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Survivor recounts life of rape and abuse by Your Black Muslim Bakery leader

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Editor’s Note: This story is part of the Chauncey Bailey Project, a collaboration of Bay Area media outlets (including the Guardian) to investigate Bailey’s murder by members of Your Black Muslim Bakery.

By Louise Rafkin, Center for Investigative Reporting

 In 2002, five years before journalist Chauncey Bailey was murdered by members of Your Black Muslim Bakery, a woman identified only as Jane Doe 1 stepped forward to report decades of sexual abuse, welfare fraud and violence by the bakery’s leader, Yusuf Bey Sr.

She was prepared to hand over to Oakland police DNA from three of her children evidence that Bey had impregnated her, the first time when she was 12 years old.

Given the history of violence by members of Your Black Muslim Bakery, this was a risky move. But the woman was fueled by a mother’s anger. Her daughter, then 18, alerted her that Bey was trying to abuse her – his own daughter.

Now a devout Christian, Jane Doe 1 has decided she no longer wants to be the nameless whistle-blower. Her name is Kowana Banks and, in her first public interview, she said she made the decision to come forward to help other children trapped in similar situations. She hopes to publish a book about her experiences.

“Abused people go one of two ways: Either they are going to self-destruct or they’re going to make a difference,” said Banks, 44. “I’m going to make a difference.”

The violent saga of Your Black Muslim Bakery is fading into Oakland history, but wounds remain among Bey’s victims and family members today marks the fifth anniversary of the murder of Bailey, the Oakland Post editor who had been investigating the bakery’s finances.

The facts behind Banks’ story have been outlined in court proceedings and depositions, but her decision to come forward allows her to detail her unique insider’s perspective as a victim and survivor.

Today, Banks is an optimistic, composed woman who has moved on as best she can. One of her three children by Bey, Yusuf V, 25, is in San Quentin State Prison for his part in the 2007 kidnapping of two Oakland women, one who was tortured, a crime related to the bakery’s demise. The other two are doing well.

Banks considers the three to be the “blessing out of what happened to me.”

Married for 18 years to a man she met after leaving the bakery, Banks says the bitterness and anger that grew from her childhood abuse dissolved when she fell in love. The couple have two children together.

“But it’s difficult to look back and know I was just a child then and that no one cared,” she said.

Throughout her childhood at the bakery, Banks said she felt abandoned by the social welfare system, invisible even to those at local hospitals where she – and many other underage girls at the bakery compound – gave birth to multiple children while still children themselves.

She delivered the first of three children by Bey at Alta Bates Hospital in Berkeley at 13. A social worker questioned Banks about the paternity of her son, she said, but under the watchful eye of one of Bey’s “wives,” Banks kept silent. Later, she said she told a child protection worker that she was working long hours and not going to school.

“She told me she would check into it, and I never saw her again,” Banks said.

Bey, a self-appointed minister who gave himself the title of “Dr.,” was formerly a hairdresser. He opened Your Black Muslim Bakery in the late 1970s, espousing black self-reliance and his own interpretation of Islam, which included racist attacks on whites. Nevertheless, in his more than 30 years in North Oakland, Bey gained the support of local business leaders, clergy and politicians eager to align with the underclass.

In 2003, Bey died before facing trial, setting off the struggle for power and control that escalated into mayhem and multiple murders. Banks said she saw the violence coming.

“You cut off the head,” Banks said, “and the body will go crazy.”

Molestations began at age 8

Banks, who was born in the East Bay, said her father was a drug addict who met Bey’s followers while doing jail time for drug-related crimes. Banks can’t remember her mother, who she said abandoned her as a toddler, along with a younger brother and older sister.

In 1976, Banks’ father brought the children to live at the bakery compound, where he’d gotten a job. A hive of single-family homes, retail storefronts and apartments clustered on the corner of San Pablo Avenue and 59th Street in North Oakland, the compound housed bakery workers and Bey’s sprawling family of children and women he called his wives.

One Sunday night in 1976, Bey invited Banks to spend the night in his apartment, telling her she could play with his baby daughter. Banks was nervous and thought it strange to spend time with Bey, then 41. But her older sister had spent the night there and returned toting candy and new clothes. She said that night marked the first time Bey molested her. She was 8.

Bey told her to tell no one, she said. If she did, she would be killed.

“But he didn’t stop with me,” she said. “He told me he’d murder my whole family, everyone.”

Banks believes her father did not know about the incident, but the family moved away soon after that first molestation. They lived in Hayward for a while, and later, Banks’ father left her and her siblings with a grandmother near Monterey.

In 1978, after another arrest, her father brought them back to the bakery and left them with Bey.

Not long after, Banks said, Bey came into her bedroom above the bakery while she was sleeping, and raped her. She was 10 and remembers wearing one-piece pink zip-up pajamas. After the assault, she sought help from Nora Bey, then 23, one of the minister’s many “wives.” Banks’ father had surrendered his paternal rights so Yusuf Bey could receive welfare for their care; the court appointed Nora Bey, later known as Esperanza Johnson, as their legal guardian.

“ ‘I need you to help me because he’s trying to do things to me,’ ” Banks recalls telling Nora Bey. “And her comment was, ‘Oh, girl, he’s not going to do anything to you that he hasn’t done to anyone else.’ ”

Living in various bakery-owned homes, Banks was kept out of public school. She was smart, though, and soon became an integral part of the bakery, which sold pies and sandwiches from its San Pablo Avenue storefront. She learned bookkeeping and taught basic math and reading at the bakery’s school. Her life was regimented; she baked from 4 to 8 a.m., taught in the bakery’s combined school and day care until 6 p.m., and then wrapped bakery products until 10 p.m.

It was not until several years later that Banks even received a wage, just $25 per week.

At the time, Banks remembers not understanding why those living in the compound all were so isolated from outsiders, why they were punished for sneaking out once to see a movie, “The Wiz.”

“But as an adult, I understand now,” she said, “because he had secrets, and he didn’t want those secrets to get out.”

Learning Bey’s doctrine

In the bakery’s school, Yusuf Bey’s doctrine was drilled into the children. Girls were taught to cover their heads; everyone was addressed as “brother” or “sister.” Bey preached the superiority of men over women and of blacks over whites. Whites, he said, were “the devil” and responsible for all the world’s problems.

“The men were the ceiling, and women were the floor,” Banks said, quoting Bey.

She, however, was hardly subservient, growing into a feisty and hardheaded young woman, often chastised for speaking out against unfair treatment.

“I was known for saying whatever was on my brain,” Banks said.

Once when Banks complained about the long hours of work, she said she was forced to get up even earlier. When one of the other women found Bey with Banks in his bedroom late at night, the woman’s questions were silenced with a beating. Banks was then given a beating herself.

Banks said Bey tried to turn others against her and, because her mother was white, called her “nobody but the devil.”

But he continued to rape her repeatedly. At 13, she gave birth to the first of the three children she would have with Bey.

All the while, Banks said, Bey received – and kept for himself – welfare payments and food stamps intended for Banks, her siblings, others and eventually the children born as a result of the rapes. Bey was said to have more than 40 children and called up to 100 women his wives.

The atmosphere of fear was total, Banks said. In 1986, a young man, Peter Kaufman, who’d spoken out about having seen Bey rape a boy in the bakery’s bathroom, turned up dead on a nearby side street, shot in the head. Beatings – for both women and men in the bakery community – were commonplace.

Bey, Banks said, was a persuasive man who used intimidation, violence and a flashy lifestyle to control his mostly down-and-out followers, many of whom were parolees. There were cameras in the bakery and microphones in every room to monitor conversations. Among the women, the abuse was ubiquitous and unspoken. It was some time before Banks realized that Bey was molesting her sister, too.

Banks said she was instructed by Nora Bey not to identify him as the father of her children on their birth certificates. And Banks wasn’t allowed to choose names for her kids. Particularly painful to Banks was that her second son was named Yusuf by Nora Bey.

Banks said she had nowhere to turn. She blames racism, fear and a hands-off attitude for the lack of oversight by welfare officials and police.

“They were fed Brother Bey’s line that he was doing a lot for the black community,” she said. “No one wanted to intervene.”

Escape from bakery life

For years, Banks dreamed of leaving. But under the constant threat of violence, she waited. She planned to leave at 18, but was again pregnant. In 1988, then 20, she became romantically interested in a man her own age she met at the bakery. Bey caught wind of this and held a meeting at which he directed his other women to teach Banks a lesson by beating her.

Warned of her impending punishment, Banks made her escape that night, Aug. 28, 1988. A cousin on her father’s side agreed to pick her up. As she was collecting her children, Bey confronted her and threw her belongings at her.

“I picked up as much as I could that he threw at me and packed it into the car,” said Banks, laughing at the memory. “I don’t think he realized he was helping me.”

At first, she “felt so free” in a world outside the bakery, but soon she began to live in fear that Bey would send someone to harm her.

“My fear was a stranger that I didn’t even know would walk up to me and do something, because of course they had pictures of me,” she said.

Moving forward with her life was difficult, and keeping hold of the children she had with Bey ultimately proved too much of a challenge. Banks found work at restaurants as a server, but money was always tight. Bey wouldn’t pay child support, and the welfare she received never seemed to be enough.

“I was just a child when my kids were born,” she said. “It would be different if today I was having children, or even 20 years ago.”

Soon, Bey, exerting his power, sent for the kids, and they returned to the bakery. The boys spent most of their childhood there. Banks said her daughter, despite spending some time at the bakery and with foster families, mainly grew up with her.

At the bakery, Bey tried to turn her kids against her, Banks said, telling them she wanted them only for their welfare checks. While still a child, her oldest asked why she didn’t live with them at the bakery, like the parents of the other kids. Banks explained to him that “it wasn’t a good place” for her.

“I felt it was a better environment for men than it was for women,” she said, noting that at the time, she assumed Bey would not molest his own children.

In 1989, she met her husband through an acquaintance. The couple had their two children in the ’90s.

More than a decade passed. Banks took community college classes, found work in restaurants, earned her GED diploma and occasionally visited her boys at the bakery. There was constant intimidation; she feared retribution for leaving and was always looking over her shoulder.

Concern for daughter prompts action

Banks never told her kids about her abuse. It was hard to watch her boys be lured in by Bey’s flashy lifestyle – a Mercedes or Cadillac was always parked curbside – but Banks held out hope that she had been right, that it really was a better place for boys than it was for girls.

In June 2002, her 18-year-old daughter, who was working at the bakery but living elsewhere, told Banks a story that suggested Bey had tried to molest her. Banks was devastated, unable to even ask her daughter for details.

“I prayed, asking God who was going to stop him,” said Banks, then 34. “And then, suddenly, I knew it was me.”

With DNA testing available, she could prove Bey’s paternity. It offered the proof she had always hoped to find. In an angry phone conversation with Bey, she told him her plan.

“You, sir, are a rapist and a child molester, and let me tell you what I’m going to do to you,” she recalls saying. “First, I’m going to go to the police, and I’m going to press charges against you, and then, when I’m done, I’m going to sue you and I’m going to take all your money. And then I won’t have to ask you to help your children, my children, with anything else, because I’m going to have all your money.”

Bey, she said, told her she’d soon be “floating in a river.”

To show Bey her determination, she called him again from a phone at the Oakland Police Department. “He knew from that day forth that it was over for him,” she said.

Three months later, Bey was taken into police custody. With DNA test results in hand, Banks pressed felony criminal charges of rape and assault. Bey posted bail, but died in the hospital a year later before facing the criminal trial.

Banks was disappointed that Bey never faced a trial but took pleasure in knowing that he had at least faced the charges.

“He lived a long life of getting away with it,” she said. “By the grace of Jesus, I know he’s boiling in hell.”

Another Jane Doe revealed

Along with two other women, Banks also filed a civil suit, alleging that Alameda County did nothing to protect them. The county eventually settled with Banks and the two other Jane Does, admitting no liability.

Another of the Jane Does in the suits, a former foster child who worked at the bakery between 1994 and 1996 and was raped by Bey, also has decided to publicly identify herself for the first time.

Malikha Hardy said she reported her abuse on three occasions to a county social worker, to a guidance counselor at juvenile hall and, in 1996, to the Oakland police. No one followed up until seven years later, she said, when an Oakland detective working on Banks’ case turned up at her door.

“The people feared Bey,” Hardy, now 32, said in a recent phone interview. “He had people who would do anything for him.”

To protect the two women, California Watch is not providing information about their current whereabouts or employment. During multiple interviews for this story, a family therapist was present to provide support.

Having wrestled with low self-worth, nightmares, and other aftereffects of childhood trauma, Banks is writing a book about her life with the therapist’s help. She credits her conversion to Christianity with making it possible for her to smile again.

“I’m resilient, and I’m positive,” Banks said. “I say, ‘If people are preying on you, God has chosen you.’ ”

Banks remains in contact with her son Yusuf V, who is imprisoned at San Quentin and serving a 10-year sentence as part of a plea agreement in the kidnapping incident.

“I’m trying to reform my son’s way of thinking,” Banks said. “Him sitting in one spot is the best time for me to do it, because his mind is open.”

During a recent visit to the former bakery compound, Banks said she thinks the reign of terror is now over. Many of the buildings have been sold or renovated; little is left to indicate what went on, outside or inside. The old bakery is a beauty supply store. The former school is a martial arts studio.

As Banks walked through memorable rooms and haunted hallways, she recounted stories both benign and horrific.

“I’ve seen stuff here,” she said, “that will scare me for the rest of my life.

This story was edited by Robert Salladay and Amy Pyle and copy edited by Nikki Frick and Christine Lee.

 

This story was produced by the independent, nonprofit Center for Investigative Reporting in collaboration with the Chauncey Bailey Project. For more, visit www.cironline.org and www.chaunceybaileyproject.org. Rafkin can be contacted at Louise.Rafkin@gmail.com.

 

Live Shots: SF Street Food Festival 2012 preview

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


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

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

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

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

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

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

Two of SF’s most venerable cannabis dispensaries get shut down

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Sadness, anger, and confusion hung thick in the fragrant, smoky air of two of San Francisco’s oldest and most prominent medical marijuana dispensaries – HopeNet in SoMa and Vapor Room in Lower Haight – during their last day in business yesterday, the latest victims of an aggressive federal government crackdown on the industry.

Throughout the day, vendors, patients, neighbors, and well-wishers stopped in to say goodbye and commiserate over a trend that just doesn’t make sense to them, or to the local politicians and city officials that have spent years setting up a regulatory structure that had legitimized the cannabis industry, which thrived as the rest of the economy suffered through the recent recession.

“I’ve always treated this as if it were just a nice coffee house. I’m not an outlaw,” said Martin Olive, whose Vapor Room was a friendly community gathering place and active member of the local business community that gave away free bags of vaporized marijuana to low-income patients on a daily basis. “I almost forgot I was breaking federal law. It was so normal, so legitimate.”

Despite previous promises to respect state laws legalizing medical marijuana, President Barack Obama and federal agencies under his control did a sudden about-face last year, with the Drug Enforcement Agency threatening landlords with property seizure, the Justice Department threatening prison sentences, and the Internal Revenue Service doing audits and refusing to allow routine business expenses.

The result has been the forced closure of eight of San Francisco’s 24 licensed dispensaries in the last seven months, with more closures likely in the coming months. Almost all of the remaining clubs have been forced to deal only in cash after the feds threatened their bankers and credit card companies. The industry that grows and sells California’s biggest cash crop is essentially being driven back underground, hurting patients and the sometimes gritty neighborhoods that dispensaries had improved with security systems and a flow of customers that put more eyes on the streets and cash in the pockets of nearby stores and restaurants.

“The people that live here are afraid the neighborhood is going to come back in here. We took care of the entire block. Before us, it was all dealers, so there’s a safety issue,” HopeNet founder Cathy Smith told me as the once-welcoming club on 9th Street near Howard was reduced to bare walls, noting that the owner of the Starbucks on the corner told her he expects his business to drop by 15 percent.

Olive shared the concerns expressed at HopeNet, which he considers “a sister dispensary,” one that also had a generous compassion program for giving cannabis to low-income patients and offering other free services like yoga.

“I’m curious to see what this neighborhood looks like in six months. I know what it was like six months before we got here,” Olive said of his club’s opening in 2004.

But for now, it’s over. Vapor Room continued to do business for most of the day yesterday, but HopeNet was already stripped bare and essentially shut down, and by 3:30pm they removed the cash register and their pot stock. “The signs are down, we’re no longer a pot club, break out the beer,” announced Smith’s son, Bill, a member of the cooperative, referring to one of the many tight restrictions of what the city allowed in clubs. “I’m the only one making light of things today, as a coping mechanism. I laugh so we don’t cry.”

Like the patients, vendors, and local officials we spoke to – who you’ll hear from in an upcoming Guardian cover story looking the end of medical marijuana’s golden age – Olive and Smith are grappling with a federal crackdown they say has myriad downsides and no benefits to anyone but federal agencies that profit from drug-related seizures and the criminal syndicates that now have less competition.

Both Olive and Smith say they voted for Obama in 2008, they believed his statements that he wouldn’t go after businesses that complied with state and local law, and now they feel betrayed.

“I feel fucked by it, betrayed is too easy a word,” Howard said.

“It’s complicated emotions that I’m feeling – let down, confused – at the end of the day, I don’t understand why this is happening,” Olive said. “It’s a community tragedy, it really is.”

Like MediThrive and other recently shuttered clubs, both Vapor Room and HopeNet will still be operating as delivery-only services, but the future seems less certain now that their direct, brick-and-mortar connection to their community has been severed.

They urge those concerned about the crackdown to contact their political representatives, and to turn out today (Wed/1) at 4pm for a funeral march that starts at Haight and Steiner streets near the now-shuttered Vapor Room and goes to the Federal Building on Golden Gate Avenue, where there will be a rally and speeches starting at 5pm.

Localized Appreesh: Seatraffic

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Localized Appreesh is our weekly thank-you column to the musicians that make the Bay. To be considered, contact emilysavage@sfbg.com.

On the new seven-inch, Crimes, the persistent flow of Seatraffic feels like it’s washing over you like warm bath water. The San Francisco electronic pop duo takes a page out of the 1980s synth playbook, and executes it with a shiny modern gleam, incorporating dreamy reverb, and heavy, shoe-gazing beats.

If you climb over some sandy rocks at Corona Del Mar State Beach down in Southern California, you can jet down to Little Corona, a more secluded plot of warm sand and water with craggy little caves surrounding it. And if you should ever visit, I suggest playing Seatraffic’s Crimes on your portable record player, and bringing along edibles.

This is because vocalist Mark Zannad and drummer Brandon Harrison created cavernous atmospheres pressed on small white vinyl, just the right speed for a languid dip. It’s Seatraffic’s first physical release, and limited to 300 copies.

The band will perform live from the new release at a DJ-studded Project One gathering this week.

http://www.youtube.com/watch?v=SPOMr-u15q0

Year and location of origin: We formed in summer of 2010, in San Francisco. It was more or less an agreement that one day we’d start making music, we actually didn’t get serious until about six months later.  I (Mark) had been working out a few songs and when Brandon heard them he thought it would be really unique to bring live drums into synthy music.  We gave it a shot and the first time we made music together it just felt right.  Despite having very different musical backgrounds we meshed really well and most of the songs came a long with little stress.

Band name origin:
The word Seatraffic, is suppose to be like Air Traffic, but we like boats better than planes. We had hundreds of names written down, most of them very bad. Seatraffic just sounded right to us, later our writer friend suggested we make it into one word.

Band motto: Never really thought of having a band motto, but if we had one it would be “Stay different, know your Identity”

Description of sound in 10 words or less:
Dreamy blend of whirling synthesizers, organs, bass, and heavy drums.

Instrumentation: Mark Zannad: Vocals, Organs, Synthesizers; Brandon Harrison: Drums, Percussion

Most recent release: Crimes 7-inch (2012).

Best part about life as a Bay Area band: The best part of being a band in the Bay Area is how open minded and diverse music enthusiasts are here.

Worst part about life as a Bay Area band: The worst thing about being a band in the Bay Area is that it is a very saturated place for music, it can be difficult to be heard locally.

First album ever purchased:  Mark: Lion King soundtrack on Cassette; Brandon: Astro Lounge by Smashmouth

Most recent album purchased/downloaded:  Mark: Ariel Pink’s Mature Themes; Brandon: Ty Segall Band’s Slaughterhouse.

Favorite local eatery and dish: This may be the most difficult question we have ever been asked because the food in SF is just so good. Mark: a mini-burger (don’t let the name deceive you) from Super Duper Burger; Brandon: Carne Asada Burrito from Farolito.

Seatraffic
With DJs Boyfren, YR Skull, Shaky Premise, and Epicsauce DJs
Thu/2, 9pm, $3 (free beer before 11pm)
Project One
251 Rhode Island, SF
(415) 938-7173
p1sf.com

Appetite: Southern taste adventures in Louisville, KY

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Kentucky: land of bourbon, the Derby and Mint Juleps. I’m ever delighted to return to the South, although I’m connected to some areas more than others (ah, New Orleans, my love). I recently spent a week in Louisville, on the judging panel for ADI’s (American Distilling Institute) annual awards. It was an honor to judge with key spirits and cocktail industry folk, spending days tasting (blind, of course) through the latest in a broad range of small US craft spirits – winners here.

In my off time, I roamed Louisville, from downtown to Bardstown Road. Louisville is a small city, not exactly visually beautiful or dense like other US cities, but its distinctly Kentuckian treasures do unfold. The historic Brown Hotel was my home base, its player piano welcoming me with strains of Gershwin and old world elegance in the beautiful lobby.

I’m an American whiskey girl at heart (although I love all spirits), being in bourbon and rye’s epicenter is invigorating, even if I can find the region’s most rare, small batch spirits in my own city. A unique preview came in an early peek at Distilled Spirits Epicenter, shortly before it opened, essentially a distillery “for rent,” where would-be distillers have their visions crafted, try out test batches, or take classes to learn more about distilling. It was founded by David Defoe of Flavorman, a scientific flavor lab that creates sodas, juices and beverage products for numerous companies. My favorite feature is the upstairs apartment which they offer to guests using their facilities as they create a product: it’s an open, brick-walled apartment upstairs in the Flavorman building.

Here are highlights from my travels in food, cocktails, whiskey and unexpectedly the most incredible beer collection I’ve ever seen.

SERGIO’s WORLD OF BEERS
If you can find Sergio’s World of Beers (no, it’s not the dive bar next door), you will walk into an unmarked space and could wait 10 minutes for someone to even come out. I was immediately impressed by the selection of beers lining the dingy front room packed with boxes and glasses. Beer aficionados will freak out over the options available on tap. Numerous rotating beers range from Italian sours to a bourbon barrel rarity made by a guy down the street.

Sergio Ribenboim himself is an avid beer collector (read Imbibe magazine’s article about him last year). With one of the most exhaustive collections in the world, he leads tours of breweries around the globe. After the joys of the front room are uncovered, one realizes they haven’t seen anything. Stocking the halls and back rooms (not to mention Sergio’s home) are over 1000 beers for purchase from every region of the globe, including first editions of cult favorites and rarities, such as a Belgian beer, Smisje Calva Reserva, aged in Calvados barrels.

The humble shop is a beer lovers paradise, every unassuming foot of it. The Renaissance Man – the avid beer fan in my home – and I planned to stop in for 30 minutes but ended up staying over 3 hours. We chatted with Sergio and obsessed beer lovers who dropped in from all over the country, those who, like us, will make Sergio’s a must-stop whenever we’re in Kentucky.

HARVEST
To date, Harvest is my favorite Louisville restaurant. It’s the usual farm-to-table concept, long the standard where I live and more common in recent years around the country. The walls are covered with large black and white photos of Kentucky farmers who supply Harvest’s ingredients.

Here the concept invigorates local classics like the Hot Brown (see Brown Hotel’s English Grill below) in a Hot Brown pizza ($14), a brilliant twist on a local classic. Or burgoo ($16), a Southern stew laden with rabbit, pork and chicken, fresh with snow pea sprouts. Its one flaw was being far too salty so that the heartwarming bowl started to feel “one note” after a few bites.

After a starter of a pretzel bun dipped in addictive amber ale beer cheese sauce ($7) and solid cocktails utilizing house bitters, syrups and tinctures, not to mention engaging service and a manager walking the floor ensuring all of us were satisfied, I found Harvest a “whole package” kind of dining destination. No wonder they were nominated for a James Beard award this year for Best New Restaurant.

BROWN HOTEL’S ENGLISH GRILL
The Hot Brown ($22) is one of Kentucky’s signature dishes, created in 1926 at the Brown Hotel’s English Grill by chef Fred Schmidt. When bored with traditional ham and eggs, he opted for roasted turkey breast over toast points topped with bacon and tomatoes, then slathered it all in Mornay sauce (butter, milk, Parmesan, egg, cream). If that weren’t enough, it’s baked golden brown in Parmesan cheese. Brilliant. Eaten in its home base, the old world elegance of the English Grill, it’s every bit as decadent, gooey, rich, meaty and fabulous as it sounds.

MEAT
Hands-down, the best bar of my visit to Louisville was Meat – and Jared was the best bartender. We lingered for hours, till 3am, watching thunderstorms pass, filling paper bags with their revolving turntable of free snacks, a genius addition of unending servings, including Trader Joe’s favorites from mustard pretzels to peanut butter stuffed pretzels.

Jared joked and flirted with customers from the oval bar at the center of a brick-walled space tucked away upstairs in the back of a building that once housed a butchery in the trendy Butchertown neighborhood. Butcher tools and meats hang in the entrance, while the dim, glowing room is a romantic space filled with couches and comfy nooks.

The menu states, “We love the Prohibition-era cocktail movement. We love Louisville.” Instead of exactly copying big city bars, their mission is to “serve authentic and inventive beverages with a distinctly Louisvillian sense of place.” They list recipes from favorite bartenders around the world alongside house creations (all $10), while Jared whips up some off-menu beauties, including an effervescent mix of Del Maguey mezcal with Moet Imperial champagne.

One of the most delightfully unique menu offerings is a Viking 75. The Nordic twist on a French 75 uses Taffel aquavit, Cynar, house sour mix, demarara syrup and lingonberry jam with Bott Geyl Cremant d’Alsace. Upscale tacky plays well in The Queen’s Tea: Pimm’s, Hendrick’s gin, Campari, Dewar’s Scotch, Chartreuse, lemon, and, yes, 7-Up.

Puerto Rican Wingman was another favorite: Ron Zacapa Solera and Bacardi rums blend with orange curacao and lime into a bright whole where house falernum adds nutty texture, coffee bitters an earthy kick, Abita root beer a punchy finish. Another winner? Hit the smoky side with The Smoke Monster: Ardbeg 10yr Scotch, Vya sweet vermouth, Grand Marnier, orange juice, grenadine, celery seed bitters.

Whatever you order, don’t miss Meat.

HILLBILLY TEA
Hillbilly Tea is a funky, hipster version of Appalachia circa turn-of-the-century. In a gorgeous restored building, two levels of brick walls, rustic wood floors, ’70s rocking chairs, 1800s sewing machines, picnic tables and quilts set a comfortable tone for rounds of tea served on slices of a tree trunk. We sipped aromatic, herbal, mint-inflected Snap green tea ($3.75) and Sweet Smokey Mountain chai boiled with milk and sugar ($4.75) – a little sweet for me (we’re in the South, after all, where “sweet tea” means sweet). I found Twig ($3.75) most soothing: a nutty, toasted green tea.

Brunch is a fun affair, whether a skillet pancake ($8) lathered in Smokey Mountain chai butter and sorghum syrup, or white bean and sage fritters ($5). I particularly enjoyed pork and pone ($8), a mound of BBQ pulled pork on corn pone with garlic mayo, red cabbage chow chow, and choice of side – I opted for healthy braised greens. They serve a tasty biscuit ($3), even better with local honey and a dreamy house-cured bacon ($5). In the locally sourced foods vein with young, hip servers, Hillbilly Tea delivers substance alongside style.

DOC CROW’S

Spacious, extensive Doc Crow’s is a historic, 1880′s downtown Louisville space, particularly charming in the cozy, middle booth section or open back room with wood floors and fireplaces. The menu is a fun range of some of my Southern favorites, heavy on BBQ and oysters, also offering Po Boys, fried green tomatoes, mac n’ cheese, fried catfish and gumbo. Not all of it is the best version possible, but cornmeal fried catfish with hush puppies ($9), for example is generously portioned and satisfying, as are slow-smoked, baby back ribs ($12 1/2 rib, $22 full rib).

Key Lime Pie ($6) is not as tart as my favorite renditions (still remembering Uncle Bubba’s outside Charleston), while seasoned pork rinds ($4) taste great with a boozy lemonade but aren’t comparable to SF’s own cult classic – the best chicharrones I’ve ever had from the South to Mexico – 4505 Meats‘ chicharrones. Overall, Doc Crow’s is a fine downtown choice for value, with large portions, heartwarming food, and a welcoming, all-day space.

GARAGE ON MARKET
The building alone draws one into Garage on Market: a restored gas station with two cars melded together on the front drive, and a picnic table area with astro turf-covered seating under strung white lights. Serving brick oven-cooked pizzas, like the Monte Cristo ($14 – smoked chicken, gouda, egg, sorghum, preserves) or on the sweet side, Nutella Pie ($12 – nutella, banana, cinnamon sugar, butter, syrup), the Garage offers a playful, casual menu and regional country hams.

Brunch is the likes of beignets, poached eggs and ham, with drinks like a Red Hot Bitter ($7): local Red Hot Roasters espresso, chocolate milk, Kahlua, Bailey’s, and chocolate bitters. The cocktail menu in general appeals to cocktail fans while keeping that same approachable, unfussy tone.

PROOF ON MAIN

When it comes to Louisville, the restaurant and bar that almost always comes up is Proof on Main. Inside the 21c Hotel one is immediately impressed by its modern art museum. The dining room makes a statement with dramatic artwork and upholstered seats. But despite how long I’ve heard raves, disappointment set in immediately at the bar with a diffident, seemingly bored bartender who stood off to the side of the bar mixing drinks, only talking to servers vs. interacting with customers – and this was at the mellow hour of 5:30pm with a half empty bar.

The bartender acted as if he was doing us a favor serving an ok round of cocktails from a menu that in the end felt typical. For those of us who travel the world in search of the best food and drink, cocktails should stand on their own, yes, but service sets apart a menu that reads well from a destination-worthy bar. Ordering whiskey pours was the best way to go (we opted for Woodford Reserve’s rye duo), but in terms of the hundreds of top notch bars I’ve visited around the world, I wouldn’t return to Proof.

Once we moved to the dining room, service was friendly and gratifying, redeeming the experience. The food menu is a stimulating mix of modern creativity with Southern ingredients, but at high prices (starters are $8-21, entrees $18-34) I was disappointed in more than one dish, starting with a dry charred octopus ($15) with bagna cauda and lime.

Striped mullet ($27) sounded like a fishy/meaty melange of mussels, fennel, country ham, rutabaga, almonds, and smoked grapefruit but ultimately felt disjointed. The beloved Proof bison burger ($17), which more than half the restaurant seemed to order, piled high with Tillamook cheddar, smoked bacon, Jezebel sauce (a wonderful Southern mix of pineapple preserves, apple jelly, horseradish, mustard, black pepper), was cooked more medium than my medium rare request. I couldn’t help but recall the countless delectable gourmet burgers (whether bison or beef) I’ve had for under $15.

A standout dish was Bison marrow bones ($12), fatty and delectable, smartly paired with apple butter and frisee on toast. For cost to value/taste ratio, I’d recommend visiting the hotel’s museum, then heading on to Harvest or another locale for dinner and drinks.

CELLAR DOOR CHOCOLATES

A local chocolatier, Cellar Door Chocolates, produces crave-worthy sea salt peanut butter dark chocolate cups available at shops like The Wine Market http://www.thewinemarket.net/ on Bardstown Road. Buying a four-pack to sample, I promptly finished each one.

RYE BAR

Rye had just opened in February when I was in Louisville on a hip stretch of Market Street. Young bartenders in a sleek space were looking up recipes in Jim Meehan’s PDT Cocktail Book, slowly crafting drinks requested by guests or on menu. At the time, they seemed not quote yet ready for “prime time”, but served decent standards like a Mezcal Mule or Dark & Stormy (with Ron Zacapa 23 rum), or tongue-in-cheek drinks like The Shit ($9): Plymouth gin, chile-lime syrup, Prosecco.

One of my drinking companions, a well-known distiller, requested a Whiskey Sour with egg white and Whistlepig 10 year Rye (which they pour at $19 a glass) – it was easily the best drink I had here, bright and refreshing. Just mentioned in Food & Wine, this bar should get progressively better as the staff gain a more seamless knowledge of the menu and what they want to offer to customers.

SEELBACH BAR
The Seelbach is a piece of Louisville history dating back nearly 100 years. A dated respite of a bar inside a hotel, it offers an impressive range of bourbons and ryes, including a couple you won’t find outside of Kentucky, like a special Seelbach bottling from 1983 of Rathskeller Rye: a true treat, vibrant and boozy at cask strength. 

JOCKEY SILKS
With over 120 whiskies, Jockey Silks is a hotel bar offering a quiet, dated bar (think lots of wood and red, circa 1970’s) in which to sip a range of bourbons, from “deluxe” pours at $10, premium at $9, or most glasses at $8. It’s affordable and relaxing, a classic Louisville bourbon respite.

THE WINE MARKET OF LOUISVILLE AND OLD TOWN WINE AND SPIRITS
The Wine Market is a small but well-curated selection of wines from Alsace to Bordeaux with friendly staff in a funky, cool building with appealing wording (“weird, independent, proud”) covering the exterior wall. It seems to be Bardstown Road’s finest wine shop. Stronger on the spirits and beer front with a badass drive-through window is Old Town Wine and Spirits – they offer an affordable, wide-ranging selection.

QUILLS COFFEE
I felt right back at home with third wave coffee, excellently roasted beans and proper foam on my cappuccino at Quills Coffee (with two Louisville locations), which appears to be Louisville’s best artisan coffee.

As has long been commonplace on the West Coast and only gained traction in recent years in NY and places East, this hipster coffee haven is full of artists and students on laptops, with chemex and locally roasted beans hailing from Africa to South America.

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

Don’t say mommy blogger, but mommies should be blogging

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There is good and bad about the rise of the “mommy blog,” says mother and author Kate Hopper. Good: women should write! Writing spreads one’s voice, motherhood can be an intense time. Bad: why must we qualify them as something apart from any other blogger, memoirist, etc. Hopper promises to discuss these topics — and more saliently, how you can get started on a chapter of your own — at her upcoming appearance at Good Vibrations‘ mothers-specific hang-out, which also features Carol Queen speaking about post-natal nookie, on Wed/1. We caught up with her before she hit SF to get a sneak peek at her relationship with the written word.

SFBG: What’s with the current mommy blogger vogue? Haven’t women always been writing about parenthood? Why is it so popular right now, and why use that particular label?

KH: Women have been writing about parenthood for a long time, but not in [these] numbers and not so publicly. The Internet and blogging have given women a forum to write about their lives in a way that hasn’t happened before. Countless mother bloggers have really found a sense of community in the blogosphere. Motherhood can be so isolating, and blogging can help combat that isolation. And they can make money. I have never advertised on my blog, but I know it can be lucrative.

About the label: I really dislike the term “mommy blogger,” just as I dislike the term “momoir” to describe memoirs that have anything to do with motherhood. The names people use to describe literature or movies — or anything — have an impact on how those things are perceived. And when you categorize books as “chick lit,” “mommy lit,” “momoir,” and blogs as “mommy blogs” you make it easier for people to discard these books and blogs. They are viewed as less serious, less important. Once something is labeled “momoir” or a “mommy blog” people don’t take it seriously as literary venture. And there are some really amazing books and blogs being written by mothers right now.

The motherhood literature I read and review (and the motherhood blogs I read) deal with more than the minutiae of daily life with children. They are dealing with issues of identity, with loss and longing, neurosis and fear, ambivalence and joy. They are about transformation and how we see ourselves in relation to the world in which we live.

SFBG: At what point did you realize motherhood would become the primary thing you write about?

KH: I began writing about motherhood in 2004, a few months after my older daughter was born prematurely. Stella was born two months early and spent a month in the hospital, and the long winter months that followed home with me. At the time I was in the third year of the MFA program at the University of Minnesota, and I had to withdraw from school in order to stay home and care for my fragile and extremely fussy daughter. Up until that point, writing had been the way I processed what was happening in my life. But I couldn’t think much less write in those early months.

It was only when Stella was five months old that I finally realized I needed to find my way back into words. So I went to the coffee shop near our house and pulled out paper and a pen. And the images of my daughter — a miniature thing on an open warming bed, her legs splayed like a frog’s, a white ventilator tube taped over her mouth, purple veins tracking across her skull like spider webs — came spilling out. After an hour, words covered the page. And for the first time since Stella was born, I felt grounded and the world felt a little bigger. I felt less alone. I’ve been writing about motherhood ever since, though in recent years, I’ve spent more time helping other women get their motherhood stories down on paper.

SFBG: You teach women how to write. Is there a particular challenge that you see as being particularly difficult for your students?

KH: One thing that always comes up when you’re teaching creative non-fiction is the ethics of writing about the people in your life. This ethical dilemma is heightened for women writing about their children, because it’s our job as parents to protect these small people. I always tell my students not to worry about this as they are beginning to write. If they do, they will self-censor and might not get to the heart of the stories they need to write. But before they decide to send a piece of writing about their children out into the world, it’s important to acknowledge how their children might react to reading it. It’s a very personal decision and there is no right or wrong way to it, but it’s important to know what you feel comfortable with — what’s the line you won’t cross? — and then trust your gut.

SFBG: Who, in your opinion, are the best mommy bloggers in the game today?

KH: I’m not sure I can say who the “best” motherhood bloggers are, but I know whose writing resonates with me. A few of my favorites are Rachel Turiel, Kristen Spina, Jenn Mattern, Heather King, and Elizabeth Aquino. They are all very talented writers, and their posts are reflective and well thought out. They also all write from the heart and aren’t afraid to be honest. I really respect that.

Kate Hopper at Mommy’s Playdate

Wed/1 7-9pm, free

Good Vibrations

1609 Polk, SF

www.goodvibes.com

Dick and a smile

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caitlin@sfbg.com

SEX “I was basically wearing a wet sock full of sweat,” porn crossover star of the year James Deen tells me. “There was hair everywhere, I was pulling hair out of the girl’s mouth.”

Perhaps another interviewer would not have led with questions about Deen’s recent involvement in an offbeat Kink.com panda gang bang production. Hey, this isn’t TMZ. And who doesn’t already know the standard gossip about the 26-year old, who has shot porn nearly every day of his life since turning 18?

(Just in case:) This year, Deen became the youngest performer ever to take home the industry’s vaunted AVN Award for Best Male Performer. He recently landed a starring role alongside Lindsay Lohan in a new, non-porn feature film penned by Brett Easton Ellis and directed by Paul Schrader, writer of Taxi Driver, American Gigolo, and Raging Bull.

Anyone remotely familiar with the Deen canon knows about the Deenagers, the actor’s legions of underage fans who fill Tumblr with odes to his dick and smile. These superfans were immortalized in epic fashion by an ABC Nightline segment which host Terry Moran introduced with this warning of corruption and apocalypse: “For any parent concerned about what their teen does online, the huge popularity of the young man you are about to meet may be deeply disturbing.”

But like I said, these facts have been written into public record, and dammit, I want to talk about panda porn. Because although Deen’s crossover from Simpsons porn parodies (he played Moe the Bartender, and fucked Cookie Kwan) to The Lohan and Perez Hilton coverage is certainly interesting, the fact that he has also been shooting brutal BDSM porn for years says something else entirely. And he doesn’t think anything of it! Perhaps this flip, blogging, boy-door-faced individual is the first real sign that BDSM porn is coming out of the closet (dungeon, steel-barred cage), and into mainstream consciousness.

BAMBOOZLED

In PANDAMONIUM!!! PANDA LULLABY!!! PANDA PORNO!!!!! adult star Ashli Orion is subjected to the penises of six, raping panda bears. One of these panda bears was Deen, in a furry suit with a custom-made dick hole.

“But I thought pandas were supposed to be nice!” Orion pants, surrounded by hazy pink lighting, artfully-placed bamboo shoots, and silent pandas who mostly remove their furry paws by the end of the scene because their fluffy baseball mitts turned out to be prohibitive to the nitty-gritty of sex acts.

The mini-movie could be considered the first Kink.com furry shoot — a wry twist on director Princess Donna’s usual product released through Kink subsite Bound Gang Bangs.

Not all of Kink’s regulars, and especially not the Bound Gang Bang enthusiasts found PANDAMONIUM!!! to their liking. User comments expressed their concern that Orion wasn’t even bound. Given the limited mobility of the men in the panda suits, she had to be mobile for copulation to even be possible. “I spent a lot of time holding fur out of the shot so we could see the penetration on camera,” said Princess Donna in an email interview.

“Some people think it’s the best thing that ever happened, some people think it’s the worst porn ever made,” she continued. “That’s what happens when you take risks.”

But Deen says he did the panda gang bang — just like every other project he takes — less because of the viewers, or for the chance to express himself creatively, as much as the kicks. “Princess Donna said she had this idea, I said that’s amazing. While it was going on, I just wanted it to end. There was hair everywhere. But the second it was done and we were all hanging out after I was like, I wanna do it again.”

Deen thinks nothing of a work schedule that takes him from vanilla scenes for Digital Playground to deliberately humiliating public sex in Spain for Kink to Dallas XXX parodies.

“It’s completely standard,” he says in our phone interview. “For pretty much every freelance talent, you go where the call takes you.” Sure, there are a few sex acts that Deen will not perform. These include sex with a person who is not into it, sex with clowns, and sex with men. He apologies to me for this last stipulation. “I’m a lame old straight boy.”

And the fact that Deenagers now refer to him affectionately as Baby Panda? (At ‘5″8, Deen made a shorter bear than his suited Kink peers on the shoot.) No dissonance there, says Deen, who hawked T-shirts emblazoned with the nickname on his website. There was no coordinated attempt to wind up alongside Justin Beiber and Robert Pattinson on dorm room walls, he says. “I’m not Joe Camel. I’m just going out and doing my job.”

Deen has minimal support staff besides his publicist. During our interview, I express my disbelief that a person that has sex for a living wouldn’t be worried about getting exploited without someone to review contracts, approve press requests. Deen shrugs it off. “There’s no reason to battle over everything, just be nice. You catch more bees with ants — honey, vinegar, whatever it is.”

Maybe everything really is just that simple. So seems the tale of Deen’s porn provenance. As a teenager, he heard Jenna Jameson tell a radio host that being in skin flicks simply took a complete lack of modesty, superhuman stamina, and an ability to ejaculate on command. He began proving he had those skills by having public sex at parties. Soon, he was on his way to 300 shoots a year, a figure that seems shocking to those unfamiliar with the standards of those unfamiliar with the grinding nature of the porn industry.

And now, Hollywood is knocking, seemingly uncourted by Deen himself. Ellis bagged him for The Canyons role by tweeting that he was interested in Deen for his low-budget, Kickstarter-funded film. (That momentous tweet mentioned the actor would have “to act and be full-frontal naked banging girls and guys realistically.” Will Deen’s comfort zones shift for fame?)

The two had dinner to talk about the writer’s vision for the tale of disaffected 20-somethings moping around drop-dead beautiful LA locations. Ellis, Deen relates to me, has a somewhat cynical view of modern-day celebrity. “People like Charlie Sheen, his acting didn’t make him famous,” Deen explains. “It was because he was Charlie Sheen.” As actor with next-to-no inhibitions and a famously goofy tell-all blog, Deen was perfect material for Ellis’ experiment in equating stardom with sheer exposure.

And sure enough, Deen is now getting a taste of what’s it’s like to live life à la Sheen — or put more aptly, à la Lohan. All it took was for the two to duck out of a restaurant for a smoke break and paparazzi blew up the Interwebs with rumors they were sleeping together.

This kind of thing seems besides the point for someone like Deen, who it would appear rarely sleeps with someone without posting a picture of their distended orifice on his blog. If the LiLo rumors had been true, he wrote on his site, “I think I would tell everybody.” And search engine optimize it with a shot of her boobs, one wants to add.

“I’m not surprised, because he’s that type of guy,” says a post-panda Orion when I contact her about Deen’s recent rise in profile. “He’s very charismatic and he has a look that’s definitely commercial, so I’m not surprised that he would get into Hollywood, you know what I’m saying.”

And for all of Nightline‘s tut-tutting, porn stars have been making waves in clothes-on culture for decades. Traci Lords appeared on Roseanne and Married With Children. Ron Jeremy, Nina Hartley, and Jenna Jameson have all made Hollywood features. And nowadays, even the hardcore stuff is surfacing more and more — like in Rihanna videos and 50 Shades of Grey, a 2011 novel that has become so ubiquitous that sex activists I’ve interviewed refuse to even say its name, so quick was it to sloppily spotlight their subculture for the viewing pleasure of soccer moms, et. al.

Switching between kink erotica and vanilla porn doesn’t seem to be that unusual anymore for adult talent. “When I first started there was a more clear delineation between ‘porn’ models and ‘BDSM’ models,” says Princess Donna. (“Donna is Kink.com. Without her, the company wouldn’t be as successful, and that’s a fact,” says Deen.) “Most BDSM porn didn’t have penis-in-vagina sex in it,” she continues. “Now that it does, you there is a huge crossover.”

Of course, there are other reasons why porn actors shift between kinds of erotica. It’s because they want to get paid.

“I’m a crazy nympho,” says Orion in a phone interview. “I’m down for everything and I always have been. But there’s a lot of girls who are like no, I would never have sex with [that] guy, or never in my ass, no kink. And now, that’s what they’re doing because they have no money!” In the era of low-budget gonzo porn and the consumer’s unwillingness to pay for any kind of media “You can’t rely on girl-girl scenes to pop up everyday if everyone is competing for that,” says Orion.

So maybe Deen is right, and he’s just a guy who is riding high on porn practicalities coupled with an increased tolerance of sluttiness and bondage in pop culture today.

Where will it all lead? I ask him about his career goals to round out our chat. “I want to keep myself in a constant state of smiles,” he says. “I like to smile. I am currently smiling.”

Doing what, pray tell? He has the day off from The Canyons‘ hectic shooting schedule that’s had him sleeping in odd, daytime spurts. What does James Deen do when he gets a moment to spare? Oh, you know. “I’m shooting some porno,” he says.

 

Cheaplicious

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CHEAP EATS I can’t tell you how beside myself I am to be back in San Francisco. I can tell you, but it will sound like it’s coming from over there. It’s not! I’m right here where I belong, typing at you from the warmth of my very own(ish) clawfoot tub in the bowels of my old dungeon-y hovel at 18th and Guerrero.

Upstairs, in the relative sunshine of our other, airier studio apartment, Hedgehog is pacing back and forth and saying to herself: We live in San Francisco. We live in San Francisco. Until finally she can’t take it anymore and shaves off her eyebrows.

You too, dear reader, must be pretty somewhat goddamn happy to hear this. It means instead of me writing about restaurants in Oakland and Berkeley all the time, not to mention points even farther east, I will likely go right back to hardly ever leaving the Mission.

Just last night for example, because neither of our two refrigerators had any food in it yet, we were stuck in one of those where-to-eat thingies, wherein I kept saying: Sichuan Home! And I kept saying: Halu! No, Sichuan Home. No, Halu. And Hedgehog kept sitting on our pretty red couch, looking daggers at me and altogether having eyebrows.

Then she said, “Let’s just go outside and walk around the neighborhood and find something. You haven’t lived here in almost a year. There will be new things.”

“Yeah sure,” I said.

We grabbed our jackets and stepped out into the hallway of our apartment building just as Scotty the House was walking by with a bass. “What?” we all said.

“We’re back!” I said.

He was going upstairs to get Earl Butter to practice for their cute little bandy. But first he wanted to tell us about where he’d just had dinner, and how awesome it was. New place. Small plates. Outside tables. Tacolicious.

Can there be a dumber name for a restaurant?

Please don’t be in the Mission. Please don’t be in the Mission, I repeated to myself.

Scotty the House is a vegetarian.

“Where is it?” Hedgehog asked.

Scotty the House lives in Oakland. “In the Mission!” he said.

It was just around the corner, on Valencia, he said, between 18th and 19th. So OK so that was where we eventually walked to.

We were not the discoverers of Tacolicious. In fact, there was only one table left, and it was outside.

“The heaters are on,” our hostessperson assured us, and we were sold so she led the way.

Outside is a nice little alleyway between buildings, with a big black-and-white mural of the city along one wall. There are words on the mural, too. And the heat was on and the chips were fresh-made and immediate, the salsa spicy and delicious.

Uh-oh. If I’m not careful, I’m going to like this restaurant, I thought.

I wasn’t careful. At $3.95 a pop, 4 for $13, we ordered one of everything, tacowise, give or take the vegetarian one. Give, to be precise. But to make up for it, we tacked on a taco of the week, which was achiote chicken, and a side of drunken beans that promised us both bacon and “pickled things.” Their words, not mine.

Problem being, we couldn’t find anything at all pickled in those beans. It was either an oversight, or a very subtle drunk.

Neverminding that, though, the tacos were, generally speaking, pretty great. Except I don’t much like mole so I let Hedgehog have almost all of that one. And the shot-and-a-beer braised chicken and chorizo-and-potato ones were also not my favorites.

I loved the carnitas, the cochinita pibil and the braised beef short rib tacos. The fried rock cod one was also especially wonderful: one nice-size lump of white fish delicately breaded and bursting with juiciness. Honestly, at first bite I wondered if they had injected the fish with melted butter or something. It was heavenly.

Oh yeah: bistec adobado, with big chunks of actually rare steak and pickled onions. You have to add a buck, it’s so good. Not cheap. But close enough.

Tacolicious

Daily: 11:30 a.m.-midnight
741 Valencia St., S.F.
(415) 626-1344
AE,D,MC,V
Full bar

 

Our Weekly Picks: August 1-7

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WEDNESDAY 1

Erol Alkan

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

With Omar (Popscene) 10pm, $10–$20

Vessel

85 Campton Place, SF

(415) 433-8585

www.vesselsf.com

 

Mynabirds

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

With Deep Time

9:30pm, $12

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

THURSDAY 2

“City Scenes: Installment Four”

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

8pm, $15

Vogue Theatre

3290 Sacramento, SF

(415) 346-2228

www.voguesf.com

 

Squarepusher

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

With Eric Sharp 8pm, $30

Regency Ballroom

1290 Sutter, SF

888) 929-7849

www.theregencyballroom.com

 

Buraka Som Sistema

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

9pm, $20  

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


FRIDAY 3

Peaking Lights and Woods

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

With Wet Illustrated 9pm, $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

Birds & Batteries

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

With Radiation City, Trails & Ways

9pm, $10–$12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

The Pharcyde

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

10pm-4am, $20–$25

1015 Folsom, SF.

www.1015.com


SATURDAY 4

Castro Theatre’s 90th anniversary

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

Mary Poppins, 2 p.m., $8.50–$15

Castro Theatre

429 Castro, SF

www.castrotheatre.com

 

The English Beat

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

With the Champions Inc.

8pm, $25

Bimbo’s 365

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com

 

Drift of a Curse

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

With Hazzard’s Cure

10pm, $6

Bender’s Bar

806 S. Van Ness, SF

(415) 824-1800

www.bendersbar.com


SUNDAY 5

Radio Moscow

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

With the Dirty Streets, Coo Coo Birds

8:30pm, $12

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com


MONDAY 6

Sutekh Hexen

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

With Hallow, Rain and Endless Fall, Rigis

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian, 71 Stevenson St., Second Floor, SF, CA 94105; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage Listings

0

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

THEATER

OPENING

Humor Abuse American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $25-95. Opens Fri/3, 8pm. Runs Tue-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Aug 19. Lorenzo Pisoni performs his autobiographical show about growing up as the youngest member of San Francisco’s Pickle Family Circus.

The Princess Bride: Live! Dark Room Theater, 2263 Mission, SF; foulplaysf.com/princessbride. $20. Opens Thu/2, 8pm. Runs Thu-Sat, 8pm. Through Aug 25. Dark Room Productions presents a live tribute to the cult fairy-tale movie.

BAY AREA

Circle Mirror Transformation Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $20-57. Previews Thu/2-Sat/4, 8pm; Sun/5, 7pm. Opens Tue/7, 8pm. Runs Tue and Thu-Sat, 8pm (also Aug 11, 16, and 25, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Though Aug 26. Marin Theatre Company and Encore Theatre Company co-present the regional premiere of Annie Baker’s comedy about a drama class.

"TheatreWorks 2012 New Works Festival" TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-25 (fest pass, $65). Aug 5-19, various times. The 11th annual festival features a developmental production of The Trouble With Doug by Will Aronson and Daniel Maté and staged readings of Sleeping Rough by Kara Manning, The Loudest Man on Earth by Catherine Rush, Being Earnest by Paul Gordon and Jay Gruska, and Triangle by Curtis Moore and Thomas Mizer.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm. Through Aug 18. A multi-character solo show about the characters of San Francisco.

Arctic Hysteria Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $10-25. Thu/2-Sat/4, 8pm (also Sat/4, 2pm). SNAP (Some New Arts Project) presents this movement-based dark comedy by Abi Basch, performed by Berlin’s Kinderdeutsch Projekts.

Enron Exit Theatre, 156 Eddy, SF; www.enron2012.com. $25. Thu-Sat, 8pm. Through Aug 17. In OpenTab’s production of British playwright Lucy Prebble’s 2009 Enron, tragedy plus time equals comedy plus puppets (in imaginative designs by Miyaka Cochrane), as fast-paced satire delivers a timely reconsideration of yet another infamous financial scandal. Some fictional elements shape the plotline but simplifying strategies serve well to clarify the real-life actions and consequences of Ken Lay (GreyWolf) and Jeffry Skilling’s (Alex Plant) deceptive energy-trading juggernaut, the onetime darling of Wall Street and the financial pages. There’s also much verbatim information (echoing the book and documentary, Enron: The Smartest Guys in the Room) enlivening the quick dialogue and underscoring the reckless, hubristic malfeasance that famously preyed on California’s electricity grid and threw Enron’s own employees under the bus. Director Ben Euphrat gets spirited and engaging performances from his principals, with especially nice work from Plant as a cruelly superior Skilling, Laurie Burke as ambitious straight-shooter Claudia Roe (a fictionalized composite creation of the playwright), and Nathan Tucker as manic sycophant Andy Fastow, feeding poisonous Enron debt into three beloved "raptors" (the pet names for some animated shadow companies arising from Fastow’s fast work in "structured finance"). At the same time, the staging can prove rough between concept and execution, with scenic elements sometimes confusing as well as aesthetically ragged (a red fabric serving as a large profit graph, for instance, just looks like some droopy inexplicable drapery at first; and the first puppets to appear are too small to be very effective either). Despite this messiness in terms of mise-en-scène, however, the play is generally clear-eyed and good for more than easy laughs — since no single villain but rather a system and culture are the proper targets here. As Prebble notes, the strategies developed by Enron, far from remaining beyond the pale, are now standard practices throughout the financial and corporate world. That, in some circles, is known as progress. (Avila)

The Merchant of Venice Gough Street Playhouse, 1622 Gough, SF; www.custommade.org. $25-32. Thu-Sat, 8pm; Sun, 7pm. Extended through Aug 19. Custom Made Theater presents director Stuart Bousel’s generally sharp staging of Shakespeare’s perennially controversial but often-misunderstood play. The lively if uneven production ensures the involved storyline cannot be reduced to the problematical nature of its notorious Jewish villain, Shylock (played with a compellingly burdened intensity by a quick Catz Forsman), but rather has to be seen in a wider landscape of desire in which money, status, sex, gender, political and ethnic affiliations, and human bodies all mix, collide, and negotiate. To this end, this Merchant is set amid a contemporary financial district coterie (given plenty of scope in Sarah Phykitt’s thoughtfully pared-down scenic design), where titular melancholic businessman Antonio (Ryan Hayes) sticks his neck out (or anyway a pound of flesh) for his beloved friend Bassanio (Dashiell Hillman) — no doubt the unspoken source of Antonio’s brooding heart as staged here — as the latter seeks a loan with which to court the lovely and brilliant Portia (a winning Megan Briggs). While the subplot concerning the wooing and flight of Shylock’s daughter, Jessica (Kim Saunders), is less adeptly rendered, fluid pacing and a confident sense of the priorities of the drama overall offer a satisfying encounter with this fascinatingly subtle play. (Avila)

Les Misérables Orpheum Theatre, 1192 Market, SF; www.bestofbroadway-sf.com. $83-155. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Aug 26. SHN’s Best of Broadway series brings to town the new 25th anniversary production of Cameron Mackintosh’s musical giant, based on the novel by Victor Hugo. The revival at the Orpheum does without the famous rotating stage but nevertheless spares no expense or artistry in rendering the show’s barrage of colorful Romantic scenes (with Matt Kinley’s scenic design drawing painterly inspiration from Hugo’s own oils) or its larger-than-life characters — first and foremost Jean Valjean (a slim but passionate Peter Lockyer), nemesis Javert (Andrew Varela), and rescued orphan beauty Cosette (Lauren Wiley). Chris Jahnke contributes new orchestrations to the rollicking original score by Claude-Michel Schönberg (music) and Herbert Kretzmer (lyrics) in this flagrantly sentimental, somewhat problematic but still-stirring meld of music and melodrama in dutiful overlapping service of box office treasure and powerful humanist aspirations. (Avila)

Project: Lohan Costume Shop, 1117 Market, SF; www.projectlohan.com. $25. Thu-Sat, 8pm; Sun, 7pm. Through Aug 19. D’Arcy Drollinger pays tribute to the paparazzi target with this performance constructed solely from tabloids, magazines, court documents, and other pre-existing sources.

Sweeney Todd: The Demon Barber of Fleet Street Eureka Theatre, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Aug 11. Halloween comes early this year thanks to Ray of Light Theatre’s production of Sweeney Todd and all its attendant horrors. Set in bleakest, Industrial Revolution-era London, this Sondheim musical pushes the titular Todd to enact a brutal vengeance on a world he perceives as having stolen the best of life from him, namely his family and his freedom. No fey, gothic vampire, ROLT’s Sweeney Todd (played by Adam Scott Campbell) is both physically and psychically imposing, built like a blacksmith and twice as dark. Pushed over the line between misanthropic and murderous, Sweeney Todd methodically plots his revenge on the hated Judge Turpin (portrayed with surprising sympathy by Ken Brill) while the comfortably comical purveyor of pies, Mrs. Lovett (Miss Sheldra), dreams of a sunnier future. Mrs. Lovett’s no-nonsense, wisecracking ways aside, there are few laughs to be had in this slow-burning dirge to the worst in mankind, and as the body count rises, it is made abundantly clear that all hope of redemption is also but a fantasy. Contributing to the dark mood are Maya Linke’s imposing, industrial set, Cathie Anderson’s ghostly green and hellfire amber lighting, and a spare chamber ensemble of six able musicians conducted by Sean Forte. (Gluckstern)

"Un-Abridged: The Best of Ten Years of Un-Scripted" SF Playhouse, 533 Sutter, SF; www.un-scripted.com. $10-20. Thu-Sat, 8pm (also Fri/3, 10pm; no show Sat/4). Through Aug 18. The veteran Bay Area company celebrates its tenth anniversary season with a four-week retrospective of its favorite long- and short-form improv shows. Check website for schedule.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm. Extended through Aug 25. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $49-75. Thu/2-Sat/4, 8pm; Sun/5, 2pm. Comedy set behind the scenes at a San Francisco restaurant.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri/3, 8pm; Sat/4, 5pm. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

For the Greater Good, Or The Last Election This week: Lakeside Park, 666 Bellevue, Oakl; www.sfmt.org. Free (donations accepted). Wed/1-Thu/2, 7pm. Live Oak Park, 1301 Shattuck, Berk; www.sfmt.org. Free (donations accepted). Sat/4-Sun/5, 2pm. Various venues through Sept. 8. "Don’t they understand that without us they don’t have anything?" asks Gideon Bloodgood (Ed Holmes), investment banker at the top of the San Francisco Mime Troupe’s vivisection of the "real" American Dream, For the Greater Good, Or the Last Election. But surely the hero of a Mime Troupe show cannot possibly be a billionaire? Well, sort of. Though Bloodgood enriches himself dishonestly with precarious investments and outright theft in this Occupy-era melodrama, he actually does occasionally spare a sentiment for Mom and apple pie, or anyway his daughter Alida (Lisa Hori-Garcia) and cookies baked by the unsuspecting victim of his ill-gotten gains, the Widow Fairweather (Keiko Shimosato Carreiro) — now living at the last Occupy encampment standing in the city. Alida, however, displays no compunction in throwing aside his affection and her prospective seat in Congress, running off to join the occupiers for reasons that truthfully appear about as politically motivated as her father’s parasitic avarice, leaving him to join forces instead with the most unlikely of allies — the impeccable, ingenuous Lucy Fairweather (Velina Brown), heiress to a stolen legacy, and staunch patriot. Based loosely on 19th century play The Poor of New York, The Last Election attempts to turn a presumptive ode to the free market into its swan song with good-humored, if predictable, results. (Gluckstern)

King John Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Sat/4, 10-12, 8pm; Sun/5, 4pm. Marin Shakespeare Company kicks off its 2012 outdoor summer festival season with this history play.

The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through Aug 26. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

A Midsummer Night’s Dream Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Fri/3, Sun/5, Aug 12, 18, 24, 26, Sept 7, 9, 15, 28-29, 8pm. Aug 12, Sept 2, 16, 23, and 30, 4pm. Through Sept 30. Marin Shakespeare Company performs the Bard’s classic, transported to the shores of Hawaii.

Noises Off Live Oak Theatre, 1301 Shattuck, Berk; www.aeofberkeley.org. $15. Fri-Sat, 8pm; Aug 12, 2pm. Through Aug 18. Actors Ensemble of Berkeley performs Michael Frayn’s backstage comedy.

Roald Dahl’s Willy Wonka and the Chocolate Factory Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Thu and Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm. Through Aug 19. Berkeley Playhouse performs a musical based on the candy-filled book, with songs from the 1971 movie adaptation.

Upright Grand TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $24-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 7pm. Through Aug 10. TheatreWorks launches its 43rd season with the world premiere of Laura Schellhardt’s play about a musical father and daughter.

PERFORMANCE/DANCE

"Café con Comedy: Tales of Restaurant Work" Dolores Park Café, 501 Dolores, SF; www.koshercomedy.com. Fri/3, 8pm. $7-20. Behind-the-scenes restaurant humor with Bob McIntyre, Nick Leonard, Carla Clayy, and Lisa Geduldig.

"Elect to Laugh" Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race "so you don’t have to." No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

"Help is on the Way XVIII: That’s Entertainment" Herbst Theatre, 401 Van Ness, SF; www.richmondermet.org. Sun/5, 7pm. $50-150. The Richmond-Ermet AIDS Foundation benefits from this all-star concert, with performances from Helen Reddy, Sam Harris, Rex Smith, Tuck and Patti, Kimberly Locke, and more.

"Majestic Musical Review Featuring Her Rebel Highness" Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. A trio of 18th century princesses (the graceful, full-throated, international team of Velia Amarasingham, Linsay Rousseau Burnett, and Maria Mikheyenko), chafing under the patriarchal constraints of their otherwise exalted status, metamorphose into a defiant band of disco queens in this stylish, high-kitsch musical revue by writer-producer Amarasingham and composer–musical director Simon Amarasingham. The action begins in desultory fashion, bar-side in the Harlot lounge, amid scuttlebutt from a pair of chatty housemaids (Meira Perelstein and a tuneful Diana DiCostanzo) overseen by a giddy royal valet (a gregariously foppish Michael Sommers, also the show’s emcee and narrator). When the dallying princesses finally arrive (sumptuously attired in appealing period costumes by Noric Design), they ascend a small stage attended by Lady Lucinda Pilon (a Goth-inflected Amber Slemmer, alternating nights with director Danica Sena), and launch into a slick set of tightly choreographed ‘autobiographical’ numbers as the prerecorded music progresses stylistically from smooth, harpsichord-tinted dance-floor beats to all-out four-on-the-floor Donna Summer–style revelry. Despite a certain static, slightly stark ambiance in the site-specific surroundings, with the right crowd and a couple of drinks this 90-minute revue is easily a doubly retro girl-power party for all. (Avila)

Picklewater Clown Cabaret Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. Mon/6, 7 and 9pm. $15. Circus cabaret benefitting Oakland’s Children’s Fairyland.

"Soundwave ((5)): The Unconscious World" Intersection for the Arts, 925 Mission, SF; www.projectsoundwave.com. Fri/3, 8pm. $12-25. A "lying-down event with audience participatory experiences" with performances by Stephen Hurrel, Andrea Williams, and Lee Pembleton and Jon Porras.

Music Listings

0

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

WEDNESDAY 1

ROCK/BLUES/HIP-HOP

Bleached, DIIV, Lenz Rickshaw Stop. 8pm, $12.

Keith Crossan Blues Showcase with Mark Hummel Biscuits and Blues. 8 and 10pm, $15.

Hood Internet, Tanya Morgan, Psalm One Independent. 9pm, $14.

Lucy Michelle and the Velvet Lapelles, Audiofauna, Morgan Manifacier Bottom of the Hill. 9pm, $10.

Matt Murphy Johnny Foley’s. 9pm, free.

Mynabirds, Deep Time Cafe Du Nord. 9:30pm, $12.

Pierced Arrows, Husbands, Trainwreck Riders Elbo Room. 9pm, $12.

Sights, Southeast Engine, Slow Moving Lions of the Vegetable World Hemlock Tavern. 9pm, $8.

Skins & Needles, Ren the Vinyl Archeologist Brick and Mortar Music Hall. 9pm, $5-$7.

Smoker’s Club feat. Juicy J, Smoke Dza, Joey Bada$$, Fat Trel, Richie Cunning Regency Ballroom. 8pm, $25.

Starskate, Great Apes, All Eyes West, Broadcaster, Bad Liar Thee Parkside. 8pm, $8.

JAZZ/NEW MUSIC

Cat’s Corner with Nathan Dias Savanna Jazz. 9pm, $10.

Cosmo AlleyCats Le Colonial, 20 Cosmo Place, SF; www.lecolonialsf.com. 7-10pm.

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

Eldar Yoshi’s SF. 8pm, $20.

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

"SF Underground Music Fest" 50 Mason Social House, SF; (415) 433-5050. 8pm, $5. With Tom Luce, Annie Bacon and Her Oshen, Jay Trainer, Felson.

FOLK/WORLD/COUNTRY

"Cha-Ching" Boom Boom Room. 8pm, $5. Salsa, cumbia, Cuban funk.

DANCE CLUBS

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

Coo-Yah! Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. DJs Daneekah and Green B spin reggae and dancehall with weekly guests.

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

Mary Go Round Lookout, 3600 16th St, SF; www.lookoutsf.com. 10pm, $5. Drag with Suppositori Spelling, Mercedez Munro, and Ginger Snap.

Megatallica Fiddler’s Green, 1333 Columbus, SF; www.megatallica.com. 7pm, free. Heavy metal hangout.

MOM vs Stax: Battle Roya Public Works. 10pm, $3. With E da Boss, Hubcap Jones, Gordo Cabeza, Timoteo Gigante, and more.

THURSDAY 2

ROCK/BLUES/HIP-HOP

Alo, Midi Matilda, Jeff Campbell Brick and Mortar Music Hall. 4pm, free.

Alt-J, Wildcat! Wildcat!, Erika Springs Rickshaw Stop. 9pm, $12-$14.

Buraka Som Sistema Independent. 9pm, $20.

CandleSpot Collective, Dregs One, Projekt SEER, Understudies Crew Slim’s. 8:30pm, $8.

Commissure, Adventure Playground Casa Sanchez, 2778 24th St., SF; commissure.bandcamp.com. 7pm, $5.

Albert Cummings Biscuits and Blues. 8 and 10pm, $16.

John Lawton Trio Johnny Foley’s. 9pm, free.

Kegels, Worth Taking, Y Axes, Talky Tina Thee Parkside. 9pm, $6.

Lenz, Uzi Rash, City Deluxe Hemlock Tavern. 9pm, $6.

Misisipi Mike and the Midnight Gamblers, Patsychords, Vandellas Amnesia. 9pm, $10.

Sleeping People, Minot, Devfits Bottom of the Hill. 9pm, $10.

Squarepusher, DJ Eric Sharp Regency Ballroom. 8pm, $30.

Tears for Fears, Carina Round Masonic Center, 111 California, SF; www.masonicauditorium.com. 7:30pm, $39.50-$65.

JAZZ/NEW MUSIC

Ottmar Liebert & Luna Negra Yoshi’s SF. 8pm, $28; 10pm, $22.

Ned Boyton Trio Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 7-10pm.

FOLK/WORLD/COUNTRY

Twang! Honky Tonk Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm. Live country music, dancing, and giveaways.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-$7. DJ-host Pleasuremaker spin sAfrobeat, Tropicália, electro, samba, and funk.

Get Low Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. Jerry Nice and Ant-1 spin Hip-Hop, ’80s and Soul with weekly guests.

Icee Hot with John Talabot, Bobby Browser Public Works. 9pm, $5-$10.

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

Thursdays at the Cat Club Cat Club. 9pm, $6 (free before 9:30pm). Two dance floors bumpin’ with the best of 80s mainstream and underground with DJ’s Damon, Steve Washington, Dangerous Dan, and guests.

Tropicana Madrone Art Bar. 9pm, free. Salsa, cumbia, reggaeton, and more with DJs Don Bustamante, Apocolypto, Sr. Saen, Santero, and Mr. E.

FRIDAY 3

ROCK/BLUES/HIP-HOP

Birds & Batteries, Radiation City, Trails and Ways Rickshaw Stop. 9pm, $10-$12.

"Bizarre Ride II: Pharcyde (live)" 1015 Folsom, SF; www.1015.com. 10pm, $20. Low End Theory.

Bottle Kids, Dead Blue, Poeina Suddarth Brainwash Cafe, 1122 Folsom, SF; www.brainwash.com. 9pm, free.

Congress Grant and Green Saloon. 9pm.

Delta Wires Biscuits and Blues. 8 and 10pm, $20.

Dirtybird, Kill Frenzy, Claude Van Stroke Mezzanine. 9pm, $5-$20.

"Flashbangboom" Slim’s. 8pm, $20. With Chris James & the Showdowns, BC3, Pubic Heroinne, Parmisans.

Judgement Day, Giant Squad, Sun That Never Sets Bottom of the Hill. 10pm, $10.

Glen Meadmore and the Kuntry Band, Whoa Nellies, Andrew Roberts Thee Parkside. 9pm, $10.

Night Birds, Sharp Objects, Ruleta Rusa, Bad Coyotes Hemlock Tavern. 9pm, $7.

Persephone’s Bees, Bart Davenport, Dreamdate Cafe Du Nord. 9:30pm, $12.

Soul Asylum Independent. 9pm, $20.

X-Static Johnny Foley’s. 9pm, free.

Woods, Peaking Lights, Wet Illustrated Great American Music Hall. 9pm, $16.

Zej & Calen Amnesia. 6:30pm, $7-$10.

JAZZ/NEW MUSIC

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

Terry Disely Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 7-10pm.

Ottmar Liebert & Luna Negra Yoshi’s SF. 8pm, $30; 10pm, $25.

Namaskar Red Poppy Art House. 9pm, $15-$20.

Unconscious World Intersection for the Arts, 925 Mission, SF; www.projectsoundwave.com. Soundwave (5). 8pm, $12-$25.

FOLK/WORLD/COUNTRY

Baxtolo Drom Amnesia. 9pm, $7-$10.

Brazilian Music Festival Brick and Mortar Music Hall. 9pm, $15-$20. With Brener Monducci, Tambores do Brazil, Sotaque, Baiano, Tony Santos.

Giacomo Fiore, Agnew/McAllister Duo Unitarian Universalist Society of San Francisco Chapel, 1187 Franklin, SF; www.giacomofiore.com. 7:30pm, $15.

Taste Fridays 650 Indiana, SF; www.tastefridays.com. 8pm, $18. Salsa and bachata dance lessons, live music.

Taylor-Ramirez, Los Terciados Plough and Stars. 9pm, $6.

DANCE CLUBS

As You Like It with Scuba, Oliver Deustchmann, Epcot, Mossmoss Public Works. 9pm, $10-$20.

Braza! Som., 2925 16th St, SF; (415) 558-8521. 10pm, $5-$10. DJs Sabo, Kento, Elan spin Brazilian, Batucada, Samba.

Duniya Dancehall Bissap, 3372 19th St, SF; (415) 826 9287. 10pm, $10. With live performances by Duniya Drum and Dance Co. and music by Wontanara Revolution. DJ Juan Data spins bhangra, bollywood, dancehall, African, and more.

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

Neon Vinyl Summer Edition Public Works Loft. 10pm, $5-$10.

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

120 Minutes Elbo Room. 10pm, $7-$10. With Mykki Blanco, Physical Therapy, and residents DJs S4NtA MU3rTE, Planet Death, and Nako.

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

SATURDAY 4

ROCK/BLUES/HIP-HOP

Back Pages Johnny Foley’s. 9pm, free.

Jay Brannan, Chris Pureka Great American Music Hall. 9pm, $16.

"Drive Tour" with College, Anaroaak, Electric Youth Rickshaw Stop. 9pm, $15-$17.

Drizzoletto, Lily Taylor, Karina Denike, Wild Reeds Amnesia. 8pm, $7-$10.

English Beat, Champions INC. Bimbo’s. 8pm, $25.

Extra Action Marching Band, Itchy-O Marching Band Brick and Mortar Music Hall. 9pm, $15-$20.

Fake Blood, Light Year, Nisus Mezzanine. 9pm, $12.50-$20.

Fracas, Blown to Bits, Guantanamo Dogpile El Rio. 10pm, $7-$100 donation. Benefit for Nikki Davis.

Hukaholix, Hate Crime Thee Parkside. 3pm, free.

Jinx Jones Riptide. 9:30pm, free.

MOFO Party Band Biscuits and Blues. 8 and 10pm, $20.

Murder By Death, Lia Rose, Ha Ha Tonka Bottom of the Hill. 9pm, $17.

New Diplomat, Hundred Days, Koll Moi, Ownership Slim’s. 8:30pm, $13.

Pleasure Kills, Sweet Pups, Ballantynes Hemlock Tavern. 9:30pm, $7.

Polish Ambassador Yoshi’s SF Lounge. 10:30pm, $20.

Yassou Benedict, Halfbreed Lovers, Cigarettes After Sex, Ghost Town Jenny Thee Parkside. 9pm, $7.

JAZZ/NEW MUSIC

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

Ottmar Liebert & Luna Negra Yoshi’s SF. 8pm, $30; 10pm, $25.

FOLK/WORLD/COUNTRY

Go Van Gough Red Poppy Art House. 6:45. Part of Mission Arts & Performance Project.

"Rockabilly Jukebox" Plough and Stars. 9:30pm, $8-$10. With Blue Diamond Fillups, Whiskey Pills Fiasco.

DANCE CLUBS

Bootie SF: Faroff DNA Lounge. 9pm, $10-$15.

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

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

Haceteria Deco Lounge, 510 Larkin, SF; www.decosf.com. 9pm; free before 11pm, $5 after. With Magic Touch, Nihar, Tristes Tropiques, Smac, and Jason P.

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

Saturday Night Soul Party Elbo Room. 10pm, $5-$10.

Two Crews, One Cup: Number Two Public Works. 9pm, $10-$20. Benefit for Haiti with DingDong, Ernie Trevino, JoeJoe, Jess Stockton, and more.

Vinyl Boom Boom Room. 8pm, $15. DJ K-Os spins old school soul, Latin, and funk.

SUNDAY 5

ROCK/BLUES/HIP-HOP

Lynn Drury, Gal Holiday and the Honky Tonk Revue Brick and Mortar Music Hall. 9pm, $5-$8.

Nathan James and the Rhythm Scratchers Biscuits and Blues. 7 and 9pm, $15.

John Lawton Trio Johnny Foley’s. 9pm, free.

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

Murder By Death, Lia Rose, Ha Ha Tonka Bottom of the Hill. 9pm, $17.

Ozomatli, SMOD Sigmund Stern Grove, 19th Avenue and Sloat Boulevard, SF; www.sterngrove.org. 2pm, free.

Radio Moscow, Dirty Streets, Coo Coo Birds Cafe Du Nord. 8:30pm, $12.

7Horse Red Devil Lounge.

Sierra Leon’s Refugee All Stars, Black Nature Band, Naia Kate Independent. 8pm, $20.

Slow Motion Cowboys, Tater Famine Knockout. 5pm, $6.

That Ghost, Ed Schrader’s Music Beat, Bloom Thee Parkside. 8pm, $7.

Wild Kindness, Former Friends of Young Americans, Casual Dolphins Hemlock Tavern. 9pm, $6.

JAZZ/NEW MUSIC

Niyaz Yoshi’s SF. 7pm, $28.

FOLK/WORLD/COUNTRY

Miwi Gemini, Jean-Marie, Dusty DiMercurio, Poor Sweet Creatures Hotel Utah. 8pm.

Dana Lyn, Kyle Sanna Red Poppy Art House. 8:30pm, $10.

Peter Rowan Jerry Garcia Amphitheater, 45 John F. Shelly, SF; (415) 272-1397. 11am, free.

Twang Sunday Thee Parkside. 4pm, free. With Country Casanovas.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, and dancehall with DJ Sep, Vinnie Esparza, and J. Boogie.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2. Raise money for LGBT sports teams while enjoying DJs and drink specials.

La Pachanga Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 6pm, $10. Salsa dance party with live Afro-Cuban salsa bands.

MONDAY 6

ROCK/BLUES/HIP-HOP

Cool Ghouls, Brother Pacific, Black Cobra Vipers Brick and Mortar Music Hall. 8pm, $4-$7.

Damir Johnny Foley’s. 9pm, free.

Belle Monroe and Her Brewglass Boys Amnesia. 9pm, free.

Sutekh Hexen, Hallow, Rain and Endless Fall, Rigis Elbo Room. 9pm, $7.

JAZZ/NEW MUSIC

Bossa Nova Tunnel Top, 601 Bush, SF; (415) 722-6620. 8-11:30pm, free. Live acoustic Bossa Nova.

DANCE CLUBS

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

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

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

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop from 1960s-early ’90s with DJs Luce Lucy, Vinnie Esparza, and more.

TUESDAY 7

ROCK/BLUES/HIP-HOP

Ash Reiter, Great Elk Amnesia. 9:15pm, $7.

Cosmonauts, Gap Dream Hemlock Tavern. 9pm, $7.

Fang Island, Zechs Marquise Great American Music Hall. 8pm, $15.

Foxygen, NO, Dylan Shearer Brick and Mortar Music Hall. 9pm, free.

Gaza, Eagle Twin, Monuments, Collapse Thee Parkside. 8pm, $10.

Jesus and the Rabbis Boom Boom Room. 8pm, $5.

Guitar Shorty Biscuits and Blues. 8 and 10pm, $20.

Slick Idiot, Mona Mur & En Esch, Promonium Jesters, Loveless Love Elbo Room. 8pm, $10.

Stan Erhart Band Johnny Foley’s. 9pm, free.

War Trash, Meth Sores, Midnite Brain, Gaskill Knockout. 9:30pm, $6.

JAZZ/NEW MUSIC

Etienne Charles Yoshi’s SF. 8pm, $14.

Frederick Hodges Pier 23, Embarcadero at Filbert, SF; (415) 362-5125. 5-8pm.

"Unplugged" 50 Mason Social House, SF; (415) 433-5050. 7pm, free. With Kyle Castellani, FastLayne, Growing Room, Midnight Radio, and more.

DANCE CLUBS

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

Post-Dubstep Tuesdays Som., 2925 16th St, SF; (415) 558-8521.10pm, free. DJs Dnae Beats, Epcot, Footwerks spin UK Funky, Bass Music.

Film Listings

0

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

OPENING

The Babymakers The Babymakers would be better titled The Anxiety-Wracked Sperminators. Longtime couple Audrey (Olivia Munn) and Tommy (Paul Schneider) have it all — good looks, smart mouths, crazy-cute chemistry — except the requisite rug rats. Despite Tommy’s trepidation, they try and try and try, only to discover, after much tortuous testing of the neurotic would-be baby daddy, that the man has been shooting sleepy and unmotivated seed. Fortunately, Tommy sold a batch of the still-vital stuff to a local sperm bank in order to buy Audrey’s ring five years ago. So swallowing the shame of purchasing nuptial bling with said whack-off money, Tommy and his gang (Kevin Heffernan, Wood Harris, and Nat Faxon) enlist the help of Indian mobster Ron Jon (director Jay Chandrasekhar, channeling Alfred Molina in Boogie Nights) embark on likely the first sperm bank break-in in cinematic history. With Chandrasekhar (2005’s The Dukes of Hazzard) in the director’s seat, the overall effect is that of a slightly ham-fisted indie striving for sitcom-like appeal — its easy laughs fall slightly short of cheap-date status, and the narrative contortions The Babymakers undergoes to achieve its tidy wrap-up undercut the revelry. Too bad for its attractive leads: the bright and beautiful Munn has been languishing in second-banana parts for too long, and the woefully neglected Schneider has a talent for bringing an angry edge-slash-intensity to every role. (1:38) (Chun)

Bill W. Even longtime AA members are unlikely to know half the organizational history revealed in this straightforward, chronological, fast-moving portrait of its late founder. Bill Wilson was a bright, personable aspiring businessman whose career was nonetheless perpetually upset by addiction to the alcohol that eased his social awkwardness but brought its own worse troubles. During one mid-1930s sanitarium visit, attempting to dry out, he experienced a spiritual awakening. From that moment slowly grew the idea of Alcoholics Anonymous, which he shaped with the help of several other recovering drunks, and saw become a national movement after a 1941 Saturday Evening Post article introduced it to the general public. Wilson had always hoped the "leaderless" organization would soon find its own feet and leave him to build a separate, sober new career. But gaining that distance was difficult; attempts to find other "cures" for his recurrent depression (including LSD therapy) laid him open to internal AA criticism; and he was never comfortable on the pedestal that grateful members insisted he stay on as the organization’s founder. Admittedly, he appointed himself its primary public spokesman, which rendered his own hopes for privacy somewhat self-canceling — though fortunately it also provides this documentary with plenty of extant lecture and interview material. He was a complicated man whose complicated life often butted against the role of savior, despite his endless dedication and generosity toward others in need. That thread of conflict makes for a movie that’s compelling beyond the light it sheds on an institution as impactful on individual lives and society as any other to emerge from 20th-century America. (1:43) Elmwood, Roxie. (Harvey)

Crazy and Thief Former S.F. resident Cory McAbee of the Billy Nayer Show, as well as cult film faves The American Astronaut (2001) and Stingray Sam (2009), returns for one night only in this multimedia event under the umbrella of his new enterprise "Captain Ahab’s Motorcycle Club." The Vogue Theatre event will offer music and conversation after a screening of McAbee’s latest. Crazy and Thief stars his children, two-year-old Johnny and slightly senior Willa, in a 52-minute adventure that has them following a "star map" all by themselves around Brooklyn, then journeying out to the country via train. En route they improvise nonsense songs, cross paths with strange adults suspicious and helpful, ride a Mickey Mouse hobby horse, and so forth. A color effort that’s sort of an elaborate home movie compared to the director’s fancifully comic, black and white prior films, it nonetheless gets pretty far on the cuteness of toddlers and a soundtrack of original songs that find McAbee rocking like a five-year-old might — something that’s also pretty cute. (:52) Vogue. (Harvey)

The Devil, Probably This seldom-revived 1977 feature from late French master Robert Bresson was his penultimate as well as most explicitly political work. Newspaper clips at the start betray where these 95 minutes will be heading: they introduce Parisian Charles (Antoine Monnier) as a casualty, a suicide at age 20. The reasons for that act are probed in the succeeding flashback, as we observe his last days drifting between friends and lovers, quitting student activist groups, and generally expressing his disillusionment with everything from politics to religion to human interaction. Then 70, Bresson expresses his own disenchantment in solidarity with the youthful characters by including documentary shots of pollution, clubbed baby seals, A-bomb explosions, and other dire signs of "an Earth that is ever more populated and ever less habitable." That essential message makes The Devil, Probably more relevant than ever, but unfortunately it’s also one of the filmmaker’s driest, most didactic exercises. There are a few odd, almost farcical moments (as when the constant pondering of man’s fate extends to a spontaneous philosophical debate between passengers on a public bus), but the characters are too obviously mouthpieces with no inner lives of their own. In particular, Charles remains an unengaging blank in Monnier’s performance, which is all too faithful to the director’s usual call for "automatic," uninflected line readings from his nonprofessional cast. Nothing Bresson did is without interest, but here his detached technique drains nearly all emotional impact from a film ostensibly about profound despair. (1:35) SF Film Society Cinema. (Harvey)

Diary of a Wimpy Kid: Dog Days The titular hero (Zachary Gordon) returns in the third family comedy adapted from Jeff Kinney’s YA novels. (1:34) Presidio.

Girlfriend Boyfriend The onscreen title of this Taiwanese import is Gf*Bf, but don’t let the text-speak fool you: the bulk of the film is set in the 1980s and 90s, long before smart phones were around to complicate relationships. And the trio at the heart of Girlfriend Boyfriend is complicated enough as it is: sassy Mabel (Gwei Lun-Mei) openly pines for brooding Liam (Joseph Chang), who secretly pines for rebellious Aaron (Rhydian Vaughan), who chases Mabel until she gives in; as things often go in stories like this, nobody gets the happy ending they desire. Set against the backdrop of Taiwan’s student movement, this vibrant drama believably tracks its leads as they mature from impulsive youths to bitter adults who never let go of their deep bond — despite all the misery it causes, and a last-act turn into melodrama that’s hinted at by the film’s frame story featuring an older Liam and a pair of, um, sassy and rebellious twin girls he’s been raising as his own. (1:45) Metreon. (Eddy)

The Imposter See "Foolin’." (1:39) Lumiere, Shattuck.

Killer Joe See "The Friedkin Connection." (1:43) Embarcadero.

Klown A spinoff from a long-running Danish TV show, with the same director (Mikkel Nørgaard) and co-writer/stars, this bad-taste comedy might duly prove hard to beat as "the funniest movie of the year" (a claim its advertising already boasts). Socially hapless Frank (Frank Hvam) discovers his live-in girlfriend Mia (Mia Lyhne) is pregnant, but she quite reasonably worries "you don’t have enough potential as a father." To prove otherwise, he basically kidnaps 12-year-old nephew Bo (Marcuz Jess Petersen) and drags him along on a canoe trip with best friend Casper (Casper Christensen). Trouble is, Casper has already proclaimed this trip will be a "Tour de Pussy," in which they — or at least he — will seize any and every opportunity to cheat on their unknowing spouses. Ergo, there’s an almost immediate clash between awkward attempts at quasi-parental bonding and activities most unsuited for juvenile eyes. Accusations of rape and pedophilia, some bad advice involving "pearl necklaces," an upscale one-night-only bordello, reckless child endangerment, encouragement of teenage drinking, the consequences of tactical "man flirting," and much more ensue. Make no mistake, Klown one-ups the Judd Apatow school of raunch (at least for the moment), but it’s good-natured enough to avoid any aura of crass Adam Sandler-type bottom-feeding. It’s also frequently, blissfully, very, very funny. (1:28) Roxie. (Harvey)

Searching for Sugar Man See "The Comeback King." (1:25) Embarcadero.

Total Recall Frankly, the 1990 Verhoeven-Schwarzenegger version didn’t need remaking, but Len Wiseman (of Underworld series fame) and star Colin Farrell are here with a new take on Philip K. Dick’s short story "We Can Remember It For You Wholesale" anyway. (1:58) California, Presidio.

ONGOING

Abraham Lincoln: Vampire Hunter Are mash-ups really so 2001? Not according to the literary world, where writer Seth Graham-Smith has been doing brisk trade in gore-washing perfectly interesting historical figures and decent works of literature — a fan fiction-rooted strategy that now reeks of a kind of camp cynicism when it comes to a terminally distracted, screen-aholic generation. Still, I was strangely excited by the cinematic kitsch possibilities of Graham-Smith’s Lincoln alternative history-cum-fantasy, here in the hands of Timur Bekmambetov (2004’s Night Watch). Historians, prepare to fume — it helps if you let go of everything you know about reality: as Vampire Hunter opens, young Lincoln learns some harsh lessons about racial injustice, witnessing the effects of slavery and the mistreatment of his black friend Will. As a certain poetic turn would have it, slave owners here are invariably vampires or in cahoots with the undead, as is the wicked figure, Jack Barts (Marton Csokas), who beats both boys and sucks Lincoln’s father dry financially. In between studying to be a lawyer and courting Mary Todd (Mary Elizabeth Winstead), the adult Lincoln (Benjamin Walker) vows to take revenge on the man who caused the death of his mother and enters the tutelage of vampire hunter Henry (Dominic Cooper), who puts Abe’s mad skills with an ax to good use. Toss in a twist or two; more than few freehand, somewhat humorous rewrites of history (yes, we all wish we could have tweaked the facts to have a black man working by Lincoln’s side to abolish slavery); and Bekmambetov’s tendency to direct action with the freewheeling, spectacle-first audacity of a Hong Kong martial arts filmmaker (complete with at least one gaping continuity flaw) — and you have a somewhat amusing, one-joke, B-movie exercise that probably would have made a better short or Grindhouse-esque trailer than a full-length feature — something the makers of the upcoming Pride and Prejudice and Zombies should bear in mind. (1:45) SF Center. (Chun)

Ai Weiwei: Never Sorry Unstoppable force meets immovable object — and indeed gets stopped — in Alison Klayman’s documentary about China’s most famous contemporary artist. A larger than life figure, Ai Weiwei’s bohemian rebel persona was honed during a long (1981-93) stint in the U.S., where he fit right into Manhattan’s avant-garde and gallery scenes. Returning to China when his father’s health went south, he continued to push the envelope with projects in various media, including architecture — he’s best known today for the 2008 Beijing Olympics’ "Bird’s Nest" stadium design. But despite the official approval implicit in such high-profile gigs, his incessant, obdurate criticism of China’s political repressive politics and censorship — a massive installation exposing the government-suppressed names of children killed by collapsing, poorly-built schools during the 2008 Sichuan earthquake being one prominent example — has tread dangerous ground. This scattershot but nonetheless absorbing portrait stretches its view to encompass the point at which the subject’s luck ran out: when the film was already in post-production, he was arrested, then held for two months without official charge before he was accused of alleged tax evasion. (He is now free, albeit barred from leaving China, and "suspected" of additional crimes including pornography and bigamy.) (1:31) Lumiere, Shattuck, Sundance Kabuki. (Harvey)

The Amazing Spider-Man A mere five years after Sam Raimi and Tobey Maguire’s Spider-Man 3 — forgettable on its own, sure, but 2002’s Spider-Man and especially 2004’s Spider-Man 2 still hold up — Marvel’s angsty web-slinger returns to the big screen, hoping to make its box-office mark before The Dark Knight Rises opens in a few weeks. Director Marc Webb (2009’s 500 Days of Summer) and likable stars Andrew Garfield (as the skateboard-toting hero) and Emma Stone (as his high-school squeeze) offer a competent reboot, but there’s no shaking the feeling that we’ve seen this movie before, with its familiar origin story and with-great-power themes. A little creativity, and I don’t mean in the special effects department, might’ve gone a long way to make moviegoers forget this Spidey do-over is, essentially, little more than a soulless cash grab. Not helping matters: the villain (Rhys Ifans as the Lizard) is a snooze. (2:18) Metreon, 1000 Van Ness. (Eddy)

Beasts of the Southern Wild Six months after winning the Grand Jury Prize at Sundance (and a Cannes Camera d’Or), Beasts of the Southern Wild proves capable of enduring a second or third viewing with its originality and strangeness fully intact. Magical realism is a primarily literary device that isn’t attempted very often in U.S. cinema, and succeeds very rarely. But this intersection between Faulkner and fairy tale, a fable about — improbably — Hurricane Katrina, is mysterious and unruly and enchanting. Benh Zeitlin’s film is wildly cinematic from the outset, as voiceover narration from six-year-old Hushpuppy (Quvenzhané Wallis) offers simple commentary on her rather fantastical life. She abides in the Bathtub, an imaginary chunk of bayou country south of New Orleans whose residents live closer to nature, amid the detritus of civilization. Seemingly everything is some alchemical combination of scrap heap, flesh, and soil. But not all is well: when "the storm" floods the land, the holdouts are forced at federal gunpoint to evacuate. With its elements of magic, mythological exodus, and evolutionary biology, Beasts goes way out on a conceptual limb; you could argue it achieves many (if not more) of the same goals Terrence Malick’s 2011 The Tree of Life did at a fraction of that film’s cost and length. (1:31) Bridge, California, Embarcadero, Smith Rafael. (Harvey)

Bernie Jack Black plays the titular new assistant funeral director liked by everybody in small-town Carthage, Tex. He works especially hard to ingratiate himself with shrewish local widow Marjorie (Shirley MacLaine), but there are benefits — estranged from her own family, she not only accepts him as a friend (then companion, then servant, then as virtual "property"), but makes him her sole heir. Richard Linklater’s latest is based on a true-crime story, although in execution it’s as much a cheerful social satire as I Love You Philip Morris and The Informant! (both 2009), two other recent fact-based movies about likable felons. Black gets to sing (his character being a musical theater queen, among other things), while Linklater gets to affectionately mock a very different stratum of Lone Star State culture from the one he started out with in 1991’s Slacker. There’s a rich gallery of supporting characters, most played by little-known local actors or actual townspeople, with Matthew McConaughey’s vainglorious county prosecutor one delectable exception. Bernie is its director’s best in some time, not to mention a whole lot of fun. (1:39) Opera Plaza, Shattuck, Smith Rafael. (Harvey)

The Best Exotic Marigold Hotel (1:42) Opera Plaza, Shattuck.

Brave Pixar’s latest is a surprisingly familiar fairy tale. Scottish princess Merida (voiced by Kelly Macdonald) would rather ride her horse and shoot arrows than become engaged, but it’s Aladdin-style law that she must marry the eldest son of one of three local clans. (Each boy is so exaggeratedly unappealing that her reluctance seems less tomboy rebellion than common sense.) Her mother (Emma Thompson) is displeased; when they quarrel, Merida decides to change her fate (Little Mermaid-style) by visiting the local spell-caster (a gentle, absent-minded soul that Ursula the Sea Witch would eat for brunch). Naturally, the spell goes awry, but only the youngest of movie viewers will fear that Merida and her mother won’t be able to make things right by the end. Girl power is great, but so are suspense and originality. How, exactly, is Brave different than a zillion other Disney movies about spunky princesses? Well, Merida’s fiery explosion of red curls, so detailed it must have had its own full-time team of animators working on it, is pretty fantastic. (1:33) 1000 Van Ness, SF Center, Shattuck. (Eddy)

Dark Horse You can look at filmmaker Todd Solondz’s work and find it brilliant, savage, and challenging; or show-offy, contrived, and fraudulent. The circles of interpersonal (especially familial) hell he describes are simultaneously brutal, banal, and baroque. But what probably distresses people most is that they’re also funny — raising the issue of whether he trivializes trauma for the sake of cheap shock-value yuks, or if black comedy is just another valid way of facing the unbearable. Dark Horse is disturbing because it’s such a slight, inconsequential, even soft movie by his standards; this time, the sharp edges seem glibly cynical, and the sum ordinary enough to no longer seem unmistakably his. Abe (Jordan Gelber) is an obnoxious jerk of about 35 who still lives with his parents (Mia Farrow, Christopher Walken) and works at dad’s office, likely because no one else would employ him. But Abe doesn’t exactly see himself as a loser. He resents and blames others for being winners, which is different — he sees the inequality as their fault. Dark Horse is less of an ensemble piece than most of Solondz’s films, and in hinging on Abe, it diminishes his usual ambivalence toward flawed humanity. Abe has no redemptive qualities — he’s just an annoyance, one whose mental health issues aren’t clarified enough to induce sympathy. (1:25) Smith Rafael. (Harvey)

The Dark Knight Rises Early reviews that called out The Dark Knight Rises‘ flaws were greeted with the kind of vicious rage that only anonymous internet commentators can dish out. And maybe this is yet another critic-proof movie, albeit not one based on a best-selling YA book series. Of course, it is based on a comic book, though Christopher Nolan’s sophisticated filmmaking and Christian Bale’s tortured lead performance tend to make that easy to forget. In this third and "final" installment in Nolan’s trilogy, Bruce Wayne has gone into seclusion, skulking around his mansion and bemoaning his broken body and shattered reputation. He’s lured back into the Batcave after a series of unfortunate events, during which The Dark Knight Rises takes some jabs at contemporary class warfare (with problematic mixed results), introduces a villain with pecs of steel and an at-times distractingly muffled voice (Tom Hardy), and unveils a potentially dangerous device that produces sustainable energy (paging Tony Stark). Make no mistake: this is an exciting, appropriately moody conclusion to a superior superhero series, with some nice turns by supporting players Gary Oldman and Joseph Gordon-Levitt. But in trying to cram in so many characters and plot threads and themes (so many prisons in this thing, literal and figural), The Dark Knight Rises is ultimately done in by its sprawl. Without a focal point — like Heath Ledger’s menacing, iconic Joker in 2008’s The Dark Knight — the stakes aren’t as high, and the end result feels more like a superior summer blockbuster than one for the ages. (2:44) Balboa, Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Farewell, My Queen (Benoît Jacquot, France, 2012) Opening early on the morning of July 14, 1789, Farewell, My Queen depicts four days at the Palace of Versailles on the eve of the French Revolution, as witnessed by a young woman named Sidonie Laborde (Léa Seydoux) who serves as reader to Marie Antoinette (Diane Kruger). Sidonie displays a singular and romantic devotion to the queen, while the latter’s loyalties are split between a heedless amour propre and her grand passion for the Duchess de Polignac (Virginie Ledoyen). These domestic matters and other regal whims loom large in the tiny galaxy of the queen’s retinue, so that while elsewhere in the palace, in shadowy, candle-lit corridors, courtiers and their servants mingle to exchange news, rumor, panicky theories, and evacuation plans, in the queen’s quarters the task of embroidering a dahlia for a projected gown at times overshadows the storming of the Bastille and the much larger catastrophe on the horizon. (1:39) Albany, Embarcadero, Piedmont. (Rapoport)

Ice Age: Continental Drift (1:27) Metreon, 1000 Van Ness.

The Intouchables Cries of "racism" seem a bit out of hand when it comes to this likable albeit far-from-challenging French comedy loosely based on a real-life relationship between a wealthy white quadriplegic and his caretaker of color. The term "cliché" is more accurate. And where were these critics when 1989’s Driving Miss Daisy and 2011’s The Help — movies that seem designed to make nostalgic honkies feel good about those fraught relationships skewed to their advantage—were coming down the pike? (It also might be more interesting to look at how these films about race always hinge on economies in which whites must pay blacks to interact with/educate/enlighten them.) In any case, Omar Sy, portraying Senegalese immigrant Driss, threatens to upset all those pundits’ apple carts with his sheer life force, even when he’s shaking solo on the dance floor to sounds as effortlessly unprovocative, and old-school, as Earth, Wind, and Fire. In fact, everything about The Intouchables is as old school as 1982’s 48 Hrs., spinning off the still laugh-grabbing humor that comes with juxtaposing a hipper, more streetwise black guy with a hapless, moneyed chalky. The wheelchair-bound Philippe (Francois Cluzet) is more vulnerable than most, and he has a hard time getting along with any of his nurses, until he meets Driss, who only wants his signature for his social services papers. It’s not long before the cultured, classical music-loving Philippe’s defenses are broken down by Driss’ flip, somewhat honest take on the follies and pretensions of high culture — a bigger deal in France than in the new world, no doubt. Director-writer Olivier Nakache and Eric Toledano aren’t trying to innovate —they seem more set on crafting an effervescent blockbuster that out-blockbusters Hollywood — and the biggest compliment might be that the stateside remake is already rumored to be in the works. (1:52) Clay, Piedmont, Shattuck. (Chun)

Jiro Dreams of Sushi Celebrity-chef culture has surely reached some kind of zeitgeist, what with the omnipresence of Top Chef and other cooking-themed shows, and the headlines-making power of people like Paula Deen (diabetes) and Mario Batali (sued for ripping off his wait staff). Unconcerned with the trappings of fame — you’ll never see him driving a Guy Fieri-style garish sports car — is Jiro Ono, 85-year-old proprietor of Sukiyabashi Jiro, a tiny, world-renowned sushi restaurant tucked into Tokyo’s Ginza station. Jiro, a highly-disciplined perfectionist who believes in simple, yet flavorful food, has devoted his entire life to the pursuit of "deliciousness" — to the point of sushi invading his dreams, as the title of David Gelb’s reverential documentary suggests. But Jiro Dreams of Sushi goes deeper than food-prep porn (though, indeed, there’s plenty of that); it also examines the existential conflicts faced by Jiro’s two middle-aged sons. Both were strongly encouraged to enter the family business — and in the intervening years, have had to accept the soul-crushing fact that no matter how good their sushi is, it’ll never be seen as exceeding the creations of their legendary father. (1:21) Four Star, Opera Plaza. (Eddy)

Madagascar 3: Europe’s Most Wanted (1:33) SF Center.

Magic Mike Director Steven Soderbergh pays homage to the 1970s with the opening shot of his male stripper opus: the boxy old Warner Bros. logo, which evokes the gritty, sexualized days of Burt Reynolds and Joe Namath posing in pantyhose. Was that really the last time women, en masse, were welcome to ogle to their heart’s content? That might be the case considering the outburst of applause when a nude Channing Tatum rises after a hard night in a threesome in Magic Mike‘s first five minutes. Ever the savvy film historian, Soderbergh toys with the conventions of the era, from the grimy quasi-redneck realism of vintage Reynolds movies to the hidebound framework of the period’s gay porn, almost for his own amusement, though the viewer might be initially confused about exactly what year they’re in. Veteran star stripper Mike (Tatum) is working construction, stripping to the approval of many raucous ladies and their stuffable dollar bills. He decides to take college-dropout blank-slate hottie Adam (Alex Pettyfer) under his wing and ropes him into the strip club, owned by Dallas (Matthew McConaughey, whose formidable abs look waxily preserved) and show him the ropes of stripping and having a good time, much to the disapproval of Adam’s more straight-laced sister Brooke (Cody Horn). Really, though, all Mike wants to do is become a furniture designer. Boasting Foreigner’s "Feels like the First Time" as its theme of sorts and spot-on, hot choreography by Alison Faulk (who’s worked with Madonna and Britney Spears), Magic Mike takes off and can’t help but please the crowd when it turns to the stage. Unfortunately the chemistry-free budding romance between Mike and Brooke sucks the air out of the proceedings every time it comes into view, which is way too often. (1:50) 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

Moonrise Kingdom Does Wes Anderson’s new film mark a live-action return to form after 2007’s disappointingly wan Darjeeling Limited? More or less. Does it tick all the Andersonian style and content boxes? Indubitably. In the most obvious deviation Anderson has taken with Moonrise, he gives us his first period piece, a romance set in 1965 on a fictional island off the New England coast. After a chance encounter at a church play, pre-teen Khaki Scout Sam (newcomer Jared Gilman) instantly falls for the raven-suited, sable-haired Suzy Bishop (Kara Hayward, ditto). The two become pen pals, and quickly bond over the shared misery of being misunderstood by both authority figures and fellow kids. The bespectacled Sam is an orphan, ostracized by his foster parents and scout troop (much to the dismay of its straight-arrow leader Edward Norton). Suzy despises her clueless attorney parents, played with gusto by Bill Murray and Frances McDormand in some of the film’s funniest and best scenes. When the two kids run off together, the whole thing begins to resemble a kind of tween version of Godard’s 1965 lovers-on the-lam fantasia Pierrot le Fou. But like most of Anderson’s stuff, it has a gauzy sentimentality more akin to Truffaut than Godard. Imagine if the sequence in 2001’s The Royal Tenenbaums where Margot and Richie run away to the Museum of Natural History had been given the feature treatment: it’s a simple yet inspired idea, and it becomes a charming little tale of the perils of growing up and selling out the fantasy. But it doesn’t feel remotely risky. It’s simply too damn tame. (1:37) Balboa, California, Metreon, 1000 Van Ness, Piedmont, Presidio, SF Center. (Michelle Devereaux)

Prometheus Ridley Scott’s return to outer space — after an extended stay in Russell Crowe-landia — is most welcome. Some may complain Prometheus too closely resembles Scott’s Alien (1979), for which it serves as a prequel of sorts. Prometheus also resembles, among others, The Thing (1982), 2001: A Space Odyssey (1968), and Event Horizon (1997). But I love those movies (yes, even Event Horizon), and I am totally fine with the guy who made Alien borrowing from all of them and making the classiest, most gorgeous sci-fi B-movie in years. Sure, some of the science is wonky, and the themes of faith and creation can get a bit woo-woo, but Prometheus is deep-space discombobulation at its finest, with only a miscast Logan Marshall-Green (apparently, cocky dude-bros are still in effect at the turn of the next millennium) marring an otherwise killer cast: Noomi Rapace as a dreamy (yet awesomely tough) scientist; Idris Elba as Prometheus‘ wisecracking captain; Charlize Theron as the Weyland Corportation’s icy overseer; and Michael Fassbender, giving his finest performance to date as the ship’s Lawrence of Arabia-obsessed android. (2:03) Metreon. (Eddy)

The Queen of Versailles Lauren Greenfield’s obscenely entertaining The Queen of Versailles takes a long, turbulent look at the lifestyles lived by David and Jackie Siegel. He is the 70-something undisputed king of timeshares; she is his 40-something (third) wife, a former beauty queen with the requisite blonde locks and major rack, both probably not entirely Mother Nature-made. He’s so compulsive that he’s never saved, instead plowing every buck back into the business. When the recession hits, that means this billionaire is — in ready-cash as opposed to paper terms — suddenly sorta kinda broke, just as an enormous Las Vegas project is opening and the family’s stupefyingly large new "home" (yep, modeled after Versailles) is mid-construction. Plugs must be pulled, corners cut. Never having had to, the Siegels discover (once most of the servants have been let go) they have no idea how to run a household. Worse, they discover that in adversity they have a very hard time pulling together — in particular, David is revealed as a remote, cold, obsessively all-business person who has no use for getting or giving "emotional support;" not even for being a husband or father, much. What ultimately makes Queen poignantly more than a reality-TV style peek at the garishly wealthy is that Jackie, despite her incredibly vulgar veneer (she’s like a Jennifer Coolidge character, forever squeezed into loud animal prints), is at heart just a nice girl from hicksville who really, really wants to make this family work. (1:40) Embarcadero, Shattuck, Smith Rafael. (Harvey)

Romantics Anonymous An awkward, bumbling Parisian chocolatier named Jean-Rene (Benoît Poelvoorde) falls for his gorgeous, equally awkward sales rep, Angélique (Isabelle Carré), while never missing an opportunity to say the wrong thing, surrender to shyness, or panic under pressure. It’s crucial for films involving such protracted awkwardness to give the audience something to cling to emotionally, but instead we’re handed a limp, formulaic story, sorely underdeveloped characters, and lazy writing in which the protagonists act uncharacteristically stupid/gullible/oblivious for the sake of plot-expedience. Amélie (2001) mined similar thematic territory, but its success lay in the depth of its characters; Romantics Anonymous is about little more than the idea of two hopeless romantics, and that’s simply not enough to hold interest. It’s beautifully scored, lovingly shot, and steeped in vintage French atmosphere — but that doesn’t compensate for sketchy characterization and weak, predictable storytelling. (1:20) Roxie. (Taylor Kaplan)

Ruby Sparks Meta has rarely skewed as appealingly as with this indie rom-com spinning off a writerly version of the Pygmalion and Galatea tale, as penned by the object-of-desire herself: Zoe Kazan. Little Miss Sunshine (2006) directors Jonathan Dayton and Valerie Faris helm this heady fantasy about a crumpled, geeky novelist, Calvin (Paul Dano), who’s suffering from the sophomore slump — he can’t seem to break his rock-solid writers block and pen a follow-up to his hit debut. He’s a victim of his own success, especially when he finally begins to write, about a dream girl, a fun-loving, redheaded artist named Ruby (scriptwriter Kazan), who one day actually materializes. When he types that she speaks nothing but French, out comes a stream of the so-called language of diplomacy. Calvin soon discovers the limits and dangers of creation — say, the hazards of tweaking a manifestation when she doesn’t do what you desire, and the question of what to do when one’s baby Frankenstein grows bored and restless in the narrow circle of her creator’s imagination. Kazan — and Dayton and Faris — go to the absurd, even frightening, limits of the age-old Pygmalion conceit, giving it a feminist charge, while helped along by a cornucopia of colorful cameos by actors like Annette Bening and Antonio Banderas as Calvin’s boho mom and her furniture-building boyfriend. Dano is as adorably befuddled as ever and adds the crucial texture of every-guy reality, though ultimately this is Kazan’s show, whether she’s testing the boundaries of a genuinely codependent relationship or tugging at the puppeteer’s strings. (1:44) Metreon, Shattuck, Sundance Kabuki. (Chun)

Sacrifice Power-mad General Tu’an (Wang Xueqi) engineers the slaughter of the entire Zhao clan — including the newborn son who’s the last of the line. But the baby’s been swapped with the child of the doctor, Cheng Ying (Ge You), who delivered him, and the deception train pretty much goes off the rails after that. Suffice to say the Zhao heir survives while Cheng Ying’s wife and infant do not, and Tu’an is none the wiser. Revenge seems the only logical move, so Cheng Ying patiently waits years for the boy to grow up and learn martial arts from Tu’an, plotting that he’ll reveal the truth when the (kinda bratty) child becomes capable of killing his beloved "godfather" — a.k.a. the guy who massacred his family (and the family of his adoptive father). If that sounds complicated, know that this epic from Chen Kaige (1993’s Farewell My Concubine) has over two hours to get through all those plot mechanics. Also, it’s gorgeously shot, mixing the classy trappings of a big-budget historical melodrama with thunderous battles and scenes of brutal violence. (2:10) Four Star, SF Film Society Cinema. (Eddy)

Safety Not Guaranteed San Francisco-born director Colin Trevorrow’s narrative debut feature Safety Not Guaranteed, written by Derek Connolly, has an improbable setup: not that rural loner Kenneth (Mark Duplass) would place a personal ad for a time travel partner ("Must bring own weapons"), but that a Seattle alt-weekly magazine would pay expenses for a vainglorious staff reporter (Jake Johnson, hilarious) and two interns (Aubrey Plaza, Karan Soni) to stalk him for a fluff feature over the course of several days. The publishing budget allowing that today is true science-fiction. But never mind. Inserting herself "undercover" when a direct approach fails, Plaza’s slightly goth college grad finds she actually likes obsessive, paranoid weirdo Kenneth, and is intrigued by his seemingly insane but dead serious mission. For most of its length Safety falls safely into the category of off-center indie comedics, delivering various loopy and crass behavior with a practiced deadpan, providing just enough character depth to achieve eventual poignancy. Then it takes a major leap — one it would be criminal to spoil, but which turns an admirable little movie into something conceptually surprising, reckless, and rather exhilarating. (1:34) SF Center, Shattuck. (Harvey)

Savages If it’s true, as some say, that Oliver Stone had lost his way after 9/11 — when seemingly many of his worst fears (and conspiracy theories) came to pass — then perhaps this toothy noir marks his return: it definitely reads as his most emotionally present exercise in years. Not quite as nihilistic as 1994’s Natural Born Killers, yet much juicier than 2010’s Wall Street: Money Never Sleeps, this pulpy effort turns on a cultural clash between pleasure-seeking, honky Cali hedonists, who appear to believe in whatever feels good, and double-dealing Mexican mafia muscle, whose apparently ironclad moral code is also shifting like drifting SoCal sands. All are draped in the Stone’s favored vernacular of manly war games with a light veneer of Buddhistic higher-mindedness and, natch, at least one notable wig. Happy pot-growing nouveau-hippies Ben (Aaron Johnson), Chon (Taylor Kitsch), and O (Blake Lively) are living the good life beachside, cultivating plants coaxed from seeds hand-imported by seething Afghanistan war vet Chon and refined by botanist and business major Ben. Pretty, privileged sex toy O sleeps with both — she’s the key prize targeted by Baja drug mogul Elena (Salma Hayek) and her minions, the scary Lado (Benicio Del Toro) and the more well-heeled Alex (Demian Bichir), who want to get a piece of Ben and Chon’s high-THC product. The twists and turnarounds obviously tickle Stone, though don’t look much deeper than Savages‘ saturated, sun-swathed façade — the script based on Don Winslow’s novel shares the take-no-prisoners hardboiled bent of Jim Thompson while sidestepping the brainy, postmodernish light-hearted detachment of Quentin Tarantino’s "extreme" ’90s shenanigans. (1:57) 1000 Van Ness, SF Center. (Chun)

Shit Year Santa Cruz artist Cam Archer’s 2006 debut feature Wild Tigers I Have Known was a texturally gorgeous but content-lite exercise that often seemed like an extended audition for the role of Next Gus Van Sant. (The real one was, in fact, its executive producer.) This sophomore effort strikes pretty much the same (im-) balance. Colleen West (Ellen Barkin) is a famous, now middle-aged actress who decides to retire — why, we don’t know, particularly since she only seems more brittle, dissatisfied, and hollow upon retreating to an isolated home in a woodsy area. (She doesn’t even seem to like nature.) There, she tolerates a sorta-friendship with an irritatingly chirpy neighbor (Melora Walters), endures a visit by the irritatingly uncomplicated, stable brother she was never close to (Rick Einstein), and recalls an unfulfilling affair with her much younger co-star in a play (Luke Grimes). She also imagines (?) appointments with a terse interrogator (Theresa Randle) offering some sort of futuristic experience-simulation service in an eerie all-white environ. While one questions whether there actually was one, per se, Archer’s fragmentary script alternates these flashbacks, surreal interludes, and present-tense expressions of existential ennui ("I’m surrounded by a world of nothing," Colleen moans) into pretty formations. The film’s B&W photography (by Aaron Platt), editing, production design, musical choices, etc. are all impeccably mannered. But our protagonist’s bored self-absorbsion and self-pity, lacking any backgrounding psychology, is ultimately as vacuous a dead-end as it is when Vincent Gallo is baring his soul. Having a bitchy, platinum-haired Barkin do the job for Archer makes the effect a little campier, but no more resonant. That said, this movie would probably seem brilliant if watched on quaaludes. (1:35) Roxie. (Harvey)

Step Up Revolution The Step Up franchise makes a play for the Occupy brand, setting up its fourth installment’s Miami street crew, the Mob, as the warrior dance champions of the 99 percent — here represented by a vibrant lower-income neighborhood slated for redevelopment. Embodying the one percent is a hotel-chain mogul named Bill Anderson (Peter Gallagher), armed with a wrecking ball and sowing the seeds of a soulless luxury monoculture. Our hero, Mob leader Sean (Ryan Guzman), and heroine, Anderson progeny and aspiring professional dancer Emily (Kathryn McCormick), meet beachside; engage in a sandy, awkward interlude of grinding possibly meant to showcase their dance skills; and proceed to spark a romance and a revolution that feel equally fake (brace yourself for the climactic corporate tie-in). The Mob’s periodic choreographed invasions of the city’s public and private spaces are the movie’s sole source of oxygen. The dialogue, variously mumbled and slurred and possibly read off cue cards, drifts aimlessly from tepid to trite as the protagonists attempt to demonstrate sexual chemistry by breathily trading off phrases like "What we do is dangerous!" and "Enough with performance art — it’s time to make protest art!" Occasionally you may remember that you have 3D glasses on your face and wonder why, but the larger philosophical question (if one may speak of philosophy in relation to the dance-movie genre) concerns the Step Up films’ embrace of postproduction sleights of hand that distance viewers from whatever astonishing feats of physicality are actually being achieved in front of the camera. (1:20) 1000 Van Ness, SF Center, Shattuck. (Rapoport)

Take this Waltz Confined to the hothouse months of a summer in Toronto, Take This Waltz is a steamy, sad takedown of (rather than a take on) the romantic comedy. That’s only because it’s very romantic and very funny, often at once, but otherwise the film has nothing in common with its generic sistren. It’s a feel-good movie for the cynics, directed by actor turned director Sarah Polley (2007’s Away From Her). Margot (Michelle Williams) is a writer married to Lou (Seth Rogen), who is sweet and caring and cooks chicken for a living. Both are in their late 20s, and they are obviously each others’ first loves. It is a love like that of children: idealistic and blooming, but they never have a serious conversation. Enter neighbor Daniel (Luke Kirby) — a conventionally sexier man than Lou, more swarthy and sweaty. Soon, Margot is conflicted and confused, torturing herself with some heavy emotional gymnastics and flip-flopping. Williams is always good at using her face to convey feeling. In one of two scenes of the film set on a Scrambler carnival ride, the entire arc of Margot registers on her facial gestures, from scared to elated to uncertain as the Buggles’ "Video Killed the Radio Star" surrounds her. Margot may be indecisive, but she is never docile about her desires. She does, inevitably, make a decision and there is eventual closure, unlike most everything else out there in the indie ether. (1:56) Opera Plaza, Smith Rafael. (Ryan Lattanzio)

Ted Ah, boys and their toys — and the imaginary friends that mirror back a forever-after land of perpetual Peter Pans. That’s the crux of the surprisingly smart, hilarious Ted, aimed at an audience comprising a wide range of classes, races, and cultures with its mix of South Park go-there yuks and rom-commie coming-of-age sentiment. Look at Ted as a pop-culture-obsessed nerd tweak on dream critter-spirit animal buddy efforts from Harvey (1950) to Donnie Darko (2001) to TV’s Wilfred. Of course, we all know that the really untamable creature here wobbles around on two legs, laden with big-time baggage about growing up and moving on from childhood loves. Young John doesn’t have many friends but he is fortunate enough to have his Christmas wish come true: his beloved new teddy bear, Ted (voice by director-writer Seth MacFarlane), begins to talk back and comes to life. With that miracle, too, comes Ted’s marginal existence as a D-list celebrity curiosity — still, he’s the loyal "Thunder Buddy" that’s always there for the now-grown John (Mark Wahlberg), ready with a bong and a broheim-y breed of empathy that involves too much TV, an obsession with bad B-movies, and mock fisticuffs, just the thing when storms move in and mundane reality rolls through. With his tendency to spew whatever profanity-laced thought comes into his head and his talents are a ladies’ bear, Ted is the id of a best friend that enables all of John’s most memorable, un-PC, Hangover-style shenanigans. Alas, John’s cool girlfriend Lori (Mila Kunis) threatens that tidy fantasy setup with her perfectly reasonable relationship demands. Juggling scary emotions and material that seems so specific that it can’t help but charm — you’ve got to love a shot-by-shot re-creation of a key Flash Gordon scene — MacFarlane sails over any resistance you, Lori, or your superego might harbor about this scenario with the ease of a man fully in touch with his inner Ted. (1:46) Metreon, 1000 Van Ness, Shattuck, Sundance Kabuki. (Chun)

To Rome with Love Woody Allen’s film legacy is not like anybody else’s. At present, however, he suffers from a sense that he’s been too prolific for too long. It’s been nearly two decades since a new Woody Allen was any kind of "event," and the 19 features since Bullets Over Broadway (1994) have been hit and-miss. Still, there’s the hope that Allen is still capable of really surprising us — or that his audience might, as they did by somewhat inexplicably going nuts for 2011’s Midnight in Paris. It was Allen’s most popular film in eons, if not ever, probably helped by the fact that he wasn’t in it. Unfortunately, he’s up there again in the new To Rome With Love, familiar mannerisms not hiding the fact that Woody Allen the Nebbish has become just another Grumpy Old Man. There’s a doddering quality that isn’t intended, and is no longer within his control. But then To Rome With Love is a doddering picture — a postcard-pretty set of pictures with little more than "Have a nice day" scribbled on the back in script terms. Viewers expecting more of the travelogue pleasantness of Midnight in Paris may be forgiving, especially since it looks like a vacation, with Darius Khondji’s photography laying on the golden Italian light and making all the other colors confectionary as well. But if Paris at least had the kernel of a good idea, Rome has only several inexplicably bad ones; it’s a quartet of interwoven stories that have no substance, point, credibility, or even endearing wackiness. The shiny package can only distract so much from the fact that there’s absolutely nothing inside. (1:52) Albany, Lumiere, Marina, Sundance Kabuki. (Harvey)

The Watch Directed by Lonely Island member Akiva Schaffer (famed for Saturday Night Live‘s popular digital shorts, including "Dick in a Box"), The Watch is, appropriately enough, probably the most dick-focused alien-invasion movie of all time. When a security guard is mangled to death at Costco, store manager and uber-suburbanite Evan (Ben Stiller, doing a damn good Steve Carell impersonation) organizes a posse to keep an eye on the neighborhood — despite the fact that the other members (Vince Vaughn as the overprotective dad with the bitchin’ man cave; Jonah Hill as the creepy wannabe cop; and British comedian Richard Ayoade as the sweet pervert) would much rather drink beers and bro down. Much bumbling ensues, along with a thrown-together plot about unfriendly E.T.s. The Watch offers some laughs (yes, dick jokes are occasionally funny) but overall feels like a pretty minor effort considering its big-name cast. (1:38) Four Star, 1000 Van Ness, Presidio, SF Center. (Eddy)

The Well-Diggers Daughter Daniel Auteuil owes a debt of gratitude to Marcel Pagnol, courtesy of his breakthrough roles in the 1980s remakes of the writer and filmmaker’s Jean de Florette and Manon of the Spring. He returns the favor with his debut directorial work, reworking the 1940s film and crafting a loving, old-school tribute to Pagnol. The world is poised on the edge of World War I; Auteuil plays salt-of-the-earth Pascal Amoretti. The poor widower does the town’s dirty work (oh, the dangerous symbolism of hole-digging) and cares for his six daughters — his favorite, the eldest and the most beautiful, Patricia (Astrid Berges-Frisbey), has caught the eye of his assistant, Felipe (Kad Merad). The happy home — and tidy arrangement — is shattered, however, when Patricia meets an inconveniently dashing pilot Jacques Mazel (Nicolas Duvauchelle), who sweeps her away, in the worst way possible for a girl of her day. "You’ve sinned, and I thought you were an angel," says the stunned father when he hears his beloved offspring is pregnant. "Angels don’t live on earth," she responds. "I’m like any other girl." Faced with the inevitable, Auteuil and company shine a sweet but, importantly, not saccharine light — one that’s as golden warm as the celebrated sunshine of rural Provence — on the proceedings. And equipped with Pagnol’s eloquent prose, as channeled through his love of the working folk, he restores this tale’s gently throwback emotional power, making it moving once more for an audience worlds away. (1:45) Opera Plaza, Shattuck. (Chun)

Compromise measures

3

news@sfbg.com

San Franciscans are poised to vote this November on two important, complicated, and interdependent ballot measures — one a sweeping overhaul of the city’s business tax, the other creating an Affordable Housing Trust Fund that relies on the first measure’s steep increase in business license fees — that were the products of intense backroom negotiations over the last six months.

Mayor Ed Lee and his business community allies sought a revenue-neutral business tax reform measure that might have had to compete against an alternative proposal developed by Sup. John Avalos and his labor and progressive allies, who sought around $40 million in new revenue, although both sides wanted to avoid that fight and find a compromise measure.

Meanwhile, Mayor Lee was having trouble securing business community support for the housing trust fund that he pledged to create during his inaugural address in City Hall in January. So he modified his business tax proposal to bring in $13 million that would be dedicated to the Affordable Housing Trust Fund, but that didn’t satisfy the Avalos camp, who insisted the city needed more general revenue to offset cuts to city services and help with the city’s structural budget deficit.

Less than a day before the competing business reform measures came before the Board of Supervisors on July 24, a compromise was finally struck that would bring $28.5 million a year, with $13 million of that set aside for the affordable housing fund, tying the fate of the two measures together and creating a kumbaya moment at City Hall that was reminiscent of last year’s successful pension reform deal between labor and the business community.

But there was one voice raised at that July 24 meeting, that of Sup. David Campos, who asked questions and expressed concerns over whether this deal will adequately address the “crisis” faced by the working class in a city that will continue to gentrify even if both of these measures pass. Affordable housing construction still won’t meet the long-term needs outlined in the city’s Housing Element that indicates 60 percent of housing construction would need public subsidies to be affordable to current city residents.

It’s also worth asking why a business tax reform measure that doubles the tax base — just 8.4 percent of businesses in San Francisco now pay the payroll tax, whereas 16.4 percent would pay the gross receipts tax that replaces it — doesn’t increase its current funding level of $410 million (the $28.5 million comes from increased business license fees). Some industries — most notably the technology and restaurant industries that have strongly supported Mayor Lee’s political ambitions — could receive substantial tax cuts.

Politics is about compromise, and Avalos tells us that in the current political climate, these measures are the best that we can hope for and worthy of progressive support. And that may be true, but it also indicates that San Francisco will continue to be more welcoming to businesses than the working class residents struggling to remain here.

 

SOARING HOUSING COSTS

As Mayor Lee acknowledged during his inaugural speech, the boom times in the technology industry has also been driving up commercial and residential rents, he sought to create “housing for the 100 percent.”

The median rent in San Francisco has been steadily rising, jumping again in June an astounding 12.9 percent over June of last year, according to real estate monitor RealFacts, leaving renters shelling out on average an extra $350 a month to landlords.

Driven by a booming tech industry and a lag in new housing, the average San Francisco apartment now rents for $2,734. That’s an annual increase of $4,000 per unit over last year, in a city that saw the highest jumps in rent nationally in the first quarter of 2012. Even prices for the average studio apartment have edged up to $1,800 a month.

The affordability gap between housing and wages in the city is stark. Somebody spending a quarter of their income on rent would need to be making $85,000 a year just to keep up with the average studio. With a mean wage of $64,820 in the San Francisco metro area, even middle class San Franciscans have a difficult time affording a modest apartment. For the city’s lowest paid workers, even earning the country’s highest minimum wage of $10.25 an hour, even devoting every earned dollar to rent still wouldn’t pay for the average small studio apartment.

For those looking to buy a home in the city, it can be a huge hurdle to put aside a down payment while keeping up with the city’s high rents. Almost 90 percent of San Franciscans cannot afford a market rate home in the city. The average San Francisco home price was up 1.9 percent in June over May, climbing to $713,500, or a leap of $50,000 per unit over last year’s prices.

In the 2010 census, before the recent boom in the local real estate market, San Francisco already ranked third in the nation for worst ratio between income and home ownership prices, behind Honolulu and Santa Cruz.

But as the city leadership grapples to mitigate the tech boom’s effects, the lingering recession and conservative opposition to new taxes have gutted state and federal funds for affordable housing. Capped off last December by the California Legislature’s decision to dissolve the State Redevelopment Agency, a major source of money for creating affordable housing, San Francisco has seen a drop of $56 million in annual affordable housing funds since 2007.

Trying to address dwindling funding for affordable housing, the Board of Supervisors voted 8-2 on July 24 to place the Affordable Housing Trust Fund measure on the fall ballot. Only the most conservative supervisors, Sups. Sean Elsbernd and Carmen Chu, opposed the proposal. Sup. Mark Farrell, who has signaled his support for the measure, was absent.

“Creating a permanent source of revenue to fund the production of housing in San Francisco will ensure that San Francisco is a viable place to live and work for everyone, at every level of the economic spectrum. I applaud the Board of Supervisors,” Mayor Lee said in response.

At the heart of the program, the city hopes to create 9,000 new units of affordable housing over 30 years. The measure would set aside money to help stabilize the ongoing foreclosure crisis and replenish the funds of a down payment assistance program for those earning 80 to 120 percent of the median income.

To do so, the city anticipates spending $1.2 billion over the 30-year lifespan of the program, with a $20 million annual contribution the first year increasing $2.5 million annually in subsequent years. It would fold some existing funding in with new revenue sources, including $13 million yearly from the business tax reform measure. Language in the housing fund measure would allow Mayor Lee to veto it is the business tax reform measure fails.

The board was forced to delay consideration of the business tax measure until July 31 because of changes in the freshly merged measures. That meeting was after Guardian press time, although with nine co-sponsors on the board, its passage seemed assured even before the Budget and Legislative Analysts Office had not yet assessed its impacts, as Campos requested on July 24.

“I do believe that we have to ask certain questions when a proposal of this magnitude comes forward,” Campos said at the hearing, later adding, “When you have a proposal of this magnitude, you’re not going to be able to adjust it for some time, so you want it to be right.”

The report that Campos requested, which came out in the late afternoon before the next day’s hearing, agreed that it would stabilize business tax revenue, but it raised concerns that some small businesses exempt from the payroll tax would pay more under the proposal and that it would create big winners and losers compared to the current system.

For example, it calculated that between the gross receipts tax and business license fee, a sample full service restaurant would pay 69 percent less taxes and a supermarket 33 percent less taxes, while a commercial real estate leasing firm would pay 46.7 percent more tax and a large engineering firm would see its business tax bills more than double.

Board President David Chiu, who has co-sponsored the business tax reform measure with Mayor Lee since its inception, agreed that it is a “once in a decade reform,” calling it a “compromise that reflects the best sense of that word.” And that view, that this is the best compromise city residents can expect, seems to be shared by leaders of various stripes.

 

BACKING THE COMPROMISE

The business community and fiscally conservative politicians have long called for the replacement of the city payroll tax — which they deride as a “job killer” because it uses labor costs to gauge the size of company’s size and ability to pay taxes — with a gross receipts tax that uses a different gauge. But the devil has been in the details.

Chiu praised the “dozens and dozens and dozens of companies that have worked with us to fine-tune this measure,” and press reports indicate that representatives of major corporations and economic sectors have all spent hours in the closed door meetings shaping the complicated formulas for how they will be taxed, which vary by industry.

When the Guardian made a Sunshine Ordinance request to the Mayor’s Office for a list of all the business representatives that have been involved in the meetings, its spokespersons said no such list exists. They have also asked for a time extension in our request to review all documents associated with the deliberations, delaying the review until next week at the earliest, after the board approves the measure.

But the business community seems to be on board, even though some economic sectors — including real estate firms and big construction companies — are expected to face tax hikes.

“The general reaction has been neutral to favorable, and I expect we’ll be supportive,” Jim Lazarus, the vice president of public policy for the San Francisco Chamber of Commerce, who participated in crafting the proposal but who said the Chamber won’t have an official position until it votes later this week.

Lazarus noted the precipitous rise in annual business license fees — the top rate for the largest companies would go from just $500 now to $35,000 under the proposal, going up even more in the future as the Consumer Price Index rises — “but some of it will be offset by a drop in the payroll tax,” Lazarus said.

He also admitted that the new tax system will be “hugely complicated” compared to the payroll tax, with complex formulas that differ by sector and where economic transactions take place. But he said the Chamber has long supported the switch and he was happy to see a compromise.

“I’m assuming it will pass. I don’t believe there will be any major organized opposition to the measure,” Lazarus said.

Labor and progressive leaders also say the measure — which exempts small businesses with less than $1 million in revenue and has a steeply progressive business license fee scale — is a good proposal worth supporting, even if they didn’t get everything they wanted.

“We fared pretty well, the royal ‘we,’ with the mayor starting off from the position that he wanted a revenue-neutral proposition,” Chris Daly, who unsuccessfully championed affordable housing ballot measures as a supervisor before leaving office and becoming the political director for SEIU Local 1021, the largest union of city employees.

Both sides say they gave considerable ground to reach the compromise.

“Did we envision $28.5 million in new revenue? No,” said Lazarus, who had insisted from the beginning that the tax measure be revenue-neutral. “But we also didn’t envision the Affordable Housing Trust Fund.”

Daly and Avalos also said the measures need to be considered in the context of current political and economic realities.

“We were never going to be able to pass — or even to craft — a measure to meet all of the unmet needs in San Francisco,” Daly said. “Given the current political climate, we did very well.”

“If we had a different mayor who was more interested in serving directly the working class of the city, rather than supporting a business class that he hopes will serve all the people, the result might have been different,” Avalos said. “But what’s significant is we have a tax measure that really is progressive.”

Given that “we have an economic system that is based on profits and not human needs,” Avalos said, “This is a good step, better that we’ve had in decades.”

 

THE HOUSING CRISIS

The tax and housing measures certainly do address progressive priorities — bringing in more revenue and helping create affordable housing — even if some progressives express concerns that conditions in San Francisco could get worse for their vulnerable, working class constituents.

“I don’t know if the proposal before us is aggressive enough in terms of dealing with a crisis,” Campos told his colleagues on July 24 as they discussed the housing measure, later adding, “As good as this is, we are truly facing a crisis and a crisis requires a level of response that I unfortunately don’t think we are providing at this point.”

Not wanting to let “the perfect be the enemy of the good,” Campos said he still wanted to be able to support both measures, urging the board to have a more detailed discussion of their impacts.

“I wish this went further and created even more funding for critically needed affordable housing,” Sup. Eric Mar said before joining Campos in voting for the proposal anyway. “I think they need to build 60 percent of those units as below market rate otherwise we face more working families leaving the city, and the city becoming less diverse.”

Yet affordable housing advocates are desperate for something to replace the $56 million annual loss in affordable housing the city has faced in recent years, creating an immediate need for action and potentially allowing Lee to drive a wedge between the affordable housing advocates and labor if the latter held out for a better deal.

Many have heralded the mayor’s process in bringing together developers, housing advocates, and civic leaders to build a broad political consensus for the measure, particularly given the three affordable housing measures crafted by progressives over the last 10 years were all defeated by voters.

“One of the goals of any measure like this is for it to gain broad enough support to actually pass,” Sup. Scott Wiener said at a Rules Committee hearing on the measure.

In the measure’s grand bargain, developers receive a reduction in the percentage of on-site affordable housing units they are required to build, from 15 percent of units to 12 percent. The city will also buy some new housing units in large projects, paying market rate and then holding them as affordable housing — the buying power of which could be a boon to developers while creating affordable housing units.

At its root, the measure shifts some of the burden of funding affordable housing from developers to a broader tax base and locks in that agreement for 30 years, which could also spur market rate housing development in the process.

A late addition to the proposal by Farrell would create funding to help emergency workers with household earnings up to 150 percent of average median income buy homes in the city, citing a need to have these workers close at hand in the event of an earthquake or other emergency.

While some progressives have grumbled about the givebacks to developers and the high percentage of money going to homebuyer assistance in a city where almost two-thirds of residents rent, affordable housing advocates are pleased with the proposal.

“Did we gain out of this local package? Yes, we got 30 years of local funding. We came out net ahead in an environment where cities are crashing. We essentially caught ourselves way early from the end of redevelopment funds,” said Peter Cohen, executive director of the San Francisco Council of Community Housing Organizations.

Without it, Cohen says many affordable housing projects in the existing pipeline would be lost. “This last year was a bumpy year, and we will not be back to the same operation level for a number of years,” Cohen said. “There was a dip and we are coming out of that dip. It will take us a while to get back up to speed.”

The progressive side was also able to eliminate some of the more controversial items in the original proposal, including provisions that would expand the number of annual condo conversions allowed by the city and encourage rental properties to be converted into tenancies-in-common.

With ballot measures notoriously hard to amend, the Affordable Housing Trust Fund measure is a broad outline with many of the details of how the fund would be administered yet to be filled in. If passed, it will be up to Olson Lee, head of the Mayors Office on Housing and former local head of the demised redevelopment agency, to fill in the details, folding what was essential two partnered affordable housing agencies into a single local unit.

But even the most progressive members of the affordable housing community said there was no other alternative to addressing affordable housing in the wings — which is indeed a crisis now that redevelopment funds are gone — making this measure essential.

As Sara Shortt of the Housing Rights Committee of San Francisco told the Rules Committee, “We lost a very important funding mechanism. We have to replace it. We have no choice.”

Underworld’s dynamic opening ceremony soundtrack

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Much has been made of London’s opening ceremony, and director Danny Boyle’s cheeky rejection of Beijing’s rigidly coordinated, assembly-line approach. (Seriously, will Queen Elizabeth and James Bond ever share the screen again?) Completely overlooked, however, was the dynamic, propulsive soundtrack, curated by Underworld: the unsung heroes of British electronic music.

The collaboration was a revelation upon its announcement late last year; Underworld’s big moment arrived in 1996, when its anthemic “Born Slippy” was featured prominently in Trainspotting, Boyle’s directorial breakthrough. Providing a driving undercurrent to the action, as well as a lush, ambient backdrop, the track complemented Boyle’s vision beautifully, making a lasting impression on audiences worldwide as it established Underworld’s deeply filmic approach to its craft.

While the group, comprised of Karl Hyde, Rick Smith, and Darren Emerson (until he left the group in 1999, in favor of the DJ circuit) hasn’t exactly landed another gig to rival its Trainspotting moment, it has developed its sound considerably over the past 15 years, from the moody, yet diversely paced, Second Toughest in the Infants (1996), to the clean, shiny Detroit techno-inspired Beaucoup Fish (1999), to the post-Emerson steeliness of A Hundred Days Off (2002) and Oblivion With Bells (2007), to, most recently, the high-gloss raver anthems of Barking (2010).

https://www.youtube.com/watch?v=dWuAc4pnYFc

Underworld put its back catalogue to great use during the opening ceremony, most notably during the long-established Parade of Nations. The Olympic teams marched energetically to uptempo tracks, such as “Dark Train,” “Dirty Epic,” and “Rez,” all of which lent a thumping force to the proceedings; Underworld’s generously layered synths highlighted the electricity in the air.

It makes perfect sense that ambient-music guru Brian Eno collaborated frequently with Hyde over the past few years, given Underworld’s emphasis on muted atmosphere, a rarity among dance-music practitioners. The Parade of Nations benefited greatly from this tone, which a more standard outfit like Chemical Brothers or the Crystal Method simply couldn’t have imparted. Underworld’s music packs a subtle emotional punch that most of its competition cannot equal.

The biggest draw for Underworld fans was the introduction of two new, extended tracks, produced especially for the ceremony’s creative segment. At 17 minutes, “And I Will Kiss” provided the backdrop for a shrewdly choreographed performance-art piece, chronicling Britain’s historic transition from pastoral wonderland to industrial superpower.

Recalling Peter Gabriel’s similarly high-concept OVO: The Millennium Show, held in London 12 years ago, the spectacle combined elaborate set-design and an extensive cast with a loud and pulsating, yet moody and subdued soundtrack. Industrialization represented a sense of forward progress, as well as a loss of innocence, for the British people, and Underworld’s musical contribution aptly reflected this emotional complexity.

The second original piece, “Caliban’s Dream,” filled the arena as a makeshift foundry was rolled onstage, casting the five rings that make up the iconic Olympic logo. Less successful than the other new composition, this track buckled under its own weight, incorporating electronics, orchestral elements, a Lion King-esque choir, and superfluous opera singing, with the hamfistedness of Yanni at the Acropolis. This misstep was understandable, given the sheer scale of Olympic opening ceremonies. However, Underworld thrives on nuance, and by that count, it missed the mark.

https://www.youtube.com/watch?v=Mec8GZkEpD4

Original material aside, Hyde and Smith curated the soundtrack wisely, showcasing Britain’s musical exports in a universally approachable manner. An eclectic range of live performances included electronic composer Mike Oldfield, percussion virtuoso Evelyn Glennie, hip-hop wunderkind Dizzee Rascal, onetime “next-Oasis” Arctic Monkeys with a surprisingly inoffensive cover of “Come Together,” and of course, Sir Paul, himself.

Recorded material was also well chosen, particularly David Bowie’s “Heroes,” which played triumphantly as the British Olympic team marched out to the adoring home crowd. Lesser known artists, like rapper Wretch 32 and experimental duo Fuck Buttons, were thrown in for good measure, and “Eclipse,” the finale from Pink Floyd’s Dark Side of the Moon, closed the ceremony with a bang.

Hyde and Smith churn out first-rate background music, and when Boyle handed them the keys to the opening ceremony, they were given the opportunity of a lifetime. Sure, NBC’s commentators, Matt Lauer and Meredith Vieira, did American viewers a disservice by talking mindlessly over all four hours. In the end, though, Underworld’s soundtrack tinted the ceremony perfectly, framing soft, ambient impulses with an incessant rhythmic drive, while never distracting from the spectacle at the center. Bloody good work.

Dick Meister: Good news–and bad–about jobs

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By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half century. Contact him through his website, www.dickmeister.com

It’s of course good news that unemployment among workers in private industry has been steadily declining. But that comes along with the bad news that unemployment among public employees has been growing – and with it a decline in vital government services.

A recent  report in the New York Times has made that very clear.  Reporters Shaila Dewan and Motoko Rich noted that government payrolls grew in the early part of the recovery from the Great Recession in 2009, mainly because of federal stimulus measures. But they said that since then, “the public sector has shrunk by 706,000 jobs.  The losses appeared to be tapering off earlier this year, but have accelerated for the last three months, creating the single biggest drag on the recovery in many areas.”

Albeit slowly, the economy generally has been improving, with state tax revenues expected to go beyond pre-recession levels by next year.  Yet the Times’ reported that “governors and legislatures are keeping a tight rein on spending, whether to refill depleted rainy day funds or because of political inclination.”

Holding tight won’t be easy, with the costs of health care, social services, education and employee pensions steadily rising, and property taxes and other tax revenues steadily shrinking.  More than a dozen states have tried to do it by trimming their aid to local governments. And that will undoubtedly lead to more public worker layoffs, more unemployment and more reductions in important public services.

Local governments already have been making budget cuts that far outweigh the slight economic relief that’s come with a recent growth in state and federal jobs.  It’s certain to worsen, since more than 25 percent of municipalities are planning layoffs this year. 

President Obama has proposed easing the financial plight of states and their employees by providing $30 billion more for teachers, police officers and firefighters.  Such aid is essential if public services – and the compensation of those who provide them – are to be maintained at a significant yet reasonable level.

Predictably, the  conservatives who don’t really care for government are in a snit over Obama’s proposal.  The Times quoted Michael D. Tanner, a senior fellow at the Cato Institute, as complaining that the additional public sector jobs  “must be paid for with more debt and taxes borne by the private sector.”

Now, isn’t that a revelation! Imagine that, people taxing themselves and hiring people to provide services they and everyone else needs if they are to live a decent life, if they are to find meaningful work.

We need more, not less government, and we can provide it by employing for reasonable compensation many of the millions of Americans now suffering from unemployment. We need to open more government jobs for them so they may help provide essential services.

The lack of sufficient public workers, as the Times said, “can mean longer response times to fires, larger class sizes, and in some cases lawsuits when short-staffed agencies are unable to provide the required services.”

The Times quoted Mike Whited, president of the firefighters union local in Muncie, Ind., who said the area which could be reached within eight minutes after an alarm was sounded was cut in half.

The Times said, “Mr. Whited chafed at portrayals of public workers as overpaid or greedy, saying his union and others had made concessions, including paying more for their health insurance and forfeiting raises. I think a lot of people don’t understand what we do. They’re looking for somebody to blame, and I think they’re being led the wrong way.”

One of the hardest hit cities, Trenton, New Jersey, has laid off fully one-third of its police force, hundreds of school district workers and at least 150 other public employees, and now faces loss of 60 more firefighters.

More than half the job losses in local governments have come in education.  Thousands of teachers have been laid off throughout the country, and thousands more are being threatened with layoffs.

 Many teachers have agreed to help ease their school districts financial problems by taking unpaid “furlough days” or agreeing to less pay and benefits than they had sought or had been granted in contract negotiations.

The widespread teacher layoffs have nevertheless continued. In Cleveland, for instance, more than 500 teachers were laid off this spring because  of a claimed $66 million budget shortfall. That came after two years of cutbacks and $25 million in concessions, teachers union leader David Quolke told the Times’ reporters.

One consequence: Some classes will have more than 40 students, a serious hardship on students and teachers alike.

Relatively large teacher layoffs and cuts in public jobs and services generally have hit every state hard, including the largest, wealthiest and most influential states.  In California, for example, Gov. Jerry Brown is threatening to eliminate 15,000 state jobs.

The Times said Pennsylvania “has shed 5,400 government jobs this year, and many school districts and social service agencies are contemplating more layoffs.”

Yes, it will take higher taxes and more public debt in Pennsylvania, California and everywhere else to combat the severe economic problems that have left millions of Americans without the jobs  and public services they so badly need.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half century. Contact him through his website, www.dickmeister.com

Meet the finalists in Oakland’s youth poet laureate competition

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Bay Area, our young people are wrapping words of wisdom around subjects like survival, poverty, oppression, community, life, and death. It’s time to listen up.

“Just like a picture is worth a thousand words, a word can provoke a thousand memories,” says Tele’Jon Quinn, one of seven 16 to 18-year-old Oakland youth poet laureate finalists. “Memorizing goes hand in hand with reflection. If my words can cause someone to reflect on an important issue or event in their life, then my words were worth sharing.” The East Bay bards are now preparing for the first group performance at the Art and Soul Festival in Oakland on Sat/4.

The Oakland Public Library teams up with Youth Speaks, the local youth spoken word nonprofit, to stage the competition. Like any poet laureate, the chosen versifier will officially represent his or her community via the media and public appearances.

A panel of celebrity judges including California poet laureate Juan Felipe Herrera, and Oakland-based poets Kenju Liu, Arisa White, Juliana Spahr, and Joshua Merchant, will select Oakland’s inaugural poet laureate in September. Every finalist will have their work published in an anthology that comes out in 2013, and the ultimate victor will receive a $5000 scholarship as well as the title of youth poet laureate for Oakland.

Take a moment to read up on seven of the most creative young wordsmiths around, and check out snippets from their creative works.

Oakland youth poet laureates at the Art and Soul Festival, festival entrances at 14th St. and Broadway; 16th St. and San Pablo; Promenade beside City Center West Garage, Oakl. www.oaklandpubliclibrary.orgwww.artandsouloakland.com. Performance at Rotunda Building, 300 Frank Ogawa Plaza. Sat/4 5pm – 7pm, $5-$8 seniors and kids, $10-$15 adults

Stephanie Yun, age 18, Skyline High School

Stephanie Yun has always been a writer. “To me, poetry is pure expression. It’s beautiful, and painful, and liberating, and frightening, all at once,” she tells the Guardian. “It’s being vulnerable, and teaches us to better understand things we never could.” Her poem “‘Til Death”, is infinitely more than your stereotypical love poem. Her lines tackle severe insecurities, body image issues, depression, cutting:

… Before my first and current relationship,

I wondered how potential suitors would react

when their fingertips wandered and read my wrists like Braille

Here lies emotionally unstable girl …

Describing her foray into love, her first boyfriend, her first romance, Yun slips in images of her internal battles, questions of existence, identity. 

… Everything may be fine as I speak this

but I’ve envisioned dream wedding

in the spring 

wearing tulle or lace ball gown

with three-tiered chocolate cake     

fewer times and in less detail

than my suicide … 

Yun says she started writing poetry in second grade, but became actively involved two years ago as a high school sophomore with Youth Speaks. She says writing is a release — she writes out of necessity and tells us doesn’t know if she would be alive today without the ability to lay her words down. “There is just something about letting things out, things we have kept so deep inside of us, or things that threaten to burst from our being,” Yun says. “It’s that transition from containing them within ourselves, to their manifestation into the outside world. We make ourselves vulnerable and are forced to face things head-on, and from there our ideas and feelings exist beyond us, and we can share them with others.”

Tele’jon Quinn, age 17, MetWest High School

Tele’jon Quinn is an activist and spoken word artist. He enjoys performing to large crowds, and uses his creative talents to raise consciousness in his community. His wordplay draws attention to social issues like police brutality, classism, poverty, and community. From his poem “Dialouge”: 

… Because Elites are never open minded unless there is lots for sell 

They have packaged us like we’re bots on shelves 

Robotically boxing each other and concocting diabolical plots 

To exile one another to hell …

Quinn says his poetry is not limited to his own emotions or feelings. He draws some of his material from the social programs he participates with, like Heal the Streets, Bay-Peace, and Youth Speaks. He says that for the past two years, poetry has been his outlet for everything he endures. He seeks to educate, liberate, and inspire members of the Oakland community with his words. In the final lines of “Dialogue” he writes:

So if my poetry could walk she’d walk right here

And tell you a story that gives you hope for the future of her home Oakland

The Navajo people once said you can’t wake a person that pretends to be asleep

So lets stop pretending that we do not see our reality

Open our eyes

And transform the reality we live in …

Robin Levy, age 16, Saint Joseph Notre Dame

Poetry, she says, allows Robin Levy to organize the helter-skelter thoughts that run rampant in her brain. Levy has written poetry in earnest for three years now, and says every time she writes a poem, she records another part of herself. 

“Poetry, for me, is collecting all the scraps of beauty or strangeness or whatever I can find and piecing them together so other people can see just how vivid everything is,” she tells the Guardian. Levy is a big fan of Robert Frost, but her favorite poet is a slam poet who calls herself Jasmine Luve. “The way she writes just seems so unthinkingly perfect, like she just wrote down everything she thought that day and it was already poetry,” Levy says. Her own subject matter evolves from little snippets she hears, reads, or thinks. “Just anything that is accidentally amazing, something that probably didn’t mean to be poetic but is,” she says. “The reason I write what I do is that whenever I read or hear something poetic, I just want to elaborate on it and make it into something more, weave that one thread into a full tapestry.”

In her poem “Before You Were You” Levy’s ability to turn a casual phrase into poetry is apparent. The first lines read:

you told me once

that before you were you

you were a stone.

heavy, immobile,

stranded at the ocean floor

by the cruel grip of gravity.

The poem runs full circle to explore questions of identity and shared existence. It ends with:

you told me once

that before you were you,

you poured from my mind

into the sand

you told me once

that before  you were you,

you were me

Levy asks anyone who reads this to write a poem today.

Kerby Lynch, age 17, Oakland School for the Arts

When asked if she reads poetry, Kerby Lynch responds, “Reading poetry is such an understatement. I live, breathe and eat poetry. Life is poetry. The sun, the moon and the truth is poetry. When one realizes that, life is on a path of divinity.” 

In the middle of this creative flight, she interrupts herself. “Enough of that, I’ll answer the question.” 

It turns out Lynch reads, watches, and listens to a whole gamut of poetry from traditional, to contemporary (particularly Ise Lyfe from Oakland), to spoken word (Def Jam Poetry, season 3), to rappers (Jay-Z, Andre 3000, Kendrick Lamar, Nas, and Lauryn Hill), and her teachers and peers at Oakland School for the Arts. Her favorite song, ever, he adds, is “Mathematics” by Mos Def—largely for the lyrics. 

http://www.youtube.com/watch?v=m5vw4ajnWGA

“These are all my favorite poets and people, because they are who I am,” she says. Lynch has written poetry since she was 14, and says she got heavily into the beauty and complexity of poetry and spoken word in the summer of 2011. “Poetry is me, but not in a pretentious way. Poetry is me in a way that it completes me and aides my purpose in life.” Lynch writes about issues of race and separation, class, social and political issues. Her words are progressive, like a call to action:

Watch your brother. Tell him 

no matter what he wears he will fit the description

tell him about Oscar

tell him about Aiyana

Sean

Carlos

Sergio

Danny 

Shaima

tell him about Trayvon and these statistics that define us…

She says she uses poetry to reflect the “messed up workings of the world,” insecurities and vulnerabilities of people, and as a tool to sway the masses. “I strive to write as if I am using political propaganda,” he says, noting the influences of Martin Luther King Jr., and Stokeley Carmichael. “I use words  for me, the same way words have been used against me. Whether it be in the constitution or in a hate speech. Words are the tools for the bigger machine. Who has access to that machine? We all do. Why don’t we all use it? We didn’t know we could.”

Euna Bonovich, age 16, International High School of San Francisco

Euna Bonovich is half-Korean, half-white. She says the confusion and frustration that goes along with finding herself split between two very different cultures and in the middle of adolescence can only be soothed by writing poetry. She wants to provide a voice for those who are prevented from speaking because of the depression and exhaustion of living, and spread the message that no one is emotionally alone. Her writing is hopeful, soulful, and gets to the roots of human connection. The lines of Bonovich’s “The Gossamer of Our Hope” tell of a connection that is able to reawaken feeling and soul. 

The poem begins:

My soul has slipped away like the fleeting moments of a nightingale

Distant memories that can only be recovered by the breath of the wind

Losing my existence within the grains of sand,

But when I sense the warmth of your fingertips 

I know I’ve found it once more

The song of my sleepless night 

The feeling of laying in cold grass as the sun spreads across my skin

The laughter of a falling snowflake

The fragility of a wet moth’s wing …

Bonovich says the importance of poetry is its ability to show someone beauty in the ugliest thing in existence: life.

Jose Saldona, age 18, Envision Academy of Arts and Technology

Jose Saldona says poetry is a piece of clay; it is up to the artisan to decid its shape, color, texture and size. “It’s up to the customer to figure out its use,” he says. “Words are another set of tools: another way to communicate. Another path to enter the untapped emotions of people. Another method to reach the doubts people have.” Saldona says poetry has always been a way for him to express himself, free from speech and grammatical rules. “Sometimes you can even sneak in a few spelling ‘mistakes’ for effect,” he says. Saldona has written poetry since sixth grade, and spoken poetry since he was three. His poetry speaks to life, truth—he describes his inspirations as, “anything from nature to human nature.” 

“I am a reflection of my community, and my community lives within no boundary,” says Saldona, who describes himself as half-Spaniard, half-Tarahumara, but recognizes himself as a whole-hearted, proud Mexican. “I was raised with the idea of corima, sharing and charity. As I approach this unliberated world, I see poetry as a way to remake that world.” Saldona says stories are shared among people to teach lessons in tribes to the younger folk. He views himself as a chief, the storyteller, the ‘back in Mexico’ kid, who in ninth grade refused to write essays because he felt it took the ideas of others. The 18-year-old messenger wrote he poem “Baby’s First Words” as a dedication to his unborn baby boy:

I’m enslaved to this holy string I pull

perhaps a chord that keeps me fed

I have not an idea what it is, but it keeps me alive.

 

I stretch and barrage my mommy with kicks.

It gets her to speak and I love hearing her distant, soothing voice.

Yes, that marvelous singing in the raindrops, drizzling

with echoes of angelic harmony,

lulling me to sleep … 

 

My mouth opens wide in a gaping yawn

that quickly closes around my thumb.

Siesta in my warm incubated cove..

Goodnight.

Victoria Kupu, age 18, Mills College

Victoria Kupu has written poetry since fifth grade, but did not tell anyone about it until her sophomore year in high school. The first-generation Polynesian-American says it is her means of self expression during stressful times, as well as a reflection of her experiences and culture. “I see poetry as seeing the beauty in struggles,” she says. “[It is] an art, a way of self expression.  It can be left up to the artist how they want to convey that to the audience.” Kupu writes to tackle issues that affect people of color, and her poem, “Roots”, is an example of the way her words explore generational and cultural gaps.  

… He whispered, Ou’a foki mai, Osi tala atu ka koi 

My love does not speak your language 

A Polynesian growing up in America left my identity an orphan 

Father America was a con-artist, selling the “American Dream”

Mother liberty stood on her pedestal made of sand and dressed herself up in Monopoly money

She sold herself to the white man, capitalism 

That left no nurturing time for this brown child

I turned my back on my roots, so he turned his back too

He spewed words of my biggest fear

Ou’a  foki Mai, Osi tala atu ka koi

Your heart no longer lives here …

Kupu says she is usually sitting on a bus or in class when a line pops into her head. She writes it down and it expands into a poem. “I also usually try to touch upon issues that are not talked about as much,” Kupu says. “One of my poems talks about colorism. I also like to write about issues or marginalized communities, such as the disabled community. … I am Polynesian-American. I am not only writing to represent other Polynesians but also many other people.”

Guardian Voices: Hassle-free housing

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I’m talking to the amazing organizers at Causa Justa:: Just Cause (CJJC) about their work to protect homeowners from foreclosure by the big banks, about their long history of tenants’ rights work, and what they are up to right now. Blanca Solis says they’ve launched a new campaign for what they’re calling the “Hassle-Free Housing” ordinance. She’s a grassroots leader from CJJC, and she’s asking for our support. To protect tenants from unscrupulous landlords. To stop unfair evictions. To stop wringing our hands about gentrification and families leaving the city. She says we can do something very straightforward to keep working families in their homes.
 
On Tuesday July 31st, Solis will join other tenant leaders, advocates and supporters at city hall to call for an end to tenant harassment by landlords. The San Francisco Tenants Union will be there. Organizers at CJJC have learned from years of experience with Latino tenants struggling to make ends meet in the midst of this rapidly gentrifying city that “one of the quickest and cheapest ways to evict a tenant is by harassing them until the situation becomes unbearable and the tenant moves on their own. Whey they leave, the landlord has an empty unit that they can rent to new tenants at market-rate rent.”
 
Faced with a pattern of such blatantly unfair practices, tenant activists took the issue to the voters in 2008; when “Prop M” passed, it was an important victory for this still-majority-renter-city. But then, the landlord’s lawyers got hold of it, and sued to stop implementation.
 
No one seems to be denying that landlords do this, and that it’s wrong. But what can a family do to stop the harassment, hold on to their housing and get some relief? Here’s where the “Hassle-Free Housing” ordinance comes in. It builds on Prop M and addresses the landlords’ legal issue. It would “allow tenants to claim damages from their landlords for each incident of harassment in small claims court to collect statutory damages of up to $2,000 for each incident.”
 
Sounds good, let’s do it. City Hall – get on it.
 
All over San Francisco, probably every night, people are sitting around shaking their heads about how expensive the city has become. How families have been pushed and priced out. Folks shrug and say “But, what can you do?”
 
There is a long, proud, and painful history in San Francisco of everyday people organizing to put a stop to unfair evictions, developer-driven displacement, and the over-production of luxury housing. From the African American community’s fight to save the Fillmore from redevelopment’s “negro removal” in the 1960s, to the Filipino-led struggle to stop the eviction of elderly men at the I-Hotel in the 1970s, and to Mission activists’ campaigns to control land use during the intense gentrification of the 1990’s dot-com boom. (Just this week there’s a big celebration marking the 35th Anniversary of the I-Hotel struggle.) 
 
These “housing justice” fights are ultimately about who has the power to shape the future of our city and who has the power to determine who can and cannot afford to live here. That’s where we all come in – all of us who are renters whose lives will be better with a “Hassle-Free Housing” ordinance; all of us whose housing is insecure – because we fear foreclosure or are a paycheck away from homelessness. This is an issue of people power, and you can do something now – attend the press conference at 10am tomorrow on the steps of City Hall, or go to CJJC’s website to sign up as a campaign supporter. Being right is good, but ultimately it’s people power that matters.
 
When Solis was asked why she joined the hassle-free housing campaign and why she’s coming to City Hall tomorrow, she said:
 
“Que los supervisores aseguren que los inquilinos estemos protegidos de los desalojos injustos por parte de los caseros y asi mismo vivamos en lugares dignos, seguros y libres de hostigamiento”
 
“So that the supervisors can ensure that we, tenants, are protected from illegal and unjust evictions by landlords and be able to live in homes that are dignified, safe and free of harassment”
 
Solis and the other incredible grassroots leaders at CJJC are full of courage and determination, and have not given up hope that there is a bright future for San Francisco. Let’s join them!

Shearwater descends on Bottom of the Hill

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Back in 2008, someone at a Shearwater show in Chicago posted a shaky video to YouTube, in which the Austin-based ensemble covered Talk Talk’s “The Rainbow,” the ambitiously panoramic opening track from the seminal Spirit of Eden (1988).

Not only did the 10-minute clip showcase a band masterfully replicating a piece of music, previously determined by its creator to be unplayable in a live setting; it demonstrated just how far Shearwater has come since its beginnings in 2001 as a quiet, low-key spinoff of alt-country institution Okkervil River.

The band’s breakthrough effort, Rook (2008), raised the stakes considerably, treating the spacious, naturalistic folk-rock of their earlier output with a loosely psychedelic propulsion (somewhere in between Pink Floyd’s “Echoes” and Neil Young’s “Down By the River”) and a significant expansion of their dynamic range.

Fast-forward to 2012, and the release of Animal Joy: Shearwater’s most unrelentingly loud/quiet/loud statement to date. Last Tuesday, frontman Jonathan Meiburg, and his current, five-piece lineup of supporting players, stopped by Bottom of the Hill in support of their seventh full-length, and first release on Sub Pop.

After two competent, but ultimately dispensable, opening sets from Seattle folk revivalists Gold Leaves, and Australian psych-popsters Husky, Shearwater took the stage authoritatively, beginning with “The Snow Leopard” – the dramatic, erratic climax from Rook.

https://www.youtube.com/watch?v=5dcFdcsAOdw

Undeniably one of the highlights of the evening, it neatly encapsulated Meiburg’s thorough understanding of tension and release, its eerily quiet piano intro crashing into an explosive, beautifully cathartic jam, complete with thunderous drums and crunchy guitar stabs. Did the band shoot their collective wad early on? Arguably. But, what a first impression.

Another outstanding moment came halfway through the show, with “Insolence”, the similarly complex centerpiece from Animal Joy. Shifting between ruminative ballad-territory, and forceful, post-rock aggression, it exemplified Shearwater’s greatest asset: shapeshifting mini-epics whose loud and quiet sections feed symbiotically off one another.

Both “The Snow Leopard” and “Insolence” played to the strengths of Meiburg’s voice, which is a dramatic, versatile instrument, with the soft quiver of Aaron Neville or Roy Orbison, but the ability to pounce like Jeff Buckley at his most confrontational. However, the quieter songs left Meiburg’s vocals longing for the musical backbone they need to truly shine.

Therein lies Shearwater’s greatest fault; about half the time, the vocals are rendered over-theatrical by the the band’s incapacity to keep them in check. So, either the music needed beefing up, or the vocals required a dose of restraint, but something about the status quo certainly felt off.

Meiburg’s facial expressions were compelling, though, in their Jim Varney-esque elasticity. His eyes and mouth opened ferociously wide during more expressive moments, emoting with a “call-the-exorcist” level of wildness.

After a 90-minute set, Meiburg returned to the stage for an encore, which, at some point, crossed the line between “generous” and “overlong.” About half the bearded, bespectacled, plaid-wearing crowd filtered out, as Meiburg shared solo material, paid an a capella tribute to Scott Walker, and invited the band back onstage to close with a cover of REM’s “These Days.”

Though not exactly a hostage situation, one couldn’t help but long to give Meiburg the age-old “less is more” lecture. Still, he looked happy and engaged, so it feels a bit unfair to fault him for going overboard out of the goodness of his heart.

Even a decade into their career, Shearwater keeps searching, and refining their sound. Certain elements pale in comparison to others, as evidenced by their inconsistent appearance last Tuesday, but the stronger moments hint at a project with promising shelf life, and massive potential. Give them another ten years, they might bestow us with their Spirit of Eden moment.

Queens, aliens, isles of wonder, and more: what to watch this week

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My pick for movie of the week is The Queen of Versailles, a likely (I’m callin’ it in July) inclusion on my top 10 list for 2012. Seriously, this doc is revealing, timely, surprising, beautifully lensed (by photographer-turned-director Lauren Greenfield), and affords an insidery peek into the mysterious borderlands between extreme weath and excessive tackiness.

Hollywood would like you to see either an alien-invasion comedy with Ben Stiller or the fourth Step Up entry … you could do worse, but you could do better. Frankly, I’d pencil in The Queen of Versailles for your Saturday night, and settle in tonight for the 2012 Summer Olympics Opening Ceremony, which comes complete with the amusement park-ish title “Isles of Wonder.” All the buzz indicates that the extravaganza, directed by Danny Boyle (not known for his subtlety), will be one for the ages, or at least supply some juicy fodder for the meme generation.

Reviews of everything opening this week (spoiler: there’s a lot) below the jump.

http://www.youtube.com/watch?v=uoVRetUMub0

Ai Weiwei: Never Sorry Unstoppable force meets immovable object — and indeed gets stopped — in Alison Klayman’s documentary about China’s most famous contemporary artist. A larger than life figure, Ai Weiwei’s bohemian rebel persona was honed during a long (1981-93) stint in the U.S., where he fit right into Manhattan’s avant-garde and gallery scenes. Returning to China when his father’s health went south, he continued to push the envelope with projects in various media, including architecture — he’s best known today for the 2008 Beijing Olympics’ “Bird’s Nest” stadium design. But despite the official approval implicit in such high-profile gigs, his incessant, obdurate criticism of China’s political repressive politics and censorship — a massive installation exposing the government-suppressed names of children killed by collapsing, poorly-built schools during the 2008 Sichuan earthquake being one prominent example — has tread dangerous ground. This scattershot but nonetheless absorbing portrait stretches its view to encompass the point at which the subject’s luck ran out: when the film was already in post-production, he was arrested, then held for two months without official charge before he was accused of alleged tax evasion. (He is now free, albeit barred from leaving China, and “suspected” of additional crimes including pornography and bigamy.) (1:31) (Dennis Harvey)

The Queen of Versailles Lauren Greenfield’s obscenely entertaining The Queen of Versailles takes a long, turbulent look at the lifestyles lived by David and Jackie Siegel. He is the 70-something undisputed king of timeshares; she is his 40-something (third) wife, a former beauty queen with the requisite blonde locks and major rack, both probably not entirely Mother Nature-made. He’s so compulsive that he’s never saved, instead plowing every buck back into the business. When the recession hits, that means this billionaire is — in ready-cash as opposed to paper terms — suddenly sorta kinda broke, just as an enormous Las Vegas project is opening and the family’s stupefyingly large new “home” (yep, modeled after Versailles) is mid-construction. Plugs must be pulled, corners cut. Never having had to, the Siegels discover (once most of the servants have been let go) they have no idea how to run a household. Worse, they discover that in adversity they have a very hard time pulling together — in particular, David is revealed as a remote, cold, obsessively all-business person who has no use for getting or giving “emotional support;” not even for being a husband or father, much. What ultimately makes Queen poignantly more than a reality-TV style peek at the garishly wealthy is that Jackie, despite her incredibly vulgar veneer (she’s like a Jennifer Coolidge character, forever squeezed into loud animal prints), is at heart just a nice girl from hicksville who really, really wants to make this family work. (1:40) Smith Rafael. (Dennis Harvey)

Red Lights Skeptics and budding myth busters, get ready. Maybe. Director-writer Rodrigo Cortés blends the stuff of thrillers and horror in this slippery take on psychics and their debunkers. Psychologist Margaret Matheson (Sigourney Weaver) and her weirdly loyal assistant Tom (Cillian Murphy) investigate paranormal phenomena — faith healers, trance mediums, ghost hunters, and psychics — in order to peer behind the curtain and expose all Ozs great and small. Spoon-bending blind ESP master Simon Silver (Robert De Niro) is their biggest prize: he’s come out of retirement after the death of his most dogged critic. Has Silver learned to kill with his mind? And can we expect a brain-blowing finale on the same level as The Fury (1978)? Despite all the high-powered acting talent in the room, Red Lights never quite convinces us of the urgency of its mission — it’s hard to swallow that the debunking of paranormal phenomenon rates as international news in an online-driven 24/7 multiniched news cycle — and feels like a curious ‘70s throwback with its Three Days of the Condor-style investigative nail-biter arc, while supplying little of the visceral, camp showman panache of a De Palma. (1:53) (Kimberly Chun)

Ruby Sparks Meta has rarely skewed as appealingly as with this indie rom-com spinning off a writerly version of the Pygmalion and Galatea tale, as penned by the object-of-desire herself: Zoe Kazan. Little Miss Sunshine (2006) directors Jonathan Dayton and Valerie Faris helm this heady fantasy about a crumpled, geeky novelist, Calvin (Paul Dano), who’s suffering from the sophomore slump — he can’t seem to break his rock-solid writers block and pen a follow-up to his hit debut. He’s a victim of his own success, especially when he finally begins to write, about a dream girl, a fun-loving, redheaded artist named Ruby (scriptwriter Kazan), who one day actually materializes. When he types that she speaks nothing but French, out comes a stream of the so-called language of diplomacy. Calvin soon discovers the limits and dangers of creation — say, the hazards of tweaking a manifestation when she doesn’t do what you desire, and the question of what to do when one’s baby Frankenstein grows bored and restless in the narrow circle of her creator’s imagination. Kazan — and Dayton and Faris — go to the absurd, even frightening, limits of the age-old Pygmalion conceit, giving it a feminist charge, while helped along by a cornucopia of colorful cameos by actors like Annette Bening and Antonio Banderas as Calvin’s Big Sur-dwelling boho mom and her furniture-building boyfriend. Dano is as adorably befuddled as ever and adds the crucial texture of every-guy reality, though ultimately this is Kazan’s show, whether she’s testing the boundaries of a genuinely codependent relationship or tugging at the puppeteer’s strings. (1:44) (Kimberly Chun)

http://www.youtube.com/watch?v=AW1aAxBG_50

Sacrifice Power-mad General Tu’an (Wang Xueqi) engineers the slaughter of the entire Zhao clan — including the newborn son who’s the last of the line. But the baby’s been swapped with the child of the doctor, Cheng Ying (Ge You), who delivered him, and the deception train pretty much goes off the rails after that. Suffice to say the Zhao heir survives while Cheng Ying’s wife and infant do not, and Tu’an is none the wiser. Revenge seems the only logical move, so Cheng Ying patiently waits years for the boy to grow up and learn martial arts from Tu’an, plotting that he’ll reveal the truth when the (kinda bratty) child becomes capable of killing his beloved “godfather” — a.k.a. the guy who massacred his family (and the family of his adoptive father). If that sounds complicated, know that this epic from Chen Kaige (1993’s Farewell My Concubine) has over two hours to get through all those plot mechanics. Also, it’s gorgeously shot, mixing the classy trappings of a big-budget historical melodrama with thunderous battles and scenes of brutal violence. (2:10) SF Film Society Cinema. (Cheryl Eddy)

http://www.youtube.com/watch?v=nBw1PFjKnrs

Shit Year Santa Cruz artist Cam Archer’s 2006 debut feature Wild Tigers I Have Known was a texturally gorgeous but content-lite exercise that often seemed like an extended audition for the role of Next Gus Van Sant. (The real one was, in fact, its executive producer.) This sophomore effort strikes pretty much the same (im-) balance. Colleen West (Ellen Barkin) is a famous, now middle-aged actress who decides to retire — why, we don’t know, particularly since she only seems more brittle, dissatisfied, and hollow upon retreating to an isolated home in a woodsy area. (She doesn’t even seem to like nature.) There, she tolerates a sorta-friendship with an irritatingly chirpy neighbor (Melora Walters), endures a visit by the irritatingly uncomplicated, stable brother she was never close to (Rick Einstein), and recalls an unfulfilling affair with her much younger co-star in a play (Luke Grimes). She also imagines (?) appointments with a terse interrogator (Theresa Randle) offering some sort of futuristic experience-simulation service in an eerie all-white environ. While one questions whether there actually was one, per se, Archer’s fragmentary script alternates these flashbacks, surreal interludes, and present-tense expressions of existential ennui (“I’m surrounded by a world of nothing,” Colleen moans) into pretty formations. The film’s black and white photography (by Aaron Platt), editing, production design, musical choices, etc. are all impeccably mannered. But our protagonist’s bored self-absorbsion and self-pity, lacking any backgrounding psychology, is ultimately as vacuous a dead-end as it is when Vincent Gallo is baring his soul. Having a bitchy, platinum-haired Barkin do the job for Archer makes the effect a little campier, but no more resonant. That said, this movie would probably seem brilliant if watched on quaaludes. (1:35) Roxie. (Dennis Harvey)

Step Up Revolution The Step Up franchise makes a play for the Occupy brand, setting up its fourth installment’s Miami street crew, the Mob, as the warrior dance champions of the 99 percent — here represented by a vibrant lower-income neighborhood slated for redevelopment. Embodying the one percent is a hotel-chain mogul named Bill Anderson (Peter Gallagher), armed with a wrecking ball and sowing the seeds of a soulless luxury monoculture. Our hero, Mob leader Sean (Ryan Guzman), and heroine, Anderson progeny and aspiring professional dancer Emily (Kathryn McCormick), meet beachside; engage in a sandy, awkward interlude of grinding possibly meant to showcase their dance skills; and proceed to spark a romance and a revolution that feel equally fake (brace yourself for the climactic corporate tie-in). The Mob’s periodic choreographed invasions of the city’s public and private spaces are the movie’s sole source of oxygen. The dialogue, variously mumbled and slurred and possibly read off cue cards, drifts aimlessly from tepid to trite as the protagonists attempt to demonstrate sexual chemistry by breathily trading off phrases like “What we do is dangerous!” and “Enough with performance art — it’s time to make protest art!” Occasionally you may remember that you have 3D glasses on your face and wonder why, but the larger philosophical question (if one may speak of philosophy in relation to the dance-movie genre) concerns the Step Up films’ embrace of postproduction sleights of hand that distance viewers from whatever astonishing feats of physicality are actually being achieved in front of the camera. (1:20) (Lynn Rapoport)

http://www.youtube.com/watch?v=9G8rzHJsWpM

The Watch Directed by Lonely Island member Akiva Schaffer (famed for Saturday Night Live’s popular digital shorts, including “Dick in a Box”), The Watch is, appropriately enough, probably the most dick-focused alien-invasion movie of all time. When a security guard is mangled to death at Costco, store manager and uber-suburbanite Evan (Ben Stiller, doing a damn good Steve Carell impersonation) organizes a posse to keep an eye on the neighborhood — despite the fact that the other members (Vince Vaughn as the overprotective dad with the bitchin’ man cave; Jonah Hill as the creepy wannabe cop; and British comedian Richard Ayoade as the sweet pervert) would much rather drink beers and bro down. Much bumbling ensues, along with a thrown-together plot about unfriendly E.T.s. The Watch offers some laughs (yes, dick jokes are occasionally funny) but overall feels like a pretty minor effort considering its big-name cast. (1:38) (Cheryl Eddy)

http://www.youtube.com/watch?v=_5Z2zG6xMA0

The Well-Diggers Daughter Daniel Auteuil owes a debt of gratitude to Marcel Pagnol, courtesy of his breakthrough roles in the 1980s remakes of the writer and filmmaker’s Jean de Florette and Manon of the Spring. He returns the favor with his debut directorial work, reworking the 1940s film and crafting a loving, old-school tribute to Pagnol. The world is poised on the edge of World War I; Auteuil plays salt-of-the-earth Pascal Amoretti. The poor widower does the town’s dirty work (oh, the dangerous symbolism of hole-digging) and cares for his six daughters — his favorite, the eldest and the most beautiful, Patricia (Astrid Berges-Frisbey), has caught the eye of his assistant, Felipe (Kad Merad). The happy home — and tidy arrangement — is shattered, however, when Patricia meets an inconveniently dashing pilot Jacques Mazel (Nicolas Duvauchelle), who sweeps her away, in the worst way possible for a girl of her day. “You’ve sinned, and I thought you were an angel,” says the stunned father when he hears his beloved offspring is pregnant. “Angels don’t live on earth,” she responds. “I’m like any other girl.” Faced with the inevitable, Auteuil and company shine a sweet but, importantly, not saccharine light — one that’s as golden warm as the celebrated sunshine of rural Provence — on the proceedings. And equipped with Pagnol’s eloquent prose, as channeled through his love of the working folk, he restores this tale’s gently throwback emotional power, making it moving once more for an audience worlds away. (1:45) (Kimberly Chun)

Localized Appreesh: Rin Tin Tiger

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Localized Appreesh is our weekly thank-you column to the musicians that make the Bay. To be considered, contact emilysavage@sfbg.com.

San Francisco’s Rin Tin Tiger does it raw. The alt-folk trio just wrapped up recording an organic (no vocal editing here) live album at Tiny Telephone Studios.

The resulting record, Toxic Pocketbook, roars like the soul of a wild cat trapped in a faithful pup’s skin. It scoots along with twangy riffs infused with a rough rock’n’roll edge, and “a good thump” (as the band describes it below), with untouched – and gleefully twangy – vocals pumping up the natural energy. 

In celebration of their respective new releases, the band co-headlines the Great American Music Hall this week with fellow locals Tumbleweed Wanderers. First, Rin Tin Tiger swipes its striped paw across Localized Appreesh’s ruddy cheek.

http://www.youtube.com/watch?v=JpIg0x_w808

Year and location of origin: 2011 – San Francisco, Calif.

Band name origin: Kevin wanted to call the band Rin Tin Tin after the dog but the name was already taken.  As a joke Andrew said Rin Tin Tiger.  We brushed it off and then had nightmares about it for eternity.  Thus, RTT was born.

Band motto: Murk as much as possible.

Description of sound in 10 words or less: High energy, lyric heavy alt folk with a good thump.

Instrumentation: Acoustic guitar, electric bass, drums, harmonica, cries, calls & hollers.

Most recent release: Toxic Pocketbook (2012)

Best part about life as a Bay Area band: Being able to busk the streets of SF as well as play all of the amazing venues in the city and the ability to play different markets like the Oakland or San Jose within a 45 minute drive.

Worst part about life as a Bay Area band: Cost of living/Rent.

First album ever purchased: Kevin: N’Sync, Home for Christmas; Sean: Weird Al Bad Hair Day; Andrew: Michael Jackson, Black Or White.

Most recent album purchased/downloaded: Kevin: I’ve been revisiting Underoath, The Changing of Times; Sean: the amazing new releases from local bands Picture Atlantic, Tumbleweed Wanderers, Owl Paws, Loquat and Dogcatcher!; Andrew: Fleetwood Mac, Rumors.

Favorite local eatery and dish: Indian Pizza at Zantes and The Classic cheeseburger at Burgermeister.

Rin Tin Tiger and Tumbleweed Wanderers
With Ghost and the City
Thu/26, 8pm, $15
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.slimspresents.com

8 cultural happenings this week in the big, best, beautiful Bay

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It is inevitable after reading today’s Best of the Bay 2012 issue that your heart will be swole with pride for our beautiful Bay Area By the Bay. Seize the moment! There are a plethora of arts and culture happenings this week that are perfect examples of — as our managing editor Marke B. put it in his intro to BOB — “the sheer gorgeousness, thriving alternative culture, and promise of freedom and acceptance that are unique to our shores.” Cheers!

CELLspace open critical studio

Turns out, artists aren’t always their best critic. That’s why CELLspace’s open critical studio is such a great opportunity for creatives. Come discuss your art, discover the work of others, and — hopefully — take away a dose of constructive criticism that every creator needs from time to time. 

Wed/25, 7-10pm, free

CELLspace

2050 Bryant, SF 

www.cellspace.org

Cobb’s Comedy Club Showcase

Though it’s one of the city’s premier comedy clubs, Cobb’s isn’t stupid enough to forget the little guys. This Wednesday, check out the club’s up-and-comer showcase, where you can see some of the Bay’s funniest fledglings before they hit it big and really start taking your money. 

Wed/25, 8pm, $12.50

Cobb’s Comedy Club

915 Columbus, SF

www.cobbscomedyclub.com 

SF International Poetry Festival

The San Francisco International Poetry Festival brings you tons of excuses to brood in a vaguely-Italian coffee house while penning lines into your journal. The series of readings from poets of international acclaim — from Iraq to Italy, Sweden to Malta — kicks off this Thursday. Set ever-so aptly in Jack Kerouac Alley, hosts Jack Hirschman, Lawrence Ferlinghetti, and city librarian Luis Herrera will introduce the festival’s lineup of poets with the accompaniment of a modern concert from Neeli Cherkovski, Matt Gonzales, and Jonathan Richman. 

Thu/26, 7-9:00pm, free.

Kerouac Alley, SF

www.sfipf.com

The Wizard of Oz movie night with the San Francisco Symphony

Join the San Francisco Symphony for a unique screening of America’s favorite kids-movie-that’s-not-actually-a-kids-movie. Beyond the fantastical plot line of The Wizard of Oz, the film’s striking visual elements and majestic music and score are part of what has made it the timeless classic it is today. Bridge the gap between silly and sophistication this Thursday by dressing up in your favorite Oz costume, watching the movie, and listening to the SF Symphony perform the score live.

Fri/27, 7:30pm, $12.50-$70

Davies Symphony Hall

201 Van Ness, SF

www.sfsymphony.org

“Re: Told” closing night 

If you missed this month’s run of Root Division’s modern story-telling art exhibit, you still have a chance to catch this glamorous culmination, closing reception, and publication release. Taking a page from Ernest Hemingway, “Re: Told” reframes cultural narratives in order to create a contemporary storytelling experience, yielding an accessible look into some very intimate realities.

Fri/27, 6-9pm, $1-$20

Root Division

3175 17th St., SF

www.rootdivision.com 

Naoya Hatakeyama: Nature Stories 

Prominent Japanese nature photographer Naoya Hatakeyama shows us the dualistic relationship between man and nature in this large-scale photography exhibit illustrating man’s attempt to control nature and, in the wake of the Tohuku earthquake and tsunami. The austere power of nature over humans’ best attempts to rein it in figures prominently in “Natural Stories,” which possesses an ironically calm visual approach to such a powerful concept. 

Through Nov. 4

Opening reception: Sat/29, 10am-5:45pm, $18 (adult general) 

SFMoMA

151 Third St., SF

www.sfmoma.org 

Ohlone basket welcoming ceremony 

The native Californian basket collection at the Oakland Museum of Art would, from a novice’s eye, seem to be complete. Yet due to the Ohlone tribe’s tradition of burning their possessions after death, the tribe’s baskets are scarcely represented among the collection’s 2,500 pieces. To remedy this dearth, the museum commissioned Ohlone artist and scholar Linda Yamane to create a basket. After a two-year documented process, we have an opportunity to welcome the 20,000-stitch, several thousand feathers, and 1,200-bead that make up the Ohlone basket into the museum’s collection with a day of festivity, including story-telling, dance, and song. 

Sat/28, 1-3pm, $12 general. 

Oakland Museum of California

1000 Oak, Oakl. 

www.museumca.org

The Coming Century of War Against Your Computer

Hey you, the one with the oversized headphones and approximately windows to burn open on your laptop, listen up. As part of its specialization in the speculative — that is, fantasy, horror, and science fiction — Borderlands Books presents Corey Doctorow and his book The Coming Century of War Against Your Computer. Copyright laws, net neutrality, and SOPA may be much more serious indicators of the technology takeover than we thought, so let this be your opportunity to decide whether you’re going to let technology-driven measures govern your life.  

Tue/31, 7:30pm, $10

Borderlands Cafe

870 Valencia, SF

www.borderlands-books.com