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Snap Sounds: Mwahaha

Tony Robles
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Snap Sounds: Mwahaha

MWAHAHA
MWAHAHA
(Mwahaha Music)

Poor choice in band name aside, Oakland psych-rock quartet Mwahaha’s debut has a lot to offer. On album opener “Swimmer,” Ross Peacock sings “I swim deeper through darkness and danger / from the surface and its beautiful light” in an alluring falsetto over warm synth tones. 

The colorful, swirling fractals of an acid trip appear, then the song dips into heavy reverb and clattering percussion as Mwahaha enters noise rock territory. And that’s only the first track. “Poinsettia” is a dark, lusty, drum machine-driven dance anthem. “Love” — featuring tUnE-YarDs’ Merrill Garbus — is all tribal rhythms, wailing guitar, and lush vocal harmonies. Garage rock shifts into the sound of actual rocks being tossed into a pond on “Rivers and Their Teeth,” and closing track “Bathynomus Gigantes” is an 11-minute exercise in weirdness.

Listen to “Love:”
http://www.youtube.com/watch?v=wc_LDS21bzw

Mwahaha live at the Uptown:
http://www.youtube.com/watch?v=aG4s8quOye4

Last-minute gift guide

Jesse Hawthorne Ficks
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Last-minute gift guide

HOLIDAY GUIDE Look at it this way: you’re not a procrastinator, you’ve just been resisting the pull of the holiday commercial machine.. until you’re on the way to spin the dreidel — or it’s dusk, Saturday, and the thought of tomorrow’s Christmas festivities with your clan is giving you sweaty palms. Will your lack of giftage imply a cold heart? If you lose your anti-consumerist stubborn, last minute shopping that a. supports your local businesses and b. won’t make you look like you left it all for the last minute is available to you. Here’s our list, complete with the final hour the shop is open on Christmas Eve (which doesn’t mean these stores won’t serve just as well for Chanukers, Kwanzelles, and Festiv-ites).

Z. CIOCCOLATO

Every once in awhile you come across a future giftee like a brick wall. Maybe you don’t know the person all that well (boyfriend’s as-yet un-met mom), you’re having issues getting them something they don’t have already (your too-cool tech-glich neighbor). May we suggest candy? This North Beach sweet spot is open really late on Saturday and stocks the finest in fudge, caramel popcorn, and retro throwbacks. Abba Zabba? Indeed.

Open until midnight, 474 Columbus, SF. (415) 395-9116, www.zcioccolato.com

COLLAGE GALLERY

A store full of knick-knacks is a great bet for finding unique gifts for your loved ones. From loose typewriter keys and scrabble pieces to jewelry by local artists and vintage purses, this Potrero Hill shop is a super stop when you’ve got a femme artistic type in mind. Have a friend who is decorating their new apartment? Sis just had a baby? Collage Gallery is known for having the most eclectic collections of vintage wall letters, numbers, and clocks. So tick-tock, get over there.

Open until 5 p.m., 1345 18th St., SF. (415) 282-4401, www.collage-gallery.com

AMOEBA MUSIC

This music store is godsend on Christmas Eve. With a large selection of new and used CDs, 45s, concert posters, and out-of-print albums, you already know Amoeba Music is a music lover’s dream. You can buy gifts for the whole family: a Grateful Dead album for Dad, Common’s just-released The Dreamer, the Believer for your brother and something vinyl for your “we’ve only been dating a few months, what the hell do I buy them?” partner. Treat yourself to the new Snoop Dogg-Wiz Khalifa collab album when your list is all checked off.

Open until 7:30 p.m., 2455 Telegraph, Berk. (510) 549-1125, www.amoeba.com

GG’S

The place to last-minute shop for mom is clearly GG’s, although you can probably find gifts for just about anyone in this West Portal shop. GG’s is a specialty store with a product selection that traverses from the creative to the elegant to the witty. Selling jewelry, candles, lotions, perfumes, and soaps, pretty little things will catch your eye, almost guaranteed. And GG’s does do giftwrap — a Christmas lifesaver.

Open until 6 p.m., 11 West Portal, SF. (415) 731-1108

THE FRUIT GUYS

For the super-last minute, nothing beats a solid online purchase. The Fruit Guys is a local farm delivery service that was started out of South San Francisco. It’s burgeoned dramatically and now has centers in Phoenix, Philadelphia, and Chicago — so if you have relatives in the Mid-West and East Coast that “don’t get” the whole local food thing, give ’em a little goose. Fruit boxes run as little as $26 per month, and you can cease delivery whenever you wish. (Note: If your rels don’t live in one of those cities, the food might come from a little further away, but the Fruit Guys try to utilize local farms wherever they can.)

(877) 378-4863, www.fruitguys.com

 

>>STORES ALSO OPEN LATE ON CHRISTMAS EVE:

FOOD

Shufat Market Open until 2 a.m., 3807 24th St., SF. (415) 826-6207

17th and Noe Groceteria Open until 11 p.m., 3900 17th St., SF. (415) 863-6337

ART/BOOKSTORES

Green Apple Books Open until 11:30 p.m., 506 Clement, SF. (415) 387-2272, www.greenapplebooks.com

SF MOMA Museum Store Open until 6:30 p.m., 151 Third St., SF. (415) 357-4000, www.sfmoma.org/museumstore

Alexander Book Company Open until 5 p.m., 50 Second St., SF. (415) 495-2992, www.alexanderbook.com

TOY/HOBBY STORES

The Ark Toy Store Open until 5 p.m., 3845 24th St., SF. (415) 821-1257, www.thearktoys.com

Jeffrey’s Toys Open until 6 p.m., 685 Market, SF. (415) 243-8697

Mission Skateboards Open until 5 p.m., 3045 24th St., SF. (415) 647-7888, www.missionsk8boards.com

CLOTHING/ACCESSORIES

Gravel and Gold Open until 4 p.m., 3266 21st St., SF. (415) 552-0112, www.gravelandgold.com

Therapy Open until 7:30 p.m., 545 Valencia, SF. (415) 865-0981, www.shopattherapy.com

Unionmade Open until 4:30 p.m., 493 Sanchez, SF. (415) 861-3373, www.unionmadegoods.com

FLORAL SHOPS

Verde SF Open until 6 p.m., 1265 Fell, SF. (415) 796-3890, www.verdesf.com

Utsuwa Floral Design Open until 7 p.m., 1339 Polk, SF. (415) 447-8476, www.utsuwafd.com

 

Snap Sounds: Thee Oh Sees

Tony Robles
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0
Snap Sounds: Thee Oh Sees

By Irwin Swirnoff

THEE OH SEES
CARRION CRAWLER/THE DREAM
(In The Red)

It’s very easy to take things for granted in San Francisco, and in many ways that’s been the demise of so many amazing things in this city; we forget to applaud, support, and revel in the magic when it’s here, only to lament it when it’s taken away. Thee Oh Sees are on fire, this is their second full length of the year. Their work ethic is as charged as the songs that fill this record. Something happens when you listen to Carrion Crawler/The Dream, you blast it loud and then you begin to move, and sweat, and get out of your head and into your body and feel so raw and alive. Don’t take them for granted; they are the best rock band on the planet right now. See videos after the jump.

Pretty amazing, the band’s whole set at New Parish:
http://www.youtube.com/watch?v=IB5JThQWXxM

Or if you prefer a quicker snippet of Thee Oh Sees live:
http://www.youtube.com/watch?v=ySbvZfpvPdc&feature=related

Or just want to hear a track off Carrion Crawler/The Dream, here’s “Heavy Doctor:”
http://www.youtube.com/watch?v=Be_I5Opx12s

The unlikely sheriff

Jesse Hawthorne Ficks
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1
The unlikely sheriff

Michael Hennessey has served as San Francisco’s sheriff for half of his life, the longest such career in California history — and by all accounts the most progressive. Since taking office in 1980, Hennessey has been an island of liberal enlightenment in a political climate and law enforcement culture where tough-talking conservatism has been ascendant.

Yet in that era, Hennessey pioneered the creation of innovative programs to compassionately deal with drug abuse, violence, recidivism, and lack of education among jail inmates. He proactively brought unprecedented numbers of minorities, women, LGBT employees, and ex-convicts onto his staff. And he sometimes resisted carrying out evictions or honoring federal immigration hold orders, bold and risky social-justice stands.

His stances drew scorn from the local law enforcement community, which never endorsed him in contested elections, and criticism from political moderates and national media outlets. But San Francisco voters reelected him again and again, until he finally decided to retire as his current term ends next month.

He credits his success and longevity to the people of San Francisco, who have also bucked the harsh national attitude toward criminals and the poor. “San Francisco is still largely a liberal voting town,” he told us in his well-worn office at City Hall, “and not many liberals run for sheriff.”

That logic held up in this year’s election when progressive Sup. Ross Mirkarimi — Hennessey’s hand-picked successor — was elected to the post. Mirkarimi, who led a tribute to Hennessey at the Dec. 13 Board of Supervisors meeting, said he’s honored to be able to continue the legacy of someone he called “the most innovative sheriff in the United States.”

 

LONG RECORD

Hennessey was a 32-year-old Prisoner Legal Services attorney for the Sheriff’s Department in 1979 as he watched then-Sheriff Eugene Brown letting go of reform-minded staffers and ending his predecessor Dick Hongisto’s early experiment with a school in the jail. So Hennessey quit his job and focused on running for the office.

“I said to myself that I’m not sure if I’ll be a good sheriff or not, but I know I’m better than anyone else running,” he told us, later adding, “I certainly never expected to be sheriff for 32 years.”

Rank-and-file deputies — with whom Hennessey has periodically clashed throughout his career — always preferred one of their own in the job. “As seen in this election, they would like to see someone coming from their ranks,” said Hennessey, even though he notes that at this point, he has hired all but three of the department’s nearly 1,000 employees.

But Hennessey’s outsider status allowed him to deal with the inmate population in a way that the average San Franciscan appreciated, even if the average cop didn’t. “When you’re in law enforcement, all you see are criminals, victims, and people in law enforcement. But I would talk to all kinds of people in the community,” Hennessey said, noting that his experience as a jailhouse attorney gave him a holistic view of his job. “I worked in the jail and I got to know prisoners as people.”

They were people who had certain needs and problems, such as substance abuse, a common problem among criminals. And they were people who would be returning to society at some point, as Hennessey constantly reminded those who expected prisoners to be treated harshly or simply warehoused.

So he broke down the wall between the jail and the community, bringing the city’s social service providers and educators to work programs in the jails, and developing anti-recidivism and vocational programs that allowed ex-offenders to re-engage with the local community.

“Take the bold step of inviting the public in, not all the public, but those who can provide services and help address people’s problems,” Hennessey said. “Then we took the same concept and applied it to violent offenders, which is a little riskier.”

But it was a risk that has paid off as recidivism rates among jail inmates has dropped, and it’s been without any serious cases of inmates harming outsiders. Hennessey is particularly proud of the high school he created in the jail, which will graduate its next class on Jan. 3.

He said the school can truly transform those who end up behind bars. “It gives them a leg up and it’s like a booster shot,” Hennessey said. “They’re at the lowest point in their lives when the come to jail, and then they’re given an opportunity to accomplish something they haven’t been able to on the outside.”

One of many controversial moves during Hennessey’s storied career was his decision to allow female inmates to leave the jails and perform in theaters around San Francisco with the Medea Project, which was created by Rhodessa Jones and the Culture Odyssey art collective to turn the stories of female inmates into plays.

“Rhodessa is a very persuasive person who talked me into letting these women out of jail to perform,” Hennessey said, smiling at the memory. “It was very controversial.”

 

HIRING REFORMERS

Hennessey’s mentor in the Sheriff’s Department — the man who hired him, ran his first campaign, and then became his longtime chief-of-staff — was the late Ray Towbis, a tough activist whose social justice stands on behalf of tenants, prisoners, and other marginalized members of society would sometimes put Hennessey into difficult positions.

“Ray caused me aggravation many times,” said Hennessey, who nonetheless kept a life-sized cutout photo of Towbis in his office long after he was gone, a reminder to fight for the values he believed in.

There was the time when Towbis angrily flipped over a table and cursed at a panel of parole commissioners after failing to win the release of a model inmate, triggering a demand from the presiding judge that Hennessey fire Towbis, which the sheriff ignored.

Later, Towbis adopted a compassionate approach to the evictions that sheriff’s deputies are forced to perform, allowing deputies to spare tenants who were disabled or elderly and personally calling journalists to help publicize cases in which the parties bringing the eviction action might back off. That sensitivity stays with Hennessey today.

“That’s one of the tough spots I’m in is doing these foreclosure evictions,” Hennessey said, clearly troubled by his duty but also aware that it is one that he is required to perform, despite pressure from progressive groups urging him to refuse to carry them out.

As a lawyer, Hennessey said he must respect court orders and avoid being held in contempt of court, as Hongisto was in the mid-1970s for refusing to carry out evictions against tenants in the International Hotel.

Hennessey and his staff have always been willing to help tenants resist eviction. His office has an eviction assistance program, and Towbis would sometimes tip off the media to publicize certain unjust evictions. One time, Hennessey said Towbis even called hotel magnate Leona Helmsley and talked her out of allowing her company to evict an elderly ParkMerced resident. Instead, Helmsley allowed the woman to live rent-free for the rest of her life, an unlikely gesture of kindness from the “queen of mean” that Towbis helped publicize.

Hennessey draws the line at outright refusal to carry out a judge’s eviction order. “The sheriff shouldn’t be a law-breaker,” he says. Yet Hennessey’s lawyerly approach to complex issues also resulted in his recent policy of not honoring federal detention holds on undocumented immigrants in the jail, after discovering that the holds are administrative — different than arrest warrants — so defying them isn’t a crime.

The policy Hennessey created last year was to ignore ICE requests for prisoners who aren’t charged with felonies or domestic violence charges, noting that the latter charges are often brought but eventually dropped against people who are the victims of domestic violence.

Hennessey tapped federal and foundation grant money to fund his new treatment and educational programs, hiring an ex-convict to write his grant proposals, something that particularly irked many of his deputies.

But Hennessey believed that ex-offenders had something to offer the department so he didn’t back down in hiring them, going so far as to elevate Michael Marcum, who had gone to prison for killing his own abusive father, to the top position of undersheriff in 1993.

Police groups were outraged, but Hennessey said he had known Marcum for many years and valued his counsel and perspective on the criminal justice system. “It wasn’t hard because I knew him and I know of his integrity and loyalty,” Hennessey said.

Hennessy also irked conservative cop culture for aggressive efforts to make the department more diverse. “We wanted more minorities, we wanted more women, and we wanted gay people,” said Hennessey, who initiated outreach efforts to each of those communities.

In 1984, when he approved of an outreach event in Chaps, a gay leather bar in the Castro — complete with flyers around the Castro publicizing the event — it generated a furor that made headlines not just locally in the San Francisco Chronicle, but the National Enquirer tabloid as well.

Yet Hennessey was able to ride out each of the controversies, many of which happened to fall years away from his next reelection campaign. “Those are good times to make dramatic changes,” Hennessey said.

And because he also saw to some neglected basics in the Sheriff’s Department — such as improving training and the jails’ physical structures to prevent escapes and instituting policies to reduce violence between inmates and guards — Hennessey endured and became a beloved sheriff.

 

VICTORY OF PERSISTENCE

“I’ve always felt somewhat isolated in these beliefs,” said Hennessey, who said that the biggest failure of his career was not proselytizing those beliefs to a statewide and national audience more aggressively. Instead, he has focused on San Francisco, quietly turning the city into a national model for a different kind of policing.

Despite his progressive record, Hennessey has won plaudits and respect from across the political spectrum. In the last election, even the cops who sought to replace him and to undermine his endorsement of Mirkarimi — Chris Cunnie, Paul Miyamoto, and David Wong — all praised Hennessey and promised to continue his programs.

During the Dec. 13 board meeting, Sup. Mark Farrell — consistently one of the most conservative votes on the board — said he has known Hennessey almost his entire life (the sheriff and Farrell’s dad were law school classmates). “I cannot think of anyone with more integrity, a more trustworthy and honest person, than I’ve ever know in my life,” Farrell said.

Sup. David Campos said the immigrant community owes Hennessey a tremendous debt of gratitude. “You have been a tremendous champion for civil rights,” Campos said. “For that, history will judge you very kindly.”

It is a history that Mirkarimi pledges to continue. “Who’s going to fill his shoes? It’s impossible,” Mirkarimi said at the board meeting. “But we certainly have an incredible standard to try to live up to.”

As for Hennessey, he has a fairly clear idea of what he plans to do now that his long and unlikely run as one of the city’s top cops is over: “I’m going to goof around.” *

Top flight

Jesse Hawthorne Ficks
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Top flight

arts@sfbg.com

YEAR IN DANCE If you are a trend spotter, you will have noticed two changes within the local dance ecology that probably will influence how we see dance in the foreseeable future.

First, not only have dancers been foregoing the proscenium theater — after all, there aren’t that many around here — but they’ve also been sidestepping theaters altogether. They find spaces in museums, bars, parks, and streets, even former newspaper offices. Or they perform in studios which become informal community gatherings where audiences, in addition to seeing work, get a sense of participating in something being created. Dancers’ Group and CounterPULSE’s “2nd Sundays,” the RAWDance’s “CONCEPT Series,” and Kunst-Stoff Arts are among the most prominent examples of this.

The second change relates to funding. No need to spell out how dire the financial picture has become for big organizations that have infrastructures to support. But for the small and medium-sized companies, it’s been just about catastrophic. So how to get the cash to put on a show or take advantage of a touring opportunity? In the commercial world it’s called “direct marketing.” Dancers are nothing if not entrepreneurial. They are taking to the internet, asking for small donations and keeping people informed about the progress of the “campaign.”

Trying to rethink the past 12 months of dance viewing is mind-boggling; coming up with a “best-of list” is no less so. Take the following ten as one observer’s bouquet to all the dancers who have enriched our lives in 2011. They are listed chronologically by the date of when they were seen.

In its third program (Feb. 24, War Memorial Opera House), San Francisco Ballet showcased the classical language as infinitely pliable and capable of contemporary expressiveness. Yet Yuri Possokhov and William Forsythe could not have done it more differently. Possokhov’s 2010 small-scaled Classical Symphony — three couples and a corps of eight — seduced with its speed, wit, and exuberance. Forsythe’s 1984 tour de force Artifact Suite challenged a huge ensemble with gale-force attacks, imploding unisons, and ever-changing designs. In this context even Helgi Tomasson’s 1993 Nanna’s Lied looked decent.

Spanning 55 years of work, the Merce Cunningham Company (Feb. 3, Cal Performances/Zellerbach Hall) bid its farewell with three pieces that beautifully showcased the late choreographer’s extraordinary range. Antic Meet (1958) showed him young and clever; in the lyrical Pond Way (1998) we saw Cunningham’s affinity for the natural world, and in Sounddance (1975) the backdrop swallowed his dancers one by one. It was a good-bye from artist who had the guts to pull the curtain on himself.

Zaccho Dance Theatre‘s The Monkey and the Devil (April 17, Novellus Theater) didn’t pull any punches about the persistence of racism. A tough show to watch, it was low on “entertainment” values but chock-full of convincingly painful confrontations in which two couples, one white, one black, mirrored each others’ anguish and anger.

In 1979, audiences were taken aback by Lucinda Childs‘ Dance (April 28, San Francisco Performances/Novellus Theater) which incorporated a film by Sol LeWitt and a score by Philip Glass. Its rigor, aesthetic purity, and pedestrian vocabulary alienated many. Yet Dance is a gorgeous piece of choreographic architecture. How fun it was to watch, in 2011, dancers doing the exact same steps so differently as those caught on the film more than 30 years ago.

The Polish Teatr Zar‘s stunningly original and impeccably realized The Gospels of Childhood Triptych, (May 25, St. Gregory’s Episcopal Church and Potrero Hill Neighborhood House) is one of the reasons that the San Francisco International Arts Festival has to exist. With its ritualistic pacing and its fusion of music, movement, and language (“Zar” means “funeral song”), Gospels attempted to suggest something approaching the divine and the restrictions of the self.

Pooling resources is today’s mantra. But few go to the depth of intellectual and emotional sharing that Janice Garrett and Charles Moulton do. They co-choreographed the exhilarating The Experience of Flight in Dreams (June 9, ODC Theater) and came up with a soloists-ensemble format rarely seen in modern dance. To have such a unified and well-realized perspective from such different artists was thrilling.

Science, or writers such Maxine Hong Kingston or Gary Snyder, often inspire Kathryn Roszak‘s work. The reprise of the fine Pensive Spring (Sept. 25, Hertz Hall, UC Berkeley), based on the works by Emily Dickinson, proved to be a thoroughly intelligent and finely crafted dance theater piece that illuminated a great creative mind through music, dance, and language.

AXIS Dance Company (Oct. 7, Malonga Casquelourd Theater) commissioned the Australian choreographer Marc Brew to give the company its first story-ballet. Taking a bow to dance history and soap operas, Brew’s slyly voyeuristic Full of Words moved through knotted entanglements with insight, humor, and compassion. It was a fine vehicle for the company and should be around for a long time.

José Limón is a giant of early modern dance, yet few practitioners have ever seen his work live. So for tiny San Jose’s sjDANCEco (Oct. 15, California Theatre, San Jose) to attempt Missa Brevis, a major Limon choreography, just about amounted to hubris. But former Limón dancer and sjDANCEco’s artistic director, Gary Masters, scoured the community and trained the dancers — some of them college and high school students — in the requisite combination of strength and restraint. The performance of this jewel of modernism became a minor miracle.

Finally, Deborah Slater and Julie Hébert‘s Night Falls (Oct. 21, ODC Theater) looked at the process of aging from a “three ages of man” perspective, except that this was a woman’s life crisis. Most intriguing was the way language and dance — much of it gestural — bounced off each other, creating the vibrant environment in which the performers could fully extend themselves.

Curtain calls

Jesse Hawthorne Ficks
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2
Curtain calls

arts@sfbg.com

YEAR IN THEATER With a grateful nod to former colleague Brad Rosenstein, we re-inaugurate a system of accolades and nah-ccolades celebrating some memorable highs and lows of the rapidly closing year in theater and performance.

 

Most Memorable Food Fight

A Three Little Dumplings Adventure

Within seconds of the appearance of the three titular protagonists of Megan Cohen’s A Three Little Dumplings Adventure — a hot pink and powder blue hurricane wreaking havoc on the subdued prison of a suburban living room — it was impossible not to get sucked into their chaotic orbit. Alternating between being patently obnoxious, emotionally unanchored, and frankly homicidal, the “three little dumplings” played by Sarah Moser, Molly Holcomb, and Megan Trout teased, baited, jabbed, and wrestled each other across the stage, culminating in Moser pinning Trout to the floor threatening to eat her (“dumpling” being no tidy euphemism here, but a physiological condition). Presented at the Bay One Acts Festival, it was definitely the year’s best meta-cannibalistic food frenzy, and it whetted our appetite for more. (Nicole Gluckstern)

 

Best Drug Story

Greg Proops at “Previously Secret Information”

Admittedly the best highs are often hard to remember. Kudos to the seemingly rock-hard memory of otherwise mellow-ab’d comedian Greg Proops, who recalled prodigious intake and takeout as a Chicken Delite delivery boy in 1970s San Carlos for an edition of Joe Klocek’s storytelling series, “Previously Secret Information.” (Robert Avila)

 

Best Political-Historical Thesis Disguised as a Wildly Funny and Louche “Songplay”

Beardo

Their own prior hit, 2008’s Beowulf: A Thousand Years of Baggage, was going to be a hard act to follow. But Banana Bag & Bodice and producers Shotgun Players made playwright Jason Craig and composer Dave Malloy’s take on Rasputin look like child’s play — very precocious child’s play — where performances, music, costumes, mise-en-scène, themes, and dialogue all contributed to another hirsute masterpiece. (Avila)

 

Most Inscrutable Triumvirate

Mimu Tsujimura, Lily Tung Crystal, and Katie Chan in Songs of the Dragons Flying to Heaven

Speaking of frankly homicidal, the otherwise nameless characters “Korean 1, 2, and 3” in the joint Crowded Fire/Asian American Theater Company production of Young Jean Lee’s Songs of the Dragons Flying to Heaven were as outrageously bloodthirsty a collection of countertypical characters as ever graced the Thick House stage. By turns violent, ecstatic, girlish, and demented, the eclectic trio played by Mimu Tsujimura, Lily Tung Crystal, and Katie Chan skewered every tradition-bound Asian stereotype in the book. Clad in the dazzle camouflage of their flowing silk dresses, rendering their monologues in their respective “mother” tongues, not spoken by this or many other audience members, the fiercely energetic characters expertly revealed themselves by not revealing a thing. (Gluckstern)

 

Best Lighting Design

Allen Willner for inkBoat’s The Line Between

Willner’s worked wonders before, not least with longtime collaborators inkBoat (Heaven’s Radio), but he outdoes himself in this wild and excellent production, making the lighting design a full member of the ensemble with a world of shifting moods and ideas. (Avila)

 

Best Tentative Revival of a Theatrical Artform

Puppetry

Where have all the puppets gone? It seemed like for a few years there they all went into hiding, perhaps barricading themselves in little puppet bunkers, awaiting the end times. But a modest slew of puppet-driven performances resurfaced over the course of 2011, reigniting our hopes for a full-blown revival in the future. A shortlist of memorable puppets encountered this year include Lone Wolf Tribe’s dark circus of clowns and war veterans in Hobo Grunt Cycle; a beleaguered Orson Welles puppet manipulated by Nathanial Justiniano’s sociopathic Naked Empire Bouffon Company alter ego Cousin Cruelty; Thomas John’s “hard-boiled” egg puppets who populated his Humpty Dumpty noir thriller The Lady on the Wall; the over-the-top awesomeness of a trio of Audrey Jrs. in Boxcar Theatre’s Little Shop of Horrors, and the silently suffering soldier of Aurora Theatre’s A Soldier’s Tale. Here’s hoping this miscellany foreshadows the triumphal return of the missing puppets, to as opposed to their last hurrah. (Gluckstern)

 

Nicest timing

The Agony and the Ecstasy of Steve Jobs

Just before public figures across the spectrum wailed their approval of a fallen business idol, Seattle-based monologist Mike Daisey, at Berkeley Rep, not-so-quietly reminded people of what a corporation is. Then Occupy Wall Street happened. (Avila)

 

Most Polarizing Descent Into the Reptilian Complex

Chekhov Lizardbrain

Whether you loved it or loathed it, Pig Iron’s touring production of Chekhov Lizardbrain was certainly one of the year’s most striking. Performing as part of foolsFURY’s Fury Factory, the Philadelphia-based Pig Iron spearheaded an expedition into the inner workings of one man’s brain beset by shifting vagaries of memory and truth. Combining a series of pompously-referenced “rules” of drama, stock Chekhovian alter-egos, and the dual personalities — internal and external — of an undersocialized protagonist (James Sugg) struggling to shape his memories into a recognizable narrative, Chekhov Lizardbrain elicited the most polarized reaction from its sold-out houses I saw all year. From a standing ovation to a fair number of disgruntled walk-outs, this dark-edged exploration inspired a panorama of strong responses in its audience, a solid sign of success in my book. (Gluckstern)

 

Best Labor of Love

The Companion Piece

Inspired by a concept by Beth Wilmurt, who was inspired by a book about the biological roots of human emotions (A General Theory of Love), Mark Jackson directed Wilmurt and fellow “vaudevillians” Christopher Kuckenbaker and Jake Rodriguez at Z Space in one of the most inspired pieces of devised theater all year (with a close second going to Jackson’s own SF State production of the blissful Wallflower). (Avila)

 

Best Conversation Starter

The closure of a “remixed” Little Shop of Horrors

Another polarizing moment in Bay Area theater occurred this summer when Boxcar Theatre’s ambitious remix of the cultish Alan Menken and Howard Ashman musical Little Shop of Horrors was shut down by Music Theatre International due to admitted violations of its licensing agreement. The debate inspired by both the violations and the show’s subsequent closure was as passionate and considered as the production that inspired it, from both perspectives of the situation. Without taking sides, I found the conversation about artistic freedom vs. artists’ rights to their own works to be as stimulating and thought-provoking as any night in the theater could strive to be. It seems unlikely that Boxcar Theatre knowingly set out to become the vanguard for open-source theater-making, but here’s hoping it’s a banner they are willing to carry a little longer. (Gluckstern)

 

Best Part of Getting Old

Geezer at the Marsh

I’m glad I lived long enough to see Geoff Hoyle live long enough to produce this solo piece extraordinaire. (Avila)

 

Best Couch-Surfing Opportunity

“Home Theater Festival”

Sometimes it’s hard to leave the comfort of one’s home to gamble on the capricious vicissitudes of a theater outing. Gambling in the comfort of someone else’s home was, on the other hand, really easy. (Avila)

 

Best Ostentatious Design Overload

The Lily’s Revenge

Watching the four-and-a-half-hour epic performance mash-up that was Taylor Mac’s The Lily’s Revenge at the Magic Theatre was in parts harrowing, exhausting, and transcendentally fabulous, but what stuck with me long after the vague twists of plot and character had mostly faded from my memory were indelible images of the seriously overwhelming design. From dazzling, sequined flower costumes by Lindsay W. Davis, to four complete sets built to accommodate five acts designed by Andrew Boyce, to the extravagant lighting by Sarah Sidman, The Lily’s Revenge could have been subtitled The Tech Crew’s Revenge, which would have been a fitting description of the glorious fantasia created by the uniformly top-notch production team. (Gluckstern)

 

Best Jump on George Clooney

Farragut North

North is better known to multiplex crowds as The Ides of March. But Bay Area theatergoers were first to get a former Howard Dean speechwriter’s fictionalized story of real-deal electoral politics in a so called democracy — and in a nimble low-budge production from OpenTab Productions at Noh Space that made it all the sweeter for not being Hollywooden. (Avila)

 

Best Planned Revitalization of a Theater District Linchpin

PianoFight at Original Joe’s

When the venerable, family-run Original Joe’s at 144 Taylor burned down in 2007 it was a catastrophic blow to the neighborhood — especially to all the theaters in the area who had adopted it over the years as a go-to post-show hang-out. It even served as a San Francisco Fringe Festival off-site venue for several years, hosting the likes of RIPE Theatre and Dan Carbone. So it was wonderful news on many levels when the turbo-charged PianoFight theater company signed a ten-year lease with the Duggan family to turn the old Original Joe’s into the new home of PianoFight. In addition to rebuilding the restaurant and bar, PianoFight plans to house two theaters, offices, and rehearsal spaces under the same roof — a huge boost to the neighborhood and greater theatrical community both. (Gluckstern)

 

Worst-Attended Theatrical Gem

Hobo Grunt Cycle at the Exit Theater

I’m not sure why there were so few people in the audience for this stunning cri de coeur against warfare by Kevin Augustine’s rightly acclaimed New York–based puppet theater ensemble, Lone Wolf Tribe. As hard as it can be to look at the real face of war, this piece brilliantly insisted on the need to do just that: manipulated with consummate grace by one or more black-clad puppeteers, Augustine’s life-sized puppets remained strikingly sentient, heartbreakingly damaged beings you absolutely could not take your eyes off. (Avila)

 

Classiest Beginning to a Final Bow

In the Maze of Our Own Lives

Playwright-director Corey Fischer’s sleekly staged, prescient take on the radically influential Group Theatre ensemble of the thoroughly agitated 1930s, In the Maze of Our Own Lives, which lead off the Jewish Theatre’s 34th and last season. (Avila)

Best Reason to Cross the Bridge: SQUART at Headlands Center for the Arts This 24-hour, all-stops-pulled-out version of choreographer Laura Arrington’s shrewd experimental series in collaborative performance-making capped a residency at the Headlands with a well-attended set of four sneaky, astonishing pieces by a multi-talented ensemble of harried sleep-deprived creator-conspirators. Why isn’t art always made this way? (Avila)

Worst Gas-to-Show Ratio Lolita Roadtrip at San Jose Stage A surprisingly unmoving outing from otherwise quick playwright Trevor Allen, who indeed quickly bounced back with a remounting of his popular solo, Working for the Mouse. (Avila)  

Strangest Encounter Between “Performer” and “Audience” Robert Steijn Steijn questioned everything, including what the hell he was doing onstage in front of the people assembled to see the famed Dutch performer at Joe Goode’s new annex in the Mission. They were all good questions, and the micro-choreography of physical and psychic states to which they pointed charged the room with a delicate intensity that encouraged many thoughtful beers afterward. (Avila)

Short takes: Biggest Dick: Kevin Spacey as Richard III. With balls and chops to match.  

Best Beefcake Ham and Cheese on Wry for under $100: Hugh Jackman at the Curran.

Best use of salvia: Philip Huang at “Too Much!”  

Best medicine for complacency: Cancer Cells, selections from late works and words by Harold Pinter by Performers Under Stress.  

Biggest site-specific punch (with gloves on or off): Peter Griggs’ one-man show, Killer Queen: The Story of Paco the Pink Pounder, at Michael the Boxer Gym and Barbershop.

Most intellectually stimulating drag lecture: David Greenspan reading Gertrude Stein’s Plays at the Contemporary Jewish Museum. (Avila)

Our Weekly Picks: December 21-27

Andrew Lam
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WEDNESDAY 21

Krafty Kuts

Before closing out the year with the Sea of Dreams NYE blowout, the party people at Sunset Promotions (along with Metrowize.com) are throwing a community appreciation show and bringing out the U.K.’s Krafty Kuts. He’s best known for his 2006 album Freak Show and a Fabriclive release in 2007, but is largely building a reputation as an international, multiple award-winning breakbeat DJ and turntablist through live performances. Krafty Kuts’ most recent mix — for his November Canadian tour — unrelentingly shifts between the likes of Beastie Boys, Wolfgang Gartner, Fast Crew, and Bart B More. Like the best of breakbeat, Krafty Kuts plays a high wire act, always keeping energy up without growing tiresome nor ADD addled. (Ryan Prendiville)

With DJ Zeph, Motion Potion

9 p.m., free with RSVP; $5 at door

www.krafty-xmas.eventbrite.com

Mighty

119 Utah, SF

(415) 762-0151

www.mighty119.com

 

How The Grinch Stole Christmas: The Musical!

First published in 1957, Dr. Seuss” How The Grinch Stole Christmas was adapted into an animated film in 1966, featuring the unforgettable narration of Boris Karloff, and a bevy of now-classic songs such as “You’re A Mean One, Mr. Grinch,” belted out by Thurl Ravenscroft. Fans of all ages can relive the beloved holiday special this month when How The Grinch Stole Christmas: The Musical! brings the classic tale to life on stage with colorful costumes and amazing sets that recreate the magical world of Whoville and the inspirational events that transpire there. (Sean McCourt)

Through Dec. 29, times vary, $25–$85

Golden Gate Theatre

1 Taylor, SF

(888) 746-1799

www.shnsf.com


THURSDAY 22

“Nutcracker”

There is something about the shortest days of the year that invites you to become hopeful about what lies ahead. Perhaps it is that we know that the sun will be back. So you don’t have to be a Christian or hooked on family traditions to celebrate what is an extraordinary, though yearly occurring season. “Nutcracker,” often for sentimental reasons, is part of that feeling. Graham Lustig’s 2000 version, now part of Oakland Ballet Company, has plenty of sentiments but little sentimentality. No whiff of Victorian attitudes inhabits this family’s turn of the 20th century modernity. The home is what was considered high-tech at the time: tile, steel, concrete, and huge expanses of glass that invite the sunny, snow-covered outside in. The very fact that the Oakland Ballet Company exists again, is a sign of hope. (Rita Felciano)

Through Dec. 24; 2 and 7 p.m., $15–$59.50

Paramount Theater

2025 Broadway, Oakl.

(800) 745.3000

www.ticketmaster.com

 

“RitLab: Hanukkah-Houdini”

The Contemporary Jewish Museum’s RitLab (Ritual Laboratory) series stretches the idea of what can be done with such a space as the CJM. Often museums host children’s interactive events, but RitLab is more like afterschool activity time for adults too — I once learned how to make my own spicy pickles at a RitLab event, m’kay? For this Hanukkah-Houdini version, there will be very-mature holiday crafting (magic card wallets, monkey-fist key chains, thaumatropes), a dreidel spin-off, and perhaps most importantly, a performance by Conspiracy of Beards — a local a capella Leonard Cohen cover group. It’ll be fun for kids of all ages, especially those who dig magic and Cohen. (Emily Savage)

6-8 p.m., free with admission (admission is $5 after 5 p.m.)

Contemporary Jewish Museum

736 Mission, SF

(415) 655-7800

www.thecjm.org

 

Dan the Automator

Popscene is bringing home someone special for its Xmas Gala. An innovative hip-hop and electronic producer, Dan “the Automator” Nakamura needs little introduction. Collaborating with Kool Keith, Del the Homosapien, Prince Paul, Damon Albarn, and Mike Patton on projects such as Dr. Octagon, Deltron, Handsome Boy Modeling School, Gorillaz, and Lovage (to name a few), Automator always looms large. He’s recently produced albums for English rockers Kasabian and locals Dredg, while contributing to Albarn’s Kinshasa One Two charity project along with the likes of Totally Enormous Extinct Dinosaurs and Jneiro Jarel. (And yes, continuing to tease the long awaited follow-up, Deltron 3040.) (Prendiville)

With DJs Omar, Miles the DJ

10 p.m., $10–$12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


FRIDAY 23

Rare Exports: A Christmas Tale

“The Coca-Cola Santa Clause is a hoax,” little Pietari tells his friend. He hands him a picture he’s torn from an old book — St. Nicholas with goatish antlers, dropping a child into a boiling cauldron. “The real Santa Clause, he tears naughty kids to pieces.” Rare Exports: A Christmas Tale (2010) — directed by Jalmari Helander and based on ancient Scandinavian mythology — might make the kids sooner want Freddy Kruger coming down the chimney on Christmas rather than Santa. When an archeology dig coincides with a bizarre series of events (slaughtered reindeer, missing children, stolen blow dryers), Pietari knows that the real Santa has been unearthed. Rare Exports is a dark tale that’s full of unsuspecting and outlandish surprises. You’ll never see Santa the same way again. (James H. Miller)

10:30 p.m., $9–$11

SF Film Society Cinema

1746 Post, SF

(415) 561-5000

www.sffs.org

 

Charlie Chaplin’s 1925 The Gold Rush

You loved The Artist, and now you’re obsessed with seeing every silent movie you can jam into your sockets. The San Francisco Silent Film Festival isn’t until next summer, but you can check out one of the genre’s very best this week at the Smith Rafael: Charlie Chaplin’s 1925 The Gold Rush, a delightful comedy even Buster Keaton 4-Lyfe Fan Club members can get behind. Unspooling in a snazzily restored 35mm print (with Chaplin’s own 1942 score as accompaniment, arranged by composer Timothy Brock), this film follows the Little Tramp as he tries his luck prospecting in the frozen Yukon. As the Smith Rafael notes point out, “it’s the one in which Chaplin eats his boot” and contains “The Dance of the Rolls,” an iconic bit of playing-with-one’s-food familiar to fans of 1993’s Benny & Joon — and the current Muppets movie. (Cheryl Eddy)

Through Dec. 29, call for times, $6.75–$10.25

Christopher B. Smith Rafael Film Center

1118 Fourth St., San Rafael

(415) 454-1222

www.cafilm.org

 

Jazz Mafia

Jazz Mafia is a Bay Area institution. With its eclectic influences, cutting edge genre crossovers are this musical collective’s forte. Jazz Mafia has featured a ton of talented players, with founding member and trombonist-bassist Adam Theis contributing to no less than 10 acts since its inception. The Shotgun Wedding Quintet is a dynamic hip-hop and jazz hybrid fronted by exceptionally cool lyricist Dublin. Brass Mafia is a weird and wonderful New Orleans-y brass ensemble that covers songs from the likes of Skatalites and the Rolling Stones. And, well, there are simply too many incredible acts to list. It’s Jazz Mafia’s 11th anniversary, and I’m sure this San Francisco family has plenty of surprises in store. (Frances Capell)

With Adam Theis and the Jazz Mafia String Quartet, Joe Bagale, and more

9 p.m., $8–$12

Brick & Mortar Music Hall

1710 Mission, SF

(415) 371-1631

www.brickandmortarmusic.com

 

“Kung Pao Kosher Comedy”

For those who don’t celebrate Christmas — or those who do, but could use a good laugh after spending the day with family — “The 19th Annual Kung Pao Kosher Comedy” show is a sure-fire bet for entertainment while much of the rest of the city shuts down for the holiday. With a line-up featuring Elayne Boosler, Avi Lieberman, Jeff Applebaum, and Lisa Geduldig, what better way to spend the night than with a bit a bit of Jewish comedy — and what better location than in a Chinese restaurant! (McCourt)

Through Sun/25; 6 and 9:30 p.m. Fri.-Sat.; 5 and 8:30 p.m. Sun.; $42–$62.

New Asia Restaurant

772 Pacific, SF

(415) 522-3737

www.koshercomedy.com


SATURDAY 24

Tony! Toni! Toné!

There’s no expression of love more pure than early 1990s-era R&B. And in the golden age of sensual R&B, few could compete with Oakland’s Tony! Toni! Toné!. During the late ’80s and early ’90s, this trio cranked out the jams, climbed the Billboard charts, and provided the soundtrack for countless moments of passion and romance. Did you slow dance with your high school sweetheart to “(Lay Your Head On My) Pillow?” Did you bump and grind to “Whatever You Want?” The holidays are a time for nostalgia; a time for showing our loved ones how much we care. Why not spend Christmas Eve with Tony! Toni! Toné!? (Frances Capell)

8 p.m., $26

Yoshi’s

510 Embarcadero West, Oakl.

(510) 238-9200

www.yoshis.com/oakland


SUNDAY 25

“Death Guild: X-Mess Night”

Undeniably, the holiday season is an adorable one — children point in store windows and glow; Dads are donned in gay apparel; It’s A Wonderful Life airs without end on basic cable; bells a-ringing, figgy pudding, fa la la la la and what have you. However, for some of us around this time of year, it feels like we’re being smothered by a hand knit stocking. Thankfully Death Guild’s “X-Mess Night” is here for anyone who prefers leather corsets instead of holiday turtle necks, The Sisters of Mercy over Bing Crosby, and of course, gin and tonics, not milk and cookies. DJs Decay, Melting Girl, Daniel Skellington, Sage, and Lexor spin gothic, industrial, synth pop and more. (Miller)

9 p.m., $5

DNA Lounge

375 Eleventh, SF

(415) 626-1409

www.dnalounge.com

 

“It’s a Jewish Christmas”

Christmas day falls on the fifth night of Hanukkah. It’s also the Make-Out Room’s “It’s a Jewish Christmas,” which means Jews and Gentiles both face a dilemma. In the case of us Jews, it comes down to either enduring Grandpa Eshkol, or shooting over to the Mission for a Woody Allen film festival, Chinese food, and a salacious game of strip dreidel. With all that being offered, I doubt old Eshkol would blame you for schlepping out without him. Hosted by none other than Broke-Ass Stuart, the travel writer behind the recent IFC documentary, Young, Broke & Beautiful, “It’s a Jewish Christmas” also features the sounds of DJs J Dub and M.O.T. Mazz. Ah Freilichen Chanukah! (Miller)

5 p.m., $10

Make-Out Room

3225 22nd St., SF

(415) 647-2888

www.makeoutroom.com


TUESDAY 27

Pal Joey

Set amongst the swingin’ nightclubs of San Francisco, 1957’s Pal Joey stars Frank Sinatra as a womanizing singer who dreams of one day owning his own club — and plans to seduce a wealthy widow (portrayed by Rita Hayworth) to secure the funding. Things begin to go awry, however, when he meets Kim Novak’s character, and starts to fall for her instead. Featuring the iconic tune “The Lady Is A Tramp,” the film earned Ol’ Blue Eyes a Golden Globe for Best Actor (in a Musical), and remains a shining example of why he was the king of the crooners. (McCourt)

Double feature with Bye Bye Birdie, which screens at 2:40 and 7 p.m.

4:45 and 9:05 p.m., $7.50–$10

Castro Theatre

429 Castro, SF.

(415) 621-6120

www.castrotheatre.com

Stage Listings

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

THEATER

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; (415) 992-8168, www.thealcovetheater.com. $32-50. Thurs, 8pm. Through Dec 29. Not Quite Opera Productions presents Anne Nygren Doherty’s musical about San Francisco, with five characters all portrayed by Mary Gibboney.

The Golden Girls: The Christmas Episodes Victoria Theatre 2961 16th St, SF; www.trannyshack.com. $30. Thurs/22-Fri/23, 8pm. Despite the unseasonably warm weather, it was beginning to feel a lot like Christmas, circa 1987, thanks to the return of four luminous drag queens and a little TV-to-stage holiday special that, after six years, can safely be called a San Francisco tradition. Heklina (Dorothy), Pollo Del Mar (Rose), Matthew Martin (Blanche), and Cookie Dough (Sophia) are the older ladies of Miami, delivering verbatim two episodes of the famed sitcom, each with a special gay yuletide theme — fleshed out by special guests Laurie Bushman (as Blanche’s gay kid brother Clayton) and Manuel Caneri (as thinly disguised lesbian Jean). (Opening night also saw special appearances by morning-radio personalities and emcees Fernando Ventura and Greg Sherrell.) Of course, a Word for Word production this isn’t. Knowing drag mischief and unflappable performances allow a certain welcome latitude in attitude, not to mention costuming, which is wonderful in that Pasadena estate sale way: a veritable bazaar of ’80s bizarre. (Avila)

*On the Air Pier 29 on the Embarcadero (at Battery), SF; (415) 438-2668, love.zinzanni.org. $117 and up (includes dinner). Wed/21, Fri/23, Tues/27, Dec 28-30, 6:15pm (also Dec 28, 11:30am); Sat/24, 11:30am; Dec 31, 8:30pm. Teatro ZinZanni’s final production at its longtime nest on Pier 29 is a nostalgia-infused banquet of bits structured around an old-time radio variety show, featuring headliners Geoff Hoyle (Geezer) and blues singer Duffy Bishop. If you haven’t seen juggling on the radio, for instance, it’s pretty awesome, especially with a performer like Bernard Hazens, whose footing atop a precarious tower of tubes and cubes is already cringingly extraordinary. But all the performers are dependably first-rate, including Andrea Conway’s comic chandelier lunacy, aerialist and enchanting space alien Elena Gatilova’s gorgeous “circeaux” act, graceful hand-balancer Christopher Phi, class-act tapper Wayne Doba, and radio MC Mat Plendl’s raucously tweeny hula-hooping. Add some sultry blues numbers by raunchy belter Bishop, Hoyle’s masterful characterizations (including some wonderful shtick-within-a-shtick as one-liner maestro “Red Bottoms”), a few classic commercials, and a healthy dose of audience participation and you start to feel nicely satiated and ready for a good cigar. Smoothly helmed by ZinZanni creative director Norm Langill, On the Air signals off-the-air for the popular dinner circus — until it can secure a new patch of local real estate for its antique spiegeltent — so tune in while you may. (Avila)

*Period of Adjustment SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-50. Tues-Thurs, 7pm (also Wed/21-Thurs/22, 2pm); Fri-Sat, 9pm (also Sat, 3pm; no show Sat/24). Through Jan 14. A nervous young man with an unaccountable tremor, George Haverstick (a compellingly manic Patrick Alparone) has waited until his honeymoon to finally call on his old Korean War buddy, Ralph (a stout but tender Johnny Moreno) — only to drop his new bride, Isabel (the terrifically quick and sympathetic MacKenzie Meehan), at the doorstep and hurry away. As it happens, Ralph’s wife of five years, Dorothea (an appealing Maggie Mason), has just quit him and taken their young son with her, turning the family Christmas tree and its uncollected gifts into a forlorn monument to a broken home — which, incidentally, has a tremor of its own, having been built atop a vast cavern. Tennessee Williams calls his 1960 play “a serious comedy,” which is about right, since although things end on a warm and cozy note, the painful crises of two couples and the lost natures of two veterans — buried alive in two suburbs each called “High Point” — are the stuff of real distress. SF Playhouse artistic director Bill English gets moving but clear-eyed, unsentimental performances from his strong cast — bolstered by Jean Forsman and Joe Madero as Dorothea’s parents—whose principals do measured justice to the complex sexual and psychological tensions woven throughout. If not one of Williams’s great plays, this is an engaging and surprisingly memorable one just the same, with the playwright’s distinctive blend of the metaphorical and concrete. As a rare snowfall blankets this Memphis Christmas Eve, 1958, something dark and brooding lingers in the storybook cheer. (Avila)

A Tale of Two Genres SF Playhouse, 533 Sutter, SF; (415) 869-5384, www.un-scripted.com. $10-20. Wed/21, 8pm. Un-Scripted Theater Company presents an improvised musical inspired by Charles Dickens.

Xanadu New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Wed-Sat, 8pm (no show Sat/24); Sun, 2pm (no show Sun/25 or Jan 1). Through Jan 15. New Conservatory Theatre Center performs the retro roller-skating musical.

BAY AREA

*God’s Plot Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $18-27. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm (no shows Wed/21-Sun/25). Through Jan 15. Playwright-director Mark Jackson excavates a bit of deep history for Occupy USA, an episode in the annals of colonial American theater and jurisprudence that played, and plays, like a rehearsal for a revolution — this time with music. Capping Shotgun Players’ 20th anniversary season of new work, God’s Plot comically animates and literally underscores (through song, and irresistible banjo and bass accompaniment courtesy of Josh Pollock and Travis Kindred) the story surrounding “Ye Bare and Ye Cubb,” a play performed in 1665 Virginia but now lost. The legal battle that engulfed this satire of the English crown and its economic and political domination of the colonies was an early instance of the close but little acknowledged relationship between art and politics in proto-American society, with much too of religious conflict in the mix (personified here by a powerfully smoldering John Mercer as closet-Quaker Edward Martin). The playwright, a brash self-inventor named William Darby (a sure, charismatic Carl Holvick-Thomas), colludes with a disgruntled merchant (Anthony Nemirovsky) and a former indentured servant climbing the social ladder as a new tenant hand (Will Hand). Darby, meanwhile, is secretly wooing — and even more, being wooed by — Tryal Pore (an ebullient, magnetic Juliana Lustenader), a young woman even braver and more outspoken than he. As an expression of her novel and unbridled spirit, Tryal alone breaks into song to express her feelings or observations. Her temperament is meanwhile a source of worry to her father (a comically deft Kevin Clarke) and mother (Fontana Butterfield), but also attracts an unwitting suitor (a compellingly serious Joe Salazar). The play’s overarching narrative of nationalist ferment, which reaches an overtly stirring pitch, thus comes mirrored by the tension in two dramatic triangles whose common point is the precocious, golden-throated Tryal Pore. More of the private drama might have served the overall balance of the play, but a good part of the achievement of director Jackson and his generally muscular cast is making a complex play of enduring ideas and conflicts look so effortless and fun. (Avila)

The Secret Garden TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-72. Wed/21, 2 and 7:30pm; Thurs/22-Fri/23, 8pm; Sat/24, 1 and 6pm; Dec 27-28, 7:30pm; Dec 29-30, 8pm (also Dec 30, 2pm); Dec 31, 2pm. TheatreWorks performs the Tony Award-winning musical adaptation of Frances Hodgson Burnett’s novel.

*The Wild Bride Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Tues, Thurs-Sat, 8pm (also Thurs and Sat, 2pm); Wed and Sun, 7pm (no show Sun/25). Through Jan 1. In the first act of Kneehigh Theatre’s The Wild Bride, the destinies of an innocent girl (Audrey Brisson), her moonshine-making father (Stuart Goodwin), and a predatory devil in a cheap suit (Stuart McLoughlin) become inextricably entwined by an ill-fated bargain. Steeped in European fairytale logic and American folk and blues music, Bride is inventively staged at the base of a giant tree, combining mime, puppetry, dance, live music, Cirque du Soleil-style vocals, acrobatics, and taut verse into a swooping, expressionistic fable. Accidentally promised to the devil by her doting but drink-dulled dad, “The Girl” suffers first the creepy indignity of being perved on by her preternatural suitor, and secondly the horror of having her hands chopped off by her own father, actions which drive her to flee into the woods, morphing into a character known only as “The Wild” (played by Patrycja Kujawska). After a stint as an unlikely, Edward Scissorhands-esque queen, The Wild too is driven from comfort and morphs a second time into a third character “The Woman” (Éva Magyar), an experience-toughened mother bear who kicks the devil’s ass (literally), and triumphs over adversity, without even uttering a single word. At turns dark, dexterous, fanciful, and fatal, Bride rises above the usual holiday fare with a timeless enchantment. (Gluckstern)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Sun and Dec 26-30, 11am (no show Sun/25). Through Dec 31. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“Cut the Crap! With Semi-Motivational Guru, Clam Lynch” Dark Room, 2263 Mission, SF; www.darkroomsf.com. Jan 6 and Jan 13, 8pm. $15. Get motivated with self-help-guru-satirizing comedian Clam Lynch.

“Dieter und Shiela at the San Francisco International Youth Hostel” Eureka Theatre, 215 Jackson, SF; www.combinedartform.com. Wed-Fri, 9:30pm, $20. Will Franken presents his latest solo, multi-character comedy.

“Forking II: A Merry FORKING Christmas” StageWerx, 446 Valencia, SF; www.pianofight.com.Wed/21-Fri/23 and Dec 25-30, 8pm. $25-35. Well holy forking shit, it’s been three years already since Daniel Heath’s A Merry Forking Christmas debuted at PianoFight’s old Off-Market Theater digs, and in that time a few new faces have been added to the cast, and a few loose ends tied up in a bow, rendering the overall package a ho-ho-holiday treat worth indulging in. Hate the holidays? Not nearly as much as Goth girl morgue assistant Charlotte (Leah Shesky); her buddy Monique (Emma Shelton), a frustrated culinary genius selling pot cookies to stressed-out shoppers; Adam (Jed Goldstein), a disaffected Jew hired on as a Mall Santa from a temp agency; or Charles (Alex Boyd), an effete metrosexual dangerously enervated by his fiancée’s perfectionist vigor (Nicole Hammersla). Hilariously guided by Ray Hobbs and Gabrielle Patacsil, who play a variety of bit roles (Headbanger vs. Bible Banger, embattled parents fighting over the last coveted “Meat Panda,” feral children), the audience periodically gets to vote over the next permutation of plot, the “forks” alluded to in the title. According to artistic director Rob Ready (also featured in the cast as “Old Ben”), there are 362,880 possible combinations, and yes, the actors have memorized them all. Question is, will you? (Gluckstern)

“Kung Pao Kosher Comedy” New Asia Restaurant, 772 Pacific, SF; (415) 522-3737, www.koshercomedy.com. Fri-Sat, 6 and 9:30pm; Sun, 5 and 8:30pm. $42-62. Now in its 19th year, this night of “Jewish comedy on Christmas in a Chinese restaurant (where else?)” features headliners Elaine Boosler, Avi Liberman, Jeff Applebaum, and Lisa Geduldig.

Mark Foehringer Dance Project | SF Children’s Creativity Museum, 221 Fourth St, SF; www.brownpapertickets.com. Wed-Fri, 11am and 2pm. $20-35. The contemporary ballet company performs Mark Foehringer’s Nutcracker Sweets.

“Santaland Diaries” Eureka Theatre, 215 Jackson, SF; www.combinedartform.com. Thurs/22-Sat/24 and Dec 26-30, 8pm (also Fri/23-Sat/24, 3pm). $20-50. Combined Artform presents David Sedaris’ holiday comedy.

Smuin Ballet Yerba Buena Center for the Arts, 701 Mission, SF; www.smuinballet.org. Wed-Fri, 8pm (also Wed, 2pm); Sat, 2pm. $65. The company performs its acclaimed tribute to the holidays, The Christmas Ballet.

“Tenderloin Christmas Hustler: Occupy the ‘Loin!” Phoenix Theater, 414 Mason, Sixth Flr, SF; www.tenderloinxmashustler.com. Wed-Fri, 8pm. $20-25. Mash-up Christmas parody, complete with sock puppet Jesus at intermission.

“Welcome to Boswick’s House” SF Playhouse, 533 Sutter, SF; www.boswick.net. Thurs-Fri and Mon-Tues, 11am. $19. Boswick the Clown performs a goofy holiday show aimed at kids ages 4-8 years old.

“Yes Sweet Can” Dance Mission Theater, 3316 24th St, SF; (415) 225-7281, www.sweetcanproductions.com. Dec 27-29, 2:30 and 4:30pm; Dec 30, 4 and 8pm; Dec 31-Jan 1, 2pm. $15-60. Sweet Can Productions presents an hourlong extravaganza of circus arts for the holidays.

Film Listings

Andrew Lam
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0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Max Goldberg, Dennis Harvey, Lynn Rapoport, and Matt Sussman. For rep house showtimes, see Rep Clock.

OPENING

*The Adventures of Tintin Producer Peter Jackson and director Steven Spielberg join forces to adapt the work of Belgian comic creator Hergé, using performance-capture 3D animation (and featuring that new technology’s most prominent performer, Andy Serkis, in a key role). Hergé wrote over 20 volumes following the globe-trotting exploits of intrepid young reporter Tintin (Jamie Bell) and his canine companion, Snowy; The Adventures of Tintin draws from a trio of books dating from the early 1940s, tweaking the tales a bit but retaining the series’ ebullient energy and sharp humor. After he impulsively buys a model ship, Tintin is sucked into a mystery involving a long-lost pirate treasure sought by the sinister Sakharine (Daniel Craig) and, eventually, newfound Tintin ally Captain Haddock (Serkis). Fan favorites Thompson and Thomson (Simon Pegg and Nick Frost — frequent compadre Edgar Wright co-wrote the script) and a certain “Milanese Nightingale” make appearances in a story that careens between exotic locales and high-seas battles, and is packed with epic chase scenes that would leave Indiana Jones breathless. And in case you were worried, Tintin boasts the least creepy, least “uncanny valley” performance-capture animation I’ve seen to date. (1:47) Presidio. (Eddy)

The Darkest Hour Aliens invade and drain the planet’s power supply, or something. Save us, Emile Hirsch! (1:29) Shattuck.

The Flowers of War Christian Bale stars in Zhang Yimou’s period drama as a man who poses as a priest to protect a group of women during the 1937 Nanking Massacre. (2:21) Bridge.

*The Girl With the Dragon Tattoo The meeting of Stieg Larsson’s first “Millennium” book and David Fincher promised fireworks, as he’s a director who can be equally vivid and exacting with just the elements key to the series: procedural detail, obsession, violence, tweaked genre conventions, mind games, haunted protagonists, and expansive story arcs. But perhaps because this possible franchise launch had to be rushed into production to ride the Larsson wave, what should have been a terrific matchup turns out to be just a good one — superior in some stylistic departments (notably Trent Reznor and Atticus Ross’ pulsing score), but overall neither an improvement nor a disappointment in comparison to the uninspired but effective 2009 Swedish film version. Daniel Craig plays Mikael Blomkvist, the muckraking Stockholm journalist whose public disgrace after a failed expose of a suspect corporate tycoon makes him the perfect candidate for an unexpected assignment: staying sequestered in the wealthy, warring Vanger clan’s island home to secretly investigate a teenage girl’s disappearance and presumed murder 40 years ago. His testy helpmate is the singular Lisbeth Salander (Rooney Mara), antisocial hacker, researcher, and ex-mental patient par excellence. Nearly three hours long, the compressed, slightly altered (get over it) storyline nonetheless feels rushed at times; Fincher manages the rare feat of making mostly internet research exciting in filmic terms, yet oddly the book’s more shocking episodes of sex and/or mayhem don’t have the memorable impact one might expect from him. The leads are fine, as is the big support cast of recognizable faces (Christopher Plummer, Stellan Skarsgård, Robin Wright, etc.) But the knockout suspense, atmosphere, and urgency one hoped for isn’t present in this intelligent, not entirely satisfying treatment. On the other hand, maybe those who’ve already read the books and seen the prior films have already had so much exposure to this material that a revelatory experience is no longer possible. (2:38) Four Star, Presidio. (Harvey)

I Melt With You See “The Unbearable Triteness of Being.” (1:47) Lumiere.

Mission Impossible: Ghost Protocol No world landmark (the Kremlin, the Burj Khalifia) is too iconic and/or freaking tall for uber-adrenalized Impossible Missions Force agent Ethan Hunt (Tom Cruise) and his team (Jeremy Renner, Paula Patton, Simon “Comic Relief” Pegg) to infiltrate, climb, assume false identities in, use as a home base for unleashing futuristic spy technology that seems almost plausible (with the help of lots of iPads), race a BMW through, etc. One kind of gets the sense that Cruise and company sat down with a piece of paper and were like, “What stunts haven’t we done before, and how many of them can I do with my shirt off?” Celebrated animation director Brad Bird (2004’s The Incredibles) is right at home with Ghost Protocol as his first live-action effort — the film’s plot (set in the present day, it involves a positively vintage blend of Russians and nukes) and even its unmemorable villain take a back seat to Cruise’s secret-agent shenanigans, most of which take the form of a crazy plan that must be altered at the last minute, resulting in an even crazier plan, which must be implemented despite the sudden appearance of yet another ludicrously daunting obstacle, like, say, a howling sandstorm. For maximum big dumb fun, make sure you catch the IMAX version. A warning, though: any time the movie screeches to a halt to explore emotions or attempt characterization … zzz. (2:13) Presidio. (Eddy)

*My Reincarnation Reincarnation may not only sound far-fetched to a Westerner, but also unsettling. Imagine being told that you’re the manifestation of someone else — a dead stranger, essentially — and that your life is a mere shadow of that someone’s past life. At the heart of Jennifer Fox’s sweeping documentary is a father-son relationship strained by this clash between Western culture and Buddhist tradition. Filmed over 20 years, the documentary follows a Tibetan Buddhist Master, Chögyal Namkhai Norbu, and his son, Yeshi, who is believed to be the reincarnation of his great uncle. Yeshi is a normal Italian teenager who wants to be a photographer and play music, and receive some attention from his detached father. But Chögyal Namkhai Norbu insists on treating his son like a student, not his own flesh and blood. Reincarnation is a vast and intriguing look at a faith and a family, how the two intertwine, and how they can both ultimately change. (1:22) Roxie, Smith Rafael. (James H. Miller)

*Silent Souls Director Aleksei Fedorchenko and scenarist Denis Osokin’s enigmatic feature follows two men on a modern road trip that might well be deep into the bottomless past of Russia’s diverse religious rituals, mysticisms, and folklore. Coworkers travel cross-country to perform complicated Meryan ethnic rites for one protagonist’s late, beloved younger wife. This involves the transport of two birds, some surprisingly graphic personal reminiscences, an oceanfront funeral pyre, and other incidents whose full import the filmmakers are happy to leave somewhat cryptic. Gently comic, lyrical, at times borderline surreal, Souls belies a short running time of just an hour and a quarter — for all its intangibles, by the end this beguiling journey feels too substantial to have possibly taken so little of our time. (1:15) SFFS New People Cinema. (Harvey)

*War Horse If the idea of watching heroic horses getting slaughtered amid the brutal trench warfare of World War I fills your heart with disgust, then you might want to applaud Steven Spielberg and his relatively sensitive touch with that material in the heartrending War Horse. The PG-13 rating also gives you some idea that the director will be hewing to the movie’s origins as a children’s book. Spielberg paints this tale about loss of innocence, be it in the fields of the farm or the battle, in broad strokes, but here, you might feel a bit less manipulated by his prowess as a crowd-pleasing storyteller, less conscious about the legacy he draws on, and more immersed in a story that stays as close as it can to its animal protagonist’s point of view, short of pulling a Mr. Ed. War Horse opens with Joey’s birth and follows him as he’s sold to a struggling English farm run by traumatized war veteran Ted (Peter Mullan), his spunky wife Rose (Emily Watson), and his animal-loving son Albert (Jeremy Irvine). Circumstance — and an unyielding landlord (David Thewlis) — sends Joey off to the so-called Great War, first into the care of an honorable captain (Tom Hiddleston), later a French girl (Celine Buckens), and worst, into the arms of the German enemy, where he toils as a disposable beast of burden charged with hauling the literal machines of war uphill. Spielberg shields viewers both young and old from the more explicit horrors, though gracefully imparts war’s terrors, sending fresh chills through a viewer when, for instance, a child riding a horse disappears over a ridge and fails to return. No one’s immune from tears, and you have to wonder how much healing is actually possible at War Horse‘s conclusion, despite its stylized, symbolism-laden beauty. Nonetheless cinephiles will glean a certain pleasure from images that clearly nod to the blood-red skies of Gone With the Wind (1939), the ominous deep focus of Orson Wells, and the too-bright Technicolor clarity-slash-artifice of National Velvet (1944). (2:26) Balboa, Presidio, Shattuck. (Chun)

We Bought A Zoo Notorious heartstring manipulator Cameron Crowe directs this tale of a single dad (Matt Damon) who unexpectedly becomes the owner of a small zoo. (2:03) Balboa.

ONGOING

Alvin and the Chipmunks: Chip-wrecked (1:27) 1000 Van Ness.

Arthur Christmas (1:37) 1000 Van Ness.

*The Artist With the charisma-oozing agility of Douglas Fairbanks swashbuckling his way past opponents and the supreme confidence of Rudolph Valentino leaning, mid-swoon, into a maiden, French director-writer Michel Hazanavicius hits a sweet spot, or beauty mark of sorts, with his radiant new film The Artist. In a feat worthy of Fairbanks or Errol Flynn, Hazanavicius juggles a marvelously layered love story between a man and a woman, tensions between the silents and the talkies, and a movie buff’s appreciation of the power of film — embodied in particular by early Hollywood’s union of European artistry and American commerce. Dashing silent film star George Valentin (Jean Dujardin, who channels Fairbanks, Flynn, and William Powell — and won this year’s Cannes best actor prize) is at the height of his career, adorable Jack Russell by his side, until the talkies threaten to relegate him to yesterday’s news. The talent nurtured in the thick of the studio system yearns for real power, telling the newspapers, “I’m not a puppet anymore — I’m an artist,” and finances and directs his own melodrama, while his youthful protégé Peppy Miller (Bérénice Béjo) becomes a yakky flapper age’s new It Girl. Both a crowd-pleasing entertainment and a loving précis on early film history, The Artist never checks its brains at the door, remaining self-aware of its own conceit and its forebears, yet unashamed to touch the audience, without an ounce of cynicism. (1:40) California, Embarcadero, Piedmont. (Chun)

Being Elmo: A Puppeteer’s Journey (1:25) Opera Plaza, Shattuck.

A Dangerous Method (1:39) Albany, Embarcadero, Sundance Kabuki.

*The Descendants (1:55) California, Marina, 1000 Van Ness, Piedmont, SF Center, Sundance Kabuki.

*Drive (1:40) Castro, Lumiere.

Footprints (1:20) Roxie.

Le Havre (1:43) Opera Plaza.

Hugo (2:07) 1000 Van Ness, Shattuck, Sundance Kabuki.

Immortals (1:50) 1000 Van Ness.

J. Edgar (2:17) 1000 Van Ness, Opera Plaza, SF Center.

*Melancholia (2:15) Lumiere, Shattuck.

Midnight in Paris (1:34) Shattuck.

The Muppets (1:38) 1000 Van Ness, Presidio.

My Week With Marilyn (1:36) Albany, Clay, 1000 Van Ness, Piedmont.

New Year’s Eve (1:58) 1000 Van Ness, Sundance Kabuki.

Paul McCartney: The Love We Make (1:34) Roxie.

*Shame (1:39) Embarcadero, Shattuck, Sundance Kabuki.

Sherlock Holmes: A Game of Shadows Maybe Guy Ritchie should’ve quit while he was ahead. Thanks to strong performances from Robert Downey Jr. and Jude Law, the British director’s first Holmes flick proved surprisingly fun. Two years later, it’s clear that Ritchie’s well of creatitivity has run dry. Sherlock Holmes: A Game of Shadows is cliched and overlong, burying a few good ideas under an avalanche of tired action movie stalwarts gone steampunk. To be fair, the set design and art direction are still sumptuous, creating a hyperbolic, detailed vision of Victorian Europe. New cast additions Jared Harris (as Moriarty, maliciously polite) and Stephen Fry (as Mycroft, eccentric and nude) do well with limited material. Noomi Rapace, playing a helpful gypsy, is superfluous. Downey Jr. and Law are still game for some amusing PG-13 homoeroticism, but it’s the former’s disinterested performance that ensures the movie’s downfall. Forced to make do without witty quips or interesting deductions, the Holmes of A Game of Shadows is part bruiser, part buffoon. The game’s a flop, Watson. (2:09) Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Ben Richardson)

The Sitter (1:21) 1000 Van Ness.

The Skin I Live In (1:57) Opera Plaza, Shattuck.

*Tinker Tailor Soldier Spy (2:07) SF Center, Shattuck, Sundance Kabuki.

*Tomboy (1:22) Shattuck.

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) Castro. (Harvey)

Twilight Saga: Breaking Dawn — Part One (1:57) 1000 Van Ness, SF Center.

*Young Adult (1:34) California, 1000 Van Ness. 

 

On the Cheap Listings

Andrew Lam
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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.

WEDNESDAY 21

Cartoonist-palooza gift sale and concert Mercury Café, 201 Octavia, SF. www.stevelafler.net. 6-9 p.m., free. Lloyd Dangle, a longtime deft lampooner of the one percent in his Troubletown comic strip, headlines a night of comic-oriented holiday offerings and live music. Mats!?, Jeff Roysdon, Steve Lafler, and the Dick Nixon Experience (responsible for the one-and-only “Oaxacabilly” sound) join.

Winter Solstice celebration Muir Woods Visitor Center, 1 Muir Woods Rd., Mill Valley. www.parksconservancy.org. 3-8 p.m., free. You can spend the longest night of the year spent underneath the longest trees around. Solstice crown-making, musical performances, and luminaria-guided jaunts along Muir Woods trails light up the night.

THURSDAY 22

Objectified screening Phyllis Wattis Theater, SFMOMA, 151 Third St., SF. www.sfmoma.org. 7 p.m., $5. From the very same folks who examined glyphs and serifs in the film Helvetica comes a film on the design of some of our most mundane objects. Potato peelers and toothbrushes will both be under discussion.

Animation Workshop Rock Paper Scissors Collective, 2278 Telegraph, Oakl. www.rpscollective.org. 6-8 p.m., sliding scale. Before gifs, there was the even simpler stuff: cut-out and stop-motion animation. Rock Paper Scissors holds monthly workshops on such styles of yore. Eager would-be animators are invited to come and create their own short films.

FRIDAY 23

Berlin-Style Ping-Pong Project One, 251 Rhode Island, SF. 9 p.m., $5. With two whole reasons to celebrate (the first being that it’s Friday, the second that it’s Christmas Eve-Eve), there’s absolutely no excuse to pass up the latest match of “Berlin-style” ping-pong, the paddled craze sweeping the city. Join the frantic runners-round-the-table.

SATURDAY 24

Mittens and Mistletoe Dance Mission Theater, 3316 24th St., SF. www.dancemission.org. Also Sun/25. 2 p.m. and 4 p.m., $7.50 on www.brownpapertickets.com. Directed by two bonafide clowns, Coventry and Kaluza, the winter-themed variety show re-imagines trashcans, brooms, and similarly ordinary objects with the help of slack lines, acrobatics, and the usual circus magic.

SUNDAY 25

Free admission day Contemporary Jewish Museum, 736 Mission, SF. www.thecjm.org. 11 a.m.-4 p.m., free. Sure, there’s Chinese food and the Cineplex. But for those Christmas Day wanderers looking for cultural enlightenment, the CJM opens its doors for a day of spinning top-making and guided tours (including one of that sweet Houdini exhibit).

“It’s a Jewish Christmas” Make-Out Room, 3225 22nd St., SF. www.makeoutroom.com. 5-11 p.m., $10. Strip dreidel, a real-deal Chanukah bush, alternating works of neurotic brilliance by Woody Allen and Larry David, and a lavish spread of chow mein make this the best un-Christmas ever.

Schlitz and free country music Bender’s, 806 South Van Ness, SF. www.bendersbar.com. 9 p.m., free. Two dollars for the beer that made Milwaukee famous is great enough, but add the twanging grooves of local group the Dead Westerns and you may never make it out of Bender’s.

MONDAY 26

Kwanzaa in San Francisco Through Jan. 1. Various times and places, SF. www.kwanzaasanfrancisco.com. Celebrate the African holiday of faith, self-determination, unity, and other universally clutch principles with these seven days of free events. Highlights: the Mon/26 keynote speech by City College trustee Dr. Brenda Wade, Dec. 28’s one-woman play on the life of Harriet Tubman, and feasts every night of the festivities.

Holiday Animation Film Festival McBean Theater, Exploratorium, 3601 Lyon, SF. www.exploratorium.edu. Noon, 2, and 4 p.m., free with museum admission. Even if you start watching a holiday-themed short screened as part of the holiday animation festival and it doesn’t tickle your fancy, chances are you’ve only got about a minute or two left to go before it’s over, Scrooge. Hand-painted paper scraps, stop-motion animation, and stuffed animals headline the show.

Catholic Church rejects LGBT ministers

Zelda Bronstein
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Catholic Church rejects LGBT ministers

I grew up in the Catholic Church, and it pretty much drove me away from religion. I could never quite get the basic contradictions between a message of love for all people and a politics of intolerance. (Jesus loves his children, except the women, who have to be second-class citizens, and the homosexuals, who are going to burn in Hell.)

Then there was the general wackiness: Every Sunday, we had to pray for “the Jews” in the hope that they would see the light of Jesus and be saved. I once asked our head parish priest, who was also the “Christian Doctrine” teacher at my Catholic school, what that was all about; the Jewish people I knew seemed to be doing fine on their own. They believed their thing, we believed ours, and so what? Were these folks all really going to suffer eternal damnation? That seemed so, you know, harsh.

The priest was very direct: Our way, the Catholic way, was the only way. Everyone else was wrong and would pay for it. People who didn’t believe the same things we did were doomed to hideous torture in the flames of Hades until the end of time and beyond. Too bad for them.

Oh, and by the way: It wasn’t just a sin to have sex, even with yourself — it was a sin to think about it.Later, Father.

Before the blog comments start, let me acknowledge that there are many wonderful Catholics who have done wonderful things for the world. I have nothing but respect for them and they way they live their lives. The nuns who live next door to my mom in Philadelphia are really sweet and helpful to her, and they were great when my dad was dying. I’m a proud atheist, but whatever turns your spirit on is fine with me. Just don’t tell me I have to agree with you.

That said, the dodos who run the organizational part of the Church have always been a bit of a problem.

For example: this is San Francisco, and there are a decent number of gay Catholics, and a lot of them go to Most Holy Redeemer Church in the Castro, which is about as welcoming to gay people as any Catholic institution can ever be. And what does the Great and Exalted Archbishiop, Geroge Niederauer, do? According to a nice scoop by Cythina Laird in the BAR, he kicks a few lesbian and gay ministers out of an Advent service:

At least three gay and lesbian clergy members were disinvited from participating in Advent services at Most Holy Redeemer Catholic Church in the Castro, the Bay Area Reporter has learned. … “The basic reason is that Archbishop Niederauer felt the themes for vespers should better reflect the themes of Advent,” Wesolek told the B.A.R.

The “themes of Advent?” The only “theme of Advent” I know is that it celebrates the upcoming feast of the birth of Christ, who, at the time of his miraculous arrival into this world, hadn’t said a single thing about homosexuals.

Let’s be serious: This isn’t a religious statement, it’s a political statement about same-sex marriage. The archbishop can’t tolerate the idea that people — even respected religious people who also believe in Jesus, one of them a damn bishop, for Christ’s sake  — who happen to disagree with his teachings on marriage might share the stage with his holy crew:

Charles was the Episcopal bishop of Utah and was married to a woman for many years. After his retirement in 1993, he came out as a gay man, divorced his wife, and moved to San Francisco. In October 2008 he married Felipe Sanchez-Paris, Ph.D. in a civil ceremony in San Francisco. The couple had a church wedding in 2004 that was covered in the San Francisco Chronicle .

He told the B.A.R. that he received a call the night before his scheduled appearance “indicating that my participation in a liturgical service was unacceptable to the Chancery (in all likelihood, the archbishop): presumably, my participation as the first openly out gay bishop, legally married according to the laws of the state of California, might suggest approval of gay marriage.”

Kind of hard to believe. Or not.

I wish the folks at the archdiocese would talk to me about this, but they haven’t returned my calls.

UPDATE: George Wesolek, spokesperson for the archdiocese, just called me. He acknowledged that the archbishop had decided to disinvite the three ministers on the grounds that “it appeared they might be going to talk about topics with agendas. Advent is not the time for politicizing this, for divisive issues, it’s a time to bring people together.”

In other words: If you want to talk about same-sex marriage, shut up.

 

 

The lights are on in Santa Clara

Zelda Bronstein
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The lights are on in Santa Clara

It’s ironic that PG&E is trying to blame the (brief) power outages at Candlestick — seen live, nationwide, on what was otherwise a great Monday Night Football game — on San Francisco. Even by the utility’s biased admission (and let’s remember — these are the same folks who tried to duck blame for the San Bruno blast that killed eight people), the whole problem started when a line owned and operated by the private utility lost power.

But here’s the best part: One of the main reasons that Santa Clara has been able to finance a brand new stadium for the team, which will soon abandon poor, beat-up old Candlestick, is that the Peninsula city has its own public-power agency.

I’m not for using public money to build sports stadiums. The people who own NFL teams (with the exception of the Green Bay Packers) are not only part of the 1 percent; they’re part of the top one-tenth of the one percent. They’re very, very rich folks, who can pay for their own damn stadiums.

And I don’t think San Francisco will suffer greatly when the Niners move south — we never got much of an economic benefit from football games here, anyway.

But I’ll always remember the story Sheriff Mike Hennessey told me a few years back, when he was attending one of Mayor Gavin Newsom’s department-head meetings, and the mayor started complaining about Santa Clara’s efforts to woo the Niners, and how money from that city’s power agency was making it hard for S.F. to compete.

“Are you saying,” Hennessey asked the mayor, “that if San Francisco had public power, we might be able to keep the 49ers?”

Newsom didn’t respond.

Localized Appreesh: the Cosmo Alleycats

Tony Robles
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Localized Appreesh is our weekly thank-you column to the musicians that make the Bay. Each week a band/music-maker with a show, album release, or general good news is highlighted and spotlit. To be considered, contact emilysavage@sfbg.com.

Snap your fingers – jazzy San Francisco swingsters the Cosmo Alleycats have officially released their debut album, The Late Late Show. It’s the kind of story you love to hear: talented local band makes good, a group that formed as a weekly venue houseband makes the leap to fully-realized recording act. And that record beams with tinkling piano, hearty sax, the thumping backbone of upright bass, and a mix of soulful jazz numbers, vintage R&B, and poppy upbeat swing. 

Celebrating their new retro-tinged album this week, the Cosmo Alleycats play two local release shows; one at Le Colonial, at which they were hatched, and then another at Blondie’s Bar & No Grill – there’ll be a special “Alleycat Cosmo” cocktail available at the second event, here’s hoping there’s good booze contained within.

Year and location of origin: January 2010 on Cosmo Alley in SF
Band name origin: Mike: Booze & lack of foresight. Steve & Emily: A couple of us were asked to pull together a band to fill in for Kim Nalley at Le Colonial while she was on vacation for a month. Assuming that there would only be four performances, we wanted the band name to reflect the venue location. Since Le Colonial is on Cosmo Alley, “The Cosmo Alleycats” seemed like a natural fit. Soon after, we were hired as the full time Wednesday night band and started doing gigs all around the Bay Area. The name just stuck.
Band motto: Steve: Get people dancing; Mike: Don’t ask Noam about his hair; Emily: Create fun!
Description of sound in 10 words or less: Emily: Modern vintage R&B and boogaloo swing – we defy classification!; Mike: twang, honk, bang, thump, tinkle, hum.
Instrumentation: Vocals (Emily Wade Adams), Sax (Pete Cornell), Piano (Noam Eisen), Upright Bass (Steve Height) and Drums (Mike Burns). The album also features Nick Rossi on guitar and David Kellerman on keys.
Most recent release: The Late, Late Show (2011)
Best part about life as a Bay Area band: Emily: Loyal, enthusiastic, supportive fans (many of whom wow us with their secret swing dancing skills) and the opportunity to play a range of excellent venues from fun dive bars to hallowed music halls, awesome festivals, and gorgeous winery weddings; Steve: There are so many people here that love seeing live music and are tremendously loyal to bands that they enjoy; Mike: Playing in my home town.
Worst part about life as a Bay Area band: Steve: Bridge traffic; Mike: DJs; Emily: Trying to park to load in!
First record/cassette tape/or CD ever purchased: Mike: Herman’s Hermits; Emily: Oh God. My first tape was either Madonna’s “You Can Dance” or George Michael’s “Faith”. First CD was Soul II Soul’s Club Classics Volume 1. When I was three, I’d listen to the Beatles’ Magical Mystery Tour record over and over, looking at all the pretty pictures in the booklet that came with the record and wondering why all these old dudes were dressed up in costumes. I had no clue that drugs were involved until I was about 20.”
Most recent record/cassette tape/CD/or Mp3 purchased/borrowed from the Web: Emily: Other than our own? The latest releases from Amy Winehouse and the Black Keys; Mike: Arann Harris and the Farm Band.
Favorite local eatery and dish: Steve: Le Colonial’s brussels sprouts; Mike: Cordon Blue, California @ Hyde, menu #5; Emily: Where to begin? The food trucks at Off the Grid are ridiculous. I’m addicted to Curry Up Now’s chicken tikka masala burrito. Also, the veggie burger at the Plant Organic is to die for. And I love my Thursday night ‘liquid dinners’ with the band at Blondie’s Bar & No Grill.”

Cosmo Alleycats
Wed/21, 7-10 p.m.
Le Colonial
20 Cosmo Place, SF
www.lecolonialsf.com

Thurs/22, 9 p.m.-12:30 a.m.
Blondie’s Bar & No Grill
540 Valencia, SF
www.blondiesbar.com

Live Shots: ‘Yes Sweet Can’ at Dance Mission Theater

Jesse Hawthorne Ficks
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Sweet Can Productions puts on a gonzo circus show, but with a focus on quotidien, real-world concerns. For its upcoming “Yes Sweet Can” show, running for over two weeks at Dance Mission Theater, the performance is inspired by everyday chores — and actually makes them seem like fun.

Cleaning can be a blast, apparently, and making a cup of hot chocolate — while balancing a pot of hot milk on your head, of course — can also be rather exciting. The performers’ talents as acrobats are obvious, their flexibility undeniable. Whenever I see them do those super-exaggerated back bends, I always think “Man, that must feel sooo good!”

The storyline at moments can seem a little vague, but that didn’t really seem to matter since the show is always moving forward (sometimes actually flying forward) with aerial feats, high up in the rafters of the theater.

“Yes Sweet Can” by Sweet Can Productions
Dance Mission Theater
3316 24th Street
Thru Jan 1, check website for times and prices
www.sweetcanproductions.com

Live Shots: Dinosaur Jr. at the Fillmore

Tony Robles
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By Jolene Torr

The nostalgia factor of a night spent at the Fillmore, watching Dinosaur Jr. play the entirety of its classic Bug album while the scents of weed and that cloying old familiar CK One (I shit you not) steeped into my clothes, is hard to ignore. Though I was too young to appreciate Bug in 1988, watching the slacker-rock trio indulge in sprawling guitar solos and dense, chugging bass lines undoubtedly evoked a longing for grunge and those impetuous ’90s.

Former Black Flag frontman and spoken word artist Henry Rollins couldn’t shake that wistful yearning for another time either as he sat on stage with Dino Jr. last Thursday for a pre-show interview. Invoking the spirits of the Fillmore, Rollins declared, “I always get a bit of déjà vu when I come here. This is where Janis [Joplin] and Grace Slick played!”

Slack-jawed, awed in the venue’s music history, he asked, “So what does it mean to play at the Fillmore?” A big, meaty question like that might normally necessitate an equally sentimental response, but J Mascis, rather than trip down memory lane with the rest of us, championed the venue’s acoustics. “The sound’s really good,” he said. “It’s hard to have a bad night here.”

With his bellicose stare, Rollins probed the band for key insights, opining that the “rip-roaring, pedal-to-the-metal” Bug represented a “sharpening of sound” and with it, a sound that “got more heavy.” There was the promise to be loud, that sound was sacrosanct.

The six stacked amps surrounding the band was the temple. When asked how a venue responds to the volume of the guitars, J Masic said, “Once a sound guy came on and turned down my amp.” He laughed, still bewildered that this had once happened, “That’s like sacrilegious to me.”

After the 30-minute-ish interview, the band launched into Bug, playing to a burly male-centric room, aggressive in their hollers and “owwws” through J’s distortion and Murph’s thunderous drums, lumbering along to Lou Barlow’s bass. They played loud, for sure, extended intros and songs that seemed to play longer than they should that really just seeped into one another, for a night of melodics and heroic guitar anthems in quintessential slacker fashion.

 

All photos by Chris Stevens.

Laura Gravander’s top 10 live bands of 2011

Tony Robles
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0

For so many more year-end music lists, click here and pick up this week’s paper.

Dirty Cupcakes’ Laura Gravander presents a totally nepotistic list of the top 10 live bands of 2011:

1. ELECTRO: This is the band of 8-year-old girls I mentored this summer as a volunteer at Bay Area Girls Rock Camp. After learning two chords from scratch, they wrote a droney, unintentionally avant-garde five-minute anti-bullying opus with a rap breakdown that blew my mind at their July showcase at the Oakland Metro. This is the future.

2. Uzi Rash: Swamp reptile Max Nordile and his band of trashy weirdos play music that is both grating and catchy, and deceptively complex. See them live and they will freak you out, and possibly hit you in the eye socket with an empty 40 oz. (it happened to me).

3. Shannon and the Clams: Seeing the Clams live feels like being magically reunited with your childhood dog — happy and nostalgic, a little bit sad. This metaphor is especially apt if you and your childhood dog loved to DANCE! 4. Younger Lovers: Killer guitar parts, dance-crazy beats, and singer-drummer-songwriter Brontez’s onstage bitching makes Younger Lovers’ shows unpredictable and exciting. Plus, their guitarist is super-cute!

5. King Lollipop: Elfin hillbilly plays bubblegum rockabilly (or something like that!) backed by six drummers who sound like a marching band meets drum circle, minus the lame.

6. Human Waste: Freaky spacesuited dystopian moog-punk from the Moon. Rumored to consist of members of Uzi Rash, Shannon and the Clams, and Dirty Cupcakes. More space waste to come in 2012.

7. Glitter Wizard: Intricate, impressive glam rock. And once, mid-song, I saw frontman Wendy Stonehenge light his hand on fire!

8. PIGS: This three-piece plays metal for people who love metal. Ripping it up soon in a scummy warehouse near you.

9. Knifey Spoony: Oakland punk rockers with impressive live show and unexpectedly melodic hooks. Singer-guitarist Steve Oriolo studied music in college but uses his powers for good (rock), not evil (anything that doesn’t rock).

10. Sweet Nothing: I’m a sucker for two-piece bands and girl drummers, and Ian and Melissa always rock my face off.

 

Shannon and the Clams bring it live:
http://www.youtube.com/watch?v=zET182UnfNo

Marco De La Vega’s top 10 substances that have influenced music in 2011

Tony Robles
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3

For so many more year-end music lists, click here and pick up this week’s paper.

120 Minutes’ Marco De La Vega (@S4NTA_MU3RTE) lists his top 10 substances that have influenced music in 2011:      

1. Adderall: Not just because Bay-local comeup, Kreayshawn, spits bout slangin’ em (“gnarly, radical, on the block I’m magical… see me at your college campus baggie full of Adderalls” or even because of Kendrick Lamar’s thoughtfully spaced out track “A.D.H.D.” but mostly because of its association with hyperactive, creative, and willfully scattered children. Odd Future blew up, Tyler the Creator dropped Goblin, A$AP Rocky put out one of the strongest releases of the year with LIVELOVEA$AP. All kinds of kids were spittin’ up mixtapes right outta high school and then signing multimillion dollar contracts.

2. DMT: Dimethyltryptamine is some fucked up shit, and I mean that in the most complementary way possible. A small glimpse behind the fabric of reality. There were a few releases this year that resemble and reflect this completely alien and confusing greater truth. Oneohtrix Point Never’s Replica, James Ferraro’s Far Side Virtual, and Laurel Halo’s flawless EP, Hour Logic (Hippos In Tanks).

3. Nitrous Oxide: whippets are back and that shit makes everything sound like you’re living in a vacuum cleaner. As much as I despise the hyperwobbly, fist pumpin’ sounds of brosteppers like Rusko, and (cringe) Skrillex, I can’t deny that that shit is selling cars; dubstep car commercials. Also, to be fair, real dubstep and what is often called post-dubstep is some amazing music and some of its less commercially viable/more critically acclaimed artists have put out some beautiful work. Zomby dropped Dedication this year on 4AD and that shit is sick. James Blake’s debut album is also impossibly good.

4. Pills: maybe it’s just the kids I roll with, but I assume that most sensitive, well thought, independent rock is made by people on pills (think old Brian Jonestown Massacre or Jesus and Mary Chain). The second I heard that track “Vomit” off of friends and local heroes Girls new album Father, Son, Holy Ghost, I had to raid my own medicine cabinet, take a couple Vicodin, and listen to a stack of records including that, Tamaryn, King Dude, Chelsea Wolfe, and Zola Jesus.’Bout as close to heaven as a guy like me can get.

5. Coke: coke always has and always will rule the dancefloor. It goes further than that though; coke rap is alive and well. Trap rap (rap about drug dealing) in general is continuing to run shit. And when you got Lex Luger droppin’ some of the illest beats around for songs that are 90 percent chorus, how can you go wrong? This is a very serious statement — the Ferrari Boyz (Gucci Mane and Waka Flocka Flame) mixtape that came out about a week before that overhyped, tired, abomination that is Watch the Throne, has some of the best tracks this year.

6. K: club drugs in general are back, and nothing says party like as strong debilitating dissociative. I mentioned this album earlier when I was talking about DMT, but it’s good and weird enough that it needs to be mentioned twice. James Ferraro’s Far Side Virtual.

7. Acid: my favorite substance. LSD is an extended barrage of overwhelming sensory input, particularly sight and sound, and should therefor be discussed in those terms. Sight: this year has been all about projections, lasers, and smoke — there are a lot of amazing producers playing live right now, and a dude with a laptop ain’t a show, so it’s important to add some flare. Sound: from mixtapes like White Ring’s tranced out Chaind and Nike7up’s crazy melted-pop gem 33:33 to Araabmuzik’s breathtakingly unfuckwithable album Electronic Dream, this has been the strongest showing dosed out music has had since the mid ’90s.

8. MDMA: like I was saying earlier, club drugs are huge right now. Best part about the ecstasy thing though is that we’re not talking pressies here, just pure crystalized love. You can hear it in the work of groups like Sleep 8 Over and (of course) Pure X. But I think it’s most evidenced by song’s like The Weeknd’s “High for This” and on Pictureplane’s brilliantly positive album Thee Physical (Lovepump United).

9. Weed: not that weed ever goes away, but it’s had a really strong year. Seems like everybody’s smoking blunts and flipping pounds these days. Wiz Khalifa, A$AP, Lil B, Lil Wayne, Miley fucking Cyrus. and of course Zip and a Double Cup himself, Juicy J., which brings us to our big winner…

10. Promethazine: Lean, purple drank, double cup, sizzurp — codeine cough syrup has a lot of names, and it’s been an important factor in rap, particularly Southern rap, for a very long time. But that influence is spreading. Bands like Salem have created whole new subgenres of music built off applying the late great DJ Screw’s production sensibilities as liberally as possible. New York Rappers like A$AP Rocky are singing the praises of Screw and Pimp C while repping Harlem and putting New York back on the map. I think 2012 is gonna be all about double cup dinner parties and art walks. Do yourself a favor, call your doctor and fake a cough, pop in Clams Casino’s Instrumental mixtape and/or LIVELOVEA$AP and chill for a bit.

 

“Vomit” blew minds:
http://www.youtube.com/watch?v=ze6rg4ixjOI&ob=av2e

The Bonds trial: What a phenomenal waste

Zelda Bronstein
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6
The Bonds trial: What a phenomenal waste

What a phenomenal waste of everyone’s time and money.

After eight years, millions of dollars in taxpayer money, and endless trees killed for newspaper stories, Barry Bonds was just sentenced to spend a month on his Beverly Hills estate.

If I take steroids and lie about it, can I spend a month there, too?

Seriously — other than the publicity the U.S. Attorney’s Office got for prosecuting the Home Run King, what has all of this accomplished? Are any of us safer now that Bonds has been forced to live under house arrest for 30 days and do 250 hours of community service (that he was going to do anyway)?

I’ve always agreed with Dave Zirin on this one:

After all the public money, drama, and hysterics, this is what we’re left with. He was “evasive.” Keep in mind that we live in a country where the US Department of Justice has not pursued one person for the investment banking fraud that cratered the US economy in 2008. Not one indictment has been issued to a single Bush official on charges of ordering torture or lying to provoke an invasion of Iraq. Instead, we get farcical reality television like the US vs. Barry Bonds.

Did Bonds take a “performance enhancing drug?” Again, Zirin:

The cortisone shot into Curt Schilling ankle in the 2005 playoffs was a performance enhancer. The Viagra coursing through Bob Dole’s veins is a performance enhancer. Whatever keeps that smile glued to Laura Bush’s face is a performance enhancer.

Please: There are real crimes happening all the time, from war crimes to political corruption and fraud, things that actually change the lives of human beings for the worse. And the U.S. Department of Justice has proudly used our taxpayer money to send Barry Bonds home for a month.

I’m so proud of our justice system.

Marc Ribak’s top 10 records during Thanksgiving week

Tony Robles
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0

For so many more year-end music lists, click here and pick up this week’s paper.

Total Trash Fest’s Marc Ribak’s list of the top 10 records during Thanksgiving week:

1. The Fall, Wonderful and Frightening World of the Fall (particularly the tape that includes singles)

2. The Spits, Kill the Cool (demos and rarities, LP on In the Red)

3. Reigning Sound, Time Bomb High School and Too Much Guitar (LPs on In The Red)

4. The Ronettes, Presenting the Fabulous Ronettes featuring Veronica, and Phil Spector’s A Christmas Gift for You.

5. Devo, Workforce to the World (early live bootleg)

6. The Marvelettes, Greatest Hits (LP on TAMLA)

7. Coachwhips, Bangers Versus Fuckers (LP on Narnack)

8. South Bay Surfers, Battle of the Bands (LP on Norton)

9. Tav Falco and the Unaproachable Panther Burns, Panther Phobia (In the Red Records)

10. Jonathan Richman, Rockin’ and Romance (LP on Twin/Tone)

 

The stunning Marvelettes
http://www.youtube.com/watch?v=QFap3uwPYtU

Live Shots: Avey Tare at New Parish

Tony Robles
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0

It’s been over a year since Dave Portner – the yelping member of Animal Collective better known as Avey Tare – released his crocodile-inspired solo debut Down There (Paw Tracks). Maybe Tare needed to spend some time away from the songs that dealt with divorce, death, and illness, as he only recently set out on tour in support of the album. He finished his brief solo tour on Sunday night at Oakland’s New Parish, and I couldn’t wait to finally check him out.

The dismal grey weather was well-suited to Tare’s dark and murky debut. A youthful crowd clad in an unsettling amount of lumberjack plaid filled the venue. Onstage was a creepy Yoda skeleton and a white sequined cloth-draped table with a few baby crocodiles placed around several electronic instruments.

Tare began by blasting the audience with a discordant burst of noise. In the spirit of Animal Collective, the set that followed was comprised of several new, unreleased songs interspersed with selections from Down There. Animal Collective is known to routinely perform new material prior to putting it out, so it seems only natural that the band’s primary songwriter would engage in a similar backwards album cycle.

New songs like “Slow Words” and a track fans are tentatively referring to as “Sometimes” were bright and bubbly with Tare’s passionate, yelping vocals at the forefront. As with all things Animal Collective, there were plenty of repetitive, primal rhythms and colorful samples. Tare seemed well acquainted with the new stuff, which is (hopefully) indicative of a follow-up to Down There in the not so distant future.

For me, watching an artist breath new life into songs I know and love is the highlight of any performance. Given the sonic complexity of Tare’s material, it was tough digesting all the newness without something familiar to latch onto. I was thrilled whenever one of his unknown offerings blossomed seamlessly into a track from Down There. The ambling, accordion-driven “Laughing Hieroglyphic,” the swampy, synth-heavy “Lucky 1,” and a pulsing “Oliver Twist” were the shining moments of Tare’s set. I didn’t get to dance as much as I would have liked. Instead, I watched in awe as Tare toyed with his gear and sang with fervid intensity.

Opener: I often describe bands as energetic, but L.A.’s Foot Village made every performance I’ve seen before look like a geriatric yoga class in comparison. The four tribal noise rockers beat on a giant cluster of drum kits while two members took turns shouting incoherently into a megaphone. Held over a floor tom, the same megaphone produced a sound unlike anything I’ve heard. The band’s only female member, Grace Lee (who removed her pants after the opening song), stole the show by convulsing wildly, whipping a rope light around, and knocking down a speaker twice her size.

 

All photos by Wolfgangg Photography.

A really dumb article about bookstores

Zelda Bronstein
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35
A really dumb article about bookstores

You never know what you’re going to get on Slate, which tends toward the neo-liberal and sometimes libertarian, but I just read a particularly awful piece by technology writer Farhad Manjoo, who thinks that local bookstores are economically inefficient and should just go away:

Compared with online retailers, bookstores present a frustrating consumer experience. A physical store—whether it’s your favorite indie or the humongous Barnes & Noble at the mall—offers a relatively paltry selection, no customer reviews, no reliable way to find what you’re looking for, and a dubious recommendations engine.

For a tech writer, Manjoo has a remarkably shoddy understanding of economics:

After all, if you’re spending extra on books at your local indie, you’ve got less money to spend on everything else—including on authentically local cultural experiences. With the money you saved by buying books at Amazon, you could have gone to see a few productions at your local theater company, visited your city’s museum, purchased some locally crafted furniture, or spent more money at your farmers’ market. Each of these is a cultural experience that’s created in your community. Buying Steve Jobs at a store down the street isn’t.

He conveniently ignores that fact that money spent a locally owned, independent business stays in the community — and thus creates more local economic activity and more jobs (not to mention tax revenue for local government). Money spent at Amazon goes to an out-of-town operation that doesn’t even pay state sales tax. You want to read about the well-documehted economic value of shopping at a local story, you can find plenty here and here and here.

And let’s talk about the One Percent — would you rather that your money helps the owner of a small local store buy food for his or her kids, or see the money go to one of the richest people in the world?

But there’s another point here. Like local coffee shops, local bookstores are places where people gather and have actual human interactions. I see my neigbors there; we talk about what we’re reading. When I’m done with books, I can sell them back — and someone else can buy them, used, and I can use the money to buy another new book. Which is a pretty efficient economic system.

And there are things you can’t put a price on: At Red Hill Books, the allegedly inefficent, overpriced local bookstore in Bernal Heights, the employees know me and my kids — and when my daughter, who is a voracious reader, finishes one series of books, they know what to recommend next.

That’s not a “recommendations engine” — that’s a live person.

If Farhad Manjoo wants to live in robo-world where a machine tells you what to eat, drink and read, fine — but I still think human beings, inefficient as we are, do a better job at selling books.

 

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