Festivals

Appetite: Highlights and bites from SF Chefs

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Here are a few highlights in photos of another SF Chefs, San Francisco’s food, wine, spirits “classic” (aka week-long festival in tented Union Square), a whirlwind of excellent bites, drinks, wine, demos, and parties.

There are high points every year, but no party has yet been as memorable as this year’s Late Night Cocktail Adventure/Campari after party on Saturday, August 4. The Redwood Room at the Clift Hotel was as magical as it was meant to be outfitted for the South Seas by way of Milan with Afrolicious providing the addictive, live reggae-funk soundtrack of the evening we couldn’t stop dancing to. Drinks were high-caliber, including a brilliant rum and passion fruit punch by Steven Liles (Smuggler’s Cove), and rum, coconut milk, and kaffir lime beauty by Brooke Arthur (formerly of Wo Hing, now House Spirits’ Director of On Premise Outreach and Education).

All photos by Virginia Miller. Subscribe to her newsletter at www.theperfectspotsf.com.

Benefit screening of ‘The Master’ (in 70mm!) tomorrow at the Castro!

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This is not a drill, film fans: Paul Thomas Anderson’s highly anticipated new film, The Master, will be screening at the Castro tomorrow night. In 70mm. Not gonna lie: as soon as word of similar “surprise” screenings in other cities (Chicago, Los Angeles), I was crossing my fingers and toes that we’d get one here. Especially since not everyone can make it to the various film festivals where it’s been programmed (Venice, Toronto) … and The Master‘s theatrical release isn’t until Sept. 21 in the Bay Area.

Get thee to TicketWeb now and spend $10 (plus the expected fees and whatnot) to benefit the Film Foundation. The Castro is a huge theater, but film nerds are gonna be all over this one. Like me, for instance. There will be popcorn!

http://www.youtube.com/watch?v=fJ1O1vb9AUU

Heads Up: 7 must-see concerts this week

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Outside Lands is nearly here, and you’ll read plenty about that in the paper. But the festival is now sold out, plus I do realize there are many people simply not interested in attending festivals period. For you, those averse to the outside and massive crowds, there are other sonic highs in the Bay Area this week – including Foxygen, Shonen Knife, Redd Kross, new club night Y3K, and, wait for it, Neil Diamond.

My first real memories of music – and vinyl records – are of Diamond, mouth agape, in a denim suit with frizzy hair dipped down towards his navel on the iconic cover of Hot August Night (1972). In my childhood home, Neil Diamond came first. And my starry-eyed mom was there at the Greek in Los Angeles during the live album recording. “It was a lovely still night…Diamond admirers were everywhere” she says, adding, “The acoustics were excellent and his voice was pitch perfect.”

Okay, so maybe you weren’t born-and-bred in the Diamond cult; but you get that feeling right? It’s like how cat-burglerish actress Anne Hathaway recently described another, very different concert in Vanity Fair. “I was there and it was beautiful…we all knew we were there seeing something special.” (LCD Soundsystem’s last show.)

My point? Go see something special. Here are your must-see Bay Area concerts this week/end:

Foxygen
If you need oxygen to breathe, you need Foxygen to pant. The vaguely French inflected, 1970s-referencing bi-coastal duo oozes sexy glam rock excess. And vocalist Sam France has the reassuring swagger of Lou Reed with a little burst of Bowie.
Tue/7, 9pm, free
Brick and Mortar Music Hall
1710 Mission, SF
(415) 371-1631
www.brickandmortarmusic.com
https://www.youtube.com/watch?v=VwK32IuseGM

Neil Diamond
For those in awe of furry-chested croonership; the entertainer, the Jewish Elvis, the sweaty LA icon. Neil Diamond’s Hot August Night boasts the moody ballad “Solitary Man,” bouncy pop classic “Cherry Cherry,” the original, non-reggae “Red Red Wine” and frat boy standard, “Sweet Caroline.” Now, on the 40th anniversary of that multi-platinum double album, Diamond is touring again, playing the hits.
Tue/7, 8pm, $52-$117
HP Pavillion
525 W. Santa Clara, San Jose
pavilionsanjose.com
http://www.youtube.com/watch?v=liw6vVhVP7I

Redd Kross
“When brothers Jeff and Steve McDonald first formed the band that would become Redd Kross in the late 1970s, they were just 11 and 15 years old — and famously played their first gig opening for Black Flag. Returning with their first new album in 15 years, the excellent Researching The Blues, which dropped this week, the group continues to twist infectious melodies and pop sensibilities into short, stunning bursts of rock’n’roll.” — Sean McCourt
With the Mantles, Warm Soda
Wed/8pm, $20
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.slimspresents.com
https://www.youtube.com/watch?v=oGPMa6k4mFk

Parallels
The Toronto synth-pop trio (formed by ex-Crystal Castles drummer Cameron Findlay) might as well be made up of snowy elves, stabbing sharp crystals through other dimensions, or glitter-covered black dancing dresses, forever spinning around Princess Lili. It’s so very ’80s fantasy movie. And singer Holly Dodson’s Grimes-ish high lilt is the ideal match to the eerie electronic atmospheres.
Thu/9, 9:30pm, $14
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=ezWfz4uCMYg

Y3K
“Here’s the dark, dreamy, bass-crazy lineup of mega-wicked promoter Marco de la Vega’s first monthly youthful assay: Gatekeeper, Teengirl Fantasy, Nguzunguzu, 5kinandbone5 with secret spec1al guest, and the Tenderlions. Good thing I turned 18 last month, see you there.” — Marke B.
Fri/10, 10pm, $18
DNA Lounge
375 11th St., SF
415-626-1409
www.dnalounge.com
https://www.youtube.com/watch?v=YxzvFcUJdHQ

Shonen Knife
Last time the legendary Japanese pop-punk act Shonen Knife came to town, it played an entire encore set of Ramones covers. Not to say that it will happen again, but just fair warning that the trio is capable of such magic.
With the Mallard, Chuckleberries
Fri/10, 9pm, $14
Bottom of the Hill
1233 17th St., SF
(415) 621-4455
www.bottomofthehill.com
https://www.youtube.com/watch?v=ADo6wawOUFo

Al Jarreau, George Duke Trio
“One of the most versatile, expressive vocalists of the last 50 years, Al Jarreau jumps restlessly between soul, jazz, pop, and samba traditions, refusing to let any genre tags define him. George Duke is an undisputed keyboard champion, whose ’70s jazz-fusion recordings have permeated modern hip-hop and neo-soul to an astonishing degree.” — Taylor Kaplan
With Mara Hruby
Sun/12, 2pm, free
Stern Grove
19th Avenue at Sloat, SF
(415) 252-6252
www.sterngrove.org
https://www.youtube.com/watch?v=4gZr5sqJmV0

Live Shots: SF Street Food Festival 2012 preview

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The SF Street Food Festival has become such a delight in the summertime. (This year’s takes place on Saturday, August 18.) A chance to sample wonderful treats from the around the world (many developed in the test kitchens of entrepeneurial incubator La Cocina), transporting your taste buds to the far reaches of yumminess. The festival can get crazy crowded, so to help you out, here’s a list of some fave vendors to make a beeline for:


Alicia’s Tamales Los Mayas
– It’s partially that you’ll fall in love with Alicia, who will call you “mi cariño,” but it’s also that her delectable homemade tamales are out of this world, stuffed with pork, chicken or cheese and slathered in fresh salsa verde. You can’t go wrong with this corny bundles of love.

Minnie Bells’ Soul Movement – Think fried chicken and mac and cheese. Really good soul food, simple and delicious. Never tasted such flavorful gumbo!

Chiefo’s Kitchen – Chiefo cooks wonderful West African cuisine, that’s spicy and filled with exotic flavors. Try her mini moi-moi, a savory cake made with blended black eyed peas and topped with a crispy piece of meat.

Global Soul – Here’s the deal. I was handed a piece of meat on a toothpick, dripping in fat and it was the best thing ever. You know you want that too.

Azalina’s – “I love deep frying things!” declared Azalina. And she’s not joking! But what I love about her snacks is that yes, they are perfectly fried and golden, but then layered with roasted meats, fresh veggies and topped with a hot pink raspberry. So unique and beautiful!

Neo Cocoa – Save room for dessert! Christine from Neo Cocoa will be serving up chocolate truffle brownies, layered with such decadent fillings as almond butter.

Our Weekly Picks: August 1-7

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WEDNESDAY 1

Erol Alkan

A couple years ago it was easier to define Erol Alkan. He was electro. People would say it like it was the best thing in the world or the worst, but it was clear cut, straightforward, easily understood. Recently, though, the London producer’s already impeccable remix work — for bands including Tame Impala, Metronomy, and St. Etienne — has shown increased range, patience, and emotion. While his continued team-up with Boys Noize shows he’s not afraid to still go HARD, with Connan Mockasin’s “Forever Dolphin Love” (a song so nice, he reworked it twice) Alkan went in an entirely other direction, arguably surpassed the original, and created what might be the ultimate comedown track. (Ryan Prendiville)

With Omar (Popscene) 10pm, $10–$20

Vessel

85 Campton Place, SF

(415) 433-8585

www.vesselsf.com

 

Mynabirds

After a stint as a member of Bright Eyes’ touring band in 2011, Mynabirds frontwoman Laura Burhenn went back into the studio to work on her Saddle Creek indie collective’s sophomore release, Generals, a concept album about war, tragedy, and disarmament (inspired by Richard Avedon’s photo, “Generals of the Daughters of the American Revolution”). The result is a protest record that embodies the spirit of the Occupy Everything movement. Burhenn’s soulful voice soars over percussive, full-bodied pop melodies to sing about a wide array of conflicts, both political and personal. In a concurrent side project called the New Revolutionists, Burhenn uses a portrait series to highlight women who have taken the initiative to be disarmers and activists in their own communities around the country. (Haley Zaremba)

With Deep Time

9:30pm, $12

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

THURSDAY 2

“City Scenes: Installment Four”

Never spent time with David Bowie’s album Diamond Dogs? Beloved San Francisco musician John Vanderslice wants to change that. In the Vogue Theatre’s fourth installment of its ongoing “City Scenes” series, Vanderslice will perform Diamond Dogs, followed by a screening of Michel Gondry’s The Science of Sleep (2006). Vanderslice says he loves the film because of its “vulnerable and personal vibe,” and he considers the Bowie album to be one of the most underrated records, calling it “casual, rugged, and handmade.” Vanderslice adds that the record, which was inspired by Orwell’s 1984,”[was] his most drugged out, freaked out work.” Gondry’s film, which follows Charlotte Gainsbourg and Gael Garcia Bernal on a journey through the human psyche, certainly connects to a Bowie’d musical introduction exploring the confines of state control on the mind. (Shauna C. Keddy)

8pm, $15

Vogue Theatre

3290 Sacramento, SF

(415) 346-2228

www.voguesf.com

 

Squarepusher

Sure, Aphex Twin and Boards of Canada are seasoned veterans of electronic powerhouse Warp Records, and rightly so; but where have they been lately? Squarepusher, on the other hand, has been churning out quality records for the UK label, with Woody Allenesque prolificacy, since 1996. From ’70s Miles Davis homages, to laptop geekfests, to Daft Punk nods, to virtuosic bass-guitar workouts worthy of a Steely Dan session player, Squarepusher mastermind Tom Jenkinson has built a career on defying expectations and constantly switching focus — which makes the prospect of a live appearance so damn interesting. (Taylor Kaplan)

With Eric Sharp 8pm, $30

Regency Ballroom

1290 Sutter, SF

888) 929-7849

www.theregencyballroom.com

 

Buraka Som Sistema

There’s just something fascinating about watching a crowd attempt to dance along to a beat that is as unfamiliar as it is irresistible. That was the scene at last year’s Treasure Island Music Festival, during the performance of Portugal’s Buraka Som Sistema. Buraka’s a reportedly rough and tumble neighborhood in Lisbon; Som Sistema quickly translates to “sound system”; put it together and you have a partying collective of DJs, producers, MCs, and dancers spreading the Angolan-originated, techno and hip-hop influenced genre of kuduro. Understanding Portuguese is not a prerequisite, as the group’s seemingly competitive desire to hype up a crowd (with easily recognizable calls to “shake that ass”) proves immediate and universal. (Prendiville)

9pm, $20  

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


FRIDAY 3

Peaking Lights and Woods

One night, two up-and-coming bands with the blogosphere on their side. Woods might be from Brooklyn, but they forgo the New York state of mind in favor of a pastoral, sun-drenched, Byrds-worshipping brand of lo-fi pop, well suited to your next cabin retreat. Originally from the Bay Area, Madison, Wisconsin-based duo Peaking Lights weaves an infectiously stoney web of dub, Krautrock, and loopy, gloopy pop a la Panda Bear, seemingly tailor-made for record collectors and serial name-droppers. First acoustic, then electronic, on an enticing double-bill unlikely to result in any sense of redundancy. (Kaplan)

With Wet Illustrated 9pm, $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

Birds & Batteries

With the impending release of their new album Stray Light, Birds & Batteries will once grace our ears with chirping indie-pop bliss smashed with heavy electronic beats. Like the name, the band embraces a meeting of the natural and the digital. While their sound embraces vast expanses, it’s also crisp and wound tight; if you want to wave your arms around in the air like you’re at a bonfire dance circle, but also jump up and down like you would at any good rock show, this will be a lovely fit for you The band kicks off its US tour this weekend at the Rickshaw Stop. (Keddy)

With Radiation City, Trails & Ways

9pm, $10–$12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

The Pharcyde

Gangsta rap was important and fun in the beginning — and, in retrospect, so kittenish that 50,000 white kids would end up singing along with an anachronistic hologram 20 years later in the California desert. But all the grim misogyny and hysterical homophobia sure got tired. Luckily, Cali also kept the flame alive in the ’90s for inventive, unabashedly intelligent hip-hop. Surreal lyrical genius-machine the Pharcyde blew up the charts with first album Bizarre Ride II in 1992, now original quartet members Fatlip and SlimKid3, with producers J-Swift and LA Jay, are giving the live full-band treatment to Bizarre. (Bootie Brown and Imani, who tried to jumpstart the band back in 2004 are doing their own thing, notably Bootie’s guest spots with Gorillaz.) SLICK, the graffitist responsible for Bizarre‘s cover, art directs the show. (Marke B.)

10pm-4am, $20–$25

1015 Folsom, SF.

www.1015.com


SATURDAY 4

Castro Theatre’s 90th anniversary

Single-screen movie palace the Castro Theater opened in 1922 — and 90 years later, it’s still going strong, with a robust calendar of festivals, first-run movies, rep screenings, and special events. Celebrate this happiest of birthdays by stopping by this weekend’s festivities (special programming, including a John Huston series, continues throughout August). Today, there’ll be a screening of 1964 classic Mary Poppins (presented sing-a-long style — chim-chim-chir-ee!) plus a Howard Hawks double feature of The Big Sleep (1946) and Where Danger Lives (1950), hosted by Noir City’s Eddie Muller, all with pre-show musical entertainment. Head over tomorrow for a couple of films you might have heard of (1941’s Citizen Kane, 1939’s Gone With the Wind), or mark your calendar for upcoming must-see-on-the-big-screen entries, including Roman Polanski’s 1974 Chinatown (Aug. 28). (Cheryl Eddy)

Mary Poppins, 2 p.m., $8.50–$15

Castro Theatre

429 Castro, SF

www.castrotheatre.com

 

The English Beat

In 1979, the Beat (known in the US as the English Beat) emerged from struggling, blue-collar Birmingham, England. In an era of widespread unemployment and sociopolitical conflict, the band responded by writing simple, fun ska tunes about something we can all agree on: love. The Beat was an overnight success with its chart-topping cover of Smokey Robinson’s “Tears of a Clown.” These legendary musicians, now considered pioneers of two-tone ska along with the likes of the Specials and Madness, have been touring consistently since they reunited in 2003. In today’s similarly tumultuous political climate, perhaps a little love and skanking is what we all need. (Zaremba)

With the Champions Inc.

8pm, $25

Bimbo’s 365

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com

 

Drift of a Curse

Supergroups of our time: Bad Company, Damn Yankees, Traveling Wilburys, uh … Asia? Does Asia count? Dunno. What’s important is that local supergroup of sorts Drift of a Curse (it started as an Old Grandad side project, and also features members of Hammers of Misfortune, Aerial Ruin, and Hazzard’s Cure) is reuniting for its first shows in two years. Tonight’s gig prefaces a mini tour to points Northwest; expect to hear songs off 2008 album The Wrong Witness, recorded before the band had played any live shows, and more in the vein of the group’s self-described sound: “melodic vocals, clean tones, and psychedelic soundscapes” with “elements of metal and rock.” Super! (Eddy)

With Hazzard’s Cure

10pm, $6

Bender’s Bar

806 S. Van Ness, SF

(415) 824-1800

www.bendersbar.com


SUNDAY 5

Radio Moscow

This power trio is a blast from the psychedelic past. Drawing from Cream, Hendrix, and ZZ Top, the Story City, Iowa garage rockers play new-old stoner rock with fuzzed out guitar solos and bluesy, experimental jams as long as their Zeppelin-inspired hair. After the band handed a demo to Dan Auerbach at a Black Keys concert, the retro-rock guru got them signed to Alive Naturalsound Records and produced their first album, released in 2007. The band has since relocated to Northern California and after months on the road to support their third full-length, Radio Moscow is ending its national tour in San Francisco. (Zaremba)

With the Dirty Streets, Coo Coo Birds

8:30pm, $12

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com


MONDAY 6

Sutekh Hexen

Juggling noise and ambience with a shrewd sense of balance rarely seen among metal outfits, SF’s own Sutekh Hexen specializes in that rare brand of distortion-based guitar chaos in which the darkness is completely convincing. Like Sunn O)))’s dronier passages, approached with the relentless tunnel-vision of Metal Machine Music, this trio’s output is as mentally/physically draining as it is hypnotic and bliss-inducing. Their newly released full-length, Behind the Throne, might as well be titled Ambient 5: Music for Melting Your Face Off. Might wanna bring some earplugs; this one’ll be a doozy. (Kaplan)

With Hallow, Rain and Endless Fall, Rigis

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com 

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Halcyon days

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emilysavage@sfbg.com

MUSIC Half a decade after their last album release, Two Gallants are back. As you might recall, the folk-punk duo made up of childhood pals guitarist-vocalist Adam Haworth Stephens and drummer-vocalist Tyson Vogel was already something of a legend in San Francisco — known for playing both BART stations and arenas — when it took an unexpectedly lengthy break. There were three years between them playing together, five years between records (their last being 2007’s self-titled LP on Saddle Creek).

That time apart proved both dramatic and fertile, with new side projects and solo records, personal struggles and rebirth. “Refreshing” is the word Stephens uses most frequently as he readies for a plane flight to Germany in the morning to play a few European festivals with his old friend.

After they return to SF from Deutschland, they’ll have a moment to relax in their hometown, and then will head back out on the road for their first official tour in years, hitting both Outside Lands and an Outside Lands night show at the Rickshaw Stop along the way, followed by, presumably, world reintroduction.

Before the hiatus, the duo was on a never-ending roller coaster of van-venue-van, five years of “incessant, grueling” touring, as Stephens describes it. “So I think we just needed a break, some time from each other and from the whole repetitive cycle of it — refreshing.”

Last year, they were back in the recording studio, spending two weeks at Fantasy Studios in Berkeley, then another week at Tiny Telephone. The new album was created with the help of John Congleton, a musician and producer-engineer wizard who NPR last year declared “Indie Rock’s Unsung Hero Of 2011,” thanks in part to his work on records with St. Vincent, Wye Oak, the Mountain Goats, and others.

Towards the end of last year, in late November, Congleton began work on yet another record — Two Gallants’ The Bloom and the Blight, due for release Sept. 4 on ATO Records.

“Making a record can be pretty trying at times, there’s a lot of dark moments when you’ve been working on something too much and you get caught up in it, you go in this wormhole of indecisiveness but he had a refreshing view on making records,” Stephens says lightly. “He brought out a little more levity, and a little more fun, which I think made the record much more enjoyable than anything we’ve done before.”

You can hear his touch on The Bloom and Blight. While it’s more aggressive, grungier than past Two Gallants output, it’s also more lively, despite the heavy subject matter at hand.

The record begins with a slow-burning, bluesy guitar-led ballad “Halcyon Days,” which bursts open cathartically with Vogel’s thumping bass drum and Stephens’ scratchy howl. The first single, “My Love Won’t Wait,” begins with a similarly exciting build-up — both voices, a capella, harmonizing “You can try/but ain’t no use/I’ll lose it if you cut me loose.” It builds to a crackling garage anthem.

“Our songs have always been pretty dark, but I think these have more of a light-hearted nature to them,” says Stephens. “I think we’ve gotten to the point where we still take the craft very seriously and music very seriously, but we don’t take ourselves quite as seriously.”

The band lifted the veil of the dark, brooding romanticism of the art, but were still able to convey their pain, just without that adolescent pretension. It’s an expected cycle from a long-running band, or really, any long-term relationship. People change, grow, fail to jump back on those horses, or learn to do it their way. In the album closer — folky acoustic ballad “Sunday Souvenirs” — Stephens pines “Memories of what I gave away/lost love/all the love that’s lost along the way/slow down/let me hold you once before you fade.”

“I think we’ve grown up a lot,” he says during our phone call. “[The songs on The Bloom and the Blight] have more perspective of experience and maturity and coming from the perspective of someone that sees the beauty and tragedy in things but doesn’t get as caught up in it.”

Certainly they’ve seen their fair share of beauty and tragedy in the past few years. Relationships have bloomed and crumbled, personal projects have achieved widespread if lesser acclaim. In likely the most tragic events in recent memory, in 2011 Stephens was involved in two separate accidents, a horrific van crash out on tour in Wyoming and a collision on his bike with a car while riding to his practice space in the Mission.

But he’s moved forward. He’ll get back on that touring horse, and is happy to soon be back in the van with his childhood pal, Vogel.

“I am actually really looking forward to going on tour again; We’re both really looking forward to playing new songs, and seeing people’s reactions,” he says, adding, “It’s not like we’re expecting everyone to fall in love with it, but at least people know what they’re getting into. We’re playing all the new songs — so the set’s pretty foreign to anyone besides us.”

TWO GALLANTS: OUTSIDE LANDS NIGHT SHOW

Aug. 8, 7:30pm, $20

Rickshaw Stop

155 Fell, SF (415) 861-2011

www.rickshawstop.com

TWO GALLANTS: OUTSIDE LANDS

Aug. 10, 1:50pm, $95 (one-day pass)

Outside Lands

Golden Gate Park, SF

www.sfoutsidelands.com

Best of the Bay 2012: BEST MUSHROOMING POPULARITY

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BEST MUSHROOMING POPULARITY

Enough tripping over yourself at music festivals — the best kind of festive fungi has to be that which is found at the ever-growing SF Mycological Society’s Fungus Fair. Each December, Bay Area mycophiles meet up for a weekend (usually in Berkeley’s Lawrence Hall of Science) to enjoy lectures, vendors selling mushroom-dyed sweaters, and entire rooms full of specimens hand-picked by members of the Society. Attendees can also take advantage of copious class offerings: ever wondered, for instance, about the best way to serve a black chanterelle? Take the mushroom cooking class. Best of all, you can find out what SFMS gets up to during the rest of the year: San Francisco is home to the country’s longest-running mycology programs (at SF State), and the Society hosts beginners’ foraging hikes all throughout the year for the budding, mushroom-loving spore.

www.mssf.org

High summer: Shots from Quincy and the High Sierra Music Festival

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Ever wonder what it’s like to be a festival photographer? Allen David has been going to camping festivals in California for decades. He sent us over action shots from the July 5-8 High Sierra Music Festival, and wrote up his bird’s eye view of the Quincy, Calif. happenings — including his assessment of Hasidic reggae-rapper Matisyahu’s child-rearing skills

Last week, I packed up my vintage Beemer with all my camping needs; beers and crazy clothes. My trusty camera and I were headed up to High Sierra Music Festival in Quincy. 

My drive took me up State Route 70 along the Feather River, one of my favorite places to cruise in California. Whenever you feel too hot, there is always a spot to pull over and cool off in the churning river. At sunset I reached the will call booth and waited in line with other festival revelers to earn my entry into a weekend filled with music, dancing, drinking, and debauchery.

My first mission after gaining entry was to meet up with Matisyahu for a brief interview. I was running late. Finally backstage, I found his publicist, who told me that Matisyahu was wandering around the festival with his two young boys. He said to stick around for a while, and Matisyahu would eventually show up. I waited with my friend Rachel for about a half-hour, ’til we were really starting to crave beers. But as we were leaving the bandstand we saw a very tall, clean-cut young man walking towards us with two young boys holding his hands. I asked him if he was Matisyahu. He was.

Maybe it was because his kids were running around our feet, but our conversation revolved around fatherhood. He’s quite a dad. The way he encouraged his young sons seemed to empower them — the eldest sang us a song while sitting on dad’s lap. Half way through, Matisyahu began to back his son up with some of the greatest beatboxing I’ve heard.

After our chat, my friend Rachel and I found the rest of our friends from the Samba Stilt Circus camped in a barn, which had a slight smell of pigs and horses. After some thorough investigation we found a stall that didn’t smell too bad, and made it our weekend home.

My favorite act of the whole week was a band I never had heard of before. I was spending time at shower camp (the camp that operates free showers for all fest-goers) with one of my best buds, Turner. Off in the distance I heard what sounded like the theme song from the classic TV show Nightrider, only with a Bollywood feel. I was drawn to the music like a rat to the Pied Piper. 

When we finally found the stage in question, I was delighted to find that a tuba was being used to replace the electric bass in the band, Red Baraat. The group’s horn section, awesome grooves, and stunning good looks kept me shaking for two hours. At one point I checked out the rest of the crowd, only to find one of my other favorite acts from the festival were dancing along with me, March Fourth Marching Band.

As night progressed, and people preceded into the altered dimensions that booze — and possibly other things? — give you access to, people seemed to wake up and look for their next destinations. Many people went into the late night venues, yet as I am on a restricted photographer’s budget, I found the $30 extra to be a little much for me. I found friends and wandered around the festival enjoying the company of strangers that were on the same page as me.

Monday came, and I had to focus on the sad task of packing up camp. Yet once the Beemer was packed up and we were on the road, the Feather River greeted us with another great swimming hole, washing another great weekend into the past.

Exchange is good

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MUSIC The heyday of the mixtape was the 1990s, when a mix required a gentle touch with the pause button, careful calculations to make sure the songs fit on the cassette, and a delicate winding of the tape spool with the pinky finger, advancing the clear tape to the magnetic. They took hours to complete. They were fragile, often made in a torrent of teenage lust and given with sweaty palms.

With the San Francisco Mixtape Society, you get a semblance of that experience.

Every few months, the group holds free mixtape exchanges at the Mission District’s Make-Out Room. What happens is this: people come to the event with a mix (cassette, CD, or USB stick), and everyone gets a number. When your number is picked, you give your mix to the person who called your number. Then, you pick a number, and you get a mix in return. Each event has its own theme, to give attendees a spark of inspiration.

Most mixtape exchanges occur by word of mouth, or by invitation-only. Co-founders Annie Lin and John Verrochi, Brooklyn transplants, met by attending similar events in Brooklyn, which were low-key, “just hang outs in bars. We wanted to create an event that could accommodate more people, and make it easier to participate,” Lin said in an interview last week. The two of them started the exchange partly because there weren’t any events like it in San Francisco at the time.

“When I moved here I felt like there wasn’t really a channel for people that like music to meet other people that like music. When you go to a show, you really can’t talk to people. Part of it grew out of wanting to meet cool people as a newcomer to the city with no established clique. The nice thing is that a lot of people have actually come together,” said Lin.

“There’s two connections that you’re forced to have,” explained Ashley Saks, a member and organizer of the society. “One is with the person you’re giving your [mixtape] to, and one is the person you’re getting the mixtape from.”

“There is a dating aspect,” said co-founder Verrochi, “though we don’t promote that. You usually make them for someone you care about, so it kind of has this courting thing to it. People have definitely hooked up.”

The society gives a free beer to those who make a mix on cassette, and awards prizes in categories such as Best Art.

“We were thinking we would get to see cool graphic art, like really cool album covers,” Verrochi said. (He works by day as an art director.) “But it’s turned into these art objects. Tiny sculptures.”

Cases have been hand knit, papier-mâché’d, and encased in world globes. One person made a 3-D dollhouse. Another made a lemonade stand out of Popsicle sticks. The winner of the last event — the theme was “Under the Covers” — made a coffin. Inside was a collection of mixes that together formed a skeleton. The track listing came in a funeral booklet.

“You never know what you’re going to get,” said Lin. “You know you’re going to get something. You might get something huge and crazy, like a Noah’s Ark.”

Besides winsome cover art, coveted mixes are well-sequenced and tell a story. “Editing is the secret,” said Lin. “In this era it’s so easy to say, ‘Let’s get on Spotify and do a search for titles that have the theme in the name.’ With a really good mixtape, someone really thought about the tone or the flavor of the theme, and how the songs come together over all. It’s more than just an algorithmic search for songs, which is easy to do.”

One memorable mixtape was made for a Treasure Island Music Festival event. The theme was “Hidden Treasure,” and the tape was called “Pirate’s Booty.” “Every single song on that mixtape was about ass,” Verrochi said.

Interest in the SF Mixtape Society has grown beyond its own events. Music festivals like SXSW have asked the group to run exchanges, and mixtape enthusiasts in Toronto and San Diego have asked how to start similar groups. It’s a reflection of people’s desire to do more than share music on the internet.

“We live in a curation culture,” said Lin. “People make playlists and share them on Spotify. Like, ‘Here’s all the songs that I’m listening to right now on this playlist in random order.’ A mixtape is sharing, yes, but it’s also selecting exactly what it is you’re going to share.”

“I think why people like our event is you actually have to show up in person, you have to create an object and hand it to them. And there’s this really tangible quality to it,” Verrochi said.

The SF Mixtape Society’s next event, themed “American Summer,” occurs Sun/15 at the Make-Out Room; a smaller exchange will take place as part of the California Academy of Sciences’ “Mixology, Mixtapes and Remixes at NightLife” event July 19. *

Bernal Heights pumps up the volume

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Climb Bernal Hill as a sweaty pedestrian and you just might descend by flying down on a futuristic — newly charged! — electric bicycle. Or at least, with a fully-juiced iPhone. Starting this month through the end of the summer, a collaboration between Sol Design Lab and The New Wheel has brought the city’s newest solar energy recharging station to Bernal Heights. Plug in your speedy e-bike, or hell, electric toothbrush.

The New Wheel’s extensive selection of pedal-activated electric bikes and urban transportation goods and bike shop services — we recently profiled its owners for being the e-bike pioneers they are — are enhanced by Sol Design’s latest Solar Pump design, which is able to utilize solar energy to charge anything with a standard electric plug. With a single solar panel, Sol Design Lab and The New Wheel pedal-assisted electric bicycle users can get 65 miles for as little as three cents.

“The Solar Pump is mainly a way to start the discussion around sustainable energy practices,” says co-owner Brett Thurber. Although an electric bicycle doesn’t face the same difficulties in acquiring energy as does the electric car, the Solar Pump has helped to foster a sense of community that Thurber claims is important in The New Wheel’s sustainable endeavor, particularly through its ability to charge computers and phones. 

“People are hanging out outside and doing work. I think it’s all a part of goodwill,” he explains. “It’s public power and it’s free. That got a lot of people’s attention.”

The Solar Pump is an ironic re-invention of the1950s gas pump, retrofitting that product of the mid-20th century economic boom with solar panels to encourage and reinforce a vision of carbon-free cities. Originally on tour at music festivals like Coachella and set to make an appearance at this summer’s Outside Lands, Solar Pump™ technology provides free solar energy outlets to the public and to charge the store’s vast array of bikes.

With the help of the Solar Pump™ , The New Wheel creates a communal space of free-of-charge solar outlets and extensive electric bicycle products and maintenance.  Paired with San Francisco’s chaotic city layout of grid street-planning planted atop a naturally hilly landscape, the convenience of the electric bike might be a good answer for wayward progressives who like the idea of clean energy more than the reality of harrumphing their aching muscles and rickety street bikes up Jones Street, and who desperately need a solar outlet to charge their various electronic devices of communication. 

The New Wheel

420 Cortland, SF

(415) 524-7362

www.thenewwheel.net

 

A queerness in Harlem, finely revived

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Visual alchemy, fabulous feminist story-telling, and something deemed “hyper-literate busking” abound at 2012’s Queer Rebels of the Harlem Renaissance fesitval, three nights of art and performance (Thu/28-Sat/30) by 21 LGBTQ African Americans.

Part of the 15th National Queer Arts Festival, Queer Rebels of the Harlem Renaissance continues the legacy of the droves of artists, performers, and activists who questioned stale societal standards in a myriad ways during the heyday of the New York City neighborhood’s 1920s and 30s creative blossoming: from sensual lyrics of Bessie Smith to the pointed poetics of Langston Hughes, the artists of the Harlem Renaissance continue to testify to the assertion that social causes are rarely separate and constantly progressing.

“The explosion of artistic, intellectual, and sexual freedom during the Harlem Renaissance created new possibilities,” explains Celeste Chan over the phone. She co-directs the performance series with Kali Boyce — together they’re known as the Queer Rebels. “We think that dialogue on race, gender, and sexuality grew naturally during the Harlem Renaissance because these were people’s real experiences, and what they wanted to create art about. We’re thankful for the elders and the artists who paved the way for us, whose shoulders we stand on.”

Queer Rebels of the Harlem Renaissance reinforces the idea that it is necessary to understand a past in order to create a future. Thus, paying proper homage to the Harlem Renaissance artists who opened the possibility for social change and activist dialogue, the performance schedule for Queer Rebels consists largely of dance, story-telling and readings, and music. Earl Thomas, Sista Monica, and “Drag King of the Blues” TuffNStuff operate within the jazz and blues traditions — however, the show also expands to mediums of artistic expression not so common in 1920’s America, such as political film,  contemporary music, and visual alchemy with appearances from the likes of short-filmmaker Crystal Mason, punk rock dancer Brontez Purnell, and visual artist Adee Roberson. 
(Check out the incredible-sounding lineup here.)

“Artists and queers are up against a lot, and have always been society’s outsiders, the ones who have and will lead the way,” says Chan, “Today, we are able to live unapologetically queer lives and create our own spaces because of the work that the Harlem Renaissance artists did.”

QUEER REBELS OF THE HARLEM RENAISSANCE

Thu/28.-Sat/30, 8pm, $15-$25

African American Art and Culture Complex

762 Fulton, SF.

www.queerrebels.com

Tickets:  www.brownpapertickets.com/event/246312

 

Walk this way

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arts@sfbg.com

DANCE If you’ve ever had to create a multi-course meal from random fridge contents, or pulled together a smashing outfit moments before a big party, you are well familiar with the fine art of making do.

ODC Theater Director Christy Bolingbroke might have been thinking along these lines as she put together the Walking Distance Dance Festival — SF, a three-day marathon of 12 companies both local and national, with one from Singapore thrown in for good measure. These are the ingredients that she had to work with; the occasion is that Dance/USA, the national service organization for dance, is in town. That’s a big opportunity to show the rest of the country who we are and what we do.

The ten-year-old but little-known Scuba, a multi-city initiative between San Francisco, Seattle, Minneapolis, and Philadelphia, offers touring opportunities to mid-career artists to and from participating cities. ODC has a long tradition of offering developmental residencies to local choreographers. And last, but not least, ODC has an elegant multi-venue “campus,” as they call it, suitable for simultaneously showcasing performances both intimate and large. For Walking Distance, Bolingbroke curated a mix of Scuba and former ODC resident artists performing in three ODC venues.

But she also had something else in mind. Walking Distance presents most works in shared line-ups. “We know that audiences follow individual artists,” she explains. “We wanted to create opportunities for them to see different artists in one sitting to get a taste of a variety of choreographies.”

It’s a model that has been the norm in other performing arts, such as symphony orchestras. Dance companies, however, have for the most part stuck to one-artist programs, though Robert Moses’ Kin Dance Company’s recent “The BY Series” and Amy Seiwert and Imagery’s upcoming “Sketch 2” may be indications of change to come.

One of Walking Distance’s most intriguing pairings just might be ODC Dance with Maya Dance. Maya is a five-year-old contemporary ensemble from Singapore that bases its work on Asian esthetics and traditional dance forms. In May, ODC and Maya performed in a shared program in Singapore. Both groups performed Brenda Way’s 2008 Unintended Consequences: A Meditation; KT Nelson set a work on Maya, and Kavitha Krishnan set one on ODC. The repeat will be Maya’s first US appearance.

Making their first appearance in San Francisco are three Scuba artists; it’s impossible not to be impressed with the sheer variety of dance being created outside the Eastern corridor. A colleague from Seattle described Alice Gosti’s Spaghetti Co — Are you Still Hungry? as “basically a food fight with kinetically interesting things happening.” For her Halo, Gabrielle Revlock is bringing one prop — a hoop — from Philly. And then there is the German-born Minneapolis choreographer Angharad Davies, who in Security examines the effect of tedious shift work on relationships.

Of the work by former ODC Theater residents, only the excerpt of Catherine Galasso’s Fall of the Rebel Angels is new. Perhaps that’s not what festivals traditionally do, but for Bolingbroke this one is an opportunity to gather works that have proven themselves.

Walking Distance also reflects the theatrical strengths among former ODC resident artists. There is no pure dance, and no ballet unless you count the revival of Kunst-Stoff’s deliciously deconstructed Less Sylphide. The festival’s choreographers — Ben Levy, Monique Jenkinson, Ryan Smith and Wendy Rein, and Shinichi Iova Koga — have extraordinarily broad perspectives on how dance communicates.

“It’s a taster, a sampler of many different things,” Bolingbroke says of Walking Distance, which was inspired by a 2011 version held in the Mendocino County town of Willits. At that festival, several theaters in close proximity to each other collaborated to present BARE Dance (from Los Angeles), AXIS Dance Company, and Na Lei Hulu I Ka Wekiu; it focused local attention on California dance in an informal, easily accessible manner. This approach just might work in San Francisco as well — now and at future incarnations of the fest.

WALKING DISTANCE DANCE FESTIVAL — SF

Fri/29-Sat/30, 6:30pm; Sun/1, 2pm, $20-$75

ODC Theater

3153 17th St., SF

www.odctheater.org

Most likely to succeed

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arts@sfbg.com

FILM Actors writing and directing movies in order to get work as actors can be a dicey business. It worked for the likes of Ed Burns and Vin Diesel, at least in terms of their becoming (however precariously) Hollywood stars. But anyone who’s seen a sizable share of independent features at B-list film festivals knows that more often than not, actor-originated projects can lead to excessive displays of vanity, indulgence, and shameless if frequently unconscious imitation of other movies. (Cassavetes, Scorsese, and Tarantino being the most deathlessly recycled models.)

It’s not that actors aren’t smart; it’s that as in so many things, a collectivist venture like moviemaking benefits from the checks and balances of each collaborator’s clear-eyed perspective on one another’s input. Mark Duplass is now getting roles in mainstream movies and TV — he’s in Kathryn Bigelow’s upcoming Navy SEALs movie, for one — but you can’t say that that was necessarily the plan, or point. You certainly can’t say the so-called “mumblecore” genre he helped invent with sibling Jay (his co-writer and director on five features to date starting with 2005’s The Puffy Chair) is about actorly indulgence, either, much as its specimens might sometimes meander short of structure or meaning. They’ve been outward-looking — out to communities beyond acting school or potential William Morris representation, at least.

And Mark Duplass has been good in them, sometimes almost invisibly so. He stole the show in Lawrence Kasdan’s recent misfire Darling Companion by simply acting sanely amidst a starrier ensemble hell-bent on quirky hysteria. His slightly-shlumpy yet subtler (than Seth Rogen/Jason Segal/Jack Black) appeal is more prominent in two movies that happen to be opening this week, neither written or directed by a Duplass. He’s very good in both of them, albeit in unshowy, average-yoink ways no awards body might ever recognize.

Your Sister’s Sister is the new movie from Lynn Shelton, who sort of came late to the mumblecore table — her first feature, We Go Way Back (2006), was nothing like it — and who directed Duplass in her shaggily amusing, throwaway Humpday (2009). This latest opens more somberly, at a Seattle wake where his Jack makes his deceased brother’s friends uncomfortable by pointing out that the do-gooder guy they’d loved just the last couple years was a bully and jerk for many years before his reformation. This outburst prompts an offer from friend-slash-mutual-crush Iris (Emily Blunt) that he get his head together for a few days at her family’s empty vacation house on a nearby island.

Arriving via ferry and bike, he is disconcerted to find someone already in residence — Iris’ sister Hannah (Rosemarie DeWitt), who’s grieving a loss of her own (she’s split with her girlfriend). Several tequila shots later, two Kinsey-scale opposites meet, which creates complications when Iris turns up the next day. A bit slight in immediate retrospect and contrived in its wrap-up, Shelton’s film is nonetheless insinuating, likable, and a little touching while you’re watching it. That’s largely thanks to the actors’ appeal — especially Duplass, who fills in a blunderingly lucky (and unlucky) character’s many blanks with lived-in understatement.

San Francisco-born director Colin Trevorrow’s narrative debut feature Safety Not Guaranteed, written by Derek Connolly, is more striking both overall and in performance. It’s got an improbable setup: not that rural loner Kenneth (Duplass) would place a personal ad for a time travel partner (“Must bring own weapons”), but that a Seattle alt-weekly magazine would pay expenses for a vainglorious staff reporter (Jake Johnson, hilarious) and two interns (Aubrey Plaza, Karan Soni) to stalk him for a fluff feature over the course of several days. The publishing budget allowing that today is true science-fiction.

But never mind. Inserting herself “undercover” when a direct approach fails, Plaza’s slightly goth college grad finds she actually likes obsessive, paranoid weirdo Kenneth, and is intrigued by his seemingly insane but dead serious mission. For most of its length Safety falls safely into the category of off-center indie comedics, delivering various loopy and crass behavior with a practiced deadpan, providing just enough character depth to achieve eventual poignancy. Then it takes a major leap — one it would be criminal to spoil, but which turns an admirable little movie into something conceptually surprising, reckless, and rather exhilarating.

 

YOUR SISTER’S SISTER and SAFETY NOT GUARANTEED open Fri/15 in Bay Area theaters.

On the Cheap Listings

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

THURSDAY 14

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

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

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

FRIDAY 15

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

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

SATURDAY 16

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

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

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

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

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

SUNDAY 17

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

MONDAY 18

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

TUESDAY 19

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

 

Appetite: Whiskies of the World tastes and gin tales

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A better than ever year aboard the SF Belle at Whiskies of the World last month meant some fine, global pours of whisk(e)y from Scotland to Australia. Here were some highlights:

On the fun and interesting tip, Lark Distillery distills single malt whisky in Tasmania, an Australian island – and it’s surprisingly solid. Distilled in copper pot stills, it’s smooth with a modicum of peat, aged five years, yet with a bit of complexity. I appreciated returning to 10-year-old old Masterson’s Straight Rye Whiskey. Aged in charred white oak barrels, this Canadian rye evokes whispers of pepper, vanilla, spice, and a soft sweetness.

Count me smitten with Glenmorangie’s new Artein ($79.50), an elegant whisky of stone fruit, mint, even chocolate and lemon zest, matured in Super Tuscan wine casks. It’s sexy, evening wear without being sweet or dessert-y. Speaking of Glenmorangie, Chef Tyler Stone brought a memorable touch to the evening making boozy, liquid nitrogen bowl after bowl of Glenmorangie’s Nectar D’Or whisky served in a mini-glass with egg white lime foam on top. Brilliant.

Funny enough, my favorite taste of the night, the one I couldn’t get out of my mind (and wanted to linger on my taste buds) was not even a whisk(e)y. It’s a a rare brandy (only 220 bottles out there) of Germain-Robin Small Blend No. 1, blended from a 1990 Austin Ranch Pinot (south of Ukiah), ’94 custom Clos du Val Pinot, ’83 Hildreth Ranch Colombard, and small amount of ’87 Colombard brandy. If you can get your hands on it, it’s a stunner.

GIN TALES

Every time I turn around there’s a new gin. Though not on par with some of the best American gins already out there (Junipero, Death’s Door, St. George’s gins, 209, etc…), these new gins offer yet another gin route for those wanting sweeter gins or to try something new from small producers who care. Here’s two new American gins, and a rare Dutch gin that sells for more than almost any gin in the world.

Greenhook Ginsmiths ($31.99) – As one myself, I value stories of career-changers – Steven DeAngelo left a finance career to launch his own gin, just out in February. Dubbed “ginsmith”, his master distiller is Ed Tiedge who uses very low temperatures, nearly 40 degrees below typical gin distillation temps (approx. 132ºF ) for intense and solidified flavors. It’s non-traditional, with heavy floral, chamomile, coriander, elderflower, orange blossom and ginger notes – a little too sweet for me, but bold and  bright. They’re releasing the first of its kind, a Beach Plum Gin Liqueur http://greenhookgin.com/plum.html soon, a variation of an English sloe gin with plums sourced locally from a beachfront Hamptons’ farm.

Small’s American Dry Gin plays a little more like a London Dry with American roots, made from an 1850’s recipe. Created by the Local Wine & Spirits http://www.localwineandspirits.com/ crew in Oregon who produced Ransom Old Tom Gin and Whipper Snapper Oregon Whiskey, this “American Dry” uses US-grown grains, a mid-19th century recipe and pot-distilled methods. It’s juniper-heavy, a little sweet as well but also sharply herbaceous, with elegant, Colonial-spirited label and convenient screwcap.

NOLET’S Silver Gin is unique gin with botanicals including Turkish rose, peach, raspberry… they recently hosted a private dinner with Carl H.J. Nolet, Jr., who owns the distillery with his father, Carolus and brother, Bob. We dined at one of San Francisco’s best new restaurants in SF, AQ, complete with cocktails from AQ’s stellar bartending crew, like the Contemporarian, mixing NOLET, chamomile peach tea, citric acid and simple syrup.

In a nod to The Aviary in Chicago, they set up a boiler emitting chamomile into the air, rounding out our experience with intense aromas.

A floral Heirloom Rose cocktail (NOLET, simple syrup, lime, rose water) elevated the interplay of botanicals with food alongside Mark Liberman’s gorgeous white tuna cured in beets, hibiscus, and juniper. Best of all, we finished with Carolus Nolet, Sr.’s (a 10th generation distiller who launched Ketel One in the 1980’s) NOLET’S Reserve Dry Gin. Typically selling for over $600 a bottle (K&L has it for $550), this extremely allocated, small production gin is a complex, spicy, verbena-laden imbibement that lingered with me long after dinner was through.

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

Pinoy rising

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arts@sfbg.com

FILM Cinema has had a long and colorful history in the Philippines, with a first “golden age” of home-grown product in the 1950s, a turn toward exportable exploitation films in the ’60s, notable new-wave directors (like Lino Brocka) emerging in the ’70s, and so forth — sustaining one of the world’s most prolific film industries despite difficulties political and otherwise. At the turn of the millennium those wheels were wobbling and slowing, however, hard-hit by a combination of too many low-grade formula films, shrinking audiences, and stiffer competition from slick imported entertainments. The commercial sector stumbled on, but as a shadow of its robust former self.

But there’s something percolating beyond hard consonants on the archipelago these days, signs of a new DIY vigor coming from independent sectors juiced by the inexpensive accessibility of digital technology, undaunted (at least so far) by problems of exhibition and income-generating at home. It’s a sprawling, unpredictable, work-in-progress scene that some figure could well become the next “it” spot for cineaste types seeking one of those spontaneous combustions of fresh talent that arise occasionally where you least expect it — like Romania, to name one recent example.

One person who definitely thinks that’s the case is Joel Shepard, Yerba Buena Center for the Arts’ longtime Film/Video Curator. He’s traveled to the Philippines several times in recent years (once serving on the jury at CineManila), and has previously programmed a few prime examples of the country’s edgy new voices — particularly Brilliante Mendoza, whose notorious 2009 police-corruption grunge horror Kinatay (a.k.a. Butchered) was one of the most hotly divisive Cannes jury-prize winners in recent history. Now YBCA is presenting “New Filipino Cinema,” Shepard’s first “big fat snapshot” — hopefully to be continued on an annual basis — of a wildly diverse current filmic landscape, assembled in collaboration with Manila critic Philbert Ortiz Dy.

Shepard’s program notes call the Philippines “an extremely fascinating country…but the more I learned about the place and its people, the less I felt like I actually understood anything. The truth felt more and more slippery.” One might get a similar sensation watching the films in this expansive (nearly 30 titles, shorts included) sampler, in that they’re all over the map stylistically and thematically — from lyrical to gritty, satirical to anarchistic — suggesting no single defining “movement” or aesthetic to New Filipino Cinema.

Nor should they, since these movies reflect very different cultures, politics, and issues in regions hitherto underrepresented onscreen. After all, Manila isn’t the only place you can get your hands on a digital camera; and Tagalog is primary language for just one-third of all Filipinos.

The series opener has significant local ties: Loy Arcenas is a lauded stage set designer who’s worked frequently with our own American Conservatory Theater. Unavailable for preview, in description his feature directorial debut Niño (2011) sounds redolent of Luchino Visconti and The Garden of the Finzi-Continis (as well as, perhaps, 1975’s Grey Gardens) as it depicts a once grand family of Spanish émigrés living in decrepit splendor, diminished over generations by political inconvenience and a proud, fatal inability to adapt.

Their aristocratic pretensions are a far cry from the rowdier real life captured or depicted in other YBCA selections. A bizarre footnote to the United States’ complicated, incriminating relationship with the Philippines is documented in Monster Jiminez’s Kano: An American and His Harem (2010). Its subject is a Yankee Vietnam vet whose military pension allowed him to construct a sort of one-man imperialist paradise centered around his penis. Whether he was a gracious benefactor, a bullying rapist, or both is a puzzle only clouded further by contradictory input from former/current wives and mistresses (even while he’s in prison), stateside relatives who recall a childhood ideal to shape a sociopath, and the authorities who’ve lately kept him in prison.

War is ongoing, marriage an impractical hope in Arnel M. Mardoquio’s impressive Crossfire (2011), whose young lovers in southern region Mindanao must dodge government-vs.-rebel-vs.-bandit guns as well as a rural poverty sufficient to make our heroine vulnerable to being offered as a lender-debt payoff. Their plight is starkly contrasted with the spectacular scenery of countryside few tourists will ever hazard.

Its atmospheric opposite is Lawrence Fajardo’s Amok (2011), whose thousand threads of seemingly free-floating narrative depict life dedicatedly melting down all race, age, class, and economic divisions during a heat wave passage through one of Manila’s busiest intersections. What birth and development keeps apart gets nail-gunned together, however, once this string of naturalistic vignettes hits a plot device that delivers deus ex machina to all with no melodramatic restraint. Fate also lays heavy hand on the junior protagonists of Mes de Guzman’s At the Corner of Heaven and Earth (2011), a crude but honest neo-realist drama about four orphaned and runaway boys trying to eke out a marginal existence in Nueva Vizcaya.

Should this all sound pretty grim, be informed there’s lots of levity — albeit much of it gallows-humored — on the YBCA slate. Jade Castro’s exuberantly silly Remington and the Curse of the Zombadings (2011) finds the funny in homophobia as its crass young hero (a farcically deft Mart Escudero) is “cursed” by an angry queen he’d insulted to become gay himself; meanwhile somebody goes around their regional burg assassinating cross-dressers via ray-gun. Plus: zombies, and the proverbial kitchen sink. Also on the frivolous side is Antoinette Jadaone’s mockumentary Six Degrees of Separation from Lilia Cuntapay (2011), in which the titular veteran screen thespian struggles for recognition after decades playing bit parts and occasional showier ones, notably as witchy folkloric “aswang” attempting to suck the lifeblood from newborn babes. (See aswang-related coverage in this week’s Trash column, too.)

Yet those are but moderately playful New Filipino Cinema exercises compared to the determined off-map outrages practiced by Mondomanila (2011). This gonzo eruption of spermazoidal huzzah! by multimedia Manila punk underground mover Khavn de la Cruz seeks to leave no societal cavity unexplored, or unoffended. Opening with an infamous quote from Brokedown Palace (1999) star Claire Danes, who characterized Manila as a “ghastly and weird city … [with] no sewage system,” it delivers both fuck-you and fuck-me to that judgment via 75 minutes of mad under caste collage. There isn’t much plot. But there’s variably judged arson, pedophilia, yo-yo trick demonstrations, poultry abuse, upscale mall shopping, voyeuristic pornographia, Tagalog rap, rooftop drum soloing, and limbless-little-person salesmanship of duck eggs.

Further complicating your comprehension of a very complex scene, the YBCA series encompasses avant-garde shorts by veteran John Torres and newer experimentalists. There’s also a free afternoon Indie-Pino Music Fest Sat/9, and on June 17 there’s a postscript: Lav Diaz’s Florentina Hubaldo, CTE, the six-hour latest epic in a career whose patience-testing wide open cinematic spaces make Béla Tarr look like Michael Bay. 

“NEW FILIPINO CINEMA”

June 7-17, $8

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

Revival signs

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emilysavage@sfbg.com

MUSIC A few musicians with slick hair and black-frame glasses are seen setting up their equipment in Chicago’s Hi-Style Studio: amps, a mustard Telecaster, glittering gold drums, a huge stand-up bass, and vintage condenser microphones. What year is this?

The drum hits crack and the bass strings ripple with heavy plucks. The finger-snapping beat is unavoidable, almost cloying in its blitheness. Potent vocals reminiscent of Little Richard suddenly overpower it all. It’s Broken Arrow, Oklahoma’s JD McPherson — singing so hard a craggy vein in his otherwise smooth forehead bulges — in the video for the single that has brought him this far: “North Side Gal.”

It’s due to be inescapable this summer. “The Chicago Cubs have actually been playing that song at the stadium during games,” McPherson says during a phone call from his car, where the singer-songwriter-occasional vegetarian is waiting on an order of red pepper tofu. “It’s really exciting. There’s really no other team I’d rather have that song associated with. It’s the ultimate old ballpark, underdog team.”

Like contemporaries Nick Waterhouse (who, coincidentally, is also playing San Francisco this week, and un-coincidentally is also profiled in this issue) and Nick Curran and the Lowlifes, McPherson is tackling the invigorating rock’n’roll power and bluesy vocals of early R&B and 1950s rock, exploring retro record-making processes,while nonchalantly dressing the part.

It’s another revival, likely to sell well across the mainstream in the Heartland, but also appeal to the underground listeners throughout rockabilly pockets. Though this is beyond classic rockabilly’s precise replications of the past, past kitsch and overwhelming aesthetics. These band leaders with undeniable guitar skills and a very modern drive have something that can only be described, apologetically, as star power. Out of the smoky clubs and into the mind’s eye.

And while rockin’ McPherson may have the sound, the side-parted hair, and the analog recording process back-story like the others in this current resurgence, his own background is fairly different; if the more soulful California boy Waterhouse is Rat Pack wool suits, McPherson is dusty rolled denim.

McPherson was raised on a cattle farm in Buffalo Valley, Southeast Oklahoma — dutifully feeding the cows before school — but later fell into a nearby punk scene, and met his wife (and mother to his two young daughters) at a new wave-goth club night in Tulsa; wearing a Smiths shirt herself, she approached him to say,”You look like a Smiths fan.” She’s now his biggest supporter, sitting patiently while he runs by new guitar parts or song lyrics. She’s also the original “North Side Gal.”

But before all that, before his interest in punk and new-wave, before the wife and kids, and long before the release of his modern reinterpretation of early rock’n’roll record, Signs and Signifiers, he was just a 13-year-old kid in the Midwest learning to play the guitar.

His much older brothers showed him their ’70s-era Lynyrd Skynyrd, Allman Brothers, and Jimi Hendrix records. He grew obsessed with Led Zeppelin then Van Halen, and later, Nirvana, which led to searches for punk origins records by the Stooges and the Ramones. As a late teen, he discovered early rock’n’roll, the backbeat to all those spinning vinyl dreams.

“I found the Decca recordings of Buddy Holly, and that sort of seemed to marry the exuberance of the Ramones, with the country Arcadian aesthetic that I was growing up around. It made sense…and it got me.”

His teenage punk band began interjecting Buddy Holly’s “Rocking Around with Ollie Vee” into their sets; the sound had a pervasive pull, and he fell backwards, deeper into the roots of rock’n’roll — Screamin’ Jay Hawkins, blues artists his Alabama-born dad loved such as Muddy Waters and John Lee Hooker, and early jazz musicians.

He looked to Little Richard in particular, to whom he has garnered favorable comparisons (see the beginning of this story). Because of his style, and, perhaps, his skin color, he’s also seen comparisons to Elvis. “I love Elvis, I mean, I lo-ove Elvis,” he stretches out the “of” sound in the word “love” with an endearingly twangy accent. “I don’t know if there’s a huge musical similarity between us and Elvis, maybe instrumentation-wise, but we’re way more Specialty Records than Sun Records.”

“Little Richard is my favorite recording artist,” he continues, “[I’m] way more interested in Elvis’ black counterparts and predecessors. I do love rockabilly, but we don’t interject a lot of hillbilly sounds into our rhythm and blues the way Elvis did.”

In the ’90s Midwest, pop-country was taking over the airwaves, Billy Ray Cyrus and the like — it’s what all McPherson’s high school classmates were popping in the tape decks. It wasn’t for him. Perhaps this is why he shies away from any hillbilly sounds, those that can lead to psychobilly when mixed with the punk roots. Not that he disparages rockabilly.

“There’s a subculture of all these bands that have no intention of doing anything other than just really faithfully reproducing these sounds, there’s a lot more rockabilly and Western swing bands doing that thing, [yet] these are folks that are putting out quality music.”

But in those scenes and beyond he saw a shortage of the more straight-forward rock’n’roll he loved. That’s why he and musical partner Jimmy Sutton (the gray fox thumping those stand-up bass strings in the “North Side Gal” video) decided to make the DIY, all-analog Signs and Signfiers album in the first place. “So our record basically was almost like an art project, like ‘let’s just make this record and do what we always wanted to do.'”

The drummer on the album was Alex Hall, who doubled as the engineer. Now he’s still “in the family,” often playing keyboards with the band; drummer Jason Smay is on the current tour. During the recording process, McPherson and Sutton would run through a song then Hall would head into the control booth to mix. He’d set the levels, start the tape, run in, then get behind the drums. “That was kind of the magic of it, it was essentially mixed as we recorded it. Real fast, instant gratification. It’s the best way to record.”

Like contemporary Waterhouse noted, McPherson of course has his own connections with modern technology and has used digital recording processes in the past, but he prefers the analog way, to extract that authentic sound. “I’ve seen the amazing things you can do in a digital environment, but there’s some special thing to getting a band live in the studio and recording an actual performance. And then you know, the equipment sounds amazing too.”

While the record was originally released in 2010 on Sutton’s tiny Hi-Style label, the “North Side Gal” single and album have really started picking up this year. With the homemade video as the ultimate calling card, Rounder Records signed the band and rereleased the album this spring. The video has gained half a million views as of press time, and the band’s television debut is tonight on Conan. Despite all that, they’re still relatively unknown in the US, but McPherson and his band have a huge following in the UK — they regularly play sold-out shows and festivals, and have daily rotation on BBC Radio.

During the recording process, and up until the end of the 2011 school year, McPherson was still employed in a local Broken Arrow middle school as a computer and arts teacher (he went to college for fine arts). When he was laid off last summer he says he told the band, “well, I’m getting a paycheck through the summer, so let’s tour and try to make some money while I look for another job.” They’ve been touring consistently ever since.

Perhaps this batch of ’50s-inspired rockers and analog R&B crooners will move beyond the past, and into the future musical pantheon, gaining elusive mainstream success. Or maybe they’ll remain lovable underdogs. Only time will tell. For your McPherson fix now, you could always take in a Cubs game. Check back at the end of summer ’12.

JD MCPHERSON

With Toshio Hirano

Thu/7, 8pm, $21

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

Movement Detroit day one: Sweetest Kiss-Over (or, I Feel French)

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Not much gets better than dancing with 33,000 people in downtown Detroit at the fantastic 12th annual Detroit Electronic Music Festival, aka Movement, to the techno music that was invented here.

The first day of three, a bit stormy weatherwise but warm and squiggly on the musical front, saw the five stages brimming with choice DJ segues like Greg Wilson into Todd Terje, David Squillace into Seth Troxler with Guy Gerber, SBTRKT into Roni Size, Derrick Carter into Lil Louis — and the triumph (for me, and native Detroiters) of last night, young techno keepers of the flame Kyle Hall and Jay Daniel, playing a smooth classics timewarp set, into quintessential DJ’s DJ Mike Huckaby, who took us all the way into wiggy jazziness.

The lovely vibes, zillion afterparties, surprising diversty, and distinctly non-pop energy are already helping compensate for some of the fest’s dogged disappointments — only five women out of about 100 DJs this year, all bunched up into opening sets, and only two San Franciscans by my count. (In a wee slap on both ends, one of this year’s most exciting techno up-and-comers, SF’s Christina Chatfield, is relegated to afterparty status. Next year please!)

But how can I complain when shirtless, buffed up, pecil-mustachioed house sage Lil Louis closes the main stage with his iconic “French Kiss” that breaks expertly into Diana Ross’s “Love Hangover” during the slow part, and then Donna Summer’s “I Feel Love” (sounding absolutely aces on a huge system) when everything gets fast?

Louis didn’t let some horrifying technical glitches get in his way — when his complex set-up melted down, he mixed headphoneless and rode a thick bass beat like a trooper while festival technicians actually built a whole new one practically from scratch next to him. No one can say Detroit industriousness is dead.

The big overarching narrative of techno right now — and one that has huge reverberations at the festival — is how the many established strains of techno, and its more adventurous community of listeners and connoisseurs, are reacting to the current spectacular pop success of EDM (electronic dance music represented by commercial juggernauts like Dead Maus and Tiesto, and heard at Movement’s evil twin fest, Electric Daisy Carnival) and the droves of American youth pumping watered-down dubstep of the Skrillex variety into their earholes.

No, the all-ages Movement was not a snob-fest, and already it seems to be channeling its old underground, alternative energy again, now that all of its subgenre variations have something to unite about and rebel against. Teens flocked to the Red Bull stage for its more global bass lineup — but I only heard two wub-wub dubstep drops while I was there, and the neon-drenched kids did just fine with an onslaught of good ol’ polyrythmic UK two-step (the progenitor of dubstep) and old school live Brit-accented MCing, with hectically beautiful snippets of vocal garage house (dubstep’s other progenitor) floated over top. It was a fine education from the likes of Brenmar, Photek, and Bok Bok, indeed.

And then Derrick Carter started slaying the main stage with passing train-horn sounds that rattled 10,000 bones — his joke on the dubstep drop? — and everybody laughed and screamed.          

Brews and Boontling: Beer fest shots from Anderson Valley

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Photographer Allen David sent us these snaps from the May 12 Boonville Beer Festival, good old-fashioned weekend porn if ere we’ve some. Check them (and his prose below) out to kickstart your next mission outside city limits, using our 2012 Summer Fairs and Festival guide for additional inspiration.  

A scenic drive north takes me to the festival at which the suds spread and the language are both unique. Boontling, an Anderson Valley regional dialect with words from the British Empire, the Pomo Californian indigenous people, and Spain can be heard between the festival’s many taps: “The ballets steinbok horning’, chiggrul groin’ tiddrick in the heelch of the Boont Region!”

For four hours I am able to sample the finest beers that the West has to offer. From golden pale ales to dark oatmeal stouts to Double IPAs with more hops than I thought possible. Two hours into the festival, everyone’s feeling hoppy themselves. Those sudden yells of joy you only find at beer festivals spread across the crowd, as smiles stretch further and further across faces.

Beer bellies be damned, when the end of the festival approaches everyone finishes their last glass and heads to the fair campground to continue the party, with DJs and dancing ’til the moon is high above. Great festival. See you next year, Boontling.

C’est si bon

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arts@sfbg.com

THEATER You could call them a pair of crazy kids with a dream. But two years after Playwrights Foundation executive director Amy Mueller was introduced to Ivan Bertoux, Deputy Cultural Attaché of the French Consulate by Rob Melrose, artistic director of Cutting Ball Theater, their vision of cross-pollinating their respective communities with newly translated theater pieces from either side of the Atlantic has become a reality.

Originating from a desire shared by Bertoux and co-attaché Denis Bisson to expose American theater-goers to hitherto untranslated works by young, contemporary French playwrights, a unique festival called “Des Voix … Found in Translation” has emerged. It involves an elaborate synthesis of dozens of playwrights, readers, translators, and theater-makers whose primary common ground has been the desire to forge something new.

For Bertoux, the opportunity to help facilitate the presentation of French drama to the American stage is more than just his job description — it’s a project that speaks deeply to his background. A former translator of British drama to French at the Maison Antoine Vitez (a center for theater translation in Paris), Bertoux’s personal passion for theater has found new expression with Des Voix. And Mueller, a veteran and mainstay of the new-play development scene in San Francisco, is excited by the prospect of helping to introduce fresh theatrical voices from abroad, voices all too absent from the American stage.

“Americans are still very interested in their own stories,” she points out. “We want to immerse ourselves in stories about ourselves.” But taking a page from New York’s Lark Play Development Center’s Playwright Exchange Program, she and Bertoux began reaching out to playwrights and translators, French and American both, in order to facilitate an even exchange. The resultant three-pronged festival includes a first-ever San Francisco version of a “Bal Littéraire,” a weekend of staged readings of the newly translated French plays at Z Space — and a similar staging scheduled for Paris in 2013, for the three American playwrights.

The selected Americans — Rajiv Joseph, Marcus Gardley, and Liz Duffy Adams — are all familiar names to Bay Area audiences, and all share a connection to the Playwrights Foundation in their past artistic development. But it’s the names Samuel Gallet, Marion Aubert, and Nathalie Fillion that the Des Voix festival founders hope to propel into the collective theatrical consciousness of the English-speaking world. What the three French playwrights have in common, besides having been nominated for consideration by the Maison Antoine Vitez, is membership in La Coopérative d’Ecriture, a loose confederation of French playwrights whose ranks also include Fabrice Melquiot (who was introduced to the American stage by SF’s foolsFURY).

Creators of the Bal Littéraire, a “pop-up” style of theater performance that uses the participating playwrights’ favorite songs as a jumping off point and culminates in an off-the-cuff, one-night-only experiment in collaborative playmaking (the San Francisco version of which will debut Fri/25), one of La Coopérative d’Ecriture’s goals is dissolving barriers between theater-makers and their audiences, including the barrier of language.

“We would transform our words into many foreign languages, so that they would come back like boomerangs,” promises their official manifesto, as translated by Bertoux.

Parrying with these boomerangs was the job of the translators, whose task was preserving the essential “Frenchness” of each piece while rendering them accessible to American audiences. Stylistically and thematically each play encompasses a singular vision and voice, but all are characterized by their particularly expressive uses of language. Bertoux and Mueller both cite festival participant Aubert as an exemplar of a playwright for whom the language itself is the primary dramatic element.

“The characters and the story are consequences of the language,” opines Bertoux. Kimberley Jannarone, who co-translated (with Erik Butler) Aubert’s Orgueil, Poursuite et Décapitation (Pride, Pursuit, and Decapitation) for Des Voix, concurs with this assessment. During a visit to the exhaustive, month-long, Festival d’Avignon, Jannarone became aware of the current emphasis on language-driven drama in modern-day France.

“Words were driving the theatrical action — they were the action,” she reflects via email. “The saying of words, the savoring of words, the relish in words, even the reflection on the delivery of words and the inability to stop them.” A chance encounter with another Aubert play at the Théâtre du peuple, in Bussang, cemented her desire to translate Pride.

“There were those words, flying all over the stage, accompanied by an exuberant theatricality impossible to put into stage directions,” Jannarone recalls. “Toy horses’ heads, leaping taxidermied animals, childishly scrawled backdrops, goofy set pieces, flying actors, barn doors swinging open into the countryside — it was nonstop action, all propelled by Aubert’s long columns of words.”

For Melrose, the challenge of translating the “heightened poetic, artfully unnatural” language of Gallet’s Communiqué N°10 lay in accurately decoding its raucous slang while preserving the air of non-naturalism encountered throughout. He was also struck by its disquieting parallels to the Trayvon Martin tragedy, a theme bound to resonate with American audiences.

One of the most interesting results of this still-untested festival is the response it’s already received from the international community. A second Des Voix festival is already in the planning stages, and Playwrights Foundation has been approached by the consulates of several other countries for consideration of similar translation projects. If all goes well, it’s heady to envision the Des Voix festival as a catalyst for a future in which San Francisco holds a reputation for being a flourishing center of contemporary theater translation, a vision that Mueller shares.

“This is just the beginning,” she promises.

“DES VOIX … FOUND IN TRANSLATION”

Fri/25-Sun/27, $20-$75

Z Space

450 Florida, SF

www.desvoixfestival.com

“Charitable beer circus”? Is this a miracle?

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Come one, come all (unless you’re under 21) to Petaluma this Sat/20, and witness death-defying displays — with a twist. A screw-top twist, that is (sorry). Attendees of the Lagunitas Beer Circus can “ooh” and “aah” at aerialist acts, laugh at outrageously face-painted clowns, watch a lithesome figure breathe fire or swallow swords, and gape at the magnificence of exotic burlesque dancers, all the while drinking the fine beers and sweet ales of Lagunitas. It’ll be three rings of tastiness! And it’s charitable.

A $40 entry fee to the splendor of the Lagunitas Beer Circus benefits the Petaluma Music Festival and Music In Schools. Entertainment features acts from B.A.D. roller girls to the Vau de Vire Society and music from The Ferocious Few to the Sour Mash Hug Band (along with a marching band or two). Plus: cotton candy, paella, pizza, bangers, and barbecued oysters.

Yes, beer is in the event title, but even your sober driver (who’ll be necessary for lack of public transportation, and whose $25 reduced-price ticket you should spot because they’ve agreed to cart you all the way out to Petaluma), will have plenty to delight their eyes, ears, and taste buds. So step (or sway) right up, ladies, gentlemeen, and others. Check out our slideshow of acts above.

LAGUNITAS BEER FESTIVAL
Sat/20, 1pm-6pm, $40.
Lagunitas Brewing Company
1280 N. McDowell, Petaluma
(707) 769-4495.
www.lagunitas.com/beercircus

Light meter

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art@sfbg.com

FILM San Francisco Cinematheque artistic director Steve Polta balances familiar names with lesser known for the third annual “Crossroads” festival at the Victoria Theater, though Ken Jacobs’ Occupy-strength Seeking the Monkey King (2011) promises to unseat the image of a mellowing old master.

The festival’s only solo program, besides a tribute to Canyon Cinema co-founder Chick Strand (her 1979 film Soft Fiction is rarely screened and highly recommended), belongs to Laida Lertxundi. A former CalArts student with a sure handle on 16mm as a philosophical instrument, Lertxundi was recently featured in the Whitney Biennial. Where Strand made some of her most beautiful work far from Southern California, Bilbao-born Lertxundi brings an outsider’s eye and sharply turned cadence to the shifting landscape of Los Angeles: one has the sense of desert reclaiming city watching her short films.

A Lax Riddle Unit (2011) opens on the curled lip of James Carr’s soul number “Love Attack” and a cragged landscape view. The long take floods with softening light, but then a terrifically decisive cut deposits us in the flat light of an apartment. The sudden switch bears the imprint of both insight and displacement. Leafy potted plants reach for the natural light framed in a window, and Carr’s wail gives way to Robert Wyatt’s impressionism: a different emotional architecture entirely. The camera turns slow pirouettes through the apartment, passing over an amplifier (always this confusion about the relationship between sight and sound), a woman kneeling to play a keyboard, some records, and then catching up with her again sprawled in bed.

As is often the case in Lertxundi’s films, the composition does not settle on the human form in the usual way. The residue of the apartment, oddly reminiscent of Jean-Luc Godard’s Contempt (1963), develops until a few shots later we end with a bleeding red dusk spreading across Los Angeles — an image pitched on the edge of surrender.

My Tears are Dry (2009) is even more minimalist in its riddling structure. Lertxundi cuts between an image of a woman’s torso on a bed, playing and rewinding the same snip of Hoagy Lands’ title ballad, and another woman sitting on a couch strumming a dissonant chord. Out of this frustrated syntax comes blessed continuity. The song breaks through and sets in motion a weightless daydream borrowed from Bruce Baillie’s 1966 single-shot film, All My Life (included on the same program along with other antecedents by Hollis Frampton and Morgan Fisher): in place of his horizontal pan across flowers, Lertxundi tilts her camera up past palms towards the same pale blue sky. Poignant without object, the film delivers a gentle spiritual plea for persistence.

Several other “Crossroads” films successfully hone in on resonances specific to film stock. Curious Light (2011), Charlotte Pryce’s hand-processed illumination of Lewis Carroll’s Alice in Wonderland, provides a tactile 16mm equivalent to the absorption of reading. Scott Stark’s brilliant collage, One Way to Find Out (2012), stretches Hollywood ‘Scope images of desire like so much taffy. Rei Hayama’s A Child Burying Dead Insects (2009) decelerates a short fragment of film (a girl jogs into a leafy frame, tosses up a ball, kneels for the burial, and exits the frame) until the film itself begins to rebel in the frame. The Lumière-like simplicity of the action and swirling soundtrack music opens up a spry meditation on film’s still-startling capacity for reincarnation.

Ben Russell foregoes his “Trypps” film-series tag for River Rites (2011), but the concept of a single-roll invocation of ritual and trance remains. Curving cultural anthropology into the experience of time, Russell generates ontological fireworks and in situ reflection on filming other people. Ben Rivers builds on the fictive anthropology mode last seen in I Know Where I’m Going (2009) for his ambitious Slow Action (2010). His camera picks over “the ruins of ruins” of four island sites elaborated by voiceover narration (written by novelist and critic Mark von Schlegell) rich in invented ethnographic detail and philosophical speculation as to the true nature of utopia. The two Bens have collaborated on the forthcoming A Spell to Ward off Darkness, a film shot in Norway starring the musician Rob Lowe. Fingers crossed it’s ready for the next “Crossroads.” *

“CROSSROADS 2012”

Fri/18-Sun/20, $10 (festival pass, $50)

Victoria Theatre

2961 16th St., SF

www.sfcinematheque.org