapphires The civil rights injustices suffered by these dream girls may be unique to Aboriginal Australians, but they’ll strike a chord with viewers throughout the world — at right about the same spot stoked by the sweet soul music of Motown. Co-written by Tony Briggs, the son of a singer in a real-life Aboriginal girl group, this unrepentant feel-gooder aims to make the lessons of history go down with the good humor and up-from-the-underdog triumph of films like The Full Monty (1997) — the crucial difference in this fun if flawed comedy-romance is that it tells the story of women of color, finding their voices and discovering, yes, their groove. It’s all in the family for these would-be soul sisters, or rather country cousins, bred on Merle Haggard and folk tunes: there’s the charmless and tough Gail (Deborah Mailman), the soulful single mom Julie (Jessica Mauboy, an Australian Idol runner-up), the flirty Cynthia (Miranda Tapsell), and the pale-skinned Kay (Shari Sebbens), the latter passing as white after being forcibly “assimilated” by the government. Their dream is to get off the farm, even if that means entertaining the troops in Vietnam, and the person to help them realize that checkered goal is dissolute piano player Dave (Chris O’Dowd). And O’Dowd is the breakout star to watch here — he adds an loose, erratic energy to an otherwise heavily worked story arc. So when romance sparks for all Sapphires — and the racial tension simmering beneath the sequins rumbles to the surface — the easy pleasures generated by O’Dowd and the music (despite head-scratching inclusions like 1970’s “Run Through the Jungle” in this 1968-set yarn), along with the gently handled lessons in identity politics learned, obliterate any lingering questions left sucking Saigon dust as the narrative plunges forward. They keep you hanging on. (1:38) Embarcadero, Piedmont, Shattuck. (Chun)

Scary Movie 5 (1:35) Metreon.

Silver Linings Playbook After guiding two actors to Best Supporting Oscars in 2010’s The Fighter, director David O. Russell returns (adapting his script from Matthew Quick’s novel) with another darkly comedic film about a complicated family that will probably earn some gold of its own. Though he’s obviously not ready to face the outside world, Pat (Bradley Cooper) checks out of the state institution he’s been court-ordered to spend eight months in after displaying some serious anger-management issues. He moves home with his football-obsessed father (Robert De Niro) and worrywart mother (Jacki Weaver of 2010’s Animal Kingdom), where he plunges into a plan to win back his estranged wife. Cooper plays Pat as a man vibrating with troubled energy — always in danger of flying into a rage, even as he pursues his forced-upbeat “silver linings” philosophy. But the movie belongs to Jennifer Lawrence, who proves the chops she showcased (pre-Hunger Games megafame) in 2010’s Winter’s Bone were no fluke. As the damaged-but-determined Tiffany, she’s the left-field element that jolts Pat out of his crazytown funk; she’s also the only reason Playbook‘s dance-competition subplot doesn’t feel eye-rollingly clichéd. The film’s not perfect, but Lawrence’s layered performance — emotional, demanding, bitchy, tough-yet-secretly-tender — damn near is. (2:01) New Parkway. (Eddy)

Spring Breakers The idea of enfant terrible emeritus Harmony Korine — 1997’s Gummo, 2007’s Mister Lonely, 2009’s Trash Humpers — directing something so utterly common as a spring break movie is head-scratching enough, even moreso compounded by the casting of teen dreams Vanessa Hudgens, Selena Gomez, and Ashley Benson as bikini-clad girls gone wild. James Franco co-stars as drug dealer Alien, all platinum teeth and cornrows and shitty tattoos, who befriends the lasses after they’re busted by the fun police. “Are you being serious?” Gomez’s character asks Alien, soon after meeting him. “What do you think?” he grins back. Unschooled filmgoers who stumble into the theater to see their favorite starlets might be shocked by Breakers‘ hard-R hijinks. But Korine fans will understand that this neon-lit, Skrillex-scored tale of debauchery and dirty menace is not to be taken at face value. The subject matter, the cast, the Britney Spears songs, the deliberately lurid camerawork — all carefully-constructed elements in a film that takes not-taking-itself-seriously, very seriously indeed. Korine has said he prefers his films to make “perfect nonsense” instead of perfect sense. The sublime Spring Breakers makes perfect nonsense, and it also makes nonsense perfect. (1:34) New Parkway, 1000 Van Ness. (Eddy)

Starbuck Starbuck has a great (if not entirely original) comedic concept it chooses to play seriocomedically — i.e., less for the laughs it seldom earns than for the heart-tugging it eventually pretty much does. An ingratiatingly rumpled Patrick Huard (a major Quebec star best known for the mega-hit Les Boys series and 2006’s Good Cop, Bad Cop) plays David, erstwhile stellar contributor to a Montreal sperm bank in his salad days. Now older but no wiser, he finds himself confronted by the reality of 533 biologically fathered, now-grown offspring who’ve filed a class action lawsuit to discover his identity even as he deals with mob debt and an exasperated, pregnant semi-ex-girlfriend (Julie LeBreton). This is one of those “loser manboy must semi-grow up fast amid crisis, finding family values en route” scenarios tailor-fit for Adam Sandler. That said, the overlong, stubbornly endearing Starbuck is so much less insufferable than anything Sandler has made since … um, ever? Halfway through, this agreeable movie gets clever — as David stumbles into a meeting of his prodigious anonymous progeny — and remains reasonably so to the satisfyingly hard-won happy ending. It’s still got moments of contrivance, editorial fat (too many montages, for one thing), and more climactic hugs than any self-respecting dramedy needs to get the redemptive point across. Yet it’s also got something few comedies of any national origin have today: a lovely, distinctive, bright yet non-cartoonish widescreen look. (1:48) Four Star. (Harvey)

Tai Chi Hero Six months ago, Tai Chi Zero — Stephen Fung’s nutty tale of a martial arts savant who journeys to an isolated town to learn a top-secret technique — barreled into local theaters. A stylish kung fu flick with a high degree of WTF-ness, Zero ended on a pretty significant cliffhanger, so here’s the cheeky sequel for those who’ve been wondering what happened to Yang Lu Chan (Yuan Xiaochao) — a sweet fool when he’s not in supernatural Hulk-smash mode — and company. A brief intro gets newbies up to speed before the action starts: Lu Chan and the bossy-yet-comely daughter (Angelababy) of the local grandmaster (Tony Leung Ka Fai) have entered into a marriage of convenience — and there’s something fishy about Lu Chan’s brother-in-law, newly returned from a long exile with his own secretive bride. Meanwhile, the family worries about the dreadful “bronze bell prophecy” while the first film’s Westernized villain plots tasty revenge. In addition to all the high-flying, slo-mo scenes of hand-to-hand combat, highlights include a soundtrack filled with unexpected choices (heavy metal, accordion), a cameo by cult actor Peter Stormare (hamming it up big-time), and an army tricked out with steampunky weapons. (1:40) Four Star, Metreon. (Eddy)

Trance Where did Danny Boyle drop his noir? Somewhere along the way from Shallow Grave (1994) to Slumdog Millionaire (2008)? Finding the thread he misplaced among the obfuscating reflections of London’s corporate-contempo architecture, Boyle strives to put his own character-centered spin on the genre in this collaboration with Grave and Trainspotting (1996) screenwriter John Hodge, though the final product feels distinctly off, despite its Hitchcockian aspirations toward a sort of modern-day Spellbound (1945). Untrustworthy narrator Simon (James McAvoy) is an auctioneer for a Sotheby’s-like house, tasked with protecting the multimillion-dollar artworks on the block, within reason. Then the splashily elaborate theft of Goya’s Witches’ Flight painting goes down on Simon’s watch, and for his trouble, the complicit staffer is concussed by heist leader Franck (Vincent Cassel). Where did those slippery witches fly to? Simon, mixed up with the thieves due to his gambling debts, cries amnesia — the truth appears to be locked in the opaque layers of his jostled brain, and it’s up to hypnotherapist Elizabeth (Rosario Dawson) to uncover the Goya’s resting place. Is she trying to help Simon extricate himself from his impossible situation, seduce Franck, or simply help herself? Boyle tries to transmit the mutable mind games on screen, via the lighting, glass, and watery reflections that are supposed to translate as sleek sophistication. But devices like speedy, back-and-forth edits and off-and-on fourth-wall-battering instances as when Simon locks eyes with the audience, read as dated and cheesy as a banking commercial. The seriously miscast actors also fail to sell Trance on various levels — believability, likeability, etc. — as the very unmesmerized viewer falls into a light coma and the movie twirls, flaming, into the ludicrous. (1:44) SF Center, Shattuck, Sundance Kabuki. (Chun)

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

 

Melanoma Clinical Trial at St. Mary’s Hospital

Maria Poblet
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0

Do You Have Melanoma?
Are you at high risk for recurrence?

If so, and you are between the ages of 18 and 75 years old, you may qualify to participate in a clinical research study at the Northern California Melanoma Center to determine the safety and effectiveness of an investigational vaccine.

Qualified participants will receive at no cost the study-related laboratory tests and the study vaccine or placebo.

Compensation may be available for your time and travel.

For more information, or to see if you may qualify, call Dr. Lynn Spitler at (415) 750-5660.

www.stmarysmedicalcenter.org

Get out your action figures: ‘Robot Chicken’ is coming to town!

Sue Vaughan
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0

For those of us who grew up in the 1980s, who doesn’t have fond memories of playing with action figures? Whether you were plotting elaborate battles and all-out dirt mound warfare with GI Joe and Star Wars characters, or continuing the adventures of She-Ra and Strawberry Shortcake, those toys were a big part of our childhood.

Today, some lucky — and very talented — people still get to play with those toys, and get paid for it. Breathing life into these inanimate objects, the hit Adult Swim TV show Robot Chicken resurrects classic action figures and projects them into wild scenarios, or the everyday mundane world of real life, making for some side-splittingly hilarious situations.

Marking the end of the special exhibit “Between Frames: The Magic Behind Stop Motion Animation at the Walt Disney Family Museum,” the creative team behind the show is coming to the city this weekend for several special events celebrating their craft. Seth Green, Matthew Senreich, John Harvatine IV, Eric Towner, and Alex Kamer will be on hand Fri/26 for an after-hours party featuring food, drinks, an audience Q&A and screenings of behind the scenes footage, and then on Saturday for a special animation workshop followed by a panel discussion.

“When the Walt Disney Family Museum reached out to us as they were starting to work on the stop motion exhibit,  it was one of those surreal moments — they were talking about what they were looking to do for this exhibit, and mentioned how Gumby was going to be a part of it, and they were going to have pieces from movies like Nightmare Before Christmas, and wanted television shows like Robot Chicken — we had that moment where we were like, ‘Wait, why are you including us?’” laughs Senreich, co-creator, producer and writer for the show.

“So we had to slap ourselves, and go, ‘Well I guess this is going to happen!’ It was very surreal and amazing, and they’ve been so good to us.”

The creative group behind Robot Chicken all first met when most of them worked at Wizard Magazine, a now-defunct publication that covered comic books and toys. Green was a fan of the magazine, and after meeting Senreich they became friends. They came up with the idea for the show “after many years of just geeking out over things. For us, this is what we live for; we were the people going to Comic Con before it turned into the event that it is now, we’re the ones who are still going to the small or cult comic shows. I want to find the random bootleg thing, that’s the stuff I love,” says Senreich.

When the group first started working on Robot Chicken, which premiered in 2005, they had never really worked with stop motion animation themselves, and after a few mostly failing attempts, gathered a team of professionals to help out. The animation technique — where an object is photographed one frame at a time, and gradually moved each time to create the illusion of actual movement — has a long and influential history in filmmaking, but is an incredibly time-consuming and detail-oriented art form.

“You come to appreciate what these animators do every day and the patience that they have, and you realize that they are actors and their performance either makes or breaks the stuff that you write,” says Senreich.

http://www.youtube.com/watch?v=aPB4-EW2Fck

Although he can’t give an exact estimate of how much time is spent producing one particular episode of the show, as many multiple skits and shows are being made at once, Senreich says that they currently turn out about 20 episodes in 11 months. “We try to write as many episodes ahead of time as possible — what slows down stop motion is having to take a set off the stage, put a new set up, re-light it, re-configure it to get it ready for the next shot. If we can keep the lighting the same, and we can maintain a set that’s there, it simplifies the process.”

He adds, “If we have say 15 bathroom shots over the course of 20 episodes, we’ll keep the bathroom on the stage as long as we can and shoot all of those bathroom shots in order.”

In this day and age where so much of the work that goes into Hollywood productions is shipped overseas, or done in several places around the country, the Robot Chicken team keeps it all close to home in Southern California. “We have two buildings in Burbank where we’ll do everything from the storyboards to the building of the sets and puppets to the animation, and we have a voice booth. With the exception of our sound mixing, which is done literally down the block — everything is done in-house,” says Senreich.

Coming up with hilarious scenarios and which toys or characters to use in them is all part of the fun of working on the show. “What I like about our group of writers is that it’s a bunch of friends trying to make each other laugh; it’s really just whatever we find funny for the day, or what a topic of conversation has been about, that’s where things start. We like to take these very grandiose worlds and just find the very simple and mundane within them,  I think that’s what makes it relatable — if you can have Thundercats and simplify Lion-O to just being a cat, and being treated as such, where a spray bottle will affect him, there’s something fun about that.”

One of the toy realms that has been featured prominently on Robot Chicken over the years has been Star Wars. The first bit they did revolved around Emperor Palpatine getting a phone call from Darth Vader after the Death Star had been destroyed — and it immediately got the attention of Lucasfilm.

“We did that ‘Emperor’s Phone Call’ sketch, and right after it aired, the phone rang and the caller ID said ‘Lucasfilm,’ I thought, ‘Oh God, we’re going to get sued!’ But it turned out that George Lucas and some other people at the company had seen the show and liked it; they were calling to invite them to come take a tour of Skywalker Ranch. While there, Senreich threw out the idea of doing an entire Robot Chicken special centered around Star Wars, and within three weeks they were up and running.

“Meeting George was an experience; I was tongue-tied, and probably made a fool of myself — but now I’m the guy who can talk to him and go, ‘I don’t like that idea, George.’ It’s really nice to have that kind of relationship — he’s the first person to say back to me, ‘Well I don’t like this idea either,’ and we can have those kinds of creative conversations and we respect each other in that way, and it’s really nice,” says Senreich.

After this weekend’s festivities in San Francisco, Senreich and crew will head back to Los Angeles to start working on season seven of Robot Chicken. They’ll also be announcing several other upcoming projects in the near future. While his plate is full of work at the moment, and his schedule can be hectic at times, Senreich takes a laid-back approach when thinking about it all.

“The thing that we always come back to is that we’re playing with toys! There’s the pressure of deadlines and all of that, but you can’t get away from the fact that if the biggest stress is looking at a Star Wars figure and trying to figure out a way to make it funny, that’s not that bad!”

Robot Chicken and Stoopid Buddy Stoodios events
Fri/26, 7pm; Sat/27, 10am and 2pm, $8-$60
Walt Disney Family Museum
104 Montgomery, SF
(415) 345-6800
www.waltdisney.org

Care clash

Andrew Lam
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13
Care clash

The first week in April was a rough time for Connie Salguero. The Filipina nursing assistant, who says she would’ve been eligible to retire in two years, reported to her shift at the University of California San Francisco medical center at Mt. Zion on April 1 — and was told she was laid off. Two days after that, she was forced out of her home through an eviction, but fortuitously met an elderly Filipina woman who said Salguero could stay with her until she gets back on her feet.

“This manager said to me, Connie, come here, let’s talk,” and delivered the bad news, Salgeuro recounted, getting a little misty-eyed. Two other Filipina hospital assistants in her unit met with the same fate that day, she said.

“I’m trying to find a job,” Salguero said. “It’s very hard. But I will survive.” She projected a sense of resolve despite the whirlwind of sudden stress, which seemed fitting for someone whose job entailed feeding, bathing, and assisting up to ten bedridden patients at a time, many of them suffering from cancer.

Salguero said management told her the layoffs were necessary because of the most recent wave of federal budget cuts. But Cristal Java, lead organizer for UC patient care technical workers’ union, AFSCME 3299, interjected during an interview with the Bay Guardian to refute that explanation, calling it “total crap. They don’t want to tell workers the truth,” Java said, “which is that the hospitals are extremely profitable.”

UCSF ELIMINATES 300 POSITIONS

Salguero is one of about 25 UCSF certified nursing assistants whose recent layoffs prompted AFSCME to register a formal complaint with the Public Employee Relations Board, an agency that mediates labor disputes. The CNA layoffs hit in March and early April as part of a raft of cutbacks that eliminated a total of 300 full-time equivalent positions. Some of those positions were unfilled while other staffers were reassigned elsewhere or had their hours cut; a total of 75 individuals were laid off.

The cuts prompted union representatives to organize a protest at UCSF’s Parnassus Campus April 4, with San Francisco Sup. John Avalos and California Sen. Leland Yee turning out in support of the workers. Salguero was there too, waving a sign, and she wound up telling her story for an international broadcast by a Filipino news station. Things took a dramatic turn when police arrived on the scene, and Union President Kathryn Lybarger and some others were escorted off the premises in handcuffs.

Asked to explain the rationale behind the layoffs, UCSF spokesperson Karin Rush-Monroe responded, “We evaluated the impact of the Affordable Care Act, expected reductions in Medicare, MediCal and private insurance reimbursements,” as well as employee benefits and rising costs in drugs and medical supplies, and ultimately decided on a 4 percent labor budget cut. “We must make a ‘course correction’ if we are to maintain our resources to care for our patients,” Rush-Monroe said.

But the staffing cuts hit just weeks after AFSCME published a blistering report, titled “A Question of Priorities,” charging that UC has prioritized profit margins at its medical centers since 2009 while needlessly eliminating frontline staff positions, all to the detriment of patient care.

“It feels very much like they’re chasing down the Wall Street model of business,” Randall Johnson, an MRI technologist at UCSF Parnassus Campus who is active with Local 3299, told the Guardian. “We’re pressed to move faster and faster and faster. It’s more about profit than it is about patient care.”

Steve Montiel, spokesperson for UC Office of the President, told us that UCSF is “consistently ranked as one of the top hospitals in the country by U.S. News and World Report,” and pointed out that the AFSCME report coincided with an ongoing contract dispute concerning patient care technical workers, which may lead to a strike authorization in the next few weeks.

DANGEROUSLY LOW STAFFING LEVELS?

Billed as a “whistleblower report,” AFSCME’s 40-page publication portrays an internal environment throughout UC medical centers in which staffers — particularly frontline workers — are exhausted, overburdened, and dangerously likely to make mistakes.

Peppered with anecdotal horror stories describing things like dried blood observed on operating room tables at facilities where custodial staffing was cut to a bare minimum, or an incident in which a mentally altered patient was found on a window sill at a medical facility where harrowed nursing assistants’ attention was divided too many ways, the report portrays an unsafe environment that seems out of sync with the system’s reportedly healthy earnings derived from patient care.

“Bring it up at bargaining, and you get told to kick rocks,” said union spokesperson Todd Stenhouse. AFSCME has called upon state agencies and lawmakers to investigate UC policies on “cutting costs, reducing staff, and maximizing revenue.”

“We’ve been getting lots of reports about short staffing, and no coverage for breaks,” said Tim Thrush, a diagnostic sonographer who works with patients experiencing complications in pregnancy, and has worked at UCSF for years. “If you get a break or a lunch, it seems to be rare — even though it’s state law.” Thrush added. “It looks to us … that UC’s response to us raising concerns … is to say, OK well then let’s make it worse. Let’s lay off a whole bunch of people.

“It’s been very disappointing,” he said, “and it’s getting to be kind of scary.”

The report emphasizes California Department of Public Health findings of violations relating to bedsores from 2008 to 2012. The sores can occur if a patient stays in one position for too long, causing reduced blood flow and damage to skin tissue, and have been linked to infection.

Among those affected by the layoffs were “lift and turn team” members, including care workers tasked with turning immobilized patients to prevent bedsores.

Ironically, Rush-Monroe, the UCSF spokesperson, noted in response to a Guardian query that a $300,000 “incentive pay” bonus CEO Mark Laret received in 2011 was based on multiple “clinical improvement goals” that had to be satisfied in order to qualify for the 2011 compensation increase. One of these targets was a reduction in the number of hospital-acquired bedsores.

While the union report points to rising instances of bedsores, and the UCSF administration claims they were reduced to the extent that the CEO was monetarily rewarded for the accomplishment, a quick look at scores on hospital ranking website California Hospital Compare showed that pressure sore rankings at UCSF are almost exactly even with the statewide average.

Meanwhile, hospital rankings of patient safety indicators on Health Grades, an online consumer ranking website, didn’t reflect any dramatic differences between patient safety scores at UCSF, CPMC or Kaiser Permanente.

QUESTIONS RAISED

In the midst of these staffing cuts, AFSCME charges, the $6.9 billion system has enjoyed robust finances, with UCSF earning $100 million in net revenue last year. Between 2009 to 2012, management positions increased by 38 percent system-wide, while payroll costs for managers grew by 50 percent, with an additional $100 million a year allocated to administrative staffing.

According to a 2013-14 budgetary report prepared at the UC level, the system’s network of public universities have suffered deep financial cuts while its five medical centers “have continued to flourish and grow,” and “enjoy robust earnings.”

A revenue breakdown in the UC budget report shows that 62 percent of medical center earnings system-wide were derived from private health care plan reimbursements, while about a third came from Medicare and MediCal, funded by the federal and state government.

Meanwhile, ASCFME’s report has raised eyebrows in the California Senate. Sen. Ed Hernandez, who represents part of Los Angeles County and chairs the Senate Health Committee, “has expressed an interest in looking at it further,” according to committee consultant Vincent Marchand. “We may decide to call a hearing” sometime in May to see if further action is warranted, he added.

Sen. Yee lambasted the UC system for what he called “blatant disregard for the working staff.” Yee said the layoffs raised concerns about the quality of patient care, saying, “How do you lay off 300 individuals and think that it’s not going to compromise patient care?”

Yee added that he thought the UC budget ought to be scrutinized when it goes before the Senate. “Although the Constitution gives the UCs of California tremendous autonomy via the Board of Regents, ultimately we in the Legislature still allocate dollars … so there is a legislative and moral responsibility that we need to exercise,” he said. “Are the dollars within UC being used appropriately to take care of patients and in ensuring their safety?”

CONSTRUCTION, COMPENSATION AND VIPS

In early 2015, UCSF will open its new Mission Bay complex, a 289-bed facility featuring a children’s hospital with an urgent/emergency care unit and an adult care unit for cancer patients. The estimated price tag for the project is about $1.5 billion, and construction costs associated the project were referenced in an Oct. 12 letter Laret, UCSF’s CEO, issued to hospital staff announcing the pending staffing cuts.

Thrush questions decisions made at the highest administrative levels. Laret is “eliminating 300 jobs, and we’re opening a new facility, and he’s getting a $300,000 bonus,” he said, referring to a “retention bonus” expected to be awarded this year, which could be followed by a $400,000 bonus in 2014. “Why is he getting a huge bonus if we’re having to lay off so much staff?”

With a total compensation of around $1.2 million in 2011, Laret’s salary seems excessive in comparison with that of frontline workers — and it is. At the same time, it seems to be within the realm of a CEO of a major medical facility, a quick Internet search reveals.

ACSFME’s report targets Laret specifically, saying he repeatedly emphasized to hospital staff, “When you see patients, you should see dollar signs.” Johnson, the MRI technician, told the Guardian he heard Laret make this statement years ago, when he first came on as CEO. “I know that some physicians were outraged by it,” he said. “I heard that the physicians told him to stop, and he stopped saying it.” UCSF did not respond to Guardian requests for a comment on this allegation.

The report also focuses on a practice of so-called “VIPs” — patients connected with the UC Regents or other influential persons — receiving preferential care. “I got called in on a Sunday to take care of a celebrity, because they had a headache,” said Johnson. “I’ve seen patients have to be on hold so we can scan the [VIPs]. They definitely get preference. I’ve been told, if one of those VIPs comes in, we have to get them on the scanner.” UCSF didn’t respond to Guardian questions concerning VIP patient treatment, either.

LABOR DISPUTE

Montiel, the media relations director for the UC system, responded to a Guardian query with a wholesale rejection of the detailed 40-page report, without directly addressing any of the allegations. Instead, he said the whole controversy arose from a labor rift over pension reform.

“These claims by AFSCME coincide with a bargaining impasse, and the scheduling of a strike vote by its patient care technical workers,” Montiel wrote in an email. “Quality of care is not the issue. The real issue is pension reform. AFSCME has resisted pension reforms that eight unions representing 14 other UC bargaining units have agreed to. The reforms also apply to UC faculty and staff not in unions.”

AFSCME recently announced that its membership would begin voting on April 30 over whether to authorize a strike, following months of stalled negotiations over a contract that expired last September. Stenhouse, the union spokesperson, called it “the impasse of impasses” yet suggested to the Guardian that the strike authorization vote was a side issue from the concerns raised in the whistleblower report. The workers are there to “provide patient care,” he told the Guardian. “They’re not making Buicks.”

“This report is about something much bigger than our members’ livelihoods,” Lybarger stated when the report was released. “It’s about whether the UC is prioritizing quality care for the millions of Californians who put their lives in our hands.”

The vultures of greed

Zelda Bronstein
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129
The vultures of greed

A small but enthusiastic crowd marched through the Castro April 20 to bring some attention to the rash of Ellis Act evictions that are forcing seniors and disabled people out of the city. The activists stopped at the home of Jeremy Mykaels, whose plight is symbolic of the state of housing in San Francisco today. Mykaels insists he’s not a public speaker, but his remarks were poignant; we’ve excerpted them here:

I have AIDS and I am being evicted through the use of the Ellis Act. I want to welcome you to my home for the past 18 years, and to my Castro neighborhood where I’ve spent the last four decades, or two-thirds of my life.

I was there at some of the earliest Gay Pride Parades and Castro Street Fairs, listening to speakers like Harvey Milk and seeing entertainers like Sylvester with Two Tons ‘O Fun and Patrick Cowley. I proudly voted for Harvey to become the city’s first openly gay supervisor. I participated in the fight against the Briggs amendment, which would have outlawed gay teachers in California schools. I walked in the candlelight march honoring the lives of Harvey Milk and Mayor Moscone after their assassinations by Supervisor Dan White. And I’ve been here for many other protests and for many other celebrations.

And like most of you, I’ve seen how HIV and AIDS have devastated this community over the years and I have lost most of my closest friends and lovers to this disease. Until 12 years ago I thought I had somehow miraculously escaped it’s clutches, but that was not to be and I have been dealing with that reality as best as I can ever since, with mixed results. And now on top of the great losses this disease has cost our gay community, even more losses are occurring in the form of more and more long-term tenants with HIV/AIDS living in rent-controlled apartments being forced to move out of their homes and/or out of the city after being evicted through the use of the Ellis Act, or who have been scared and bullied by just the threat of an Ellis eviction into accepting low buyout offers to vacate.

I had always thought that I would spend the rest of my life living in this neighborhood and city that I love. Now I know that, like so many others before me who found themselves in similar situations, I will have no choice but to move out.

Tech boom 2.0 has brought out what I call the Vultures of Greed, a de facto alliance of banks, the real estate lobby, and, whether unwittingly or not, city officials like the mayor and several supervisors and the Planning Commission. But the worst Vultures of Greed have been the real estate speculators, many of whom I have listed on my website.

And here I would like to call out my own personal vultures as a prime example of how uncaring real estate speculators can be. The new owners of this property are Cuong Mai, William H. Young and John H. Du, and their business entity is 460Noe Group LLC, based in Union City. These are truly callous individuals who knew from the very beginning that they had a person with AIDS living in the building, and soon after they bought the place they began threatening me with an Ellis eviction if I didn’t accept their low-ball buyout offer and vacate. On September 10th, 2012 they subsequently Ellised the building and served me with eviction papers which means that I will only have until September 10th of this year to legally occupy my apartment. All these men want is the highest profit they can get after they remodel and re-sell this building. They could care less what happens to me when I am forced to move out of the city and no longer have access to all my HIV specialists who have kept me alive for this long. A prospect I’ll admit that, yes, scares me. But these guys, they won’t lose even a seconds sleep over my fate.


Yes, the Vultures of Greed are soaring high with sharpened talons ready to feed upon our city’s seniors and disabled, and on what’s left of our already decimated San Francisco gay community. But we don’t have to allow it. Together with our growing number of allies, we can change minds and we can eventually reclaim this city from the Vultures of Greed.

BTW, we couldn’t reach Mai, Young, or Du, and their lawyer, Saul Ferster, did not return a call seeking comment.

Ammiano’s on a roll

Zelda Bronstein
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18
Ammiano’s on a roll

Willie Brown, the former mayor and current unregistered lobbyist, has been trying to undermine Assemblymember Tom Ammiano for years. But take a look at two Ammiano bills this spring and you get a sense of how effective San Francisco’s veteran representative can be.

On April 23, the state Assembly Judiciary Committee passed Ammiano’s Homeless Bill of Rights, 7-3. That wasn’t easy; he had to amend the bill and work the committee hard. The League of California Cities, which has a lot of clout in Sacto, doesn’t like the bill; neither does the California Chamber of Commerce. This is a big deal; the bill would ban most “sit-lie” laws and guarantee everyone the right to use public space.

Then the Pubilc Safety Committee approved his marijuana regulation bill, 5-2 (despite Brown and Co. trying to screw it up). And his Domestic Workers Bill of Rights , which the governor vetoed last year, is headed for likely approval at the Labor and Employment Committee.

There’s still a long road ahead for all of these bills — more committees, Assembly floor, Senate, and then the guv (and who the hell knows where Jerry will be on anything these days). But it’s possible that, in his final term, Ammiano could have several landmark bills approved.

(Yeah, it’s his final term. Six years is all you get in the Assembly. Crazy what terms limits has wrought. The minute you get to the point where you really know how to do your job, and you can truly deliver for your constitutents, they shove you out the door.)

 

Music listings

Andrew Lam
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0

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

WEDNESDAY 24

ROCK/BLUES/HIP-HOP

Bob vs Guido Johnny Foley’s Dueling Pianos. 10pm, free.

Edie Sedgewick, El Elle, All Your Sisters Hemlock Tavern. 8:30pm, $7.

Flosstradamus, Lil’ Texas Regency Ballroom. 8pm, $22.

Fuzz, Wooden Burial Ground, Spyrals, Man Rickshaw Stop. 8pm, $10.

Sergent Garcia Slim’s. 8pm, $25.

Gunshy Johnny Foley’s. 10pm, free.

Telekinesis, Mount Moriah, Paparazzi Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

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

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

Terry Disley’s Mini-Experience Burritt Room, 417 Stockton, SF; www.mystichotel.com. 6-9pm, free.

Lara Downes with Quartet San Francisco Yoshi’s SF. 8pm, $24.

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

Craig Ventresco and Meredith Axelrod Cafe Divine, 1600 Stockton, SF; www.cafedivinesf.com.7-9pm, free.

FOLK/WORLD/COUNTRY

Kitten on the Keys Rite Spot Cafe. 8:30pm.

Timba Dance Party Bissap Baobab, 3372 19th St, SF.; www.bissapbaobab.com 10pm, $5. With DJ Walt Diggz.

Toast Inspectors Plough and Stars. 9pm.

DANCE CLUBS

Bodyshock, Inhalt, DJ Crackwhore, DJ Unit 77 Elbo Room. 9pm, $7.

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

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

Coo-Yah! Slate Bar, 2925 16th St, SF; www.slate-sf.com. 10pm, free.

Full-Step! Tunnel Top. 10pm, free. Hip-hop, reggae, soul, and funk with DJs Kung Fu Chris and Bizzi Wonda.

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

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

Sonic Bodies #3 Center for New Music, 55 Taylor, SF; www.centerfornewmusic.com. 7:30pm, $7-$10. Electro-acoustic and noise musicians, dancers.

THURSDAY 25

ROCK/BLUES/HIP-HOP

Aloha Screwdriver, Rocketship Rocketship, Deadbeats Thee Parkside. 9pm, $5.

Baby Dee and Annie Amnesia. 7:30pm, $12.

Joe Bagale, Crystal Monee Hall, Subharmonic Great American Music Hall. 9pm, $14-$16.

Ghost BC, Ides of Gemini Regency Ballroom. 8:30pm, $22.

Guido vs Bob Johnny Foley’s Dueling Pianos. 10pm, free.

Led Zepagain DNA Lounge. 9pm, $20.

Lydia, From Indian Lakes, Sweet Talker Slim’s. 7:30pm, $13-$15.

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

Joan Osborne Acoustic Duo Yoshi’s SF. 8pm, $40.

Ben Ottewell Independent. 8pm, $15.

Papa Bear and the Easy Love, Peachalope, WOOOOOO Hemlock Tavern. 8:30pm, $6.

Transit, Seahaven, All Get Out Bottom of the Hill. 8pm, $12.

JAZZ/NEW MUSIC

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

Brad Mehldau SFJazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $30-$70.

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

Sophisticated Ladies Rite Spot Cafe. 9pm.

FOLK/WORLD/COUNTRY

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

Tipsy House Plough and Stars. 9pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $8. With Pleasuremaker and Senor Oz, plus Chauncey Yearwood.

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

Goldroom, Viceroy (DJ set), popscene DJs Rickshaw Stop. 9:30pm, $13-$17.

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

Sound Remedy Brick and Mortar Music Hall. 8pm, $10.

FRIDAY 26

ROCK/BLUES/HIP-HOP

Back Pages Johnny Foley’s. 10pm, free.

Bob, Guido, Jeff V. Johnny Foley’s Dueling Pianos. 10pm, free.

Dear Hunter, Naive Thieves Slim’s. 8:30pm, $16.

Dope Stars Inc., Rabid Whole DNA Lounge. 8pm, $13.

Eight Bells, Amber Asylum, Dead Man Hemlock Tavern. 9:30pm, $7.

Kill the Noise, Brillz, Codes Regency Ballroom. 9pm, $30.

Kowloon Walled City, Tartufi, Queen Crescent Brick and Mortar Music Hall. 9:30pm, $10.

Maps and Atlases, Young Man, Cannons and Clouds Rickshaw Stop. 9pm, $15.

Shuggie Otis, Jesca Hoop Mezzanine. 9pm.

Phenomenauts, Emily’s Army, Warm Soda Bottom of the Hill. 9:30pm, $12.

Proclaimers, JP Great American Music Hall. 9pm, $26.

Ruben Studdard Yoshi’s SF. 8pm, $40; 10pm, $32.

Super Diamond, Purple Ones Bimbo’s. 9pm, $22.

Tumbleweed Wanderers, Guy Fox Independent. 9pm, $18.

TV Mike and the Scarecrowes, Christian Lee Hutson, Electric Sheep, Daring Ear Thee Parkside. 9pm, $8.

JAZZ/NEW MUSIC

"A Night at the Opera" Herbst Theatre, 401 Van Ness, SF; sfwmpac.org. 8pm, free.

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

Brad Mehldau Duo with Kevin Hayes SFJazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $30-$70.

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

Allison Lovejoy Rite Spot Cafe. 9pm.

Loren Means, Jean Ramirez, Lee Bloom Caffe D’Melanio, 1314 Ocean, SF; (415) 333-3665. 7-9pm, free.

Paris Combo Palace of Fine Arts, 3301 Lyon, SF; www.palaceoffinearts.org. 8pm, $25-$50.

"Taglish" Red Poppy Art House. 7:30pm, $10-$15. With Karl Evangelista, Grex, and more.

FOLK/WORLD/COUNTRY

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

Kevin Burke and John Carty Brick and Mortar Music Hall. 7:30pm, $20.

Dave Hanley Band, Bloody Ol’ Mule Plough and Stars. 9pm.

Tina and Her Pony Modern Times Bookstore, 2919 24 St, SF; www.tinaandherpony.com. 8pm, free.

Trio Troubadour Bissap Baobab, 3372 19th St, SF.; www.bissapbaobab.com 7:30pm, free.

"Under the Influence" Emerald Tablet, 80 Fresno, SF; undertheinfluence.emtab.org. 7pm, $5. Lizzy Acker, MK Chavez, Mariama Lockington perform works by major influences.

DANCE CLUBS

araabMUZIK, Heroes x Villians, Branchez, G Jones 1015 Folsom, SF; www.1015.com. 10pm, $17.50.

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

MOM SF Anniversary Cafe Du Nord. 8pm, $20. With Rojai and E. Live, Hot Pocket, DJs Gordo Cabeza, Timoteo Gigante, and more.

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

120 Minutes presents White Ring Elbo Room. 10pm. With resident DJs S4NtA_MU3rTE, Chauncey CC.

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

Trap and Bass DNA Lounge. 9pm, $20. With Dirty Audio.

SATURDAY 27

ROCK/BLUES/HIP-HOP

Bay Area Heat Johnny Foley’s. 10pm, free.

Broken Water, Synthetic ID, Permanent Collection Thee Parkside. 9pm, $8.

Built to Spill, Ugly Winner Slim’s. 9pm, $26-$28.

Chappo, Sunrunners, Coast Jumper, Nova Albion Elbo Room. 9:30pm, $10.

Chick Jagger 50 Mason Social House, SF; www.50masonsocialhouse.com. 7pm, free.

Clamhawk Manor, Prepare for War!? Thee Parkside. 3pm, free.

DRMS, James Riotto, Bells Atlas Bottom of the Hill. 9:30pm, $12.

Ensemble Mik Nawooj, Aima the Dreamer, CelloJoe Brick and Mortar Music Hall. 9pm, $15.

Jeff V., Greg Zema, Bob Johnny Foley’s Dueling Pianos. 10pm, free.

Qui, Victory and Associates, Minot Hemlock Tavern. 9:30pm, $8.

Rupa and the April Fishes, Las Cafeteras Independent. 9pm, $20.

Slippery Slope, Everyone is Dirty, Collapsible Empire El Rio. 9pm.

SOJA, Rootz Underground, Los Rakas Warfield. 8:30pm, $28.

Ruben Studdard Yoshi’s SF. 8pm, $40; 10pm, $32.

JAZZ/NEW MUSIC

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

Brad Mehldau Duo with Mark Guiliana SFJazz Center, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $30-$70.

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

Mr. Lucky and the Cocktail Party Rite Spot Cafe. 9pm.

FOLK/WORLD/COUNTRY

Fireflies Plough and Stars. 9pm.

Kafana Balkan, Inspector Gadje Brass Band, DJ Zeljko, Jill Parker Rickshaw Stop. 9pm, $15.

DANCE CLUBS

Bootie SF: Aprilween DNA Lounge. 9pm, $20. With Lobsterdust, Maya Jakobson, DJ K.Ash, Smash-Up Derby, and more.

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

Re: Edit Underground SF, 424 Haight, SF; www.undergroundsf.com. 10pm. With DJs Michael Perry, Bob V, James Demon, Zenith.

Temptation Cat Club. 9:30pm. $5-$8. Indie, electro, new wave video dance party.

SUNDAY 28

ROCK/BLUES/HIP-HOP

Absu, Pale Chalice, Cyanic DNA Lounge. 8pm, $17.

Built to Spill, Ugly Winner Slim’s. 8pm, $26-$28.

Cave Singers, Bleeding Rainbw Great American Music Hall. 8pm, $16.

Commisure, Carta, Skyscraper Mori Hemlock Tavern. 8:30pm, $7.

Har Mar Superstar, Easystreet, Rocky Business Bottom of the Hill. 9pm, $10.

Paul Kelly, Lady Crooners Brick and Mortar Music Hall. 8pm, $20.

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

New Build, No Ceremony /// Independent. 8pm, $17.

Shadow Sessions performing Endtroducing Elbo Room. 5pm, $10.

Marnie Stern, SISU, E V Kain Rickshaw Stop. 8pm, $12.

We Will Be Lions, Quaaludes, Sweat Lodge, Paperhaus Thee Parkside. 8pm, $7.

JAZZ/NEW MUSIC

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

FOLK/WORLD/COUNTRY

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

Maria Fibish Plough and Stars. 9pm.

Silver Threads Tupelo, 1337 Grant, SF; www.tupelosf.com 4-7pm, free.

Sweet Jo’s Chilli and Biscuits, Stu Allen and Mars Hotel, Echo Trails Brick and Mortar Music Hall. 2pm, free.

Tin Cup Serenade Red Poppy Art House. 7:30pm, $5.

VOENA: Voices of the River Yoshi’s SF. 6pm, $12-$22. Multi-cultural children’s choir.

DANCE CLUBS

Beats for Brunch Thee Parkside. 11am, free.

Dance to Cure Diabetes Project 1, 251 Rhode Island, SF; www.p1sf.com. Noon-11pm. With Mark Farina, Maurice Tamraz, Sen-sei and Brian Salazar, and more.

Deep Fried Soul Dance Party Boom Boom Room. 8pm, free.

Dub Mission Elbo Room. 9pm, $6. With DJ Sep, Maneesh the Twister, Dub Gabriel.

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

MONDAY 29

ROCK/BLUES/HIP-HOP

Chad Valley, Ski Lodge, Soonest Bottom of the Hill. 9pm, $12.

Damir Johnny Foley’s. 10pm, free.

Dunwells Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, $10-$12.

Thee Oh Sees Brick and Mortar Music Hall. 9pm, $10.

Various Cruelties, B. Hamilton, Hindu Pirates Rickshaw Stop. 8pm, $10-$12.

Whitehorse Cafe Du Nord. 8pm, $10.

FOLK/WORLD/COUNTRY

Mike Burns Rite Spot Cafe. 8:30pm.

DANCE CLUBS

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

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

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

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

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

TUESDAY 30

ROCK/BLUES/HIP-HOP

Blood Red Shoes, Mister Loveless Brick and Mortar Music Hall. 9pm, $12.

IAMSU!, Problem Slim’s. 9pm, $19.

In Cahoots, Ghost Tribe Fires, Balto Hotel Utah. 8pm.

Jelly Bread Boom Boom Room. 8pm, $5.

Lonely Forest, Now Now, Doe Eye Rickshaw Stop. 8pm, $10-$12.

METZ, White Lung, Mrs. Magician Bottom of the Hill. 9pm, $12.

Stan Erhart Band Johnny Foley’s. 10pm, free.

Synchronized Watches, See Minus Hemlock Tavern. 8:30pm, $6.

Titan Ups, Burnt, Giraffe Aftermath Amnesia. 9pm, $8-$10.

Wakey! Wakey! Cafe Du Nord. 8pm, $12.

JAZZ/NEW MUSIC

Terry Disley’s Mini-Experience Burritt Room, 417 Stockton, SF; www.mystichotel.com. 6-9pm, free.

Renaud Garcia-Fons Yoshi’s SF. 8pm, $24. International Jazz Day.

FOLK/WORLD/COUNTRY

Toshio Hirano Rite Spot Cafe. 8:30pm.

Film listings

Andrew Lam
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0

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

SAN FRANCISCO INTERNATIONAL FILM FESTIVAL

The San Francisco International Film Festival runs April 25-May 9 at the Castro Theatre, 429 Castro, SF; New People Cinema, 1746 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Sundance Kabuki Cinemas 1881 Post, SF. For tickets (most shows $10-15) and complete schedule, visit festival.sffs.org.

OPENING

Arthur Newman Colin Firth and Emily Blunt star in this tale of lost souls who find happiness after meeting on a road trip. (1:41)

The Big Wedding According to the poster, The Big Wedding cake-smashes everything Hollywood loves to play on repeat into a single film: it’s an ensemble comedy, a remake of a foreign film, and features Amanda Seyfried as a bride and Robert De Niro as a rascally patriarch. Plus, Robin Williams plays a priest. (1:29) Presidio.

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

Mud The latest from Jeff Nichols (2011’s Take Shelter) stars Matthew McConaughey as an escaped con who befriends two Arkansas boys while he’s on the run. (2:15) California.

Pain & Gain Michael Bay directs this action-comedy about an organized crime ring populated by bodybuilders; the cast includes Mark Wahlberg and Dwayne "The Rock" Johnson. (2:00) Shattuck.

Simon Killer Antonio Campos — producer of 2011’s Martha Marcy May Marlene and director of 2008’s Afterschool — helms this dread-filled, urban-noir tale of the ultimate ugly American abroad. Smarting from a recent breakup, Simon (Brady Corbet) roams Paris’ seedier streets, composing letters to his ex in his head while blasting ironically cheerful pop songs in his headphones. But this is no twee tale of redemption: Simon is a sociopath, probably also a psychopath, and we soon fear for the willowy prostitute (Mati Diop of 2008’s 35 Shots of Rum) who is taken in by his manipulative charm. Campos has said that Simon is inspired by convicted murderer and Natalee Holloway suspect Joran van der Sloot, and Corbet’s coolly unnerving performance bears that out. The story, alas, is not nearly as compelling — even without a gold-hearted hooker it’d still hit too many predictable beats. (1:45) Opera Plaza, Shattuck. (Eddy)

Tai Chi Hero Six months ago, Tai Chi Zero — Stephen Fung’s nutty tale of a martial arts savant who journeys to an isolated town to learn a top-secret technique — barreled into local theaters. A stylish kung fu flick with a high degree of WTF-ness, Zero ended on a pretty significant cliffhanger, so here’s the cheeky sequel for those who’ve been wondering what happened to Yang Lu Chan (Yuan Xiaochao) — a sweet fool when he’s not in supernatural Hulk-smash mode — and company. A brief intro gets newbies up to speed before the action starts: Lu Chan and the bossy-yet-comely daughter (Angelababy) of the local grandmaster (Tony Leung Ka Fai) have entered into a marriage of convenience — and there’s something fishy about Lu Chan’s brother-in-law, newly returned from a long exile with his own secretive bride. Meanwhile, the family worries about the dreadful "bronze bell prophecy" while the first film’s Westernized villain plots tasty revenge. In addition to all the high-flying, slo-mo scenes of hand-to-hand combat, highlights include a soundtrack filled with unexpected choices (heavy metal, accordion), a cameo by cult actor Peter Stormare (hamming it up big-time), and an army tricked out with steampunky weapons. (1:40) Metreon. (Eddy)

ONGOING

The Angels’ Share The latest from British filmmaker Ken Loach (2006’s The Wind that Shakes the Barley) and frequent screenwriter collaborator Paul Leverty contains a fair amount of humor — though it’s still got plenty of their trademark grit and realism. Offered "one last opportunity" by both a legal system he’s frequently disregarded and his exasperated and heavily pregnant girlfriend, ne’er-do-well Glaswegian Robbie (Paul Brannigan) resolves to straighten out his life. But his troubled past proves a formidable roadblock to a brighter future — until he visits a whiskey distillery with the other misfits he’s been performing his court-ordered community service with, and the group hatches an elaborate heist that could bring hope for Robbie and his growing family … if his gang of "scruffs" can pull it off. Granted, there are some familiar elements here, but this 2012 Cannes jury prize winner (the fest’s de facto third-place award) is more enjoyable than predictable — thanks to some whiskey-tasting nerd-out scenes, likable performances by its cast of mostly newcomers, and lines like "Nobody ever bothers anybody wearing a kilt!" (not necessarily true, as it turns out). Thankfully, English subtitles help with the thick Scottish accents. (1:41) Embarcadero. (Eddy)

Blancanieves If you saw the two crappy overblown Hollywood takes on Snow White last year, my condolences. This is probably its best cinematic incarnation ever not made by someone called Walt. Pablo Berger’s Blancanieves transplants the tale to 1920s Spain and told (à la 2011’s The Artist) in the dialogue-free B&W style of that era’s silent cinema. Here, Snow is the daughter of a famous bullfighter (a beautiful performance by Daniel Giménez Cacho) who’s paralyzed physically in the ring, then emotionally by the death of his flamenco star wife (Inma Cuesta) in childbirth. He can’t bring himself to see his daughter until a grandmother’s death brings little Carmencita (the marvelous Sofía Oria) to the isolated ranch he now shares with nurse-turned-second-wife Encarna — Maribel Verdú as a very Jazz Age evil stepmother. Once the girl matures (now played by the ingratiating, slightly androgynous Macarena García), Encarna senses a rival, and to save her life Carmen literally runs away with the circus — at which point the narrative slumps a bit. But only a bit. Where The Artist was essentially a cleverly sustained gimmick elevated by a wonderful central performance, Blancanieves transcends its ingenious retro trappings to offer something both charming and substantiative. Berger doesn’t treat the story template as a joke — he’s fully adapted it to a culture, place, and time, and treats its inherent pathos with great delicacy. (1:44) Embarcadero, Shattuck, Smith Rafael. (Harvey)

The Company You Keep Robert Redford directs and stars as a fugitive former member of the Weather Underground, who goes on the run when another member (Susan Sarandon) is arrested and a newspaper reporter (Shia LaBeouf) connects him to a murder 30 years earlier during a Michigan bank robbery. Both the incident and the individuals in The Company You Keep are fictive, but a montage of archival footage at the start of the film is used to place them in the company of real-life radicals and events from the latter days of the 1960s-’70s antiwar movement. (The film’s timeline is a little hard to figure, as the action seems to be present day.) Living under an assumed name, Redford’s Nick Sloan is now a recently widowed public interest lawyer with a nine-year-old daughter, still fighting the good fight from the suburbs of Albany, NY — though some of his movement cohorts would probably argue that point. And as Nick heads cross-country on a hunt for one of them who’s still deep underground, and LaBeouf’s pesky reporter tussles with FBI agents (Terrance Howard and Anna Kendrick) and his besieged editor (Stanley Tucci) — mostly there to pass comment on print journalism’s precipitous decline — there’s plenty of contentious talk, none of it particularly trenchant or involving. Redford packs his earnest, well-intentioned film with stars delineating a constellation of attitudes about revolution, justice, and violent radical action — Julie Christie as an unrepentant radical and Nick’s former lover, Nick Nolte and Richard Jenkins as former movement members, Brendan Gleeson as a Michigan police detective involved in the original investigation, Chris Cooper as Nick’s estranged and disapproving younger brother. But their scrutiny, and the film’s, feels blurry and rote, while the plot’s one major twist seems random and is clumsily exposed. (2:05) Albany, SF Center, Sundance Kabuki. (Rapoport)

The Croods (1:38) Metreon, 1000 Van Ness.

Disconnect (1:55) SF Center, Sundance Kabuki.

Evil Dead "Sacrilege!" you surely thought when hearing that Sam Raimi’s immortal 1983 classic was being remade. But as far as remakes go, this one from Uruguayan writer-director Fede Alvarez (who’d previously only made some acclaimed genre shorts) is pretty decent. Four youths gather at a former family cabin destination because a fifth (Jane Levy) has staged her own intervention — after a near-fatal OD, she needs her friends to help her go cold turkey. But as a prologue has already informed us, there is a history of witchcraft and demonic possession in this place. The discovery of something very nasty (and smelly) in the cellar, along with a book of demonic incantations that Lou Taylor Pucci is stupid enough to read aloud from, leads to … well, you know. The all-hell that breaks loose here is more sadistically squirm-inducing than the humorously over-the-top gore in Raimi’s original duo (elements of the sublime ’87 Evil Dead II are also deployed here), and the characters are taken much more seriously — without, however, becoming more interesting. Despite a number of déjà vu kamikaze tracking shots through the Michigan forest (though most of the film was actually shot in New Zealand), Raimi’s giddy high energy and black comedy are replaced here by a more earnest if admittedly mostly effective approach, with plenty of decent shocks. No one could replace Bruce Campbell, and perhaps it was wise not to even try. So: pretty good, gory, expertly crafted, very R-rated horror fun, even with too many "It’s not over yet!" false endings. But no one will be playing this version over and over and over again as they (and I) still do the ’80s films. (1:31) Metreon, 1000 Van Ness. (Harvey)

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

From Up on Poppy Hill Hayao (dad, who co-wrote) and Goro (son, who directed) Miyazaki collaborate on this tale of two high-school kids — Umi, who does all the cooking at her grandmother’s boarding house, and Shun, a rabble-rouser who runs the school newspaper — in idyllic seaside Yokohama. Plans for the 1964 Olympics earmark a beloved historic clubhouse for demolition, and the budding couple unites behind the cause. The building offers a symbolic nod to Japanese history, while rehabbing it speaks to hopes for a brighter post-war future. But the past keeps interfering: conflict arises when Shun’s memories are triggered by a photo of Umi’s father, presumed lost at sea in the Korean War. There are no whimsical talking animals in this Studio Ghibli release, which investigates some darker-than-usual themes, though the animation is vivid and sparkling per usual. Hollywood types lending their voices to the English-language version include Jamie Lee Curtis, Christina Hendricks, Ron Howard, and Gilllian Anderson. (1:31) Embarcadero, Shattuck. (Eddy)

GI Joe: Retaliation The plot exists to justify the action, but any fan of badass-ness will forgive the skimpy storyline for the outlandish badassery in GI Joe: Retaliation. Inspired by action figures and tying loosely to the first flick, Retaliation starts with a game of "secure the defector," followed by "raise the flag," but as soon as the stakes aren’t real, the Joes outright suck. They don’t have "neutral," which is maybe why a mission to rescue and revive the Joes as a force is the most ferocious fight that ever pit metal against plastic. The set pieces are stunning: a mostly silent sequence with Snake Eyes (Ray Park) and Jinx (Elodie Yung) on a mountainside will leave the audience gaping in its high speed wake, and a prison break featuring covert explosives is nonstop amazing. You’ll notice an emphasis on chain link fences and puddles (terra nostra for action figures) and set pieces conceived as if by kids who don’t have a concept of basic irrefutable truths like gravity. It’s just that kind of imagination and ardor and limitlessness that makes this Joe incredible, memorable, and a reason to crack out your toys again. (1:50) Metreon, 1000 Van Ness. (Vizcarrondo)

Ginger and Rosa It’s the 1960s, nuclear war is a real possibility, and nuclear-family war is an absolute certainty, at least in the London house occupied by Ginger (Elle Fanning), her emotionally wounded mother (Mad Men‘s Christina Hendricks), and her narcissistic-intellectual father (Alessandro Nivola). In this downbeat coming-of-age tale from Sally Potter (1992’s Orlando), Ginger’s teenage rebellion quickly morphs into angst when her BFF Rosa (Beautiful Creatures‘ Alice Englert) wedges her sexed-up neediness between Ginger’s parents. Hendricks (playing the accordion — just like Joan!) and Annette Bening (as an American activist who encourages Ginger’s political-protest leanings) are strong, but Fanning’s powerhouse performance is the main focus — though even she’s occasionally overshadowed by her artificially scarlet hair. For an interview with writer-director Potter, visit www.sfbg.com/pixel_vision. (1:30) Smith Rafael. (Eddy)

The Host (2:01) Metreon.

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

Lords of Salem (1:41) Metreon, 1000 Van Ness.

No Long before the Arab Spring, a people’s revolution went down in Chile when a 1988 referendum toppled the country’s dictator, Augusto Pinochet, thanks in part to an ad exec who dared to sell the dream to his countrymen and women — using the relentlessly upbeat, cheesy language of a Pepsi Generation. In No‘s dramatization of this true story, ad man Rene Saavedra (Gael Garcia Bernal) is approached by the opposition to Pinochet’s regime to help them on their campaign to encourage Chile’s people to vote "no" to eight more years under the brutal strongman. Rene’s well-aware of the horrors of the dictatorship; not only are the disappeared common knowledge, his activist ex (Antonia Zegers) has been beaten and jailed with seeming regularity. Going up against his boss (Alfredo Castro), who’s overseeing the Pinochet campaign, Rene takes the brilliant tact in the opposition’s TV programs of selling hope — sound familiar? — promising "Chile, happiness is coming!" amid corny mimes, dancers, and the like. Director-producer Pablo Larrain turns out to be just as genius, shooting with a grainy U-matic ’80s video camera to match his footage with 1988 archival imagery, including the original TV spots, in this invigorating spiritual kin of both 2012’s Argo and 1997’s Wag the Dog. (1:50) Opera Plaza, Shattuck. (Chun)

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

Olympus Has Fallen Overstuffed with slo-mo shots of the flag rippling (in breezes likely caused by all the hot air puffing up from the script), this gleefully ham-fisted tribute to America Fuck Yeah estimates the intelligence of its target audience thusly: an establishing shot clearly depicting both the Washington Monument and the US Capitol is tagged "Washington, DC." Wait, how can you tell? This wannabe Die Hard: The White House follows the one-man-army crusade of secret service agent Mike Banning (Gerard Butler), the last friendly left standing when the President (Aaron Eckhart) and assorted cabinet members are taken hostage by North Korean terrorists. The plot is to ridiculous to recap beyond that, though I will note that Morgan Freeman (as the Speaker of the House) gets to deliver the line "They’ve just opened the gates of hell!" — the high point in a performance that otherwise requires him to sit at a table and look concerned for two hours. With a few more over-the-top scenes or slightly more adventurous casting, Olympus Has Fallen could’ve ascended to action-camp heights. Alas, it’s mostly just mildly amusing, though all that caked-on patriotism is good for a smattering of heartier guffaws. (2:00) 1000 Van Ness. (Eddy)

On the Road Walter Salles (2004’s The Motorcycle Diaries) engages Diaries screenwriter Jose Rivera to adapt Jack Kerouac’s Beat classic; it’s translated to the screen in a streamlined version, albeit one rife with parties, drugs, jazz, danger, reckless driving, sex, philosophical conversations, soul-searching, and "kicks" galore. Brit Sam Riley (2007’s Control) plays Kerouac stand-in Sal Paradise, observing (and scribbling down) his gritty adventures as they unfold. Most of those adventures come courtesy of charismatic, freewheeling Dean Moriarty (Garrett Hedlund of 2010’s Tron: Legacy), who blows in and out of Sal’s life (and a lot of other people’s lives, too, including wives played by Kristen Stewart and Kirsten Dunst). Beautifully shot, with careful attention to period detail and reverential treatment of the Beat ethos, the film is an admirable effort but a little too shapeless, maybe simply due to the peripatetic nature of its iconic source material, to be completely satisfying. Among the performances, erstwhile teen dream Stewart is an uninhibited standout. (2:03) Four Star, Smith Rafael. (Eddy)

Oz: The Great and Powerful Providing a backstory for the man behind the curtain, director Sam Raimi gives us a prequel of sorts to 1939’s The Wizard of Oz. Herein we follow the adventures of a Depression-era Kansas circus magician named Oscar (James Franco) — Oz to his friends — as he cons, philanders, bickers with his behind-the-scenes assistant Frank (Zach Braff), and eventually sails away in a twister, bound for a Technicolor land of massively proportioned flora, talking fauna, and witches ranging from dazzlingly good to treacherously wicked. From one of them, Theodora (Mila Kunis), he learns that his arrival — in Oz, just to clarify — has set in motion the fulfillment of a prophecy: that a great wizard, also named Oz, will bring about the downfall of a malevolent witch (Rachel Weisz), saving the kingdom and its cheery, goodhearted inhabitants. Unfortunately for this deserving populace, Oz spent his last pre-twister moments with the Baum Bros. Circus (the name a tribute to L. Frank Baum, writer of the Oz children’s books) demonstrating a banged-up moral compass and an undependable streak and proclaiming that he would rather be a great man than a good man. Unfortunately for the rest of us, this theme is revisited ad nauseam as Oz and the oppressively beneficent witch Glinda (Michelle Williams) — whose magic appears to consist mainly of nice soft things like bubbles and fog — stand around debating whether he’s the right man for the task. When the fog clears, though, the view is undeniably pretty. While en route to and from the Emerald City, Oz and his companions — among them a non-evil flying monkey (voiced by Braff) and a rather adorable china doll (Joey King) — wander through a deliriously arresting, Fantasia-esque landscape whose intricate, inventive construction helps distract from the plodding, saccharine rhetoric and unappealing story line. (2:07) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Rapoport)

The Place Beyond the Pines Powerful indie drama Blue Valentine (2010) marked director Derek Cianfrance as one worthy of attention, so it’s with no small amount of fanfare that this follow-up arrives. The Place Beyond the Pines‘ high profile is further enhanced by the presence of Bradley Cooper (currently enjoying a career ascension from Sexiest Man Alive to Oscar-nominated Serious Actor), cast opposite Valentine star Ryan Gosling, though they share just one scene. An overlong, occasionally contrived tale of three generations of fathers, father figures, and sons, Pines‘ initial focus is Gosling’s stunt-motorcycle rider, a character that would feel more exciting if it wasn’t so reminiscent of Gosling’s turn in Drive (2011), albeit with a blonde dye job and tattoos that look like they were applied by the same guy who inked James Franco in Spring Breakers. Robbing banks seems a reasonable way to raise cash for his infant son, as well as a way for Pines to draw in another whole set of characters, in the form of a cop (Cooper) who’s also a new father, and who — as the story shifts ahead 15 years — builds a political career off the case. Of course, fate and the convenience of movie scripts dictate that the mens’ sons will meet, the past will haunt the present and fuck up the future, etc. etc. Ultimately, Pines is an ambitious film that suffers from both its sprawl and some predictable choices (did Ray Liotta really need to play yet another dirty cop?) Halfway through the movie I couldn’t help thinking what might’ve happened if Cianfrance had dared to swap the casting of the main roles; Gosling could’ve been a great ambitious cop-turned-powerful prick, and Cooper could’ve done interesting things with the Evel Knievel-goes-Point Break part. Just sayin’. (2:20) California, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. (Eddy)

Quartet Every year there’s at least one: the adorable-old-cootfest, usually British, that proves harmless and reassuring and lightly tear/laughter producing enough to convince a certain demographic that it’s safe to go to the movies again. The last months have seen two, both starring Maggie Smith (who’s also queen of that audience’s home viewing via Downton Abbey). Last year’s The Best Exotic Marigold Hotel, in which Smith played a bitchy old spinster appalled to find herself in India, has already filled the slot. It was formulaic, cute, and sentimental, yes, but it also practiced more restraint than one expected. Now here’s Quartet, which is basically the same flower arrangement with quite a bit more dust on it. Smith plays a bitchy old spinster appalled to find herself forced into spending her twilight years at a home for the elderly. It’s not just any such home, however, but Beecham House, whose residents are retired professional musicians. Gingerly peeking out from her room after a few days’ retreat from public gaze, Smith’s Jean Horton — a famed English soprano — spies a roomful of codgers rolling their hips to Afropop in a dance class. "This is not a retirement home — this is a madhouse!" she pronounces. Oh, the shitty lines that lazy writers have long depended on Smith to make sparkle. Quartet is full of such bunk, adapted with loving fidelity, no doubt, from his own 1999 play by Ronald Harwood, who as a scenarist has done some good adaptations of other people’s work (2002’s The Pianist). But as a generator of original material for about a half-century, he’s mostly proven that it is possible to prosper that long while being in entirely the wrong half-century. Making his directorial debut: 75-year-old Dustin Hoffman, which ought to have yielded a more interesting final product. But with its workmanlike gloss and head-on take on the script’s very predictable beats, Quartet could as well have been directed by any BBC veteran of no particular distinction. (1:38) Shattuck, Smith Rafael. (Harvey)

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

Room 237 What subtexts, hidden meanings, conspiracy theories, and strange coincidences are hidden within Stanley Kubrick’s 1980 horror masterpiece The Shining? Former San Franciscan Rodney Ascher’s wonderfully spooky and unconventional doc burrows deep down the rabbit hole with five Shining-obsessed people, who share their ideas in voice-over as images from that film (and others chosen for reasons both obvious and curious) flow together on the screen. Innovative sound design and a throwback electronic soundtrack contribute to Room 237‘s spellbinding vibe. You’ll never watch The Shining the same way again. (1:42) Roxie. (Eddy)

The Sapphires The civil rights injustices suffered by these dream girls may be unique to Aboriginal Australians, but they’ll strike a chord with viewers throughout the world — at right about the same spot stoked by the sweet soul music of Motown. Co-written by Tony Briggs, the son of a singer in a real-life Aboriginal girl group, this unrepentant feel-gooder aims to make the lessons of history go down with the good humor and up-from-the-underdog triumph of films like The Full Monty (1997) — the crucial difference in this fun if flawed comedy-romance is that it tells the story of women of color, finding their voices and discovering, yes, their groove. It’s all in the family for these would-be soul sisters, or rather country cousins, bred on Merle Haggard and folk tunes: there’s the charmless and tough Gail (Deborah Mailman), the soulful single mom Julie (Jessica Mauboy, an Australian Idol runner-up), the flirty Cynthia (Miranda Tapsell), and the pale-skinned Kay (Shari Sebbens), the latter passing as white after being forcibly "assimilated" by the government. Their dream is to get off the farm, even if that means entertaining the troops in Vietnam, and the person to help them realize that checkered goal is dissolute piano player Dave (Chris O’Dowd). And O’Dowd is the breakout star to watch here — he adds an loose, erratic energy to an otherwise heavily worked story arc. So when romance sparks for all Sapphires — and the racial tension simmering beneath the sequins rumbles to the surface — the easy pleasures generated by O’Dowd and the music (despite head-scratching inclusions like 1970’s "Run Through the Jungle" in this 1968-set yarn), along with the gently handled lessons in identity politics learned, obliterate any lingering questions left sucking Saigon dust as the narrative plunges forward. They keep you hanging on. (1:38) Albany, Embarcadero, Piedmont, Presidio, SF Center. (Chun)

Scary Movie 5 (1:35) Metreon, 1000 Van Ness.

The Silence Maybe "fun" is a tasteless way to describe The Silence, which hinges on pederasty and child murder — though in the end this is more an intelligent pulp thriller than serious address of those issues, uneasily as it straddles both at times. In 1986 two men abduct an 11-year-old girl — one the initially excited, then horrified observer to the second’s murderous sexual assault. Twenty-three years later, another young girl disappears in the same place under disturbingly identical circumstances. This event gradually pulls together a large cast of characters, many initial strangers — including the original victim’s mother (Katrin Sass) and the just-retired detective (Burghart Klaubner) who failed to solve that crime; parents (Karoline Eichhorn, Roeland Wiesnekker) of the newly disappeared teen, who experience full-on mental meltdown; a solidly bourgeoise husband and father of two girls (Wotan Wilke Möhring), inordinately distressed by this repeat of history; and the erstwhile friend he hasn’t contacted in decades, an apartment-complex handyman with a secret life (Ulrich Thomsen). Part procedural, part psychological thriller, part small-town-community portrait, director-scenarist (from Jan Costin Wagner’s novel) Baran bo Odar’s The Silence is just juicy and artful enough to get away with occasional stylistic hyperbole. It’s a conflicted movie, albeit handled with such engrossing confidence that you might not notice the credibility gaps. At least until thinking it over later. Which, don’t. (1:59) Four Star. (Harvey)

Silver Linings Playbook After guiding two actors to Best Supporting Oscars in 2010’s The Fighter, director David O. Russell returns (adapting his script from Matthew Quick’s novel) with another darkly comedic film about a complicated family that will probably earn some gold of its own. Though he’s obviously not ready to face the outside world, Pat (Bradley Cooper) checks out of the state institution he’s been court-ordered to spend eight months in after displaying some serious anger-management issues. He moves home with his football-obsessed father (Robert De Niro) and worrywart mother (Jacki Weaver of 2010’s Animal Kingdom), where he plunges into a plan to win back his estranged wife. Cooper plays Pat as a man vibrating with troubled energy — always in danger of flying into a rage, even as he pursues his forced-upbeat "silver linings" philosophy. But the movie belongs to Jennifer Lawrence, who proves the chops she showcased (pre-Hunger Games megafame) in 2010’s Winter’s Bone were no fluke. As the damaged-but-determined Tiffany, she’s the left-field element that jolts Pat out of his crazytown funk; she’s also the only reason Playbook‘s dance-competition subplot doesn’t feel eye-rollingly clichéd. The film’s not perfect, but Lawrence’s layered performance — emotional, demanding, bitchy, tough-yet-secretly-tender — damn near is. (2:01) Metreon, Presidio. (Eddy)

Spring Breakers The idea of enfant terrible emeritus Harmony Korine — 1997’s Gummo, 2007’s Mister Lonely, 2009’s Trash Humpers — directing something so utterly common as a spring break movie is head-scratching enough, even moreso compounded by the casting of teen dreams Vanessa Hudgens, Selena Gomez, and Ashley Benson as bikini-clad girls gone wild. James Franco co-stars as drug dealer Alien, all platinum teeth and cornrows and shitty tattoos, who befriends the lasses after they’re busted by the fun police. "Are you being serious?" Gomez’s character asks Alien, soon after meeting him. "What do you think?" he grins back. Unschooled filmgoers who stumble into the theater to see their favorite starlets might be shocked by Breakers‘ hard-R hijinks. But Korine fans will understand that this neon-lit, Skrillex-scored tale of debauchery and dirty menace is not to be taken at face value. The subject matter, the cast, the Britney Spears songs, the deliberately lurid camerawork — all carefully-constructed elements in a film that takes not-taking-itself-seriously, very seriously indeed. Korine has said he prefers his films to make "perfect nonsense" instead of perfect sense. The sublime Spring Breakers makes perfect nonsense, and it also makes nonsense perfect. (1:34) Balboa, 1000 Van Ness, Shattuck. (Eddy)

To the Wonder It should be a source of joy that Terrence Malick keeps getting to make large, personal, indulgent, un-commercial movies when almost no one else does. And he is indeed a poet, a visionary — but has he ever had more than passages of brilliance? Are the actors and producers who treat him with awe enabling art, or mostly high-flown pretensions toward the same? To the Wonder does provide some answers to those thorny questions. But they’re not the answers you’ll probably want to hear if you thought 2011’s The Tree of Life was a masterpiece. If, on the other hand, you found it a largely exasperating movie with great sequences, you may be happy to be warned that Wonder is an entirely excruciating movie with pretty photography, in which Ben Affleck and Olga Kurylenko (or sometimes Affleck and Rachel McAdams) wander around picturesque settings either beaming beatifically at each other or looking "troubled" because "something is missing," as one character puts it in a rare moment of actual dialogue. (Generally we get the usual Malick wall-to-wall whispered voiceover musings like "What is this love that loves us?" delivered by all lead actors in different languages for maximum annoyance.) Just what is missing? Who the hell knows. Apparently it is too vulgar to spell out or even hint at what’s actually going on in these figures’ heads, not when you can instead show them endlessly mooning about as the camera follows them in a lyrical daze. No doubt some will find all this profound; the film certainly acts as though it is. But at some point you have to ask: if the artist can’t express his deep thoughts, just indicate that he’s having them, how do we know he’s a deep thinker at all? (1:53) California, Embarcadero. (Harvey)

Trance Where did Danny Boyle drop his noir? Somewhere along the way from Shallow Grave (1994) to Slumdog Millionaire (2008)? Finding the thread he misplaced among the obfuscating reflections of London’s corporate-contempo architecture, Boyle strives to put his own character-centered spin on the genre in this collaboration with Grave and Trainspotting (1996) screenwriter John Hodge, though the final product feels distinctly off, despite its Hitchcockian aspirations toward a sort of modern-day Spellbound (1945). Untrustworthy narrator Simon (James McAvoy) is an auctioneer for a Sotheby’s-like house, tasked with protecting the multimillion-dollar artworks on the block, within reason. Then the splashily elaborate theft of Goya’s Witches’ Flight painting goes down on Simon’s watch, and for his trouble, the complicit staffer is concussed by heist leader Franck (Vincent Cassel). Where did those slippery witches fly to? Simon, mixed up with the thieves due to his gambling debts, cries amnesia — the truth appears to be locked in the opaque layers of his jostled brain, and it’s up to hypnotherapist Elizabeth (Rosario Dawson) to uncover the Goya’s resting place. Is she trying to help Simon extricate himself from his impossible situation, seduce Franck, or simply help herself? Boyle tries to transmit the mutable mind games on screen, via the lighting, glass, and watery reflections that are supposed to translate as sleek sophistication. But devices like speedy, back-and-forth edits and off-and-on fourth-wall-battering instances as when Simon locks eyes with the audience, read as dated and cheesy as a banking commercial. The seriously miscast actors also fail to sell Trance on various levels — believability, likeability, etc. — as the very unmesmerized viewer falls into a light coma and the movie twirls, flaming, into the ludicrous. (1:44) Opera Plaza, Piedmont, SF Center, Shattuck, Sundance Kabuki. (Chun)

Tyler Perry’s Temptation (2:06) Metreon.

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

River phoenix

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River phoenix

arts@sfbg.com

THEATER Many who have followed the remarkable career of Campo Santo, the longtime resident theater company at Intersection for the Arts, will recognize the real-life figure inspiring the character of “Luis Jaguar” in Campo Santo’s new production, The River, penned for the company by Richard Montoya of famed Chicano theater trio Culture Clash. Luis Saguar (who died too young in 2009) was a unique and mighty presence on Bay Area stages for years, not least in the many exceptional productions with the company he helped found (with Margo Hall, Sean San José, and Michael Torres) in 1996.

The River is finally about more than Saguar. Montoya’s play — the first to be produced under the umbrella of a four-play initiative of Intersection for the Arts and California Shakespeare Theatre’s Triangle Lab called Califas, exploring California stories — embraces the nameless, heterogeneous, polyglot lives that make up this roiling culture. (Next up in the Califas series, incidentally, is another Montoya play, the local premiere in late May of American Night: The Ballad of Juan José, out at Cal Shakes’ Orinda amphitheater.)

Nevertheless, Saguar is the spirit, “the heart,” animating The River‘s central story of memory and the concessions exacted on life’s course. It’s the tale of a Mexican laborer named Luis (a warm, stoic Brian Rivera) who has died on the American side of the desert border, leaving behind his adored wife, Esme (Anna Maria Luera). His burial site, and corpse, affects the lives of two trespassing E-addled Mission District hipsters — the arty, loquacious, and oh-so-arch queer couple of Javier (Lakin Valdez) and Lance (Christopher Ward White) — like an act of possession, causing them to question many things about themselves and their worldview. Meanwhile, a circle of disparate characters gradually gathers around the couple, further blurring lines of identity: a self-consciously ineffectual Indian named Crow (Michael Torres), a fastidious and grudgingly sympathetic park ranger (an amusingly nerdy Nora el Samahy), and two life-scarred bar flies at a nearby tavern (Donald E. Lacy Jr. and Randall Nakano).

Between them all, a cacophonous bout of patter, argot, revelry, ethnocentric posturing, and micro-political mapping ensues, interrupted by gently romantic, wistful moments between Luis and Esme — who meet on an epistolary and imaginary common ground that describes a river that is part metaphor, part myth, and part real-world physical divide.

Tanya Orellana’s appealing scenic design, with its alluvial pattern-work on the floor and vertical cascade of shale steps, adds a choice set of elements to the intimate performance space at the A.C.T. Costume Shop. Live accompaniment by guitarist Steve Boss (channeling Charlie Gurke’s score in Day of the Dead face paint) and subtle video projections by Joan Osato (cast on the floor and depicting running buffalo and other scenes) add further moody, ghostly dimension to the room.

Montoya’s rapid-fire cultural dog-pile has a flow of its own that, while erratic, contains some wonderful rapids and poignant coves. Still, the story’s mystery never quite manifests the wonder or suspense it should, and the tensions present in the text are imperfectly realized across uneven performances in the production directed by Campo Santo’s Sean San José. As fans of Culture Clash might expect, the play’s often-barbed humor comes well grounded in local culture, including its array of niche and broad stereotypes, and these provide much of the fuel for the show’s limited fire.

There’s a tendency to take the loopy humor in the play’s looping narrative a little too broadly at times, but there’s both laughs and a kind of half-bitter, half-defiant recognition in the satirical zigzags, as when Lance (played with spoiled but knowing charm by White) announces his desire to have a baby “and prenatal Bikram yoga classes,” — much to the horror of his partner, unemployed Salvadoran Cal Arts grad Javier (played with a cutting, randy intensity by Valdez) — only to be gripped a moment later by a bad trip that throws all his assumptions into turmoil: “Everything I learned is wrong!” he freaks incredulously. “I got my PhD in hip-hop culture?”

If the production proves inconsistent in its navigation of The River’s demanding dialogue and snaking emotional shifts, however, the top of the second act briefly turns it all around with the introduction of Donald Lacy’s character, Brother Ballard. Lacy, a veteran of some leading Campo Santo’s productions, beautifully delivers a monologue of days-gone-by with an inspired precision and verve that recall precisely the muscular theatrical vitality, the street-wise insouciant wit and effortless cool of so many Campo Santo shows past. The confluence of present and past are never more acutely felt, and the impact is bracing. 

THE RIVER

Through May 4

Thu-Sun, 8pm, $30

A.C.T. Costume Shop

1117 Market, SF

theriver2013.eventbrite.com

 

Newsom calls for marijuana legalization

Sasha Cuttler
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8

For all his flaws, Gavin Newsom has never shied away from taking a stand or showing leadership on emerging issues, particularly when the politicians are lagging behind public opinion. As mayor, he did it on same-sex marriage, temporary public art, and taking street some space from cars. And today, as the state’s lieutenant governor, he is calling for an end to marijuana prohibition.

“It is time for California to decriminalize, tax and regulate marijuana and decide who sells it, who can buy it legally, and for how much. When California became the first state to approve medical marijuana, we led the nation on progressive drug policies, and now it is time to lead again,” Newsom wrote in a Huffington Post column that was posted last night.

Newsom recites a case for legalization that the public has long supported, particularly here in California, citing how damaging and expensive it is to wage “war” on a substance that most Californians know is less harmful than alcohol or tobacco, peppering his column with compelling stats like this: “The U.S. leads the world in the incarceration of its citizens, with less than 5 percent of the world’s population but almost 25 percent of the world’s incarcerated population.”

The Drug Policy Alliance amplified Newsom’s column with a press release today, calling for other politicians to follow his lead and finally remove marijuana from its federal listing as a Schedule One narcotic, “where is current sits alongside heroin,” as Newsom noted. He closes by writing: “There is no reason why California cannot set the example for the nation in responding to drugs in a rational and sensible way. It is time to be bold enough to consider the science and the examples set forth by other states and nations. The time has come to decriminalize, tax and regulate marijuana — anything less is not enough.”

Drug Policy Alliance Executive Director Ethan Nadelmann praised the stand, writing, “What I find remarkable is that not one sitting governor or U.S. senator has spoken out in favor of legalizing marijuana notwithstanding the fact that a majority of Americans now support that approach. But I am confident that it’s only a matter of time until elected officials follow in Gavin Newsom’s bold footsteps as they did with marriage equality.”

Indeed, when Newsom unilaterally began issuing marriage licenses to same-sex couples in 2004, it was opposed by then-House Speaker Nancy Pelosi, US Senator Dianne Feinstein (in fact, all but two US Senators), and the official platforms of both major parties. Today, after a rapid upwelling of political support, it is supported by President Obama and half of the US Senate and it may be on the verge of being legalized by the US Supreme Court (we find out next month). Newsom showed foresight on that issue, and he’s doing so again with marijuana.

Washington and Colorado voters legalized recreational uses of marijuana last year, and they are well on their way to reviving their economies promoting what is already California’s top cash crop, despite its strained legal status. In fact, we also got a press release today from Gaynell Rogers, who handles public relations for Harborside Health Center, the Oakland medical marijuana dispensary that is currently waging an expensive fight for its life after a federal raid.

“Investors Gather to Fund the Most Promising Marijuana Companies in Seattle,” was the headline of a press release about an April 29 event where 40 wealthy investors will “hear pitches from the top entrepreneurs in the hot, new legal cannabis industry,” an event hosted by ArcView Investor Network, which includes many tech entrepreneurs and investors.

“Cannabis is the next great American industry,” said ArcView co-founder and CEO Troy Dayton. “Now that a majority support legalization, a geyser is about to go off. The question is: which companies will be seated on top of it? That is what’s being decided at this investor event.”

Similarly, as California wrestles with tight budgets and a overcrowded prison system, can we really afford to continue wasting money and lives criminalizing such an industry that already is already an important part of the state’s economy? Newsom says no, and so do we.

Wells Fargo foreclosure fighters: They’re baaaack!

Sasha Cuttler And Mary Magee
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39

See an update at the end of this article.

 A group of activists focused on organizing against Bay Area foreclosures will return to Wells Fargo’s San Francisco headquarters today for a protest timed to coincide with the banking giant’s shareholders’ meeting – even though the meeting was moved to Salt Lake City, Utah this year. (Perhaps the change of scenery had something to do with what happened last year, or the year before?)

Unfazed, the Alliance of Californians for Community Empowerment has sent some homeowners who are facing bank foreclosure on a road trip to Utah to bring their message to CEO John Stumpf in person, according to ACCE organizer Erin Franey.

Meanwhile, in San Francisco, activists focused on fighting foreclosure will congregate outside the bank’s Mongtomery Street headquarters. “Wells is foreclosing on more homeowners in California than any other bank,” says Franey, adding that there are currently 11,000 California homes in the foreclosure pipeline.

In attendance at this afternoon’s San Francisco rally will be Bernetta Adolf, a cancer survivor in her late 60s who has also struggled with blindness, a particularly challenging disability that forced her to retire from her city job as a Muni driver.

Adolf is locked in a battle with Wells Fargo over the foreclosure of her home in San Francisco’s Oceanview-Merced-Ingleside neighborhood. The trouble started when she borrowed against the home she’s lived in 20 years, to fund her son’s college education.

“It turns out the loan to provide for my son’s future was designed to ruin my own,” Adolf wrote in an online statement. “It was predatory, calculated to strip my equity and set me up for failure. When I tried to work with Wells to fix the loan, they offered a modification so small it didn’t make any difference. Then they started trying to take my house. The stress hastened my blindness and continues to aggravate my health problems.”

UPDATE: Wells Fargo spokesperson Ruben Pulido contacted us in response to this article and requested that we post a statement in response:

“Our foreclosure rate in 2012 fourth quarter was just 1.04 percent in California—less than half our national rate (2.1 percent) during that period.

Over the past four years, Wells Fargo has helped more than 850,000 customers nationwide with loan modifications, and has helped customers through $6.6 billion in principal forgiveness; the majority of that principal forgiveness has gone to borrowers in California.

When customers with financial challenges choose to work with us, we help 7 of 10 avoid foreclosure. Over the last 6 months, customers who completed a foreclosure were, on average, 19 months past due on their payments.”

420 trip(tych)

Andrew Lam
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0
420 trip(tych)

caitlin@sfbg.com

STREET SEEN Snoop wore rhinestone-dripping dichotomy to his 420 concert at the Fillmore. Trust, I was stoned enough to come up with theories based around it.

This year’s preposterous stoner holiday weekend in San Francisco featured a Haight Street-Hippie Hill clusterfuck that snarled traffic lanes for those hoping to flee the THC clouds for lands with slightly more manageable level of good vibes. Down South in Santa Cruz, cops confiscated a two-pound joint stuffed with an estimated $6,000 worth of Cali green from the traditional festivities in the hinterlands of the town’s UC campus.

I stayed far from such daytime fray, though we did manage to snap some photos of Hill-bound bridge-and-tunnelers seeking the 71 bus in their UNIF “Weed Be Good Together” tank tops (available, of course, at Urban Outfitters for some astronomical sum.) They seemed nice enough. I hope they weren’t the ones who left Golden Gate Park trashed with 10,000 pounds of garbage. Yes, that’s an actual park worker estimate.

Not mad at tasteful stoner styling. All park photos by Caitlin Donohue 

My camera and I opted for the slightly more local version of 420 at Dolores Park, where neon Spring Breakers fashion trumped pot leaves and the gentleman proudly sporting a Rastafarian flag as a cape was the exception, rather than the bleary eyed rule to the sunburning throngs. Capturing flicks of various, impressively large picnic buffets, I was proud of my fellow stoners for the most part. Has weed culture progressed to the point where we need not don fake dreadlocks or shiny plastic leaf necklaces to proclaim our affinity to legalization? Down.

Cool cape, breh.

So many snacks. Ladies came prepared. For more DP style, click

KNUCKLE PIECE

Later that evening, after clearing the multi-layered gauntlet of security at the Fillmore (I don’t remember there being metal detectors the last time I came through for a hip-hop show, granted that was for Macklemore) and waiting for his hour-late, $75-ticket appearance, Snoop Dogg put on a predictably fun show. “Classic smash hits” were performed, as promised by the show’s promotional materials. Nate Dogg was piped in for choruses, back from the dead. The crowd sang along to each song, unchallenged by the repertoire of a man as familiar to the world’s hip-hop fans as the MTV logo. He covered “Jump Around,” but even this seemingly unnecessary riff seemed in keeping with much of the first half of the show’s reliance on material from eras gone by.

All Snoop photos by Matthew Reamer

But pacifist, Bunny Wailer-blessed Snoop Lion and his Major Lazer-produced album Reincarnated was entirely absent. Perhaps I was the only one harboring hopes of a surprise appearance by tween daughter Cori B. — whose turn on the hook for “No Guns Allowed” I like to imagine as payback from Daddy for the time those cops found firearms in the family home.

You could see it in his bling, this lack of commitment to his new persona. Though a rhinestone lion swung from Snoop’s slim neck, far more apparent was the garish fist-covering knuckle “Snoop Dogg” piece, which partially obscured his microphone. One wonders if the Lion persona will stick around long enough for Snoop to compile an impressive, be-maned collection of accessories. Maybe not — much of the shtick seems redundant for a rapper already famous for smoking more weed than federal agent bonfires in Humboldt County.

But old school the entirety of the set was not. Singles by Katy Perry and Bruno Mars in which Snoop guest-raps each made the hip-hop purists in the crowd spit. Despite the overwhelming scorn around me, I bopped to Perry’s “California Girls” — but even I couldn’t stomach the aging rapper juxtaposed with the chorus of Mars’ “Young, Wild, and Free”. I wondered if he could be convinced that “No Guns Allowed” ventures far closer to “classic good hit” arena than pop prince crossovers ever will.

MILE HIGH

Uhhhh, like, what else happened? Oh right, there was a shooting at Denver’s massive 420 celebration, the first since Colorado legalized the stuff for recreational use. The news would have been a bummer, had I not gotten to catch up with my girl Coral Reefer, who was a speaker on the Cannabis Cup’s first panel discussion about social media and weed.

“It has been amazing,” said the chipper Reefer, who runs a near 24/7 train of political information and nug glamour shots on her various social networks and Stoney Sunday YouTube potcasts. “Colorado’s been so hospitable and generous.”

News of the shooting — which left two attendees at Denver’s Civic Center Park with non-life-threatening injuries and several with injuries sustained while being trampled during the ensuing chaos amid the estimated 80,000 crowd — didn’t reach attendees at the Cup until a few hours later, Reefer said.

“It was complete sadness. Everyone I spoke to was so disappointed that we had experienced such a great day of community and positive vibrations, and a few miles away something so terrible had happened.”

But at the Cup itself, peace reigned, with the possible exception of the grumblers stuck in the at-times hours-long wait to get in. Reefer says the sophistication of marijuana concentrates continues to improve at these mega-events, and the variety of pot accoutrements — like local brands of vape pens — is impressive. “There’s so much issue with crossing state lines with cannabis products, it seems like each state has developed their own economy when it comes to cannabis goods.”

For Reefer, even the chaotic Civic Center scene signified a growing interest in marijuana she sees as positive. “We need to understand there are millions of people on our side and we need to be prepared when they come to us,” she said.

She also wanted to reinforce that this is one party the Golden State wants in on. “More and more people are celebrating cannabis in Colorado. California needs to step up and legalize, because it’s getting really fun out here.”

Perhaps — a la Snoop’s schizophrenic accessories — someday no one will feel the urge to don crocheted red-yellow-and-green beanies, or make a reggae album, merely to proclaim allegiance to marijuana. Dear government, if we drop the culturally derivative stoner trappings, will you accept that weed has been a part of us all along?

California Roots

Maria Poblet
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0

Grab your tickets to California Roots Music & Arts Festival, as it’s almost a sell out event. The leading reggae/rock music festival happens in Monterey, California with Slightly Stoopid, Rebelution, Matisyahu, The Expendables, Collie Buddz with New Kingston, The Dirty Heads, Tomorrows Bad Seeds, and many more.
 
Three days of exceptional live music, vendors, art, and a ton of fun; Purchase tickets here. If you miss securing your tickets, be sure to log on to the website and listen to three days of live music from some of your favorite artists.
 
Friday, May 24 thru Sunday, May 26 @ Monterey County Fairgrounds

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