Dance

Noe thanks

Jesse Hawthorne Ficks
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0
Noe thanks

arts@sfbg.com

FILM Gaspar Noé wants to share. Yet after three features, it’s still unclear whether what he’s got on his mind is worth sharing, let alone anywhere near as urgent as his need to share it.

I Stand Alone (1998) skyrocketed him to the new Cinema of Misanthropy’s forefront by making us run the A-to-B emotional gamut of a belligerent butcher (Philippe Nahon) who hates everybody but his daughter. He loves her a little too much in the “shocking” finale. Naturally, this horrified a lot of people who expected something provocative but not that nasty. Nonetheless, it was also a movie whose conspicuous straining to frighten the horses could be experienced as pat, pretentious, overgrown adolescent nihilism.

Getting yea further up in yer face, Irreversible (2002) followed a Parisian couple (Vincent Cassel, Monica Bellucci) over the course of one long day that eventually steps off a cliff and leaves them both splattered to pulp beneath. Its reverse chronology stratagem meant the infamous violent episodes — one prolonged murder, one really prolonged rape-beating — came fairly early, leaving us stunned and vulnerable for scenes of ordinary, pre-catastrophe life more resonant than they would have been otherwise. Noé’s characters have no depth (or only as much as actors can themselves provide), but here the structure actually seemed to encourage our caring about people.

It took him seven more years to drop Enter the Void, a “psychedelic melodrama” that has polarized responses (hypnotized vs. narcotized) since it premiered in preliminary form at Cannes last year. This was Noé’s dream project all along, his big meditation on Life, Sex, and Death.

Oscar (first-time actor Nathaniel Brown) is a young American living in Tokyo with kid sister Linda (Paz de la Huerta), dealing (and doing) drugs while she dances at a strip club. Caught delivering goods to a friend (whose mother he’s sleeping with), Oscar is killed by cops. The film’s remaining two hours — set up by blunt nods to The Tibetan Book of the Dead, which our hero was reading — follow Oscar’s spirit as it floats through past, present, and future, eventually “escaping the circle” of this life’s consciousness via reincarnation.

Noé has fingered Kenneth Anger, 2001: A Space Odyssey (1968), and classic 1947 noir Lady in the Lake‘s entirely subjective camera as influences. But you could label rave lighting and black-light posters as equally important. Much of Enter the Void would be absolutely great to go-go dance in front of. (Plus then you’d face away from all the irksome strobing bits.) Like the computerized luminescent jellyfish frequently undulating in Oscar’s visions, it’s a colorful, gelatinous mess some will find trippy, others stuporous. The FX work and stealth editing seldom detectible in Irreversible‘s seemingly unbroken shots are more obvious (not to mention endless) here. Repeated sequences stubbornly refuse to grow more meaningful.

As for the oversharing/underlying psychology … oy. Oscar is a blank we could care less about filling in, while women are objects of mammary desire both lactate and lust-based. Noé doesn’t refrain from such Freudosaurus antiques as the “I saw mommy and daddy fucking!” flashback, or the mawkish cliché of orphans vowing never to be separated, though what the Dickens, they are anyway. This being Noé, sibling proximity naturally equals incestuous longing. What if it didn’t? That would be shocking.

Enter the Void does tamp down the prior films’ racist and homophobic invective, which discomfited mostly because it felt like the filmmaker’s personal ranting. (Purportedly he edited himself as a masturbating spectator into Irreversible‘s nightmarish gay sex club — the Rectum! — lest he be taken for a homophobe. It says a lot that this was his idea of a conciliatory gesture.) Still, as attempted transcendence of mortal coil, Void ultimately sits and spins on Noé’s terminal literal-mindedness, no matter how many Day-Glo CGI vapors emit from vaginas.

Noé says his next project will be a love story. Very explicit of course: “We have been watching movies for almost a century {note: it’s been well over a century) and not one movie has gotten close to how love is in real life. I know what my sexual life is made of, and I want to see similar things on screen.”

Oh, great.

ENTER THE VOID opens Fri/8 in Bay Area theaters.

 

Past presence

Jesse Hawthorne Ficks
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0
Past presence

arts@sfbg.com

LIT/MUSIC/VISUAL ART A present from the past — the paradox within that phrase is as close as one might get to pithily describing hauntology. The term was coined in 1993 by the French philosopher Jacques Derrida to describe utopian specters within capitalist society. But more recently, the music writer Simon Reynolds has specifically applied hauntology — literally, ghost logic — to music, using the term to describe the playfully eerie studio-as-séance-site releases on the British label Ghost Box, and similar recordings.

Since his early days as a journalist for Melody Maker, Reynolds has cannily related French theory to musical phenoms in practical and illustrative ways, whether applying the feminism of Hélène Cixous to Throwing Muses, ideas about jouissance to the sonic innovations of My Bloody Valentine, or Deleuze and Guattari to the jones for acceleration in rave culture. With the release of Reynolds’ most recent book, Totally Wired: Postpunk Interviews and Overviews (Soft Skull Press, 464 pages, $16.95), I thought the time was right to turn the tables and interview him about hauntology and the related library music genre — especially since the current Berkeley Art Museum exhibition “Hauntology” cites him while putting forth a hauntological theory of visual art.

SFBG What do you think about the current interest in library music as culture grows ever more digitized? To me it seems there’s an intrinsic push-pull between searches for rare objects in far reaches, and then their incorporation into digital or online spheres.

Simon Reynolds Certainly there are some music bloggers who specialize in library [music] and go about it in an extremely systematic manner — they aim to upload or share or post every single Bruton or Peer International Library or Chappell release. They work their way through the entire catalog, number by number. These are super-obscure records, and there doesn’t seem to be any kind of discography for a lot of the labels — I guess they weren’t precious about their own output. That must be both attractive and maddening (attractively maddening?) for a certain kind of obsessive-compulsive collector.

People are building a body of knowledge about library music, in the same way that reggae collectors did with the similarly chaotic and massive output of record labels in the ’70s. But it still has the aspect of an unmapped zone, a zone of discovery, which you can’t say about many other areas of music.

SFBG What aspects of library music appeal to you, and what aspects don’t?

SR I like the electronic stuff done by people moonlighting from the BBC Radiophonic Workshop, or by oddball figures like Ron Geesin. Or Eric Peters and Frederick G, who did stuff — electronic weirdness, or effects-laden goofy production-type tracks — for Studio G among other library labels. The Studio G stuff on the Trunk compilation G-Spots is just so luxuriant sounding.

In library music, the weird combination of anything-goes experimentation and un-precious functionalism creates good results, especially when you factor in brevity. Most library tunes are really short. So you get the same alien buzz as from experimental music, but without being detained for 20 minutes to an hour.

I also like the whole mythos and vibe around library music, the idea of all these studios in Wardour Street and thereabouts in central London churning stuff out, with top session players or underemployed composers earning a bit of dough on the side. And of course the packaging, with its uniform artwork for different series and wonderfully distilled evocative track descriptions (“pathetic, grotesque”; “relaxed swing-along”).

The downside is that some library music is just anodyne. A large proportion is sub-music, just splinters of mood or feeling that aren’t developed because they’re meant to underscore or mood-tint brief moments in a movie or TV show. I’m also less interested in the breaks end of library music, the “groovy scene in swinging discotheque” redolent tunes favored by some beat headz.

SFBG How would you characterize or define the relationship between library music and hauntology?

SR What people would consider the classic era of library music — the ’60s and ’70s, when there were groups of musicians in the studio, as opposed to the ’80s and thereafter, when it increasingly became one composer using a digital synthesizer to play all the parts — has heavy associations with the popular culture of that period. Especially TV programs and radio, and particularly children’s TV. Library music was used when there wasn’t a budget to get a soundtrack made, so you got this off-the-peg stuff.

If you’re a child of the ’60s or ’70s, this music has a potent memory-stirring effect, but in a nonspecific way. You hear certain kinds of lite-jazz chords, or melancholic orchestrations, or certain analog synth sounds, and it sets off reverberations inside you, but you can’t place them. (A later generation will probably have the same relationship with digital-era music — we’re maybe getting that with the vogue for video game sounds in a lot of dance music now.)

When hauntologist artists use this material, they can trigger all these emotions. They can also mess with the “science of mood” in library music by making emotions clash and mingle in strange combinations.

The formality and institutional vibe of library releases has a similar appeal to the “benevolent state” stuff that the hauntologist artists are into (like polytechnics, new towns, the BBC when it believed in elevating and educating the common man, etc.). Even though the library labels were commercial ventures, the aura of them is oddly similar to government or educational institutions: kind of stuffy and prim. The artwork relates to the way Penguin and Pelican books looked. It has that “lost Britain” quality.

SFBG Have you heard responses from theorists about your application of Derrida’s concept of hauntology to music?

SR No. I really just stole the word off Jacques because I liked the feel of it. It’s Mark Fisher of k-punk who’s done the more serious mapping of hauntology as a theory onto the music. I think there are definitely some parallels and connections, but Derrida’s thing seems very much bound up with Marxism and philosophy.

SFBG What is particularly hauntological about the Ghost Box label’s recordings, and what are some notable hauntological recordings over time?

SR The “haunty” aspect to the Ghost Box stuff relates to the reverberations I just described. They use samples from the era’s library or incidental music and TV or Radiophonic Workshop scores. Or (in the case of more composed-and-played recordings by Belbury Poly or The Advisory Circle) they write new melodies and motifs that are evocative of that era or in the style of that music.

I think there’s an intrinsic musical appeal and value to this stuff that works on people who don’t have the nostalgic connection. For instance, I know some quite young Americans who really like Ghost Box’s stuff. But if you are of the demographic, it has this extra layer of meaning and effect. It can be bound to a generation, and also to nationality. (Interestingly, it appeals to Australians, who get a lot of the TV from the U.K., and thus have a similar pop cultural matrix of memory).

The Ghost Box artists have a “haunty” aspect in the sense that they’re interested — in a simultaneously playful and serious way — in all kinds of pop culture to do with the supernatural and horror, from the Algernon Blackwood/Arthur Machen tales of cosmic horror, to the Hammer House of Horror movies, to Doctor Who, to ghost stories. Again, there’s a nostalgic aspect in the sense that these things, first encountered as a child, have a profound effect. British children’s TV had some really creepy and macabre stuff on it. In retrospect, you wonder, “What were they thinking broadcasting this stuff to under-10-year-olds?”

Ghost Box has fun with the cultural associations of all this stuff. There is a really pleasing clash of the campy and the genuinely disquieting in the way they handle it. It’s not some goth/industrial scary thing, which I think is where people get confused — they put on the Ghost Box records and discover they’re quite pleasant and enjoyable.

I like the main three Ghost Box groups very much — The Focus Group, Belbury Poly, and The Advisory Circle. And Roj made a cool album, The Transactional Dharma of Roj. The label’s most fully realized, brilliant record is Advisory Circle’s Other Channels. But in terms of individual peaks, I’d say certain tracks on Focus Group’s Hey Let Loose Your Love and Belbury Poly’s The Willows are among the most remarkable music of the past decade. For me they find this place between idyllic and eerie that just presses all my buttons, especially when you add the overall framework — the design and the concepts have this dry, poker-faced humor to them.

A similar vibe is going on in the records by Moon Wiring Club and Mordant Music, who are the other two central hauntologists for me. The Caretaker, a.k.a. Leyland James Kirby, has also done some really great stuff, but it’s more amorphous and drone-y.

SFBG Inside and outside of a deployment of library music, does hauntology appeal to you more than “retrofuturism” as an idea and a practice?

SR They are similar, or they overlap. The Ghost Box guys and Mordant Music are into the whole nostalgia for the future trip. Part of the appeal of something like the BBC Radiophonic Workshop is the futurism of it, the alien impact it had on impressionable ears, now inevitably filtered through a scrim of bygone charm and quaintness.

SFBG What future forms might hauntology take?

SR It may well be that every generation will come up with some kind of working-through of its recent past, the stuff that affected it most intensely as children. If you look at Ariel Pink and all the people he’s influenced who’ve come through recently, it’s bound up with a different memory-set: ’80s pop, MTV, and radio.

HAUNTOLOGY

Through Dec. 5

(Oct 29, 6-9pm “Hauntology at L@te Event with Interdisciplinary Intro Panel and musical performances Indignant Senility, Barn Owl, and Jim Haynes)

Berkeley Art Museum

2626 Bancroft Way, Berk.

(510) 642-0808

www.bampfa.berkeley.edu


 

Her band

Jesse Hawthorne Ficks
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0
Her band

arts@sfbg.com

MUSIC Mention the name Corin Tucker, and for many people, what comes to mind is a voice: the charged vibrato that was one of the signature elements of the sound of Sleater-Kinney. But before Tucker formed Sleater-Kinney, she’d sung differently in other bands, such as riot grrrl pioneers Heavens to Betsy, where her guitar was tuned lower in a manner that made it possible to tap into submerged feelings and experiences.

The new album by Corin Tucker Band, 1,000 Years (Kill Rock Stars), makes it clear that Tucker is more than just the tell-tale voice of Sleater-Kinney — she’s a songwriter who can add another wrinkle of emotion to a song with a change in tone, as on “It’s Always Summer,” where the annoyance that briefly grips her voice on the line “It’s always something” makes the hope in the chorus of the song that much sweeter. Working with producer-arranger-instrumentalist Seth Lorinczi and drummer Sara Lund, Tucker has fashioned a record that moves through different themes and sounds, evoking everything from Carole King piano ballads to acoustic Led Zep to Nuggets-worthy guitar riffage.

To a degree, the heart of 1,000 Years can be found just before the halfway mark with the one-two punch of “Handed Love” and “Doubt.” According to Tucker, the first song is the sort of just-divorced scenario Tracey Thorn explores in different ways on her recent solo album Love and Its Opposite (Merge). There’s something a little wilder and darker to Tucker’s approach to the subject, with the past’s failed pleasures as alluring as a drug, and a sense of menace in the spaces and silent moments around her voice’s quiet, minimalist dance with a keyboard. The same tension between restraint and abandon tells a different story in “Doubt,” a love song to rock ‘n’ roll that affirms that no worthy responsibility can fully kill off a love of the boogie and the beat. I recently talked with Tucker about the new album.

SFBG You’ve been based in Portland for around 15 years now. How has it changed?

CORIN TUCKER It’s so different. If you went down the street where I used to live, Alberta, it’s completely different. It’s unrecognizably built up. Sometime I wonder, how do people make their money here? The recession has been brutal in Portland and Oregon because we don’t make something concrete. The timber industry was our industry and that’s gone now. I guess we make Nike and Adidas.

But in terms of culture and film and arts, Portland is growing. The music scene has totally grown.

SFBG One thing the Sara Marcus book Girls to the Front (Harper Perennial, 384 pages, $14.99) re-reminded me of is the fact your lyrics with Heavens to Betsy had more of a storyline than a lot of riot grrrl recordings. While your new album doesn’t sound like Heavens to Betsy, it also feels rich in narrative.

CT That’s something I enjoyed about making this record. I relate to storytelling in songs and working on the lyrics to paint a little picture. That’s is sort of my natural songwriting style, and it’s something I return to easily.

SFBG Was it difficult to choose the sequencing of the songs? I wonder because the album moves through different terrain and different sounds, including your voice — you sing differently from song to song.

CT The record wound up having more variety than I expected when we began. I expected it to be quieter and acoustic — a straightforward solo album. But as Seth [Lorinczi] and I worked on it, we naturally drew on our different musical backgrounds.

SFBG In a way, the way the guitars were tuned in Sleater-Kinney seemed to place your voice in a certain elevated spot. On 1,000 Years you might have a wider ground to stand on as a singer.

CT I wanted to use different voices on the record. Not necessarily different characters, but different sides of my voice that I didn’t think people had heard before — or if they had, in Heavens to Betsy, that was so long ago. Part of the challenge and opportunity of making a solo record is figuring out how to give it enough variety so that you can take people through a journey.

SFBG One song I want to ask about is “Handed Love.” I like that it’s elliptical, and I get a dark feeling from it.

CT I think that might be one of my favorite songs. It has an interesting evolution. I started writing it on guitar and vocals, and it was pretty flat and straightforward. It was a mid-tempo rocker.

The song is sort of looking at relationships from the point of being a little bit older and being a female. I have a couple of friends who are newly divorced and I just kinda put myself in their shoes. It seemed like a difficult thing to navigate, when you have your heart broken and have to keep it together.

Seth had this idea [laughs], ‘What if we do this song with only ‘ooo’ vocals in the background?’ There’s this really beautiful choir part that comes in at the end, and that’s where we began recording it. He stripped away all the guitar and we had this vocal chorus and a drum machine. Then it kept evolving. Finally, he tried a Wurlitzer organ and I loved it.

SFBG That song and the follow-up track, “Doubt,” both have great moments where the sound is sort of stripped away. I get the sense that you had fun working with Seth.

CT It was a really enjoyable process. We just set it up as this project we were working on, and there was a lot of tinkering. The door was wide open in terms of what we could do and how we would look at things. He’s talented as a musician and as a producer and arranger.

SFBG Because it was a solo project and because you were working with him, was there a sense that songs could change as you worked on them?

CT Definitely. When I wrote “Half a World Away,” it was a ballad on guitar — very quiet and super slow. Seth had this idea that we should rock out. We started working on it, and he had this idea of taking the guitar parts and making them sparse and prickly and fast. Then when we started playing with Sara Lund, she brought a whole new dynamic to the song with the percussion. She brought in these African bells, because the song is about Lance [Bangs, Tucker’s husband] going away to Africa, and she had all these ideas about illustrating angst with percussion. That song became something I really love that is completely different from the original demo.

SFBG One other song I wanted to ask about is “Riley” because it has such a classic rock riff. Do you know a Riley?

CT No. He’s more of a fictional character.

SFBG I know a Riley.

CT You do? Is he down and out?

SFBG No, he’s a funny Filipino queen.

CT [Laughs] In 2007 and 2008, it just felt like such a dark time — so many friends had lost their jobs, or were getting divorced. Seth and I talked about Patti Smith literally every day while we were recording. Just Kids (Ecco, 320 pages, $16) came out while we were making the record, and she’s such a great inspiration. She’s one of those people who can write songs that are about friendship and helping your friends through something difficult. That song is really inspired by her and Lenny Kaye.

SFBG “Thrift Store Coats” starts out a lot like most people’s idea of what a solo recording would sound like — a voice and a pretty piano arrangement. But then suddenly it turns loud and powerful.

CT I have to give credit to Seth. He thought we could draw people into the story and the lyric and then have the whole band come to the stage and add power and a sense of protest.

SFBG I know your son is named Marshall in part because of Marshall Tucker Band — is Corin Tucker Band a nod to Marshall Tucker Band?

CT Yes, it is. The funny thing is that my daughter Glory thinks that every mom has her own band. At soccer practice the other day she started a band with her friend — who is one — called Glory Tucker Band.

CORIN TUCKER BAND

With the Golden Bears

Mon/11, 8 p.m., $17

859 O’Farrell, SF

(888) 233-0449

www.gamh.com

Quick Lit: Oct. 6-Oct. 12

David Talbot
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Literary readings, book tours, and talks this week

Litquake 2010 goes out with a bang featuring novelists, scientists, poets, comedians, sexy storytellers, and more, culminating in this year’s not-to-be-missed Lit Crawl.


Wednesday, Oct. 6

“The Art of Narrative Nonfiction”
Much is said about how to write fiction, but what about non-fiction? This panel moderated by best-selling author David Ewing Duncan will discuss the techniques for turning a biography into a National Book Award Winner. Featuring Tamim Ansary, Frances Dinkelspiel, Richard Rhodes, and T.J. Stiles.
6 p.m., free
San Francisco Main Library
100 Larkin, SF
www.litquake.org

Bawdy Storytelling
Hear real people sharing their bona fide sexual exploits in ten minutes or less. Storytellers are an eclectic mix of authors, poets, comedians, actors, and regular people, including Tim Barsky, Stephen Elliot, Johnny Funcheap, Jow Klocek, Joe Kukura, and Morgan.
7 p.m., $10
Blue Macaw
2565 Mission, SF
www.litquake.org

“The Complex Societies of Ants and Honeybees”
Join Litquake and the California Academy of Sciences for a discussion led by two leading experts, Mark W. Moffett and Dr. Thomas D. Seeley, on our planet’s smallest and most complex social organizations. Co-sponsored by KQED, and moderated by KQED’s QUEST TV series producer Amy Miller.
7 p.m., $15
Morrison Planetarium
California Academy of Sciences
55 Music Concourse
Golden Gate Park, SF
www.litquake.org

“Dance, Intergenerational Trauma, and the Diaspora”
Learn about the Katherine Dunham Technique at this lecture featuring Eyla Moore, teacher at ODC, Dance Commons, Hip Line, and Dance Fitness Studio, and Aliyah Dunn Salahuddin, dancer and tutor in City College of San Francisco’s African American Scholastic Program.
3 p.m., free
City College of San Francisco
Ocean Campus
Rosenberg Library, Room 305
50 Phelan, SF
(415) 239-3854

Flight of Poets
Internationally renowned sommelier Christopher Sawyer pairs six talented local poets with six great wines carefully selected to illuminate their work. Featuring Camille T. Dungy, Robin Ekiss, Paul Hoover, Ada Limón, Zachary Mason, Christopher Sawyer, and Matthew Siegel.
7 p.m., $15 includes wine flight 
Hotel Rex
562 Sutter, SF
www.litquake.org

The Funny Side of Sex
Join Daily Show correspondent Kristen Schaal as she celebrates her first book, The Sexy Book of Sexy Sex, along with Scott Jacobson, co-author of the new book Sex: Our Bodies Our Junk, illustrator Michael Kupperman, and actor and writer Ted Travelstead. This evening of live and uncensored sex-humor unfolds at San Francisco’s legendary Cobb’s Comedy Club. Co-sponsored by Chronicle Books.
8 p.m., $15
Cobbs Comedy Club
915 Columbus, SF
www.litquake.org

Lit on the Lake
Celebrate East Bay writers at this litquake event featuring acclaimed novelists including Melanie Abrams, Elaine Beale Lucy Jane Bledsoe, Jacqueline Luckett, Lisa Braver Moss, and Kristin McCloy.
6 p.m., $5-$10 donation
Gondola Room
Lake Chalet
1520 Lakeside, Oakl.
www.litquake.org

100th Literary Death Match
Celebrate the kickoff of a worldwide Literary Death Match tour where judges, W. Kamau Bell, Mark Fiore, and Jane Smiley, will pass centurial judgment on a must-see lineup featuring readers Jason Bayani, David Corbett, Kari Kiernan, and Joel Selvin. Hosted by Todd Zuniga, Elissa Bassist, Alia Volz, and M.G. Martin.
7 p.m., $15
Elbo Room
647 Valencia, SF
www.litquake.org

Radar Reading Series: Litquake Edition
This monthly literary series brings in first-time novelists, playwrights, shoplifting poets, and riot girl historians for readings, followed by a Q&A session hosted by Michelle Tea. Featuring Chinaka Hodge, Tao Lin, Sara Marcus, and Beth Pickens.
6 p.m., free
Latino Reading Room
San Francisco Main Library
100 Larkin, SF
www.litquake.org

Thursday, Oct. 7

Booksmith Bookswap
Bring a book you passionately love but can part with and learn about dozens of new, fantastic books. Ticket price includes two drinks, appetizers, and a 20% discount card to purchase books after the event.
6:30 p.m., $25
Booksmith
1644 Haight, SF
www.litquake.org

Feminine Wiles
Hear witty women read from their most recent books, featuring Elif Batuman, Marisa Crawford, Katie Crouch, Thaisa Frank, Joyce Maynard, Kaya Oakes, and Shawna Yang Ryan.
7 p.m., free
Noe Valley Recreational Center
295 Day, SF
www.litquake.org

The International Homosexual Conspiracy
Author Larry-bob Roberts offers humorous insights into the absurdities of modern life and queer culture, from contemporary topics like mistaken first impressions, to sustainable yet unaffordable pants, and critiques of bourgeois mindsets.
7 p.m., free
Modern Times Bookstore
888 Valencia, SF
www.mtbs.com

Litquake Bites
Local food and books, two of San Francisco’s favorite pastimes, converge at this delicious and informative lunchtime event featuring presentations and tastings by four innovative food purveyors and authors including Sarah Billingsley, Gordon Edgar, Steve Sando, and Amy Treadwell.
Noon, free
Book Passage
1 Ferry Building, SF
www.litquake.org

Stories on the Stage
Hear short fiction stories about love lost, love never found, and love perpetually out of touch with authors Daniel Handler, Daniel Alarcón, and Yiyun Li. Directed by Sean San José, co-founder of Campo Santo, the award-winning resident theater company of San Francisco’s Intersection for the Arts.
7:30 p.m., $25
Roda Theater
Berkeley Repertory Theatre
2025 Addison, Berk.
www.litquake.org

Friday, Oct. 8

All-Memoir Women’s Night
From finding love in foreign lands to struggling with poverty, from being in the sandwich generation to making the perfect brownie, women are fearless when it comes to exploring life and its myriad joys and challenges. Hear authors Zoe Fitzgerald Carter, Katherine Ellison, Laura Fraser, Frances Lefkowitz, Meredith Maran, Kate Moses, Janice Cooke Newman turn inward to provide us with stories that delight, dismay, and entertain. Emceed by Litquake co-director Jane Ganahl.
6:30 p.m., $5-$10 donation
Paris Ballroom
501 Geary, SF
www.litquake.org

“How to Write and Sell Erotica”
Join a panel of editors, anthologists, and published authors as they offer practical tips and personal insights about how to write and sell all forms of erotica. Find out what magazines, websites, anthologies, and book publishers you can sell your work to, as well as  tips on how to write more marketable erotica.
7:30 p.m., $5-$15 donation
Center for Sex and Culture
1519 Mission, SF
www.sexandculture.org

“It’s All Over But the Crying”
Enjoy a night of author talks on the world of sports, from the infinite variations of major-league baseball to the international phenomenon of the World Cup, with Alan Black, Howard Bryant, Dan Epstein, Dan Fost, David Henry Sterry, Jason Turbow, and Michael Zagaris. Special multimedia presentation by Bay Area sports photographer Michael “Z Man” Zagaris. Emceed by Litquake co-director Jack Boulware.
7 p.m., $10
Hemlock Tavern
1131 Polk, SF
www.litquake.org

Jonathan Lethem
Novelist, essayist, and short story writer Jonathan Lethem will discuss his latest novel, Chronic City. Co-presented by Litquake and San Francisco’s Jewish Community Center.
11 a.m., $20
Jewish Community Center of San Francisco
3200 California, SF
www.litquake.org

Litquake at the Bikestore
In the late 19th century, an accountant named Frank Lenz quit his job to cycle around the world. Two years later he mysteriously disappeared during the final leg of the journey. Hear author David V. Herlihy discuss this mystery and his new book The Lost Cyclist. In conjunction with Green Apple Books.
7 p.m., free
Public Bikes
123 South Park, SF
www.litquake.org

Saturday, Oct. 9

Lit Crawl
Get your fill of literary entertainment at galleries and bars across the Mission, where each phase offers crawlers a choice of attending readings happening simultaneously at over a dozen venues. With best-selling authors, poets, professors, bawdy story-tellers, amateurs, and professionals, it’ll be tough to choose three.
Phase I 6pm-7pm, Phase II 7:15pm-8:15pm, Phase III 8:30pm-9:30pm; free
Various venues along the Valencia Street Corridor
Mission District, SF
www.litquake.org

Sunday, Oct. 10

Social Justice with Claudette Colvin
Attend this social justice event featuring a conversation between Enid Lee and Civil Rights legend Claudette Colvin, who refused to give up her seat to a white person on a Montgomery bus in 1955 and was the star witness in the federal case Browder v. Gayle, which desegregated the Montgomery buses. Also featuring a performance piece by Awele Makeba and a performance by poet, activist, and spoken word artist Bryonn Bain.
1:30 p.m., free
San Francisco Main Library
100 Larkin, SF
www.litquake.org

Tuesday, Oct. 12

Bill Bryson
Hear the author of At Home in conversation with Roy Eisenhardt.
8 p.m., $20
Herbst Theater
401 Van Ness, SF
www.cityboxoffice.com

Left in the Dark
Authors R.A. McBride and Julie Lindow celebrate twentieth century movie theatres and movie going in this book titled, Left in the Dark: Portraits of San Francisco Movie Theatres, a collection of personal essays and fine art photographs that casts the theatres as characters within the city’s cultural landscape.
7 p.m., free
City Lights Bookstore
261 Columbus, SF
www.litquake.org

Joseph O’ Neill
The award-winning novelist of Netherland will be discussing his new family memoir, Blood-Dark Track.
7 p.m., $20
Jewish Community Center of San Francisco
3200 California, SF
(415) 292-1200

Music listings

David Talbot
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0

Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. 

WEDNESDAY 6

ROCK/BLUES/HIP-HOP

Aces Biscuits and Blues. 8 and 10pm, $15.

Caribou, Emeralds Regency Ballroom. 9:30pm, $22.

Child Abuse, Burmese, Death Sentence: Panda Elbo Room. 10pm, $7.

Continues, Felt Drawings, Bloody Snowman, Ssleeping DesiresS DNA Lounge. 9pm, $11.

Fences, Head and the Heart, Winter’s Fall Rickshaw Stop. 8pm, $10.

Fortune 500, Gem Tops, Barrel Riders Rock-It Room. 9pm, $8.

Lissie, Dylan LeBlanc Great American Music Hall. 8pm, $15.

Plastic Fantastic Lover, Jugtown Pirates, 21st Century Bottom of the Hill. 9pm, $8.

Raw Power, Irritones, Neon Maniacs, Corruptors Knockout. 9:30pm, $8.

Angus and Julia Stone, Bhi Bhiman Independent. 8pm, $16.

Hawksley Workman, Connie Lim, Sonia Rao Hotel Utah. 8pm, $10.

FOLK/WORLD/COUNTRY

Moh Alileche Yoshi’s San Francisco. 9pm, $7. With dance artist Rasa Vitalia.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

VG Plus Hemlock Tavern. 9pm, free. With DJ Skips N Pops and DJ Jessica B.

THURSDAY 7

ROCK/BLUES/HIP-HOP

Devotionals, Honeycombs Amnesia. 9pm, $3.

Ferocious Few, Oona Café Du Nord. 10pm, $10.

Flood, Cuzo, Glitter Wizard Eagle Tavern. 9:30pm, $6.

Glass Candy, Chromatics, DJ Mike Simonetti, Soft Metals, DJ Omar Rickshaw Stop. 9pm, $15.

Klaxons, Baby Monster Great American Music Hall. 9pm, $18.

Land of Talk, Besnard Lakes, Suuns Independent. 8pm, $15.

Aimee Mann Yoshi’s San Francisco. 8pm, $35.

Night Horse, Hot Lunch, Lecherous Gaze Hemlock Tavern. 9pm, $7.

Curtis Salgado Biscuits and Blues. 8 and 10pm, $18.

Tera Melos, Skinwalker, Glaciers Bottom of the Hill. 9pm, $10.

FOLK/WORLD/COUNTRY

Heather Combs, Ryan Auffenberg, Mike Gibbons, Walty Hotel Utah. 8pm, $8.

Dark Hollow Band Atlas Café. 8pm, free.

*Devotionals, David and Joanna Amnesia. 9pm, $8.

Grupo Fantasma Yoshi’s San Francisco. 10:30pm, $20.

Leni Stern Coda. 10pm, $10.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Electric Feel Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Holy Thursday Underground SF. 10pm, $5. Bay Area electronic hip hop producers showcase their cutting edge styles monthly.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

Studio SF Triple Crown. 9pm, $5. Keeping the Disco vibe alive with authentic 70’s, 80’s, and current disco with DJs White Girl Lust, Ken Vulsion, and Sergio.

FRIDAY 8

ROCK/BLUES/HIP-HOP

Abney Park, Vernian Process, Unextraordinary Gentlemen DNA Lounge. 9pm, $23.

Birdmonster, Nervous Wreckords, Kid Mud Café Du Nord. 9:30pm, $12.

Blank Tapes, Rad Cloud, Tall Tales and the Silver Lining, Ryan Parks Amnesia. 9pm, $5.

Bobby Joe Ebola and the Children McNuggits, Angel and Robot Show, Emily’s Army, Secretions Thee Parkside. 9:30pm, $8.

Dainty, Le Verita, Jon Bennett Brainwash Café, 1122 Folsom, SF; www.brainwash.com. 8pm, free.

Greg Dale, Stefan Grant, These Are Not My Ancestors Hotel Utah. 9pm, $10.

East Bay Grease, Switchbacks Hemlock Tavern. 10pm, $5.

*Fool’s Gold, Bitter Honeys, Soft White Sixties Rickshaw Stop. 8:30pm, $12.

Matt Hires, Drew Holcomb and the Neighbors, Cloud Nothings Bottom of the Hill. 10pm, $10.

Aimee Mann Yoshi’s San Francisco. 8pm, $35.

McCabe and Mrs. Miller, Bye Bye Blackbirds Make-Out Room. 7:30pm, $7.

Nighthawks Biscuits and Blues. 8 and 10pm, $20.

Sea Wolf, Sera Cahoone, Patrick Park Independent. 9pm, $15.

Tom Tom Club, Paul Ryder, Motion Potion Great American Music Hall. 9pm, $26.

JAZZ/NEW MUSIC

Amick Byram CEBC, 801 Silver, SF; www.eventbee.com/view/amickbyramsf. 8pm, free.

Marcus Shelby Orchestra’s MLK Jewish Community Center of San Francisco, 3200 California, SF; www.sfjazz.org. 8pm, $20-30.

Mike Dillon’s Go-Go Jungle, Earl and Mike Duo Coda. 10pm, $12.

Paula West with George Mesterhazy Quartet Herbst Theater, 401 Van Ness; www.sfperformances.org. 8pm, $30-50.

FOLK/WORLD/COUNTRY

Heather Ambler and Jim Goodkind Mercury Café, 201 Octavia, SF; (415) 252-7855. 7:30pm, free.

“Americana Jukebox” Slim’s. 8:30pm, $14. With Misisipi Rider, Whisky Richards, Belle Monroe and Her Brewglass Boys, and Bluegrass Revolution.

Meredith Axelrod and Craig Ventresco Amnesia. 7pm, free.

Grupo Fantasma Yoshi’s San Francisco. 10:30pm, $20.

World Percussion Arts Festival Dance Mission Theater, 3316 24th St., SF; (415) 826-4441. 8pm, $25.

DANCE CLUBS

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fo’ Sho! Fridays Madrone Art Bar. 10pm, $5. DJs Kung Fu Chris and Makossa spin rare grooves, soul, funk, and hip-hop classics.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Garden Triple Crown. 9pm, $8. With DJs Inland Knights, M3, and Deron Delgado.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Heartical Roots Bollywood Café. 9pm, $5. Recession friendly reggae.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Singapore 60’s The Knockout. 5:30pm, free. DJ Sid Presley spinning rare pop, garage, and freakbeat from Singapore and SE Asia.

Some Thing The Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Strictly Video 111 Minna. 9pm, $10. With VDJs Shortkut, Swift Rock, GoldenChyld, and Satva spinning rap, 80s, R&B, and Dancehall.

Treat Em Right Elbo Room. 10pm, $5. Hip-hop, funk, reggae, and more with DJs B. Cause, Vinnie Esparza, and guest Goldmyne.

SATURDAY 9

ROCK/BLUES/HIP-HOP

Awesome Party, Serpent Crown, Evil Survives, Spellcaster Hemlock Tavern. 9:30pm, $6.

Cowboy Junkies, Watson Twins Bimbo’s 365 Club. 9pm, $35.

Ruth Gerson Hotel Utah. 8pm, $10.

Griffin House, Tyler James Swedish American Hall (upstairs from Café Du Nord). 8pm, $15.

Hard Girls, Ivy and Erick Amnesia. 7pm. Part of LitQuake, with readings by Blag Dahlia, Eric Lyle, and more.

Bruce Katz Biscuits and Blues. 8 and 10pm, $15.

LoCura, Manicato, DJ Funk-C Slim’s. 9pm, $16.

Moon Duo, Lilac Amnesia. 10pm, $8.

Particle Great American Music Hall. 9pm, $20.

Proj, Psychology of Genocide, Beet, MC Lynn Breedlove Thee Parkside. 9pm, $6.

Scene of Action, Felsen, Bird By Bird, Kindness and Lies Bottom of the Hill. 8:30pm, $12.

Bob Schneider, Bascom Hill, Smile Smile Independent. 9pm, $20.

Toro Ramire, Ideomeneo, Flash Bastards Thee Parkside. 3pm, free.

Wires in the Walls, Tenderloins Hotel Utah. 9:30pm, $8.

Zoo Station Blackthorn Tavern, 834 Irving, SF; www.blackthornsf.com. 9pm, $10.

JAZZ/NEW MUSIC

Amick Byram CEBC, 801 Silver, SF; www.eventbee.com/view/amickbyramsf. 8pm, free.

Anat Cohen and Avishai Cohen Congregation Sherith Israel, 2266 California, SF; www.sfjazz.org. 8pm, $25-50.

Dead Kenny Gs, Black Frames, Earl and Mike Duo Coda. 10pm, $12.

“On the Edge of Dark” Simm Series, Musicians Union Hall, 116 Ninth St, Sf; www.outsound.org. 8pm, $8-10. With Vinny Golia, Rent Romus, and the Lords of Outland.

Lavay Smith and Her Red Hot Skillet Lickers Café Du Nord. 9pm, $15. Performing the music of Duke Ellington.

Nikki Yanofsky Florence Gould Theatre, Legion of Honor, 100 Legion of Honor Dr, SF; www.sfjazz.org. 2pm, $25.

FOLK/WORLD/COUNTRY

World Percussion Arts Festival Dance Mission Theater, 3316 24th St., SF; (415) 826-4441. 8pm, $25.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx. Bootie vs. Booty Call DNA Lounge. 9pm, $6-12. Mash-ups with VJ Brewski, Smash-Up Derby, Adrian and Mysterious D, and Dada.

Cockblock Rickshaw Stop. 10pm, $5-7. Queer dance party with DJ Nuxx and friends.

Frolic Stud. 9pm, $3-7. DJs Dragn’Fly, NeonBunny, and Ikkuma spin at this celebration of anthropomorphic costume and dance. Animal outfits encouraged.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Industry Mighty. 10pm, $25. With DJ Dave Aude and Jamie J Sanchez celebrating Fleet Week.

Lacquer! Milk Bar. 10pm, $5. With DJ Mario Muse vs. DJs Blondie K and subOctave spinning indie dance, electro, new wave, and disco.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Spotlight Siberia, 314 11th St, SF; (415) 552-2100. 10pm. With DJs Slowpoke, Double Impact, and Moe1.

Tormenta Tropical Elbo Room. 10pm, $15. Electro-cumbia with DJs El Guincho, El Hijo de la Cumbia, and DJs Disco Shawn and Oro 11.

SUNDAY 10

ROCK/BLUES/HIP-HOP

Anberlin, Crash Kings, Civil Twilight Regency Ballroom. 8pm, $20.

Frightened Rabbit, Plants and Animals, Bad Veins Fillmore. 8pm, $22.50.

Terry Hanck Biscuits and Blues. 8 and 10pm, $15.

Liz Phair Independent. 8pm, $25.

Rangers, Universal Studios Florida, Radiant Husk Hemlock Tavern. 8pm, $6.

“SF Bike Coalition Presents: Kestral Sound Review, Volume 2: Battle of the One-Man Bands” Café Du Nord. 8pm, $10. With A Magic Whistle, Mallard, Ricky Lee Robinson, Hanalei.

Slow Motion Cowboys, Virgil Shaw and the New Mid-City Band, Domestic Electrics Make-Out Room. 8pm, $7.

*Mark Sultan, Hunx and His Punx, Shannon and the Clams Rickshaw Stop. 8pm, $12.

Wannabe Texans, Mae McCoy and the Neon Stars Bottom of the Hill. 3pm, $10.

JAZZ/NEW MUSIC

Frank Jackson, Larry Vuckovich Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

“3rd Annual San Francisco Filipino American Jazz Festival” Yoshi’s San Francisco. 6pm, $45.

“On the Edge of Dark” Simm Series, Musicians Union Hall, 116 Ninth St, Sf; www.outsound.org. 7:30pm, $8-10. With Vinny Golia, Rent Romus, and the Lords of Outland.

FOLK/WORLD/COUNTRY

Meredith Axelrod and Craig Ventresco Atlas Café. 4pm, free.

Garett Brennan Bazaar Café, 5927 California, SF; (415) 831-5620. 6pm.

Calliope Amnesia. 7pm, free.

Quinn Deveaux Amnesia. 9pm, $7-$10.

Silver Threads, Merle Jagger Thee Parkside. 4pm, free.

World Percussion Arts Festival Dance Mission Theater, 3316 24th St., SF; (415) 826-4441. 6pm, $25.

DANCE CLUBS

Autobahn Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9pm, free. With DJs Shawn Ryan and Pat Les Stache and host Tristes Tropiques.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. International dub summit with Subatomic Sound System vs. Dubblestandart, featuring Emch and Paul Zasky, plus Devon D and DJ Sep.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Fresh Ruby Skye. 6pm, $25. A Columbus Day weekend T-dance with DJ Paul Goodyear.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Mini Non Stop Bhangra Rickshaw Stop. Noon-3pm, $5-10. Kid-friendly world music dance party.

Out Loud Festival Wrap Party Thee Parkside. 12:30pm, $6. With DJs Brown Amy and Carnita.

Pachanga Coda. 5pm, $10. Salsa dance party with DJs Fab Fred and Antonio and Orquestra La Moderna Tradición.

Religion Bar on Church. 3pm. With DJ Nikita.

Remember the White Party Disco Glas Kat, 520 4th St., SF; (415) 495-6620. 6pm, $25. With DJ Jerry Bonham spinning Trocadero Transfer classics.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 11

ROCK/BLUES/HIP-HOP

Capsula, Blammos Elbo Room. 9pm, $6.

Corin Tucker Band Great American Music Hall. 8pm, $17.

Eels Fillmore. 8pm, $27.50.

James, Ed Harcourt Regency Ballroom. 8pm, $28.

Remy Zero, Sanders Bohlke Café Du Nord. 8pm, $15.

*Valient Thorr, Red Fang, FlexXBronco Bottom of the Hill. 9pm, $12.

Brad Wilson and Rhythm Drivers Biscuits and Blues. 8pm, $12.

FOLK/WORLD/COUNTRY

Toshio Hirano Amnesia. 8:30pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

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

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 12

ROCK/BLUES/HIP-HOP

All That Remains, Asking Alexandria, Unearth, And She Whispered Regency Ballroom. 7:30pm, $24.

Bettie Serveert, Foxtail Somersault Café Du Nord. 9:30pm, $15.

El Ten Eleven, Baths, Sister Crayon Bottom of the Hill. 9pm, $12.

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

Audrey Howard, Kate Kilbane, Meredith Axelrod Club Waziema, 543 Divisadero, SF; (415) 346-6641. 8pm.

Passenger and Pilot, Drew Victor, Pirate Radio Viracocha, 998 Valencia, SF; (415) 374-7048. 8pm.

Platinum Live SF Coda. 9pm, $10.

PS I Love You, Gold Medalists, Downer Party Hemlock Tavern. 9pm, $7.

Teenage Fanclub, Radar Brothers Fillmore. 8pm, $26.50.

Devin Townsend, Project Tesseract Slim’s. 8pm, $16.

DANCE CLUBS

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

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

 

Stage listings

David Talbot
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0

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

THEATER

OPENING

Christian Cagigal’s Obscura: A Magic Show EXIT Cafe, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $15-25. Opens Thurs/7, 8pm. Runs Thurs-Sat, 8pm. Through Dec 18. Magician Christian Cagigal presents a mix of magic, fairy tales, and dark fables.

A Funny Thing Happened on the Way to the Forum Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. Previews Wed/6, 7pm; Thurs/7-Fri/8, 8pm. Opens Sat/9, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm (also Oct 16, 1pm). Through Oct 24. 42nd Street Moon presents the Sondheim musical farce, starring Megan Cavanagh.

Love Song Exit Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $20. Opens Fri/8, 8pm. Runs Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Oct 23. An offbeat comedy by John Kolvenbach, directed by Loretta Janca.

Zombie Town Stage Werx Theatre, 533 Sutter; www.stagewerx.org. $24. (800) 838-3006, www.brownpapertickets.com. Opens Thurs/7, 8pm. Runs Thurs-Sat, 8pm (also Oct 31, 5pm). Through Oct 31. Catharsis Theatre Collective presents a documentary play about zombie attacks in Texas.

BAY AREA

Mary Stuart The Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $15-30. Previews Wed/6-Thurs/7, 8pm. Opens Fri/8, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. (also Oct 20, Oct 27, Nov 3; 7pm). Through Nov 7. Shotgun Players presents Friedrich Schiller’s historical drama, directed by Mark Jackson.

Superior Donuts TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro; (650) 463-1960, www.theatreworks.org. $19-67. Previews Wed/6-Fri/8, 8pm. Opens Sat/9, 8pm. Runs Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. TheatreWorks presents Tracy Letts’ tale of friendship and redemption in a Chicago donut dispensary.


ONGOING

Absolutely San Francisco Phoenix Theatre, Stage 2, 414 Mason; 433-1235, www.absolutelysanfrancisco.com. $20-25. Fri-Sat, 8pm. Through Oct 23. A one-woman musical starring Karen Hirst, with book and music by Anne Doherty.

Aida War Memorial Opera House, 301 Van Ness, 864-1330, www.sfopera.com. $25-320. Wed/6, 7:30pm. San Francisco Opera presents Verdi’s classic, a co-production with English National Opera and Houston Grand Opera.

And Then They Came for Me: Remembering the World of Anne Frank New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. Call for reservations. Mon-Thurs, 10 and 11:45am.; Sun, 2pm. Through Sun/10. YouthAware Educational Theatre presents a multimedia play by James Still, directed by Sara Staley.

Anita Bryant Died For Your Sins New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Oct 24. New Conservatory Theatre Center presents a show by Brian Christopher Williams.

*The Brothers Size Magic Theatre, Bldg D, Fort Mason Center; 441-8822, www.magictheatre.org. $20-60. Dates and times vary. Through Oct 17. Magic Theatre presents the West Coast premiere of Tarell Alvin McCraney’s play, directed by Octavio Solis.

Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Oct 22. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

Disoriented Off-Market Theater, 960 Mission; (800) 838-3006, www.brownpapertickets.com. $20. Sun/10 and Oct 17, 7pm (also Wed/6 at CounterPULSE). Through Oct 17. A trio of solo performances by Asian-American women.

*Faux Real Climate Theater at TJT, 470 Florida; (800) 838-3006, www.brownpapertickets.com. $15-20. Wed-Sat, 8pm (also Sat/9, 10pm). Through Sat/9. A drag queen stripped bare? Not on your life. But in baring some soul and some truth ("two lies" per), Fauxnique (aka Monique Jenkinson; aka a woman as a man as a woman&ldots;) does some productive and fascinating (re)working of this sly semi-confessional form. In a show that begins by asking, via David Bowie, "whatchya gonna say to the real me?", Fauxnique undresses drag by singing (very ably) as often as syncing and otherwise playing knowingly with the "reveals" inherent in the drag tradition, taking audiences back with her to high school in Denver in the 1980s for a herstory lesson like few others. Questions about identity and art mingle with hip, hilarious, wonderfully "haute," and seriously hardworking solo cabaret (assisted by transgresser-dresser and prop boy Kegan Marling). Originally unveiled in 2009, and fresh from a London debut, Faux Real returns for an extended but still too-brief run courtesy of the mighty little Climate Theater, currently ensconced in the Jewish Theatre’s luxurious little space. (Avila)

Futurestyle ’79 Off-Market Theater, Studio 250, 965 Mission; (800) 838-3006, www.brownpapertickets.com. $15-20. Wed, 8pm. Through Oct 27. A fully improvised episodic comedy played against the backdrop of SF in 1979.

Hamlet Alcatraz Island; 547-0189, www.weplayers.org. By donation. Sat-Sun, times vary. Through Nov 21. As part of an artistic residency, We Players presents an island-wide interactive performance of the Shakespeare play.

IPH… Brava Theater, 2781 24th St, 647-2822, www.brava.org. $15-35. Thurs-Sat, 8pm; Sun, 3pm. Through Oct 16. Brava Theatre and African-American Shakespeare Company present the US premiere of an adaptation of Iphigenia at Aulis.

*Jerry Springer the Opera Victoria Theatre, 2961 16th; www.jerrysf.com. $20-36. Wed-Sat, 8pm. Through Oct 16. Highbrow meets low in one big, boisterous mono-brow middle as one of the baser of daytime talk-show hosts meets his audience and maker—or anyway Jesus and Satan—in a TV show purgatory that really is purgatory. The form is operatic, the subject matter the stuff of soap, and the resulting tawdry spectacle all but irresistible in Ray of Light Theatre’s production of the 2003 British musical by Richard Thomas (music, book and lyrics) and Stewart Lee (book and lyrics). If the conceit feels a bit one-note, it’s a note taken very cleverly and ably for all its worth. A smart, smarmy and dyspeptic Patrick Michael Dukeman excels in the title role, as the chorus, meanwhile, comprised of Jerry’s rabid studio audience, puts the unbridled hooligan glee in glee club, lending Wagnerian weight to such key phrases as "step-dad" or "chick with a dick." The grand and just slightly sleazy Victoria Theatre makes the perfect venue for this fine irreverence, filling it charmingly with rafter-shaking vulgarity and mayhem.

Kiss of Blood Hypnodrome Theatre, 575 10th; (800) 838-3006, www.brownpapertickets.com. $25-35. Thurs-Fri, 8pm. Through Nov 19. Thrillpeddlers presents its signature Halloween show, with three one-act Grand Guignol terror plays.

Last Days of Judas Iscariot Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.CustomMade.org. $10-30. Thurs-Sat, 8pm; Sun, 7pm. Through Oct 30. Custom Made Theatre presents Stephen Adly Guirgis’ meditation on the meaning of forgiveness.

Olive Kitteridge Z Space at Theater Artaud, 450 Florida; (800) 838-3006, www.zspace.org. $20-40. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Sun/10. Page-to-stage company Word for Word takes on two chapters’ worth of Elizabeth Strout’s celebrated 2008 novel, comprised of a loosely connected set of stories surrounding the title character (played with cunning subtlety by Patricia Silver) and her immediate circle in a coastal town in Maine. In "Tulips," we find the thorny but shrewd Olive, a former math teacher, and her patient husband Henry (Paul Finocchiaro), the town’s longtime pharmacist, transitioning not so smoothly into their retirement years. Olive—itchy, cantankerous and vaguely at a loss despite her sharp wit—resents her grown son’s (Patrick Alparone) happily distant life in New York and battles with the neighbors until her husband’s stroke leaves her at sea, unexpectedly vulnerable and open to the kindness of neighbors and strangers alike (played by an ensemble that includes Jeri Lynn Cohen, Nancy Shelby, and Michelle Belaver). In "River," Olive, now a widow, begins a gradual, unlikely and bumpy romance with a recently widowed former academic (Warren David Keith). Director Joel Mullennix grabs hold of colorful details along the way—like the summer influx of rollerbladers and bicyclists—to further enliven the verbatim staging of these stories, but the effort can feel a little forced at times, as if betraying a sense that these well-acted, gently poetical and thoughtful stories and their complex protagonist do not always make for the most stimulating drama. (Avila)

A Picasso Royce Gallery, 2901 Mariposa; (866) 811-4111, www.apicassoonstage.com. $12-28. Thurs-Sat, 8pm. Through Sat/9. Expression Productions presents Jeffery Hatcher’s drama about the authenticity of three Picasso paintings.

Pinocchio Young Performers Theatre, Fort Mason Center, Bldg C, Third Floor, Room 300; 346-5550, www.ypt.org. $7-10. Sat-Sun, 1 and 3:30pm. Through Sun/10. Young Performers Theatre presents a new production of Carlo Collodi’s puppet tale.

*The Real Americans The Marsh MainStage, 1062 Valencia; (800) 838-3006; www.themarsh.org. $20-50. Wed-Fri, 8pm; Sun, 5pm. Through Nov 6. The fifth extension of Dan Hoyle’s acclaimed show, directed by Charlie Varon.

*Scapin American Conservatory Theatre, 415 Geary; 749-2228, www.act-sf.org. $10-90. Tues-Sun, times vary. Through Oct 23. Bill Irwin, the innovative former Pickle Family clown and neo-vaudevillian turned Broadway star, makes a San Francisco return at the helm—and in the title role—of American Conservatory Theater’s production of Moliere’s classic farce. It’s an excuse for some arch meta-theatrical high jinx as well as expert clowning, a love fest really, with many fine moments amid a general font of fun whose heady purity seems like it should fall under some FDA regulation or other—clearly, somebody has paid someone to look the other way, and for once the corruption is unreservedly welcome. Joining the fun is Irwin’s old comrade-in-arms and, here, sacks, Geoff Hoyle, as miserly and dyspeptic daddy Geronte. Other ACT regulars and veterans flesh out a winning cast, among them the ever versatile and inimitable Gregory Wallace as Octave, a flouncing Steven Anthony Jones as put-out patriarch Argante, René Augesen as boisterously unlikely "virgin" Zerbinette, and a wonderfully adept and scene-stealing Judd Williford in the role of Scapin sidekick Sylvestre. As for Irwin, his comedic sensibility shows itself scrupulously apt and timeless at once, and his sure, lithesome performance intoxicating and age-defying. As a director, moreover, he gives as generously to each of his fellow performers as he does to his adoring, lovingly tousled audience. (Avila)

The Secretaries Boxcar Playhouse, 505 Natoma; 255-7846, www.crowdedfire.org. $15-25 (pay what you can previews). Wed-Sat, 8pm. Through Sat/9. Crowded Fire revives the 1994 black comedy by New York’s Five Lesbian Brothers, a gleefully inappropriate bit of feminist satire that feels like the love child of John Waters and Valerie Solanas. Set in the front offices of the Cooney Lumber Mill in Big Bone, Oregon (delightfully rendered in Nick A. Olivero’s scenic design with New Yorker-like illustrations of the surrounding environs), the story follows narrator Patty (Elissa Beth Stebbins) as she recounts her initiation into a snappy coven of office ladies who not-so-secretly fell (rather than fall for) the town’s lumberjacks as if they were so much old growth forest. The mayhem and humor amuse, but probably seemed a lot fresher 16 years ago, making the simple plot seem thinly stretched. Nevertheless, the play’s details are nicely taken care of in artistic director Marissa Wolf’s fluid staging, featuring lots of play with fluids and a robust ensemble. In addition to Stebbins’s well-wrought and raunchy innocent, Leticia Duarte rocks her power-suit commandingly as no-nonsense supervisor and pack/pact-leader Susan; Eleanor Mason Reinholdt proves scarily endearing as the deceptively mincing, food-obsessed Peaches; Khamara Pettus has Norma Desmond eyes as Susan’s jealous onetime favorite Ashley; and Marilee Talkington approaches comic perfection in lovingly crafted twin roles: the boundingly predatory butch Dawn; and Patty’s hetero love interest and sexual-harassment-workshop–graduate, Buzz. (Avila)

The Shining: Live The Dark Room, 2263 Mission; 401-77891, www.darkroomsf.com. $7-10. Fri-Sat, 8pm. Through Oct 23. The Dark Room becomes the Overlook Hotel in this stage production of the horror classic.

BAY AREA

Angels in America, Part One Pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm. Through Oct 16. Pear Avenue Theatre kicks off its fall "Americana" program with the Tony Kushner play.

*Compulsion Berkeley Repertory Theatre, Thrust Stage, 2025 Addison; (510) 647-2949, www.berkeleyrep.org. $29-85. Dates and times vary. Through Oct 31. Director Oscar Eustis of New York’s Public Theater marks a Bay Area return with an imaginatively layered staging of Rinne Groff’s stimulating new play. Compulsion locates the momentous yet dauntingly complex cultural-political outcomes of the Holocaust in the career of a provocative Jewish American character, Sid Silver, driven by real horror, sometimes-specious paranoia, and unbounded ego in his battle for control over the staging of Anne Frank’s Diary. A commandingly intense and fascinatingly nuanced Mandy Patinkin plays the brash, litigious Silver, based on real-life writer Meyer Levin, a best-selling author who obsessively pursued rights to stage his own version of Anne Frank’s story. The forces competing for ownership of, and identification with, Anne Frank and her hugely influential diary extend far beyond her father Otto, Silver, or the diary’s publishers at Doubleday (represented here by a smooth Matte Osian in a variety of parts; and a vital Hannah Cabell, who doubles as Silver’s increasingly alarmed and alienated French wife). But the power of Groff’s play lies in grounding the deeply convoluted and compromised history of that text and, by extension, the memory and meanings of the Holocaust itself, in a small set of forceful characters—augmented by astute use of marionettes (designed by Matt Acheson) and the words of Anne Frank herself (partially projected in Jeff Sugg’s impressive video design). The productive dramatic tension doesn’t let up, even after the seeming grace of the last-line, which relieves Silver of worldly burdens but leaves us brooding on their shifting meanings and ends. (Avila)

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Nov 21. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

In the Red and Brown Water Marin Theatre Company, 397 Miller, Mill Valley; 388-5208, www.marintheatre.org. $32-53. Tues, 8pm; Thurs-Sat, 8pm; Wed, 7:30pm, Sun, 7pm. Through Oct 10. Marin Theatre Company presents the West Coast premiere of Tarell Alvin McCraney’s play.

*Loveland The Marsh Berkeley, 2120 Allston Way; (800) 838-3006, www.brownpapertickets.com. $20-50. Fri, 7pm; Sat, 5pm. Through Nov 13. Ann Randolph’s acclaimed one-woman comic show about grief returns for its sixth sold-out extension.

She Loves Me Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek; (825) 943-7469, www.CenterREP.org. $36-45. Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm. Through Sun/10. Center REPertory company presents a musical choreographed and directed by Robert Barry fleming.

PERFORMANCE/DANCE

Bijou Martuni’s, 4 Valencia; 241-0205, www.dragatmartunis.com. $5. Sun/10, 7pm. The live cabaret showcase celebrates Oktoberfest.

"Blue Room Comedy" Club 93, 93 9th St; 264-5489. Free. Tues/12, 10pm. A weekly series that takes comedy to new lows.

Dancing on Glass CounterPULSE, 1310 Mission. 626-2060, www.counterpulse.org. $20-25. Fri/8-Sat/9, 8pm; Sun/10, 7pm. A dark comedy about outsourcing, by Ram Ganesh Kamathan.

Drag Queens of Comedy Castro Theatre, 429 Castro. 254-3362, www.comedyinthecastro.com. $35-45. Sat/9, 10:30pm. A riotous extravaganza with performances by Miss Coco Peru, Jackie Beat, Lady Bunny, Heklina, and others.

Echo: A Poetic Journey Into Justice City of Refuge United Church of Christ, 1025 Howard; (800) 838-3006, www.brownpapertickets.com. $15. Sat/9, 7pm (also Oct 16, 7pm). Progeny Theater Project presents a drama about sex trafficking by Regina Y. Evans.

Fifi and Fanny Live at the Texas Whorehouse The Garage, 975 Howard; 518-1517, www.brownpapertickets.com. $15-20. Fri/8-Sat/9, 8pm. Fifi and Fanny take on the queers of Texas with music and comedy.

Filipino Comedy Improv The Garage, 975 Howard; 518-1517, www.brownpapertickets.com. $10. Wed/6, 8pm. The Garage and Bindlestiff Studio present sketch comedy.

A Funny Night for Comedy Actors Theatre, 855 Bush; (800) 838-3006, www.brownpapertickets.com. $10. Sun/10, 7pm. Natasha Muse and Ryan Cronin host a standup program with interviews.

How Can You Stay in the House All Day and Not Go Anywhere? Yerba Buena Center for the Arts, 701 Mission; 978-2787, www.ybca.org. $25-30. Thurs/7-Sat/9, 8pm. A new interdisciplinary performance work by Ralph Lemon.

Margaret Jenkins Dance Comedy Kanbar Hall, Jewish Community Center, 3200 California; 292-1233, www.jccsf.org. $18-26. Thurs/7, 8pm. The company celebrates its 37th anniversary with a preview of its latest work.

Standup Comedy Cafe Royale, 800 Post; 641-6033, www.caferoyale-sf.com. Free. Mon/11, 7pm. Cara Tramontano hosts a night of comedy.

Zaccho Dance Theatre Market Street (between Powell and First); 252-4638, www.sfartscommission.org. Free. Thurs/7-Sun/10, 1-5pm. The company presents a site-specific performance devoted to African-American contributions to SF.

BAY AREA

Circus Oz Zellerbach Hall, UC campus; (510) 642-9988, www.calperformances.com. $22-52. Thurs/7-Fri/8, 8pm; Sat/9, 2 and 8pm; Sun/10, 3pm. A new production by the Aussie steampunk group.

Drumline Live Marin Center, 10 Avenue of the Flags, San Rafael; www.marincenter.org. $25-45. Fri/8, 8pm. A 40-member stage performance created by the team behind the movie of the same name.

Freeland Berkeley Repertory Theatre, Roda Stage, Berk; (510) 601-0182, www.speakoutnow.org. Call for price. Fri/8, 8pm. A hip-hop journey from the streets of Oakland to the wild west, written and performed by Ariel Luckey and directed by Margo Hall.

Pilobolus Dance Company Marin Center, 10 Avenue of the flags, San Rafael; www.marincenter.org. $20-75. Sat/9, 8pm. A performance by the 40-year-old dance and performance company.

Ebony Hillbillies string along Hardly Strictly’s biggest year yet

Andrew Lam
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Nine hundred thousand people and over 70 bands braved the drifting fog banks for this weekend’s 10th annual Hardly Strictly Bluegrass Festival. With a crowd that size, you have to think logistics. So at my interview with HSB bankroller-birthday boy Warren Hellman well before the madness, I asked who were the up and comers to look out for. I chicken-danced our way through Speedway Meadows accordingly.

“The Ebony Hillbillies,” Hellman told me, chuckling over lead singer – and as the band’s press kit explains, “bones” of the group — Gloria Gassaway’s penchant for abrupt audience interaction. The HSB performance would be its first in the Bay Area, and Hellman was happy to have been its means of infiltration, particularly for Gassaway’s no-nonsense stage presence. “She’s quite a woman,” he said.

Quite a woman indeed. the Hillbillies, hailing from Jamaica, Queens, are helping to sustain the tradition of African-American string bands that started with the genre’s inception in the Appalachians in the 1920s. Black pioneers in the music can seem ironic now, particularly at events like Hardly Strictly where the audience is majority white. 

But so it goes — and some of the weekend’s most exciting shows flew from the fiddles, banjos, and diddly bows of black groups like the Hillbillies and Carolina Chocolate Drops, firmly establishing that bluegrass (and neo-bluegrass, and string bands, and jazz, blues, rockabilly, country, rock ‘n’ roll, everything else that falls under “hardly) doesn’t have to be just for the honkies.

“I love making the audience have a good time. You come to see the show, you want to be entertained, but you also want to enjoy yourself,” Gassaway tells me when we catch up with her after the group’s set on Friday. 

Sporting matching moccasins with fiddle player Henrique Prince, and with purple feathers threaded into her hair, the ebullient Gassaway exchanged my compliment on her flair with an insight into her cultural heritage. Although they were born with blood from the Catawba tribe of the South and North Carolina borderland, Gassaway’s father instructed Gassaway and her siblings never to reveal the secret of their Native-American-ness to teachers at school so that they could avoid possible discrimination. 

“He told us, tell them you’re from Mexico, or African-American, or something – just not Native,” she says. She says she held onto that learned denial until a trip to Europe, during which she realized the beauty of her background. Now Gassaway sports turquoise jewelry onstage while playing the string music that her Black and Native ancestors must have heard almost a hundred years ago. “I’m Native, and I wear my heritage proudly,” she tells me.

Although the Hillbillies’ current configuration experienced its debut in San Francisco this weekend, it was by no means the first time individual band members had played in the City by the Bay. Bass player William Saltner recalled his last time here in the early ’60s. Saltner, a two-time Grammy winner for songwriting – he wrote “Where is the Love?” and co-wrote “Just the Two of Us” – was working with Miriam Makeba, who at the time was exiled from her home in apartheid South Africa. 

“We don’t play bluegrass, we play old tyme music,” Saltner clarifies backstage. “But we claim bluegrass in this crowd,” he continues with a sly smile.

That kind of genre-bending, always evident at HSB, continued throughout the three days of 2010’s festival. MC Hammer kicked off the weekend at his yearly performance at the middle-schooler’s show on Friday morning. Randy Newman, a newly bluegrass-friendly Elvis Costello, Robert Earl Keen, the Avett Brothers, Joan Baez, and Patti Smith all turned in stellar sets that could hardly fall into the “strictly” category. The diversity was reflected in the varying age demographics of the crowd, who for the most part eschewed the sanctity of the blanket that had reigned in years past – those faithful early risers that spread their tarps in front of stages in the small hours of the morning saw their space quickly infiltrated by standing room-only, stage-switching attendees. 

Temperatures in the high 60s did nothing to stem the tide of music fans that flooded the peaks and valleys of Golden Gate Park for the free festival, but they did threaten the Hillbillies’ chances of starting up a dance party with their stomp-ready old tyme strings with their opening act at the Banjo Stage on Friday. “Are you cold?” Gassaway inquired from her seat on stage. “Because I sure am!”

The cold weather seemed to make it difficult to keep strings in shape – the action stopped a few times so that a stoic Norris Bennett could tune his diddley bow, and then later his banjo to perfection. But the challenge seemed to energize the group’s firestarter. Of course, it doesn’t hurt when you can pull Hellman onstage for a little unscheduled entertainment, which Gassaway managed to accomplish in a moment when she spotted the man enjoying the show from the stage’s sidelines.

Perhaps he had it coming for hyping Gassaway’s sass. Hellman did his best to represent the honkies though, bowing out his legs and wagging his elbows in a “broke-legged chicken” dance on her command. But for all his obedience, he’s got a ways to go as far as Gassaway is concerned. A fact which she let him (and us now) know in the intro of a song entitled “Big Fat Men,” an ode to the joys of obese lovers.

Which the wiry Hellman could hardly be described as. Yet. But he’s got a good coach. “I’ve been feeding him cheesecake,” Gassaway tells me. Blow out the candle first, Warren – number ten was a good year for Hardly Strictly.

 

Downtown money hits district races

Zelda Bronstein
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Downtown money hits district races

Downtown cash is pouring into the district supervisorial races.

Ethics Department filings show that an alliance backed by the Chamber of Commerce, the SF Police Officers Association and United Health Care Workers West is dropping major money on Steve Moss in D10, Scott Wiener in D8 and Theresa Sparks in D6. 

Called the “Alliance for Jobs and Sustainable Growth,” the coalition supports the building of a mega-hospital on Cathedral Hill.

The independent expenditure alliance puts UHW, part of the Service Employees International Union, in the odd position of using membership money to attack progressive politics in San Francisco – potentially undermining years of work by another SEIU affiliate, Local 1021.

Campaign disclosure forms show that the Chamber-Police-UHW alliance has spent $20,000 on bilingual (English/Chinese) door hangers for Moss that feature photos of Chamber of Commerce President Steve Falk and United Healthcare Workers political director Leon Chow.

These same interests also spent $20,000 on robo-calls for Moss, with a heavy focus on Visitacion Valley in an effort to secure the Asian vote in the crowded D10, where there is a strong likelihood that the race will be decided by second and third place votes

Word on the street in the Bayview is that former Mayor Willie Brown is pissed off that the Chamber is backing Moss, instead of African American candidate Lynette Sweet, and that termed out D10 Sup. Sophie Maxwell is angry that big corporations are trying to buy an election in the poorest and most ethnically diverse district in town.

But unlike the rumor mill, the money trail doesn’t lie. And from that perspective this is looking like a replay of the June 2008 election, when big businesses bought support for Lennar’s Candlestick Point/shipyard development by claiming it would create thousands of jobs building condos that most workers can’t afford—jobs that have yet to materialize.

This time the battle cry is for jobs building a massive hospital, even though few workers will likely get service from this hospital, which is designed to serve as a regional center for high-end health care.

So far, the same alliance of police and corporate money has plunked down $17,000 for bilingual (English and Chinese) door hangers in support of Theresa Sparks in D6 and another $17,000 for bilingual robo-calls in support of Sparks.

And so far, Scott Wiener has gotten the relatively short end of the corporate money stick: the Alliance has only spent $15,000 on a door hanger in support of Wiener.

This means that the alliance spent $90,000 in a two-week period in September. The numbers lend credence to DCCC Chair Aaron Peskin’s belief that the alliance has a war chest of $800,000, which it intends to use to put pro-downtown candidates into power.

Asked about the support of this alliance, Sparks, Wiener and Moss gave markedly different replies that reveal as much about each candidate as the money behind them.

D6 candidate Theresa Sparks suggested that the Alliance was spending more on her and Moss’ D10 campaign, because it felt Wiener was further ahead in the D8 race than she is in D6 or Moss is in D10.

And Sparks was openly supportive of the Cathedral Hill hospital project. “I’ve been very supportive of that project,” Sparks told us.

Sparks also observed that it was logical that the Chamber would support her.

“D6 has one of the largest numbers of small businesses and one of my biggest platforms has been economic growth, and I think the Chamber has been very supportive of job creation,” Sparks said.

By comparison, Scott Wiener told the Guardian that he has not taken a position on CPMC’s proposed mega hospital on Cathedral Hill.

“Those kind of issues could come before the Board, in terms of CEQA issues, and so I could be conflicted out,” Wiener said.

When the Guardian noted that the Alliance has so far not spent any money on phone banking for Wiener in D8, Wiener said, “I have volunteers doing phone banking.”

As for Moss, he told the Guardian that said he doesn’t have a position on the mega-hospital.

“I haven’t seen the plan,” Moss said. “But I understand that there seems to be an agreement that would maintain St. Luke’s with about 300 beds, but that there is a deep suspicion among the nurses that it’s not economically viable. And there seems to be a much greater need for a hospital in the southeast.”

Moss, however, is with downtown on other key issues: He supports the sit-lie legislation on the November ballot. He also reiterated that he likes the rabidly anti-tenant Small Property Owners Association, whose endorsement he called a “mistake” during a previous interview with the Guardian.

“Landlords feel that they are responsible for maintaining costly older buildings and that they are not provided with ways to upgrade their units in ways that share costs with tenants,” Moss, who sold a condo on Potrero Hill in 2007 for the same price that he paid for the entire building in 2001, and owns a 4-floor rent-controlled apartment building in D8, near Dolores Park, that he bought for $1.6 million in 2007, and where he lived from December 2007 to February 2010.

Moss refused to provide a copy of the lease on his current rental at Vermont and 18th St—something that the Guardian requested in light of an email from his wife that indicated that the family intended to move back to Dolores Park of Moss loses the race.
‘That’s private information,” Moss said, claiming that he does not plan to move back into his apartment building in D8, if he loses in November.

Moss claimed that UHW endorsed him because his position on politicians and unions.
“I agreed that politicians should get not involved in union politics,” Moss said. “The United Healthcare Workers seem to be a worthy group,” he added. “All they said was that they wanted to make sure that they had access.”

All this campaign money drama is playing out against the backdrop of a punishing battle between United Healthcare Workers West and the rest of SEIU. And as these recent filings show, UHW is spending a huge amount of its membership dues to undermine the city’s progressive infrastructure by trying to elect candidates who are not progressive, even though its progressive sister union has endorsed Rafael Mandelman in D8.

SEIU 1021 member Ed Kinchley, who works in the Emergency Room at SF General Hospital, is furious that UHW is pouring all its money into downtown candidates like Moss, Sparks and Wiener and trying to undermine everything that its progressive sister union is trying to do.

“UHW basically isn’t participating in the Labor Council, it’s just doing its own thing,” Kinchley said.

Kinchley noted that UHW is currently in trusteeship, and is being controlled by its International, and not its local membership, thus explaining why it’s doing this dance with forces like the Chamber and the Building Owners and Managers Association, which have long been the enemy of labor.

“Sutter wants a monopoly on private healthcare, and people like Rafael Mandelman in and Debra Walker have been strong supporters of public healthcare,” Kinchley said, Kinchley also noted that he wants supervisors who are willing to state their support for public health care, rather than dodging the issue and hedging their bets, right now.

“I want someone who can straight-up say, here’s what’s important for families in San Francisco, especially something as important as healthcare,” Kinchley said. “but it sounds like UHW is teaming up with the Chamber and supporting people who are not progressive.”

“And it’s not OK for somebody in D10 to say they haven’t seen CPMC’s plans, when people from D10 use St. Luke’s all the time for healthcare, because it sounds like Sutter wants to change St. Luke’s into an out-patient clinic for paying customers,” he continued.

SEIU 1021 activist Gabriel Haaland accused the Chamber, the Building Owners and Managers Association, UHW and the Police Officers Association of putting together a massive political action committee, “to try and steal the election through corporate spending.”

All this leaves the Guardian wondering how Leon Chow, the political director of UHW, who has done good work in the past on health care issues, is feeling about seeing his photograph spreads all over town alongside that of Chamber of Commerce President Steve Falk on door hangers in support of Sparks, Wiener and Moss.
 
As of press time, Chow had not returned our calls, but if he does, we’ll update this post.

Party Radar: Felabration, New Wave City, Castro Street Fair, more

Jesse Hawthorne Ficks
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Party Radar: Felabration, New Wave City, Castro Street Fair, more

Lovevolution’s daytime portion may be cancelled this weekend, but that’s no reason to sit this one out — as I wrote this week in Super Ego, there’s tons of great Love Weekend events, plus a bunch more happenings. Funz! Read about all the official Lovevolution parties still going on here, and check out the below for even more.

But first, I promised a look at the Silent Disco movement, which is finally hosting an official, non-underground event this weekend — so I can write about it without getting it busted, heh. Silent Frisco is taking place on Saturday afternoon at the brand new Jones bar, which has been pumping the fact that it’s a mainly outdoor venue in the heart of the city. (Sat/2, noon–10 p.m., $15, Jones, 620 Jones, SF. www.sunsetpromotions.com). You get special wireless headphones that pick up a signal broadcast from the DJ booth (with two DJ channels to choose from for maximum hubbub.) Although the idea’s been around a while, the actual movement originated at the Bonnaroo festival in 2007 and has toured the world since. SF’s DJ Motion Potion has been there from the beginning and he told me it’s quite bonkers. Wildly diverse-styled DJs for this installment are Jeffrey Paradise, Disco Shawn, Centipede, MoPo himself, and a special secret guest. Get into it.

 

 

WE & THE MUSIC: FELABRATION

Afrobeat and soulful house luminary DJ Said of Fatsouls Records is back with his awesomely deep monthly We & the Music party, this time featuring local decks master David Harness for a celebration of Nigerian legend Fela Kuti, as Nigeria celebrates its 50th anniversary. It looks so young!  222 Hyde is gonna have a major dance attack on its hands …

Fri/1, 9pm, $10. 222 Hyde, SF. www.222hyde.com

 

NEW WAVE CITY 18TH ANNIVERSARY

Surely this means that the neverending monthly retroland of New Wave City is the longest-operating club in the city? Join DJs Skip, Shindog, Low Life, Melting Girl, and more to sing along to all your favorites from the ’80s at a club that started looking back right when that decade ended.

Sat/2, 9pm-3am, $12. DNA Lounge, 375 11th St., SF. www.newwavecity.com

 

CLUB LEISURE GRAND REOPENING

Soooo too cool for school, but not so cool it freezes you out. This great indie club is back at a new location, bringing with it “the best in classic Britpop, Madchester, 90s Indie, Mod, dancey shoegaze, power pop, and 60s soul on the first Saturday of every month!” It’s an Oasis, everybody, with free champagne until they run out. DJs Aaron Axelson and Omar preside.

Sat/2, 10pm-3am, $8. Cat Club, 1190 Folsom, SF. www.sfcatclub.com

 

CASTRO STREET FAIR

Hot fun — or at least tacky tchotchke shopping and muscle man cruising — at this huge affair that streatches all up and down Castro from Market to your future trick’s house. Also music and dancing, with several stages (the line-dancing stage behind Castro Theater is my personal fave) and performances by Pepperspray, Adonisaurus, DJ Jim Hopkins, and many more. PLUS: You could win an Atlantis cruise from GayCities.com. O.M.G.!

Sun/3, 11am-6pm, donation requested. Market and Castro, SF. www.castrostreetfair.org

 

BIONIC 12-YEAR ANNIVERSARY

Another long runner! This funky house and chill techno joint has moved around a bunch, but never lost its good-footin’. Celebrate a dozen with DJs Justin V. of !!!, UK’s Simbad, and residents Solar, Nikola Baytala, Conor, and Kwai LeCheif.

Sun/3, 9:30pm, $7. 222 Hyde, SF. www.222hyde.com

 

Flagging in the Park: the whirl story

Jesse Hawthorne Ficks
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“This is the gayest thing I’ve ever done in my life!” laughed my friend Ricky Strawberry as he twirled around and around, unfurling lengths of tie-dyed cloth to Hi-NRG dance tracks from a live DJ in the sunshine. If you know Ricky Strawberry, that’s pretty damn sparkly pink unicorn in a rainbow thong bathing under a Splenda waterfall gay. In fact, it was the gayest thing anyone in my pinko posse had ever done, as well, and we had a ball. It was gay, it was amazing, it was gaymazing, and you should do it too.

It? Flagging in the Park, the summertime monthly gathering of fluttering human butterflies in the AIDS Memorial Grove in Golden Gate Park. I wrote about it in this week’s Super Ego nightlife column — and it happens for the final time this year on Sat/2, 1 p.m.- 4p.m. 

Flagging — or flag dancing, wherein the dancer whirls around waving psychedelic-patterned, weighted pieces of fabric — has been around for several decades. I remember the first time I saw it was in the ’80s at a giant outdoor picnic in Detroit organized by Metra magazine, but it really took hold inside gay clubs during the ’90s, when circuit parties were on the rise. (Flag dancing of a non-gay-specific kind, using actual flags with poles, is an ancient art still practiced especially in Italy and New Orleans — and in Midwestern marching bands.) The exact gay origins are fuzzy — men dancing with giant fans at disco clubs were a common sight, and you will see lots of flaggers at the disco-celebrating Remember the Party event next weekend, for instance, which acts as a reunion for patrons of the classic Trocadero Transfer venue in the ’70s and ’80s.

Like many alternaqueers of my generation, flagging was a turnoff in the ’90s — it was too associated with annoyingly relentless circuit music, mainstream gym culture, and bad drugs in my mind. But that was a long time ago, and like a lot of things from that time, a rediscovery after old conflicts have died out puts things into a totally different perspective. (You don’t see much flagging in mainstream gay clubs these days, and the music at Flagging in the Park is a bit more fun and interesting than I thought it would be. For the October installment, the DJ is Steve Sherwood.) I was able to appreciate the art in a different context, and without prejudice. Flagging in the Park is a beautiful event, full of rich historical meaning. It welcomes everyone — there are also large contingents of hula-hoopers, poi-twirlers, and other talents — and has taken on a more spiritual aspect.

http://www.youtube.com/watch?v=Me3rZ99ArbU

When I went in August (I had heard about it for months, and was encouraged to finally attend by my friend Steven Satyricon’s lovely writeup over at The Juice Box site) I was lucky enough to see the organizer, Xavier Caylor, be sainted by the Sisters of Perpetual Indulgence for his community work. And Flagging in the Park (FITP) really does bring in a bunch of donations for community organizations, as well as provide community healing. “Without grief, you can’t have joy,” said Xavier, referencing the spirits around us in the AIDS Grove. Xavier took over FITP 10 years ago, and he teaches a flagging class at Gold’s Gym in the Castro every Wednesday, 6 p.m.-8 p.m. He’s also several thousand degrees of hotness, yowza. I wanted to know more about how he got involved, and some of the spiritual aspects of the art. His story is below — and you should drift on by this Saturday afternoon to see for yourself. Xavier provides plenty of free flags to borrow, and flagging really is a bit of good exercise, I discovered. 

XAVIER CAYLOR: “I picked up my first set of flags from a friend of a friend at a party on Will Rogers Beach in 1997. I was hooked and we proceeded to flag everywhere we could: at home, in clubs and circuit parties. I heard about FITP from a fellow that I met at a circuit party in Palm Springs; he told me of a community of good friends that met during the summer months at a park in SF. I managed to contact someone and planned a weekend getaway from So. Cal. to attend in July of 1998.

“In 1998 the recently dedicated National AIDS Memorial Grove was young, the flaggers met in the then newly planted fern grove and gravel circle on the far West side. Twenty people gathered on what was a truly magical day for me; I was amazed with the variety of people, flags, and energy there – like a kid in a candy store. I not only left my heart in San Francisco but gave it freely to a tie-dye artist that became the catalyst for me moving here in just three short months. For the next few years he and I co-produced the event, popularity soon crowded us out of the circle and into the meadow. I have been producing the event since 2001 less two years that a friend took it and moved it to Dolores Park. Originally the events were planned a few days in advance around a sunny weather forecast. In 2002 this changed, acquiring permits and making these outreach events for charity brought a whole new dimension to our gatherings.

“What does the event mean to me? It was and is a magical space where love was born and flourishes, where flaggers can come out of the clubs and into nature. Held in a place that was built out of grief, mourning, and reflection by something that devastated our community and for a few hours we pour color, love, celebration, and heritage carefully back while raising consciousness by giving back. It is the place that our tribes come together to socialize, bond, and strengthen community. It is also a place that people walking through the park can happen upon a surreal event, take it in for a minute, and leave having had the opportunity to try something new or just stop and take in the music and visuals before moving along to where ever it is they are going. I usually plan 3 or 4 FITPs per year between May and October — the last one was supposed to be the final one this year, but we had such a great crowd and great vibe that we decided to have one more.

http://www.youtube.com/watch?v=fd3pX-Ys1wI

“If you’ve picked up flags you’ve most likely been asked by someone to show them how to do “it.” I’ve been showing friends since day one, taught at workshops in SF, NY, SD, and Dallas. I’ve been involved with group and solo performances, led people in tie-dye, and given away hundreds of flags while traveling to parties in Brazil, Australia, Thailand, Spain and the UK ,not to mention many cities around the US.

“About my class at Gold’s Gym: When I moved to San Francisco Club Universe, 177 Townsend, on Sundays was known as Pleasuredome and was a venue with a huge stage that flaggers flocked to weekly to play and share their art. It was a beacon to flag dancers on the West coast and beyond, introducing a steady stream of club goers weekly to the glowing fabric twirling in the U.V. flooded stage. It’s close in 2002 was a blow to the dance and flag communities. In 2007 I approached the management at Gold’s and asked if I could hold a weekly space for flaggers to come and practice – I was envisioning a free space that I would hold for a year with the purpose of re-energizing my tribe and reviving that weekly space. Troy at Gold’s Gym enthusiastically offered me a position and added the class to their Group X fitness program – I’ve been teaching Wednesday nights since. It is a place that people that have never flagged can come and learn – I have flags for use and set up black lights to make them come to life. The community comes to practice, play and socialize. I support new and old flaggers at the gym and outside of the gym by leading tie-dye classes/open studios so people can make their own flags. Weekly pre class discussions are opportunities to share history, personal stories and current events. Other flow toys (like poi and fans) show up from time to time and I support them if and when I can.

http://www.youtube.com/watch?v=GC4qFjeSTvg

“The group of guys that started FITP in 1996 shared a common experience, they had all gone to a week long experience in consciousness building in San Diego called the Miracle of Love which used active meditation techniques developed by Osho Rajneesh. Those flaggers came together in 1998 to bring those techniques to the gay community through a weekend seminar that is still going strong called the ‘Men’s Inner Journey.’ It was through delving deep into the techniques of active meditation that I realized what a spiritual event flagging is. Though people don’t usually make the connection between flagging and meditation, there is a point when the body and mind are so engaged that in the exuberance of the dance the mind is set free to a place of stillness. I believe that meditation something lacking in our lives and something we need to recharge our spirit and connect with our soul.

“Flagging is a visually appealing dance that has lived primarily in the gay community for the past 40 years. It touches on spirituality by being an alternative form of meditation palatable for people on the go. I am proud to be one of the many that keeps this art form flourishing by holding the space to pass it to the next generation of artists. www.flaggercentral.com is a great resource for our community.”

Snap Sounds: Clubroot

Jesse Hawthorne Ficks
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Snap Sounds: Clubroot

CLUBROOT

II MMX

(LoDubs, 2010)

Purposely constructed anonymity as a reaction to this supposed Internet Age of Information is by now pretty passe in music circles (cf. Silver Columns, jj, Burial). So some may have rolled their eyes when future dubber Clubroot went that route with his first releases, even though the music was intellectually sensuous and the first full-length release received raves from Dubstepforum to Pitchfork.

Indeed, it seemed that Clubroot was following a little too closely in Burial’s footstep — no photos, no live sets, no given name — yet the music was tweeked slightly from that brainy dubstep god’s blueprint and showed a unique promise. But by now we’re all trained for the big, and in most cases anticlimactic, reveal. Since Clubroot’s been promoting a second album on Portland’s LoDubs label, he’s come out as 25-year-old Dan Richmond of St. Alban’s, UK, and is hitting the road for some live shows — ditching the reclusiveness (even though only obscured pics of him exist, and I wonder if he’ll be disguised for his upcoming show at Triple Crown). All signs, however, point not to anticlimax but to dance floor swoon.

II MMX is a 2 CD set that contains much of first album Clubroot, but the newer stuff advances beyond earlier hyper-cerebral and sometimes too-gloomy intentions for a trip into the deep forest. Yes, tracks like “Orbiting,” “Waterways,” “Dust Storm,” and the unfortunately titled “Cherubs Cry” channel some good ol’ pan flute sounds, tablas, and disembodied choruses that may call to mind New Age label Wyndham Hill or groups like Deep Forest, Enigma, even Enya. This is not a kiss of death — there’s a Balearic-derived trend blowing through right now that’s excavating those once-tacky sounds and making something fresh with them. It’s a neat trick, quite pleasant, and Clubroot is pulling it off. Call it dubstep’s version of chillwave.

While he can still show some spooked-out dubstep teeth on tracks like “Whistles & Horns” and “Physically” (and in his live mixes, like the one above for the inimitable Mary Anne Hobbs), Clubroot’s forging ahead in the pursuit of the thing every critic is calling post-dubstep, but which none can properly define. Good for him. Pack up that warped urban sitar loop and lead us into the trees, Clubroot — whoever you may be.     

(Reports from Seattle’s Decibel festival last week indicate that the live show’s a keeper, a LoDubs showcase that really stokes the diverse crowd. It’s not all ethereal — check out LoDubs head Jon AD’s killer lazer house-y set from the fest here. ) 

CLUBROOT With DJG, Djunya, and Jon A.D. Thurs/30, 10 p.m., $10. Triple Crown, 1760 Market, SF. www.triplecrownsf.com.

Lending art in the TL

Andrew Lam
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Throughout the course of writing my feature story about the Tenderloin this week, which looks at the role art is playing in the gradually changing neighborhood, a couple of questions kept cycling back into the forefront of my mind. What should be the role of art in community-building? What kinds of art benefit the residents of a neighborhood? It’s tough to categorically define the answers, but Rick Darnell and the North of Market Community Benefit District‘s plans for a TL art lending library come damn close to a perfect score.

The Tenderloin Art Lending Library (TALL)’s planned role in the community is double-fold: one, it will provide a boost to “outsider” artists in the Tenderloin, people who have never had their art displayed in a studio and may lack the career know how to make that happen, and two, their pieces wind up in the homes of people who otherwise would have few touches of beauty there — at least not original works by creative minds. “A lot of artists never get discovered,” Darnell tells me, sitting in the basement room that the NOM-CBD has allocated to housing the library. Donated paintings lean against the walls around us, and a table is stacked with interesting metal sculptures behind my chair. 

His goal is to get this art into the homes of the Tenderloin’s recently housed residents. The neighborhood is well known as a drop-off spot for released convicts, Darnell tells me, and has a high percentae of residents on parole and probation. Between the recently incarcerated and the participants of the City’s “Care Not Cash” transitional housing program, you have a lot of people who need help making their new rooms homey. 

Paintings for and by the community line the walls at the Tenderloin Art Lending Library

Every three months TALL participants will be allowed to take a different piece of art for their space. Not everyone’s used to having nice things though. Darnell anticipates the challenges that this will entail, and tells me that those hurdles are kind of the point.

“It’s based on trust and sharing and a celebration of those two things,” he says. He’s got a system worked out for participants that mess up their given canvass or sculpture: six months probation from the library if they sold it or destroyed it, but leniency if the damage was due to carelessness or misfortune. “If it’s something like the dog eats it, we’ll work with them to find another place in their house that would be better for the painting,” he says, adding that program volunteers will be prepared to make house visits to make this happen, or to involve less mobile residents. “We want to make this a good experience for them.”

Some of the pieces around us, Darnell tells me, were done by artists afraid to leave their own house, elderly artists, recovering addicts, current addicts. Many artists have volunteered their art – he shows me one small canvass covered in dynamic swooshes of primary colors that came from an artist in Colombia that saw his call for admissions online – but he gives priority to Tenderloin artists, who seem to be the ones that are most connected to the mission anyway. “The people who have the least to give, I’ve found, are the most generous,” he says.

Rick P. Lion’s fantastical creations will soon be sitting in the living room of a recently housed, newly initiated art connoisseur 

Darnell knows what helps people get better: in addition to his years spent working with society’s forgotten communities, he’s been a part of them himself. “I’ve dealt with addiction, I’ve dealt with being homeless,” he tells me straight-forwardly. 

He’s got no issue with recounting his story. An MFA recipient in dance and design from the integrative learning-based Bennington College, he traveled the country after graduation dancing with a troupe that performed in non-traditional venues and focused on social issues in their productions. 

But he fell into drug use, and in1989 tested positive for HIV. He moved directly into the Tenderloin when he got to San Francisco and hasn’t left since, finding the expansive gay community “astounding.” He’s been clean for years, and seems inordinately enthused for a guy that’s been through a lot. “I’m just really happy to be here and doing this.”

Perhaps it was a no-brainer that someday Darnell connect his love of helping others in a tight spot with his love of art, given the role that it plays in his own mental clarity. “I draw something everyday,” he says. “I’ve drawn thousands of bullets, thousands of popper bottles. The shapes are really calming to me.” 

Until recently a long time employee of the Hospitality House, a resource center for homeless individuals around the corner from the NOM CBD that includes a drop-in arts studio, employment help, and a men’s shelter, Darnell was hired at the Community Benefit District initially as a janitor. But the organization invested $15,000 in seed money so that he could flesh out his vision of a community enhancing arts program. Now he’s in charge of outreach and general operations of the project. 

“It seems frivolous, like maybe I should be doing a food drive – but these are all sides of a well rounded person,” he reflects. Darnell initially considered starting a tool lending library, but changed his mind when he considered that the art exchange would give TL artists a chance to work on their craft, as well as gain some valuable artistic experience – pieces will be displayed in the gallery that gracefully inhabits the current lobby and front hallway of the NOM CBD. 

Community through art: Rick Darnell in front of the frame that will constitute an altar he and some veteran friends are completing for SomARTS Cultural Center’s Dia de los Muertos exhibit

He envisions the library as a place where people can come and connect using the language of art. “You might come to have a salon community,” he suggests regarding residents’ use of the future space. It’ll be open Fridays and Saturdays from 12-3 p.m., starting with a kick-off party on Oct. 30. 

We chat briefly about some of the other recent arts development in the neighborhood. I first met Darnell at a fairly informal meeting of TL art types convened by the Tenderloin Economic Development Project’s Elvin Padilla. In addition to the Darnell’s presentation of his library, a representative of a well known theater discussed plans for expansion, possibly in the Tenderloin. Another performing arts organization announced they were looking for a TL address, and various art galleries discussed openings and future collaborations with each other. 

“A lot of people put endeavors in the Tenderloin because rent is cheap, and it’s slowly changing the area,” Darnell tells me of people he refers to as “carpet baggers.” We talk about a comment he overheard from a gallery owner in the area after Rick announced his plans for the lending library to the group. The individual had muttered “I’d never lend anything to anyone in the Tenderloin.” “For good reason,” Rick continues “people are wary of homeless folk.”

But Darnell doesn’t seem to be wary of the recently homeless folk he’s passing out TALL fliers to and still collecting donations of art for. In fact, he seems stoked on his continuing role in their lives, and stoked for the day the library’s circulation begins at the end of next month, when they’ll eat light snacks and start making connections through art. 

“If there’s anyplace that’s open to this stuff,” he tell me “it’s the Tenderloin.”

 

Tenderloin Art Lending Library Kick-Off Party

Oct. 30, 12-3 p.m., free

North of Market Community Benefit District

134A Golden Gate, SF

tenderloincommunityartprojects@gmail.com

 

Our Weekly Picks: September 29-October 5, 2010

Jesse Hawthorne Ficks
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WEDNESDAY 29

MUSIC

Kylesa

The devil went down to Georgia, and sprinkled enough hoodoo in the water to cultivate quite a metal scene. But it ain’t just Mastodon and Baroness splitting ears in the town squares. Kylesa — you know, the band with the two drummers, the badass chick guitarist-vocalist (she’s one of two guitarists and one of three vocalists), and the coolest cover art in the biz — is about to drop its fifth full-length, Spiral Shadow. The title of lead track “Tired Climb” belies the album’s fierce riffs and heavy energy. But let’s stop pretending you weren’t going to this show anyway — local mighties High on Fire headlining the glorious Great American? With the added bonus of two ironclad openers? Can’t miss, hesher. (Cheryl Eddy)

With High On Fire and Torche

8 p.m., $20

Great American Music Hall

859 O’Farrell, SF

1-888-233-0449

www.gamhtickets.com

 

THURSDAY 30

DANCE

Mark Morris Dance Company

Just because his company has become a perennial audience favorite doesn’t mean we should ignore Mark Morris. After all, the acclaim is justified: there’s nobody else who — after 30 years of working — can still surprise and delight (and sometimes disappoint) us the way Morris can. This time he is bringing three West Coast premieres. If the buzz wafting in from the East Coast is any indication, the new Socrates set to Satie’s oratorio “Socrate” (piano and voice) should be outstanding. It will be performed with the stark Behemoth — Morris’ only no-music piece — and Looky, his bemused take on pretentious museum-going in which the inmates take over the show. (Rita Felciano)

Thurs/30–Sat/2, 8 p.m.;

Sun/3, 3 p.m., $34–$72

Zellerbach Hall

Bancroft at Telegraph, UC Berkeley, Berk.

(510) 642-9988

www.calperformances.org

 

DANCE

Lizz Roman and Dancers

San Francisco’s Gingerbread Danzhaus is the only venue in the city to provide dance studio space to professional companies while also serving as a nightclub in the after-hours. This weekend it will also be the seat of Lizz Roman and Dancers new site-specific work This Dance This Place, which aims to bring the architecture of Danzhaus to life through an interactive dance performance challenging viewers to really see the nooks and crannies of the space. With a live sound score, collaborative lighting and costume design, and dancers streaming from every danceable doorway, crevice, and ledge, this performance is sure to provoke thought on where and how dance is presented. (Emmaly Weiderholt)

Through Oct. 9

Thurs.–Sat., 8 p.m., $20

Danzhaus

1275 Connecticut, SF

www.lizzromananddancers.com

 

FRIDAY 1

DANCE

Nina Haft and Company

A few years ago, visitors to Zaccho Dance Theatre’s third-story performance space could look down onto San Francisco’s last working farm. The Bayside venue seems uniquely appropriate for Nina Haft’s site-specific Debris/Flows. Collaborating with German-born, Italian-trained Claudia Borna, the two women transformed this former warehouse space into a natural environment for 12 dancers to explore both outer and inner landscapes. In addition to watching the performance, audiences can contribute to Zaccho’s environment by planting seeds and eating food from local gardens. The dozen dancers will help you navigate the labyrinth. (Felciano)

Fri/1–Sat/2, 8 p.m. (also Sat/2, 6 p.m.);

Sun/3, 6 p.m., $12–>$18

Zaccho Dance Theatre

1777 Yosemite, Suite 330, SF

(510) 325-5646

www.brownpapertickets.com

 

MUSIC

Drums

A lot of the Drums’ music mines the sounds of the 1950s, smooshing it up with the more saccharine output of the Smiths and New Order, but there’s a lull halfway through the New York City band’s debut album where its intentions really become clear. A slower song than the rest of the album, “Down By The Water” mimics the believable earnestness of ’50s crooners completely without pretension. The Drums have been accused of lacking individualism, which is a fairly valid criticism considering you could drop some of their more upbeat tracks into a Smiths album and no one would bat an eye. But in latching onto eras where simplicity was something to be celebrated, the band succeeds by being sincere when tongue in cheek would have been way “cooler.” (Peter Galvin)

With the Young Friends

9 p.m., $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

DANCE

SMUIN BALLET

Although the Smuin Ballet may be considered a relatively small ballet company, there’s nothing small about the renowned choreographers and kick-ass dancers Smuin attracts. Founded by Michael Smuin in 1994 and now under the artistic direction of Celia Fushille, the company presents classical ballet with a contemporary edge. It kicks off its 2010-11 home season with a fall program that includes the world premiere of Oh, Inverted World — set to the indie rock band the Shins and choreographed by the illustrious Trey McIntyre — as well as Michael Smuin’s twangy Bluegrass/Slyde and his more lyrical Brahms-Haydn Variations. (Katie Gaydos)

Through Oct. 9

8 p.m. (no show Mon/4);

Additional shows Sat/2–Sun/3, 2 p.m.), $20–$62

Palace of Fine Arts Theater

3301 Lyon, SF

(415) 978-2787

www.smuinballet.org

 

SATURDAY 2

FILM

The Incredible Shrinking Man

Ever get the feeling you’re being dwarfed by what’s going on around you in life? Well, that’s exactly what happens to the main character in the 1957 Jack Arnold sci-fi classic The Incredible Shrinking Man, in which a freak accident causes him to get smaller and smaller with every passing day. Featuring a host of inventive special effects and memorable scenes (among them his epic battle with a house spider), the movie screens tonight as part of the San Francisco Film Society’s annual “Film In The Fog” event. Let’s hope nature cooperates and offers up a little bit of a spooky mist to make for a cool and creepy early Halloween celebration. (Sean McCourt)

5 p.m. picnic, 7 p.m. film, free

Presidio, Moraga at Arguello, SF

www.sffs.org

 

MUSIC

The Sword

Austin, Texas, retro-metallers the Sword are in space. This summer, new album Warp Riders saw them rocket into full-fledged concept album territory, weaving a epic saga of interplanetary travel and mystical sci-fi warriors on a loom composed of Orange amplifiers. As fall descends, they’re taking the tunes and tales on the road, and their SF date marks the second stop on a grueling national run. Fans will be eager to bask in a bevy of new songs performed live, and the band’s adroit playing on the new record bodes extremely well for the experience. Prepare for blast-off! (Ben Richardson)

With Karma to Burn and Mount Carmel

8:30 p.m., $20

Regency Ballroom

1290 Sutter, SF

1-800-745-3000

www.theregencyballroom.com

 

FILM

American Splendor

Who is Cleveland’s most beloved figure? A few months ago the answer may have seemed obvious: superhuman baller LeBron James. At least until he got on the ESPN grandstand and announced he was going to Miami. Four days later Harvey Pekar died, and it put everything in perspective. A cranky file clerk who wrote wonderfully mundane comics about life’s pedestrian absurdities for more than 30 years, Pekar was an unlikely fit for the limelight (with legendary Letterman appearances to prove it). Fame found him nonetheless, culminating in this 2003 biopic featuring not only a suitable portrayal by the continually wincing Paul Giamatti, but also the inimitable figure himself. A fine entry into a persistent legacy. (Ryan Prendiville)

8:30 p.m., $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

 

SUNDAY 3

EVENT

Estria Invitational Graffiti Battle

Graffiti’s outgrown furtive leaps over cyclone fencing and dark alley deployment. These days street art is a community builder, the old pros from the 1980s golden age having become teachers and respected figures in the art world. But that doesn’t mean it’s gotten stuffy. Case in point: Bay Area graff legend Estria Miyashiro’s free annual spray-off in the park. Names that are no strangers to the city’s bus stops, brick walls, and freight trains will be present to participate in and judge live painting: Nate1, Crayone TWS, and 2009’s champ Vogue TDK among them. Mix in stencil workshops, a youth sketchbook competition, and artist signings, and you’ve got a multi-generational homage to the art of aerosol. (Caitlin Donohue)

11 a.m.–5 p.m., free

DeFremery Park

1651 Adeline, Oakl.

(510) 895-5700

www.estriabattle.com

 

MONDAY 4

MUSIC

Guitar Wolf

In the future, anthropologists will study Guitar Wolf to calculate the speed of pop culture. The musical equivalent of Engrish, the trio channels Ramones-era punk rock (leather and all) to create Japanese “jet rock ‘n’ roll,” a louder, noisier, and enjoyably unintelligible hybrid. Tonight the band ends its first U.S. tour in five years, also the first since the death of bassist Billy. “However, it is not, not necessary to worry,” lead singer Seiji says on the band’s website. “New bassist player U.G.! U.G. is terrible! It is jet terrible! It fight! It fight rock! I will show Guitar Wolf is reborn to you!” (Prendiville)

With Hans Condor, Midnite Snaxxx, and DJ Classic Bar Music

9 p.m., $15

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

TUESDAY 5

MUSIC

Guided By Voices

Ringleader Robert Pollard is rounding up the rest of indie rock giants Guided By Voices for a one-time reunion tour to commemorate Matador Records’ 21st anniversary. And this isn’t some half-ass reunion, either. This is the GBV lineup of the mid-1990s that spawned much-beloved albums such as Bee Thousand and Alien Lanes. Pollard’s been just as prolific on his own as he was before the group’s breakup in 2004, but there is just no comparing his solo work to GBV’s catalog. Don’t miss your chance to see one of the most influential indie rock bands of the past 20 years one last time. (Landon Moblad)

With Times New Viking

8 p.m., $24

Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com 


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Visionary movement

Jesse Hawthorne Ficks
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Visionary movement

DANCE Celine Schein, executive director of Chitresh Das Dance Company and its Chhandam School, was not born into Indian culture. But difficult Hindi words flow from her tongue with the ease of a native speaker. It’s a skill that should stand her in good stead during this weekend’s “Traditions Engaged: Dance, Drama, Rhythm,” which includes evening and daytime performances, lectures, panel discussions, and demonstrations of Indian classical dance.

Schein, a former ballet and modern dancer, has absorbed Indian dance into her very being. Yet it started almost by accident when she happened to fall into a Kathak class that classical dance master Pandit Chitresh Das was teaching at San Francisco State University. “I first loved the richness of its rhythms and movement patterns,” she recalls. “But then I was increasingly intrigued by [Das’] vision, even though it took me a long time to realize what exactly that was.”

Das is indeed a visionary. Committed to the rigor of exacting standards, he is also an innovator within the parameters of his art. He has, for instance, collaborated with tap virtuoso Jason Samuels Smith and Bharata Natyam dancer Mythili Kumar. His invention of Kathak yoga, which combines the two disciplines, is positively revolutionary. But other aspects of Das’ performances, like when he talks to the audience, are deeply traditional. “There is no fourth wall in Indian classical dance,” Schein explains. “Dancers interact with audiences and they are expected to respond. His own guru would comment during a performance, even criticize him.”

Indian classical dance gained a foothold in this country with the burgeoning interest in Eastern philosophy starting in the 1960’s, but grew stronger as Indian communities formed in Silicon Valley in the 1980s. Many families initially had little interest in Indian classical dance but wanted their children to grow up with the values it provided. Yet I once heard Das admonish the parents of his pupils that Kathak was a serious art, not just a spray-on for a young woman to look pretty on her wedding day.

A striving toward spirituality is deeply ingrained in Indian classical dance. Das’ mother told him “to dance from the gutter to the heaven.” He puts it into contemporary terms —the “vision” that so impressed Schein — by saying that dance allows you to become more yourself. Of course, none of this precludes enjoying Indian classical dance as a purely esthetic experience.

India has strong, highly diversified folkloric dance traditions, but “Traditions” focuses on classical dance forms: Bharata Natyam, originally a temple dance from southern India; Kathak, which blossomed at the Moslem Moghul courts of North India; Odissi, which was repressed by the British and revived after independence; Manipuri, a dramatic genre that deploys an expressive upper body; Kuchipudi, best known for a copper platter on whose rim the dancer performs; and Kathakali, which features spectacular masks and costumes. Also represented will be a new, recently recognized form, Gaudiya Bharati, from the Bengal region.

Unlike the scholar-oriented Kathak Festival in 2006, “Traditions” is solely devoted to practitioners. “We wanted to bring the best master artists together to talk about their work and perform — not just short snippets, but in depth,” Schein explains. Friday’s program will be focused on movement; Saturday’s on drama; and Sunday’s on rhythm. 

TRADITIONS ENGAGED

Thurs/30-Sun/3;

$25–$75 ($235–$295 for festival pass)

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Rep Clock

David Talbot
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Schedules are for Wed/29–Tues/5 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. Out of Our Minds (Stone and Auf der Mar, 2009), Sat, 4:30. “Other Cinema:” Mellodrama: The Mellotron Movie (Dilworth, 2010), Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. Metropolis: The Complete Restoration (Lang, 1927), Wed, 2, 5, 8. “Grace Kelly: Grace and Style:” •To Catch a Thief (Hitchcock, 1955), Thurs, 2:40, 7, and High Society (Walters, 1956), Thurs, 4:40, 9; •Rear Window (Hitchcock, 1954), Fri, 2:45, 7, and Dial M For Murder (Hitchcock, 1954), Fri, 4:50, 9:15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. Howl (Epstein and Friedman, 2010), call for dates and times. Capturing Reality: The Art of Documentary (Ferrari, 2009), Thurs, 7. Fresh (Joanes, 2010), Oct 1-6, call for times. Film Portraits By Christopher Felver: Ferlinghetti (Felver, 2009), Sun, 6:30.

EMBARCADERO One Embarcadero Center, promenade level, SF; www.sffs.org. $12.50. Earth Made of Glass (Scranton, 2010), Thurs, 7. Screening followed by a panel discussion about documentary film as a form of investigative journalism.

HERBST THEATRE 401 Van Ness, SF; (415) 392-4400, www.lunafest.org. $10-75. “Lunafest,” short films by, for, and about women, Thurs, 7:30. Benefits the Breast Cancer Fund.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100 (reservations required). $10. “CinemaLit: Apocalypse Noir:” The Innocents (Clayton, 1961), Fri, 6.

ODDBALL FILMS 275 Capp, SF; (415) 558-8117, info@oddballfilm.com. $10 (RSVP required as seating is limited). “The Lit Show: Rare Cinema + Live Literary Song,” with Suzy Williams and Brad Kay, Sun, 8.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” “1946-53,” short films, Wed, 7:30. “Shakespeare on Screen:” Angelic Conversations (Jarman, 1985), Thurs, 7. “Days of Glory: Revisiting Italian Neorealism:” La Terra Trema (Visconti, 1948), Fri, 7; Teresa Venerdi (De Sica, 1941), Sat, 6:30; Paisan (Rossellini, 1946), Sun, 4.”Drawn From Life: Comic Books and Graphic Novels Adapted:” American Splendor (Berman and Pulcini, 2003), Sat, 8:30. “Elegant Perversions: The Cinema of João César Monteiro:” The Last Dive (1992), Sun, 6:30.

PRESIDIO Moraga at Arguello, SF; www.sffs.org. Free. “Film in the Fog:” The Incredible Shrinking Man (Arnold, 1957) with “The Skeleton Dance” (Disney, 1929), Sat, 5.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. I Am Love (Guadagnino, 2009), Wed, 2, 7, 9:30. Sweethearts of the Prison Rodeo (Beesley, 2010), Thurs, 7:15, 9:30. Fresh (Joanes, 2010), Oct 1-7, 7:15, 9:15 (also Sat-Sun, 2, 4; Wed, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. The Agony and the Ecstasy of Phil Spector (Jayanti, 2008), Wed-Thurs, 7. Exit Through the Gift Shop (Banksy, 2010), Wed-Thurs, 9. “McSweeney’s Presents:” “Wholphin Issue 12 Release Party,” Wed, 7; “I’m Here,” short films by Spike Jonze and more, Thurs, 7:30. Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him?) (Scheinfeld, 2010), Oct 1-7, call for times.

SAN FRANCISCO MUSEUM OF MODERN ART 151 Third St, SF; www.sfmoma.org. $5. “Paul Clipson presents the Elements,” films by Clipson with music by Jefre Cantu-Ledesma and Portraits, Thurs, 7.

SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Amandla! South Africa During and After Apartheid:” District 9 (Blomkamp, 2009), Thurs, noon.

VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10-15. Sayonara Itsuka — Goodbye, Someday (Lee, 2010), Oct 1-7, check website for times.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Others/Ourselves: The Cinema of Robert Gardner:” Forest of Bliss (1986), Thurs, 7:30. “Sesame Street: A Celebration:” “Sesame Street at 40: Milestones on the Street,” best-of compilation, Fri, 7:30; Sat, 2. “San Francisco Jewish Film Festival Presents: Tough Guys: Images of Jewish Gangsters in Film:” Eight Men Out (Sayles, 1988), Sun, 2.

On the Cheap listings

David Talbot
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On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

FRIDAY 1

Litquake 2010 kickoff 111 Minna Gallery, 111 Minna, SF; www.litquake.org. 5pm, free. Grab you litquake program and enjoy music by "Diva Deluxe" Suzy Williams and Brad Kay as they perform songs based on the work of well-known authors Kurt Vonnegut, Raymond Chandler, and more. You can also sip cocktails while browsing the gallery’s latest exhibit "Everyday," showcasing new works by California tattoo artists. Litquake programming through Oct. 9.

SATURDAY 2

Arab Cultural Festival Union Square, Geary at Powell, SF; www.arabculturalcenter.org. Noon-6pm, $6 suggested donation. Celebrate Arab heritage as Union Square is transformed into a traditional open market place with live music performances including Moroccan gnawa music, Arabic classical, and popular music, Arabic food, entertainment, folkloric dance performances, live fairytale performances, and more.

Community Healing Garden Huntington Square Park, Sacramento at Taylor, SF; (415) 552-1105. 11am-3pm, free. Pack a picnic and bring your friends and family to this healing focused afternoon of dance, live music, onsite art-making, bodywork, children’s activities, and health resources.

MAPP Begin at Red Poppy Art House, 2698 Folsom, SF; (415) 826-2402. 7pm-Midnight, free. Every two months, the Mission Arts and Performance Project gives space and voice to the multiplicity of perspectives and experiences of our urban art community by transforming garages, cafes, studios, gardens, and street corners into makeshift venues artistic display and performance. Get your "MAPP" from the Red Poppy Art House and wander around the mission for some art, music, poetry, dance, and film.

World Veg Festival San Francisco County Fair Building, 9th Ave. at Lincoln, SF; (415) 273-5481. Sat.-Sun. 10am-6pm, $7 suggested donation. Spend the weekend with you fellow vegetarians and healthy food enthusiasts taking in informative lectures about the vegetarian movement, creative vegan cooking demos, veggie speed dating, an eco fashion show, entertainment, and vendors offering international cuisine and animal friendly merchandise. A vegan dinner, cooked or raw, will be available at 6:45pm for $20.

BAY AREA

Watershed Environmental Poetry Festival Civic Center Park, Martin Luther King, Jr. at Center, Berk.; www.poetryflash.org. Noon-4:30pm, free. Enjoy a stellar line-up of poets and environmental writers including Brenda Hillman, Robert Haas, Allison Hawthorne Deming, Al Young, David Meltzer, Camille T. Dungy, and more. Also featuring a poem installation by Arthur Okamura, live music, environmental updates and information, and more.

SUNDAY 3

Castro Street Fair Castro at Market, SF; www.castrostreetfair.org. 11am-6pm, free. The theme of this year’s street fair is "get your freak on" and attendees are encouraged to bring a little of their inner freak to enjoy this daytime costume party featuring live music and drag performances, Bay Area DJs, a country western dance pavilion, carnival performers, local artists, vendors, and craftspeople, and much more.

North Beach Literary Tour Meet at The Beat Museum, 540 Broadway, SF; www.litquake.org. 5:30pm, free. Learn more about the literary tradition of North Beach, from the Gold Rush, to the Beats, and into the modern era. The one mile tour concludes at Focus Gallery on 1534 Grant with readings by political satirists, socially savvy novelists, outlaw poets, and cultural historians Phil Bronstein, Will Durst, Ben Fong-Torres, Alan Kaufman, Ellen Sussman, and Jody Weiner.

BAY AREA

Nature of Art Stream Trail, Redwood Regional Park, 7867 Redwood, Oakl.; www.artinnaturefestival.com. Noon-4pm, free. Move through several site-specific interactive installations with ongoing performances organized by Shamavesha, an international multidisciplinary performing arts collective, and directed by Italian composer and artistic director Laura Inserra. and to both watch, listen, and/or participate. Events include storytelling, watching artists create work, dance, music, martial arts, circus, theater, and children’s activities.

MONDAY 4

Tao Lin The Booksmith, 1644 Haight, SF; (415) 863-8688. 7:30pm, free. Tao Lin takes his trademark minimalism in a different direction as he ponders the meaning of illicit sex for a generation with no rules in his new book, Richard Yates, named after the real-life writer. In Richard Yates, Lin narrates a tale about a young man dealing with the consequences of an affair with an underage, self-destructive girl.

TUESDAY 5

Feast of Words SOMArts Cultural Center, 934 Brannan, SF; www.litquake.org. 7pm; $10, or free with potluck dish. Part potluck, part inspiration, and part quick-write for foodies and writers, this literary potluck with the theme "healing" offers a chance to participate in the three sentence throw down, share a theme-based work of eight minutes or less, join in the open mic, or just sit back and enjoy the show. Featured guests are author Darren De Leon and the SF Food Adventure Club.

Stage listings

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

THEATER

OPENING

Hamlet Alcatraz Island; 547-0189, www.weplayers.org. By donation. Opens Sat/2, call for time. Runs Sat-Sun, times vary. Through Nov 21. As part of an artistic residency, We Players presents an island-wide interactive performance of the Shakespeare play.

Kiss of Blood Hypnodrome Theatre, 575 10th; (800) 838-3006, www.brownpapertickets.com. $25-35. Opens Thurs/30, 8pm. Runs Thurs-Fri, 8pm. Through Nov 19. Thrillpeddlers presents its signature Halloween show, with three one-act Grand Guignol terror plays.

The Shining: Live The Dark Room, 2263 Mission; 401-77891, www.darkroomsf.com. $7-10. Opens Fr/1, 8pm. Runs Fri-Sat, 8pm. Through Oct 23. The Dark Room becomes the Overlook Hotel in this stage production of the horror classic.

ONGOING

Absolutely San Francisco Phoenix Theatre, Stage 2, 414 Mason; 433-1235, www.absolutelysanfrancisco.com. $20-25. Fri-Sat, 8pm. Through Oct 23. A one-woman musical starring Karen Hirst, with book and music by Anne Doherty.

Aida War Memorial Opera House, 301 Van Ness, 864-1330, www.sfopera.com. $25-320. Wed/29, 7:30pm; Sat/2, 8pm; Oct 6, 7:30pm. San Francisco Opera presents Verdi’s classic, a co-production with English National Opera and Houston Grand Opera.

And Then They Came for Me: Remembering the World of Anne Frank New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. Call for reservations. Mon-Thurs, 10 and 11:45am. Through Oct 10. YouthAware Educational Theatre presents a multimedia play by James Still, directed by Sara Staley.

Anita Bryant Died For Your Sins New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Oct 24. New Conservatory Theatre Center presents a show by Brian Christopher Williams.

The Brothers Size Magic Theatre, Bldg D, Fort Mason Center; 441-8822, www.magictheatre.org. $20-60. Dates and times vary. Through Oct 17. Magic Theatre presents the West Coast premiere of Tarell Alvin McCraney’s play, directed by Octavio Solis.

Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Oct 22. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

*Etiquette Yerba Buena Center for the Arts, 701 Mission; 978-2787, www.ybca.org. $8-10. Thurs-Sat, noon, 1pm, 2pm, 3pm, 4pm, 5pm, 6pm, 7pm, 8pm; Sun, noon, 1pm, 2pm, 3pm, 4pm, 5pm, 6pm. Through Sun/3. Rotozaza presents a participatory performance piece for two people.

*Faux Real Climate Theater at TJT, 470 Florida; (800) 838-3006, www.brownpapertickets.com. $15-20. Wed-Sat, 8pm (also Sat/9, 10pm). Through Oct 9. A drag queen stripped bare? Not on your life. But in baring some soul and some truth (“two lies” per), Fauxnique (aka Monique Jenkinson; aka a woman as a man as a woman&ldots;) does some productive and fascinating (re)working of this sly semi-confessional form. In a show that begins by asking, via David Bowie, “whatchya gonna say to the real me?”, Fauxnique undresses drag by singing (very ably) as often as syncing and otherwise playing knowingly with the “reveals” inherent in the drag tradition, taking audiences back with her to high school in Denver in the 1980s for a herstory lesson like few others. Questions about identity and art mingle with hip, hilarious, wonderfully “haute,” and seriously hardworking solo cabaret (assisted by transgresser-dresser and prop boy Kegan Marling). Originally unveiled in 2009, and fresh from a London debut, Faux Real returns for an extended but still too-brief run courtesy of the mighty little Climate Theater, currently ensconced in the Jewish Theatre’s luxurious little space. (Avila)

Futurestyle ’79 Off-Market Theater, Studio 250, 965 Mission; (8008) 838-3006, www.brownpapertickets.com. $15-20. Wed, 8pm. Through Oct 27. A fully improvised episodic comedy played against the backdrop of SF in 1979.

IPH… Brava Theater, 2781 24th St, 647-2822, www.brava.org. $15-35. Thurs-Sat, 8pm; Sun, 3pm (also Mon/4, 8pm). Through Oct 16. Brava Theatre and African-American Shakespeare Company present the US premiere of an adaptation of Iphigenia at Aulis.

Jerry Springer the Opera Victoria Theatre, 2961 16th; www.jerrysf.com. $20-36. Wed-Sat, 8pm. Through Oct 16. Ray of Light Theatre presents the West Coast premiere of the operatic farce by Stewart Lee and Richard Thomas.

KML Holds the Mayo Zeum Theater, 221 4th St; www.killingmylobster.com. $10-20. Thurs-Fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through Sun/3. Killing My Lobster presents its fall comedy show, directed by co-founder Paul Charney.

Last Days of Judas Iscariot Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.CustomMade.org. $10-30. Thurs-Sat, 8pm; Sun, 7pm. Through Oct 30. Custom Made Theatre presents Stephen Adly Guirgis’ meditation on the meaning of forgiveness.

Olive Kitteridge Z Space at Theater Artaud, 450 Florida; (800) 838-3006, www.zspace.org. $20-40. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Oct 10. Page-to-stage company Word for Word takes on two chapters’ worth of Elizabeth Strout’s celebrated 2008 novel, comprised of a loosely connected set of stories surrounding the title character (played with cunning subtlety by Patricia Silver) and her immediate circle in a coastal town in Maine. In “Tulips,” we find the thorny but shrewd Olive, a former math teacher, and her patient husband Henry (Paul Finocchiaro), the town’s longtime pharmacist, transitioning not so smoothly into their retirement years. Olive—itchy, cantankerous and vaguely at a loss despite her sharp wit—resents her grown son’s (Patrick Alparone) happily distant life in New York and battles with the neighbors until her husband’s stroke leaves her at sea, unexpectedly vulnerable and open to the kindness of neighbors and strangers alike (played by an ensemble that includes Jeri Lynn Cohen, Nancy Shelby, and Michelle Belaver). In “River,” Olive, now a widow, begins a gradual, unlikely and bumpy romance with a recently widowed former academic (Warren David Keith). Director Joel Mullennix grabs hold of colorful details along the way—like the summer influx of rollerbladers and bicyclists—to further enliven the verbatim staging of these stories, but the effort can feel a little forced at times, as if betraying a sense that these well-acted, gently poetical and thoughtful stories and their complex protagonist do not always make for the most stimulating drama. (Avila)

A Picasso Royce Gallery, 2901 Mariposa; (866) 811-4111, www.apicassoonstage.com. $12-28. Thurs-Sat, 8pm. Through Oct 9. Expression Productions presents Jeffery Hatcher’s drama about the authenticity of three Picasso paintings.

Pinocchio Young Performers Theatre, Fort Mason Center, Bldg C, Third Floor, Room 300; 346-5550, www.ypt.org. $7-10. Sat-Sun, 1 and 3:30pm. Through Oct 10. Young Performers Theatre presents a new production of Carlo Collodi’s puppet tale.

*The Real Americans The Marsh MainStage, 1062 Valencia; (800) 838-3006; www.themarsh.org. $20-50. Wed-Fri, 8pm; Sun, 5pm. Through Nov 6. The fifth extension of Dan Hoyle’s acclaimed show, directed by Charlie Varon.

*Scapin American Conservatory Theatre, 415 Geary; 749-2228, www.act-sf.org. $10-90. Tues-Sun, times vary. Through Oct 23. Bill Irwin, the innovative former Pickle Family clown and neo-vaudevillian turned Broadway star, makes a San Francisco return at the helm—and in the title role—of American Conservatory Theater’s production of Moliere’s classic farce. It’s an excuse for some arch meta-theatrical high jinx as well as expert clowning, a love fest really, with many fine moments amid a general font of fun whose heady purity seems like it should fall under some FDA regulation or other—clearly, somebody has paid someone to look the other way, and for once the corruption is unreservedly welcome. Joining the fun is Irwin’s old comrade-in-arms and, here, sacks, Geoff Hoyle, as miserly and dyspeptic daddy Geronte. Other ACT regulars and veterans flesh out a winning cast, among them the ever versatile and inimitable Gregory Wallace as Octave, a flouncing Steven Anthony Jones as put-out patriarch Argante, René Augesen as boisterously unlikely “virgin” Zerbinette, and a wonderfully adept and scene-stealing Jud Williford in the role of Scapin sidekick Sylvestre. As for Irwin, his comedic sensibility shows itself scrupulously apt and timeless at once, and his sure, lithesome performance intoxicating and age-defying. As a director, moreover, he gives as generously to each of his fellow performers as he does to his adoring, lovingly tousled audience. (Avila)

The Secretaries Boxcar Playhouse, 505 Natoma; 255-7846, www.crowdedfire.org. $15-25 (pay what you can previews). Wed-Sat, 8pm. Through Oct 9. Crowded Fire revives the 1994 black comedy by New York’s Five Lesbian Brothers, a gleefully inappropriate bit of feminist satire that feels like the love child of John Waters and Valerie Solanas. Set in the front offices of the Cooney Lumber Mill in Big Bone, Oregon (delightfully rendered in Nick A. Olivero’s scenic design with New Yorker-like illustrations of the surrounding environs), the story follows narrator Patty (Elissa Beth Stebbins) as she recounts her initiation into a snappy coven of office ladies who not-so-secretly fell (rather than fall for) the town’s lumberjacks as if they were so much old growth forest. The mayhem and humor amuse, but probably seemed a lot fresher 16 years ago, making the simple plot seem thinly stretched. Nevertheless, the play’s details are nicely taken care of in artistic director Marissa Wolf’s fluid staging, featuring lots of play with fluids and a robust ensemble. In addition to Stebbins’s well-wrought and raunchy innocent, Leticia Duarte rocks her power-suit commandingly as no-nonsense supervisor and pack/pact-leader Susan; Eleanor Mason Reinholdt proves scarily endearing as the deceptively mincing, food-obsessed Peaches; Khamara Pettus has Norma Desmond eyes as Susan’s jealous onetime favorite Ashley; and Marilee Talkington approaches comic perfection in lovingly crafted twin roles: the boundingly predatory butch Dawn; and Patty’s hetero love interest and sexual-harassment-workshop–graduate, Buzz. (Avila)

BAY AREA

Angels in America, Part One Pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm. Through Oct 16. Pear Avenue Theatre kicks off its fall “Americana” program with the Tony Kushner play.

Bleacher Bums Contra Costa Civic Theatre, 951 Pomona, El Cerrito; (510) 524-9132, www.ccct.org. $18. Fri-Sat, 8pm; Sun, 2pm. Through Sun/3. A sports comedy conceived by Joe Mantegna, directed by Joel Roster.

La Cage Aux Folles San Mateo Performing Arts Center, 600 N. Delaware; (650) 579-5565, www.broadwaybythebay.org. $20-48. Dates and times vary. Through Sun/3. Broadway By the Bay presents the gay musical based on the play of the same title.

*Compulsion Berkeley Repertory Theatre, Thrust Stage, 2025 Addison; (510) 647-2949, www.berkeleyrep.org. $29-85. Dates and times vary. Through Oct 31. Director Oscar Eustis of New York’s Public Theater marks a Bay Area return with an imaginatively layered staging of Rinne Groff’s stimulating new play. Compulsion locates the momentous yet dauntingly complex cultural-political outcomes of the Holocaust in the career of a provocative Jewish American character, Sid Silver, driven by real horror, sometimes-specious paranoia, and unbounded ego in his battle for control over the staging of Anne Frank’s Diary. A commandingly intense and fascinatingly nuanced Mandy Patinkin plays the brash, litigious Silver, based on real-life writer Meyer Levin, a best-selling author who obsessively pursued rights to stage his own version of Anne Frank’s story. The forces competing for ownership of, and identification with, Anne Frank and her hugely influential diary extend far beyond her father Otto, Silver, or the diary’s publishers at Doubleday (represented here by a smooth Matte Osian in a variety of parts; and a vital Hannah Cabell, who doubles as Silver’s increasingly alarmed and alienated French wife). But the power of Groff’s play lies in grounding the deeply convoluted and compromised history of that text and, by extension, the memory and meanings of the Holocaust itself, in a small set of forceful characters—augmented by astute use of marionettes (designed by Matt Acheson) and the words of Anne Frank herself (partially projected in Jeff Sugg’s impressive video design). The productive dramatic tension doesn’t let up, even after the seeming grace of the last-line, which relieves Silver of worldly burdens but leaves us brooding on their shifting meanings and ends. (Avila)

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Nov 21. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

In the Red and Brown Water Marin Theatre Company, 397 Miller, Mill Valley; 388-5208, www.marintheatre.org. $32-53. Tues, 8pm; Thurs-Sat, 8pm; Wed, 7:30pm, Sun, 7pm (also Sat/2, 2pm). Through Oct 10. Marin Theatre Company presents the West Coast premiere of Tarell Alvin McCraney’s play.

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Sat-Sun, 3pm. Through Sun/3. Shotgun Players’ annual free performance in Berkeley’s John Hinkel Park is this year an impressively staged large-cast reworking of the Illiad from playwright-director Jon Tracy. In the Wound is actually the first of two new and related works from Tracy collectively known as the Salt Plays (the second of which, Of the Earth will open at Shotgun’s Ashby stage in December). Its distinctly contemporary slant on the Trojan War includes re-imagining the epic’s Greek commanders as figures we’ve come to know and loath here in the belly of a beast once know by the quaint-sounding phrase, “military-industrial complex.” Hence, Odysseus (Daniel Bruno) as a devoted family man in a business suit with a briefcase full of bloody contradictions emanating from his 9-to-5 as a “social architect” for the empire; or Agamemnon (an irresistibly Patton-esque Michael Torres) as the ridiculously macho, creatively foul-mouthed redneck American four-star commander-clown ordering others into battle. While the alternately humorous and overly meaningful American inflections can feel too obvious and dramatically limiting, they’re delivered with panache, amid the not unmoving spectacle of the production’s energetic, drum-driven choreography and cleverly integrated mise-en-scène. (Avila)

*Loveland The Marsh Berkeley, 2120 Allston Way; (800) 838-3006, www.brownpapertickets.com. $20-50. Fri, 7pm; Sat, 5pm. Through Nov 13. Ann Randolph’s acclaimed one-woman comic show about grief returns for its sixth sold-out extension.

MilkMilkLemonade La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Sat/2. Impact Theatre presents Joshua Conkel’s off off Broadway play about a lonely gay man trapped in a chicken farm.

She Loves Me Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek; (825) 943-7469, www.CenterREP.org. $36-45. Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm. Through Oct 10. Center REPertory company presents a musical choreographed and directed by Robert Barry fleming.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sun/3. It’s old enough be considered a period piece, but at no time does Aurora Theatre’s production of Alice Childress’ 1955 comic drama Trouble in Mind feel dated. Set backstage on Broadway, Trouble depicts the rehearsals of a play entitled Chaos in Belleville—an anti-lynching melodrama penned by a white author. The often hilariously manic director, Al Manners (Tim Kniffin) alternately patronizes, bullies, and flatters the predominantly black cast into portraying the basest plantation stereotypes—right down to the names “Petunia” and “Ruby”—all the while touting the work as an important statement about race relations. But the real lessons in race relations and breaking through the color barriers occur as the rehearsals progress and the cast, middle-aged “character actress” Wiletta Mayer (Margo Hall) in particular, begin to question the veracity of the script and the directorial instincts of Manners. Trouble’s exceptional cast keeps the dialogue crackling and the pace urgent, save for a heart-breakingly deliberate reminiscence powerfully delivered by Rhonnie Washington. As for the timeliness of a piece which highlights among other things the dearth of strong theatrical roles for African-Americans, it’s interesting to note that actors Elizabeth Carter, Jon Joseph Gentry, Margo Hall, and Rhonnie Washington are all making their Aurora Theatre debut with this particular play. (Nicole Gluckstern)

PERFORMANCE/DANCE

 

“Best of the Fringe Encore Performances” EXIT Theatre, 156 Eddy; 673-3847, www.sffringe.org. Fri/1-Sat/2, 7 and 8:30pm; $20. Four highlights from this year’s SF Fringe Festival get repeat performances.

“Blue Room Comedy” Club 93, 93 9th St; 264-5489. Free. Tues/5, 10pm. A weekly series that takes comedy to new lows.

“Body and Sound Arts Festival Concert” Kunst-Stoff Arts, 929 Market; www.dancemonks.com. Fri/1, 7pm; $15-30. An interdisciplinary arts festival dedicated to improvisation.

“Clown Cabaret at the Climate” The Jewish Theater, 470 Florida; 704-3260, www.climatetheater.com. Mon/4, 7 and 9pm; $10-15. Rising star clowns and seasoned pro clowns perform.

“The Ethel Merman Experience” Martuni’s, 4 Valencia; 241-0205, www.dragatmartunis.com. Sun/3, 7pm; $5. Rock gets the brassy Merman treatment.

“Free Night of Theatre” Union Square; www.tixbayarea.com. Wed/29, 10-am-4pm and 6pm; free. A sixth anniversary kick-off performance celebration in which free theater tickets are distributed.

“Funny Girlz” Brava Theater, 2781 24th St; (800) 838-3006, www.brownpapertickets.com. Wed/29, 8pm; $25. Kung Pao Kosher Comedy presents a smorgasboard of female comedians.

Insides Out!/Indecision Collision Stage Werx, 533 Sutter; (800) 838-3006, wwwbrownpapertickets.com. Thurs-Fri, 8pm (Insides Out!); Sat, 8pm (Indecision Collision); $12-20. A pair of solo performances by Katie O’Brien.

“ODC/Dance: Architecture of Light” ODC Theater, 3153 17th St; www.odctheater.org. Thurs/30-Sat/2, 8pm; $20-500. ODC celebrates the opening of its new building with performances.

“Qcomedy Showcase” Martuni’s, 4 Valencia; www.Qcomedy.com. Mon/4, 8pm; $5-16. Karen Ripley, Zoe Dunning, Pippi Lovestocking, and others perform.

Lizz Roman and Dancers Danzhaus, 1275 Connecticut; 970-0222, wwwlizzromandancers.com. Thurs/30-Sat/2 (also Oct 7-9), 8pm; $20. A new performance by the local company, with lighting by Jenny B.

“The Romane Event” Make Out room, 3225 22nd; 647-2888, www.pacoromane.com.Wed/29, 7:30pm; $7. Paco Romane hosts Tim Lee, Harmon Leon, and others.

“Rotunda Dance Series” San Francisco City Hall; www.dancersgroup.org. Fri/1, noon; free. Performances by Joanna Haigood/ZACCHO Dance Theatre.

Smuin Ballet Palace of Fine Arts Theatre, 3301 Lyon; (415) 978-2787, www.smuinballet.org. Fri/1 (through Oct 9), 8pm; call for prices. The company kicks off a new season with two premieres by Trey McIntyre.

“Swan Lake: Ballet for the People By the People” CounterPULSE, 1310 Mission; (800) 838-3006, www.brownpapertickets.com. Fri/1-Sat/2, 8pm; $10-15. ArtFace Performance Group presents an unconventional take on a classic.

“Trine” The Garage, 975 Howard; 518-1517, www.975howard.com. Fri/1-Sat/2, 8pm; $10-20. RAW presents work by Paco Gomes and Dancers and Damage Control Dance Theater.

BAY AREA

Bay Area Playback Theatre Belrose Theatre, 1415 5th Ave, San Rafael; 499-8528, www.BayAreaPlayback.com. Sat/2, 7:30pm; $18. Stories told by audience members are turned into imrpov theater by a troupe.

“The Funniest Bubble Show on Earth” The Marsh Berkeley, 2120 Allston; (800) 838-3006, www.themarsh.org. Sun/3, 11am (through Nov 21); $8-11. The Amazing Bubble Man (aka Louis Pearl) returns with his show.

Mark Morris Dance Group Zellerbach Hall, UC campus, Berk; (510) 642-9988, www.calperfs.berkeley.edu. Thurs/20-Sat/2, 8pm; Sun/3, 3pm; $34-72. The acclimaed dance company returns with a triple-bill of premieres.

Appetite: Highlights of SF Cocktail Week, part 1

Jesse Hawthorne Ficks
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Appetite: Highlights of SF Cocktail Week, part 1

The magical settings, moments and drinks were many in the 4th Annual SF Cocktail Week, which set the bar high for all future Cocktail Weeks… consider attending next year, as it’s far from being just for drink aficionados. It’s for those who love a memorable party done in true San Francisco style.

I have watched Cocktail Week grow from intimate nights out at bars in prior years to this year’s galas and ferry rides. Camaraderie was strong and I couldn’t help but think that though there were even grander galas at major cocktail weeks like Tales of the Cocktail or Manhattan Cocktail Classic, the quality of the settings and drinks I had every night at SF Cocktail Week were far superior to most everything I tasted at either of those two events. SF, once again, does drink proud. (Check out part 2 here.)

9/21 – Inauguration of Boothby Center

SF now has a cocktail center to call its own: the “Cocktail Bill” Boothby Center for the Beverage Arts, which debuted opening night of Cocktail Week, named after SF bartending legend Cocktail Bill Boothby. A multi-use space in the Mission, it will be community center, beverage lab, and event space, preserving the art and history of the cocktail. The Barbary Coast Conservancy of the American Cocktail(BCCAC), headed up by H. Joseph Ehrmann (Elixir), Jeff Hollinger (Comstock Saloon), Duggan McDonnell (Cantina), calls it home base. Opening night was a raucous toast to the still raw space with, what else? Classic cocktails, including the week’s official drink, a Papa Ghirardelli.

9/23 – Ragtag Rabble Gaming Soiree  

The back room of one of my favorite bars, Burritt Room, was transformed into a turn-of-the-century, Barbary Coast-era saloon/parlor with craps, blackjack, roulette and poker (sans real money), and a beautiful menu of classic cocktails prepared with skillful care, from The Last Word to a Boulevardier with scotch. A jazz quartet (with talented female vocalist) set the mood, transporting me to another time, as did the decked-out crowd who filled but did not overcrowd the room with bowler hats, suspenders, boas, saloon or retro attire. It was a swank affair that carried on late into the night with an after-party at Comstock Saloon.

9/25 – Cocktail Carnival Gala

The event of the week, Cocktail Carnival Gala in the stunning, historic Old Mint, was a brilliant night. I only wish even more people filled  (not overcrowded) the spacious mansion we were given free reign in. This was a one-of-a-kind night I’d plan towards next year. The Barbary Coast-Era carnival theme included roving minstrels, talented musicians, contortionists, man-on-stilts, jugglers and acrobats, roving among us through each high-ceilinged room as we sipped punches from antique punch bowls.

Leave it to Martin Cate from Smuggler’s Cove to wow us with a 40-gallon rum punch bowl with flaming volcano shooting out of a sea of spiced punch. Daniel Hyatt and the Alembic crew scooped some mighty tasty ‘swill’ out of a swampy bucket. One cachaca-based punch sported an ethereal liquid nitrogen top. Bartenders from Elixir, Cantina and 15 Romolo ensured there was not one bad drink in the house.

Chef Chris L’Hommedieu of Restaurant Michael Mina and William Werner of Tell Tale Preserve Co. sent out small but impeccable bites like lobster corn dogs, chips topped with caviar and creme fraiche, and lush dark chocolate caramel cake squares.

The courtyard of the Old Mint was a surreal setting transporting me directly to an ancient Spanish or Italian square. Chipped building facades contrasted against a deep, midnight blue sky. As minstrels serenaded us on this warm, sultry night while the full moon cast a glow over the courtyard, I felt alive with the night… one of those perfect moments that lives illuminated in memory.

The evening ended (at 2am) with a bang: Brass Mafia played and we began to dance. Circling in and among us, their blaring brass brought to life songs from musicians as random as Michael Jackson, Salt-n-Pepa, Men at Work, even Montell Jordan’s “This Is How We Do It”, all in New Orleans’ brass band style (they threw in a few classic Nola Dixieland tunes, too). It was a joyous, raucous dance.

Thanks to the Bon Vivants for co-hosting a tremendous event none who attended will soon forget (which I hope you will all attend next year).

Music listings

David Talbot
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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 29

ROCK/BLUES/HIP-HOP

Biffy Cylro, Picture Atlantic Rickshaw Stop. 8pm, $12.

Erin Brazil and the Hitchcock Blondes, Fancy Dan Band, Passenger and Pilot, Middle Maki Café Du Nord. 8pm, $10.

Nick Curran, Siddhartha, Tokyo Raid, DJ Ron Elder Elbo Room. 9pm, $7.

*High on Fire, Torche, Kylesa Great American Music Hall. 8pm, $20.

*Jon Spencer Blues Explosion, Thee Oh Sees Bimbo’s 365 Club. 8pm, $18.

*Judgement Day, Tornado Rider, Definite Articles Independent. 8pm, $12.

Jesse Malin and the St. Marks Social, Moneybrother, Dave Smallen Bottom of the Hill. 9pm, $12.

Party Owl, Mallard, Burrows Hemlock Tavern. 9pm, $6.

Joey Ryan and Kenneth Pattengale, Ari Herstand, Sarah Dashew Hotel Utah. 8pm, $10.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Indulgence Wednesdays Harry Denton’s Starlight Room, Sir Francis Drake Hotel, 450 Powell, SF; (415) 395-8595. 9:30pm. With DJs Cams, Daniella D, and Bruce.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Kids in America Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9pm, free. With DJs Fuzzprobe and Bryna spinning eighties.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 30

ROCK/BLUES/HIP-HOP

Françoiz Breut, Marianne Dissard, Joanna Barbera Hotel Utah. 9pm, $10.

*Despised Icon, Misery Index, Revocation, Arise DNA Lounge. 7:30pm, $16.

*Easy Star All-Stars, Cas Haley Slim’s. 9pm, $20.

Hans Grusel No Kabinet, Andrea Williams’ Anais Din, Spider Compass, Good Crime All Vulture Band, Organ of Qwerty, pl0c Munster, Mr. Cluck Hemlock Tavern. 9pm, $7.

Jimmy Eat World, We Were Promised Jetpacks Warfield. 8pm, $40.

Mark Matos and Os Beaches, Ghost Town Refugees, Alright Class Bottom of the Hill. 9pm, $10.

Matt and Kim, Limousines Fillmore. 8pm, $18.50.

Musashi Trio Coda. 9pm, $7.

Rank/Xerox, Ed Mudshi, Ornithology Eagle Tavern. 9:30pm, $6.

Reverend Peyton’s Big Damn Band, Mighty Regis, Jesse Morris and the Man Cougars Thee Parkside. 9pm, $10.

School of Seven Bells, Active Child, Foster the People Independent. 8pm, $15.

Vandella, todayokay Rickshaw Stop. 8pm, $10.

JAZZ/NEW MUSIC

MS Collective Enrico’s, 504 Broadway, SF; www.enricossf.com. 7pm.

FOLK/WORLD/COUNTRY

Aiden James Dolores Park Café. 7:30pm, $10 suggested donation.

Misisipi Rider, Toshio Hirano Amnesia. 9pm, $3.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

LoDubs Pacific Tour Triple Crown. 9pm, $10. With DJs Clubroot, Jon AD, DJG, and Djunya spinning dubstep and bass.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

Wax Candy Beauty Bar. 10pm, free. With DJs Sergio, André Lucero, Worker, and Travis Dalton spinning disco, funk, house, techno, and more.

FRIDAY 1

ROCK/BLUES/HIP-HOP

"Costello Sings Lowe/Nick Sings Elvis" Great American Music Hall. 8 and 11pm, $125-200. Benefit for the Richard de Lone Special Housing Project. Austin and Caroline de Lone open the first show only.

Aram Danesh and the Superhuman Crew Coda. 10pm, $10.

Dolorata, Love Darling, Jo Boyer Thee Parkside. 9pm, $8-12.

Drums, Young Friends Independent. 9pm, $15.

44s, Kid Ramos Biscuits and Blues. 8 and 10pm, $20.

Jokes for Feelings, Rockfight Bottom of the Hill. 10pm, $12.

Jon Langford and Skull Orchard, Walter Salas-Humara, Mini-Mekons Café Du Nord. 9pm, $19.

Jamie Lidell, Zeus, Twin Shadow Bimbo’s 365 Club. 9pm, $25.

Mantles, Super Wild Horses, Royal Baths Hemlock Tavern. 9:30pm. $8.

Railroad Earth, Toubab Krewe Fillmore. 9pm, $25.

"Rock N’ Roll Sideshow" DNA Lounge. 9pm, $20. With Vau de Vire Society, Eric McFadden Trio, and more.

White Hills, Lumerians, White Cloud Rickshaw Stop. 8:30pm, $12.

JAZZ/NEW MUSIC

Roy Ayers Yoshi’s San Francisco. 8 and 10pm, $15-25.

"Wrack + Rova: On Procedural Grounds" Community Music Center, 544 Capp, SF; www.kylebruckmann.com. 8pm, $8-12.

FOLK/WORLD/COUNTRY

*Brass Tax Amnesia. 10pm, $5.

Emil Brynge, Emaline Dalapaix Amnesia. 9pm, free.

Carolina Chocolate Drops, Stairwell Sisters Slim’s. 9pm, $17.

Cornmeal, Devil’s Own, Michael Dean Damron Hotel Utah. 9pm, $12.

*Hardly Strictly Bluegrass Festival Speedway Meadows, Golden Gate Park, SF; www.strictlybluegrass.com. 2pm-7pm, free. Featuring the Subdudes, Sarah Lee & Johnny, The Ebony Hillbillies, Ralph Stanley & the Clinch Mountain Boys, Jenny and Johnny, George Porter Jr., Papa Mali and Matt Hubbard, MC Hammer, and more.

DANCE CLUBS

Braza! Som.10pm, $10. With special guest DJ Smash spinning an all Brazilian set.

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Deeper 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With rotating DJs spinning dubstep and techno.

Dirty Bird Mezzanine. 9pm, $20. With DJs Justin Martin, Claude Vonstroke, Christian Martin, and Worthy.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Felabration 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With DJs David Harness and Said spinning Afro beat, house, and more in a celebration of Fela Kuti’s legacy.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa "Samoa Boy" spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing The Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Strangelove Cat Club. 9:30pm, $6. An undead wedding with DJs Tomas Diablo, Melting Girl, Xander, and Mz Samantha spinning goth and industrial.

That’s the Blap Elbo Room. 10pm, $5. With Low Limit, Dnae Beats, Benito, Salva, Kozee, Dials, and Bogl, plus host Z-Man.

Vitalic, Teenage Bad Girl 103 Harriet, 103 Harriet, SF; (415) 431-1200. 9pm, $22.50.

SATURDAY 2

ROCK/BLUES/HIP-HOP

Melissa Auf der Maur Café Du Nord. 9:30pm, $12.

EPMD Yoshi’s San Francisco. 10:30pm, $22.

Futureheads, So So Glos Great American Music Hall. 9pm, $17.

Jukebox the Ghost, AB and the Sea, Hooray for Earth Bottom of the Hill. 10pm, $10.

Infected Mushroom, Shpongle, Hallucinogen, Dissolve, Liam Shy Warfield. 8pm, $60.

Mammatus, Swanifant, Shari La Las Hemlock Tavern. 9:30pm, $7.

*La Plebe, Meat Sluts, Started-Its, Bloody Hells, Ol’ Cheeky Bastards, Girls with Guns Thee Parkside. 7pm, $10.

John Nemeth Biscuits and Blues. 8 and 10pm, $20.

Railroad Earth, Toubab Krewe Fillmore. 9pm, $25.

Adam Haworth Stephens, Mini Mansions, Sea of Bees Independent. 9pm, $15.

*Sword, Karma to Burn, Mount Carmel Regency Ballroom. 8:30pm, $20.

Peter Wolf Yoshi’s San Francisco. 8pm, $27.50.

JAZZ/NEW MUSIC

Brian Pardo Coda. 7pm, $5.

Stefanie Powers Rrazz Room. 8pm, $45.

FOLK/WORLD/COUNTRY

*Hardly Strictly Bluegrass Festival Speedway Meadows, Golden Gate Park, SF; www.strictlybluegrass.com. 11am-7pm, free. Featuring Kelly Willis, Carolyn Wonderland, Margot Leverett and the Klezmer Mountain Boys, Joan Baez, Trombone Shorty & Orleans Avenue, Bonnie Prince Billy & the Cairo Gang, Dry Branch Fire Squad, Buddy Miller, Gillian Welch, Hot Tuna Electric, The Wronglers, Carolina Chocolate Drops, Holly Golightly and the Brokeoffs, Conor Oberst, and more.

Very Be Careful Amnesia. 9pm, $7.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Debaser Knockout. 11pm, $5. Wear your flannel and get in free before 11pm to this party, where DJ Jamie Jams and Emdee play alternative hits from the 1990s.

Everlasting Bass 330 Ritch. 10pm, $5-10. Bay Area Sistah Sound presents this party, with DJs Zita and Pam the Funkstress spinning hip-hop, soul, funk, reggae, dancehall, and club classics.

Fire Corner Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests. Foundation Som., 2925 16th St., SF; (415) 558-8521. 10pm.

Gemini Disco Underground SF. 10pm, $5. Disco with DJ Derrick Love and Nicky B. spinning deep disco.

Get Loose Beauty Bar. 10pm, free. With DJ White Mike spinning hip hop, rock, indie dance, funk, soul, and more.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Kontrol Endup. 10pm, $20. With resident DJs Alland Byallo, Craig Kuna, Sammy D, and Nikola Baytala spinning minimal techno and avant house.

Leisure Paradise Lounge. 10pm, $7. DJs Omar, Aaron, and Jet Set James spinning classic britpop, mod, 60s soul, and 90s indie.

New Wave City DNA Lounge. 9pm, $7-12. The 80s dance party celebrates its 18th anniversary with Skip and Shindog, Lowlife, and Melting Girl.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Saturday Night Soul Party Elbo Room. 10pm, $10. Sixties soul with DJs Lucky, Phengren Oswald, and Paul Paul.

Souf Club Six. 9pm, $7. With DJs Jeanine Da Feen, Motive, and Bozak spinning southern crunk, bounce, hip hop, and reggaeton.

Soundscape Vortex Room, 1082 Howard, SF; www.myspace.com/thevortexroom. With DJs C3PLOS, Brighton Russ, and Nick Waterhouse spinning Soul jazz, boogaloo, hammond grooves, and more.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Spirit Games Vol. 4 Rickshaw Stop. 8pm, $12-15. With Lagos Roots, DJs Papa Chango and Kush Arora, and bellydancer Jill Parker.

SUNDAY 3

ROCK/BLUES/HIP-HOP

First Aid Kit, Ferraby Lionheart, Sea of Cortez Bottom of the Hill. 9pm, $14.

Gotan Project, General Electriks Warfield. 8pm, $39-47.50.

Jon Langford, Justin Townes Earle Ameoba, 1855 Haight, SF; www.amoeba.com. 2pm, free.

Red Hot Blues Sisters Biscuits and Blues. 8 and 10pm, $15.

Vamps Great American Music Hall. 8pm, $41.

FOLK/WORLD/COUNTRY

Africa Rising featuring DJ Jerimiah Coda. 10pm, $10.

Ely Guerra, Kavarzee, Pastilla, DJ Juan Data Independent. 8pm, $22.

*Hardly Strictly Bluegrass Festival Speedway Meadows, Golden Gate Park, SF; www.strictlybluegrass.com. 11am-7pm, free. Martin Sexton, Randy Newman, Earl Scruggs, Emmylou Harris, Kate Gaffney, Indigo Girls, Sharon Jones & the Dap-Kings, MarchFourth Marching Band, Lucero, Elvis Costello and the Sugarcanes, Patti Smith, Rosanne Cash, Doc Watson & David Holt, The Avett Brothers, Nick Lowe and his Band, Nathaniel Rateliff, and more.

Kally Price, Old Blues, Emperor Norton’s Jazz Band Amnesia. 9pm, $5.

DANCE CLUBS

Afterglow Nickies, 466 Haight, SF; (415) 255-0300. An evening of mellow electronics with resident DJs Matt Wilder, Mike Perry, Greg Bird, and guests.

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. DJ Sep, Maneesh the Twister, and guest Robert Rankin’ spin dub, roots, and classic dancehall.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 4

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8 and 10pm, $15.

Australian Pink Floyd Fillmore. 8pm, $41.50.

Clean, Barbara Manning Independent. 8pm, $20.

*Guitar Wolf, Hans Condor, Midnite Snaxxx, DJ Classic Bar Music Bottom of the Hill. 9pm, $15.

Pigeon John, DJ Abilities, Dark Time Sunshine Café Du Nord. 9pm, $12.

Talvin Singh presents Tablatronica Live, Janaka Selekta Bimbo’s 365 Club. 8pm, $25.

So Cow, Wrong Words, Neighbors Hemlock Tavern. 6:30pm, $7.

FOLK/WORLD/COUNTRY

Pedro Moraes Elbo Room. 9pm, $10.

Savannah Blue Amnesia. 8:30pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

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

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 5

ROCK/BLUES/HIP-HOP

Aural Logic Sound System, Back Beat Coda. 9pm, $7.

Clare Burson Café Du Nord. 8pm, $10.

Casiokids, Elissa P., Pixel Memory Bottom of the Hill. 9pm, $12.

CocoRosie Regency Ballroom. 8pm, $25.

Dead Meadow, 1776 Great American Music Hall. 8pm, $15.

Dead Westerns, Graves Brothers Deluxe, Mermaid Bones, THC: The Human Condition Elbo Room. 9pm, $7.

Guided By Voices, Times New Viking Warfield. 8pm, $34.

High Castle, Zulus, Scumby Hemlock Tavern. 9pm, $6.

"Steve Edmonson Get Well Benefit" Biscuits and Blues. 8 and 10pm, $15.

Touch Me Nots, Hans Condor, Guitar Magazine Knockout. 9:30pm, $5.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ Johnny Repo and DJ Taypoleon.

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

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

Live Shots: Kele, Mezzanine, 09/18/2010

Jesse Hawthorne Ficks
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0

Kele (formerly Kele Okereke) played an invigorating, dance-oriented, and quite tipsy set at Mezzanine, mixing songs from new album The Boxer with hits from his other act, Bloc Party. Best of all, he stripped down quite early in the set, leaving the mixed crowd panting for more.

Women in the sky: Flyaway Productions is bold

John Elberling
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Women in the sky: Flyaway Productions is bold

By Emmaly Wiederholt

Recently I’ve been volunteering with an older blind woman. During our last volunteer session I mentioned I was attending Flyaway Productions’ Singing Praises: Centennial Dances for The Women’s Building (Sept. 10-18) and asked if she had heard of The Woman’s Building. She practically laughed out loud, and I was surprised to learn she was very familiar with it as an active member of the second-wave feminist movement during the ’70s and ’80s. She described the struggle against sexual and gender inequality in the workplace, in the family, and in reproductive rights.

That night as I stared at the brilliantly lit murals of The Women’s Building with aerial dance artists scaling the walls and windows, I thought again of my blind friend’s activism and pondered what it meant to be a woman watching this particular dance performance. So many of the values I cherish about being a woman were present in the bold women flying above.

These women were strong. While dance requires a certain amount of brawn in itself, aerial dance requires much more abdominal and upper body strength than in most dance forms. This may seem self-evident, but in the context of the piece it was particularly telling that these were women with musculature. These women took risks. Hanging suspended over asphalt by a harness requires a certain amount of fearlessness. The risks inherent in this type of dance lent to the thrill audiences felt as dancers swung upside down or sideways high above the ground. These women challenged each other. Much of Jo Kreiter’s choreography consisted in the dancers pushing and pulling at one another, not as antagonists, but as competitors, driving each other to new physical heights. And finally, these women were intuitive. Dance in unison is difficult. Three women, each positioned on a different flight of stairs on the fire escape, danced in tandem though they could hardly see each other. Rather, they had to feel one another’s energy, a feat that takes sensitivity and practice to perfect.

Aside from the lovely testament to women inherent in the dancing, I also enjoyed how unassumingly the performance garnered an audience. Passersby stopped and looked up in wonder. Cars slowed. Buses full of people crammed to look out the window and see what was going on. The performance ran about one half hour in length and by the end quite a crowd had accrued. This rapt community of onlookers, some there by chance and others by premeditation, were yet another demonstration of the role The Women’s Building plays in bringing people together.

Nearing the end of the performance, a dancer stood on the corner of the colorful four story building, her body illuminated in white light, her clothing and hair billowing frantically in the wind. She looked seven feet tall and practically biblical in effect.  Looking around, I noticed the now sizeable crowd, their faces upturned towards the Amazonian woman atop the poignantly muraled walls, a veritable bastion of womanhood in the sky.
    

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