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Killers, brothers, and the just plain weird: SFIFF recap!

Sue Vaughan
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Killers, brothers, and the just plain weird: SFIFF recap!

The 2012 San Francisco International Film Festival wrapped up last week, but we’re still basking in the glow of cinema overload. Festival correspondent Jesse Hawthorne Ficks chimes in with part one of his fest impressions. (And if you’re feeling post-SFIFF withdrawal, fear not: Frameline is just around the corner!)

Alps (Yorgos Lanthimos, Greece, 2011) This follow-up to 2010’s beyond-disturbing Dogtooth falls right in line with director Yorgos Lanthimos’ motifs: young teens following the demands of off-kilter adults, resulting in utterly confusing and deeply disturbing scenarios. Some audience members left feeling mystified (“That’s it?! That movie was a complete waste of time. I hate this festival!”) but oddly enough, I was hypnotized by every left-of-center shot, each non-sequitur cut, and all of the character’s desperate decisions. This world is a dark and troubling place, and I can’t wait for Lanthimos’ next film.

Bernie (Richard Linklater, US, 2012) “This is my Jack Black black-comedy!”  So sayeth Texas-based indie pioneer Richard Linklater in his introduction, and indeed, this deceptively disturbing true story showcases some of Black’s most impressive work to date, playing the nicest, most accommodating mortician in all of East Texas. Linklater layers his Black cake with some of the most genuine fast-talking, small-town Texans ever put to celluloid; just as John Waters has represented Baltimore with his own twisted point of view (or Gus Van Sant has for Portland, Ore.), Linklater continues to find love in all the right corners of the Lone Star State. While Bernie is small in scale, it’s an American film that’s not to be missed. Plus, Black yet again delivers some truly memorable songs. This time it’s hymns! Note: Bernie comes out theatrically in the Bay Area May 18.

http://www.youtube.com/watch?v=F7VSAFvPq7c

The Do-Deca-Pentathalon (Jay Duplass and Mark Duplass, US, 2012) Following up their surprise existential classic Jeff, Who Lives at Home (2011), the Duplass Brothers are doing what they do best … writing what they know. Like Cyrus (2010), Baghead (2008), and The Puffy Chair (2005), these mumblecore creators find beauty in our modern era’s simplicities. This time, it’s two brothers’ life-long competition, which has led them to a mid-thirty something standstill. This film — most definitely the BFF of Adam McKay’s Step Brothers (2006) — enables these two schlemiels to tackle not only each other but some pretty serious subject matter. Future generations will point to the Duplass Brothers’ morality tales as this decade’s most neo-realist entries.

The Exchange (Eran Kolirin, Israel/Germany, 2011) It is not often that a movie can evoke the response, “That film changed the way I saw the world for days after.” But Eran Kolirin’s The Exchange is that rare kind of film that if you stick with it (a handful of people walked out during a 9:15pm Sunday screening) the astoundingly visionary concept will truly reinvent how you see the world, and perhaps give you new direction on how to live your life. And as many brought up in the surprisingly aggressive post-film Q&A, these might not be pleasant realizations! Minimalist, abstract, hilarious, and revolutionary all at the same time, Kolirin has crafted a transcendental film that will be a genuine cult classic. Keep your eyes open for any post-fest opportunity to see it on a big screen: it’s the stuff movie theaters were made for.

Star search

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Star search

arts@sfbg.com

MUSIC Singer-songwriter Meklit Hadero’s album On a Day Like This garnered tons of praise and cemented her status as SF’s flower-adorned local celebrity. As a TED fellow and the Red Poppy Art House’s former artistic director, Hadero also established an ability to cross-pollinate her far-reaching talents.

But with her latest project, Copperwire (www.copperwiremusic.com), it now appears that the chanteuse is ready to cross into music’s final frontier. Copperwire’s music tells stories about connection and distance through cosmic metaphors. The group just released its debut album Earthbound and is currently bringing its hip-hop space opera to life-forms across the country.

[You can have a listen to exerpts from the album and more from Hadero on the creative process here.]

SFBG: What is Copperwire?

MEKLIT HADERO: Copperwire is myself and two Ethiopian-American emcees, Gabriel Teodros and Burntface. The whole project started with a song called “Phone Home.” We were sitting on a couch and we just looked at each other and suddenly put our index fingers out, and when they touched we all said “phone home.” We were like wait a minute, because ET also stands for Ethiopia. It started from that spark, and we ended up writing the song in two to three hours.

SFBG: From there you decided to make a full-length album?

MH: Well, we didn’t want to just make a record. We wanted to tell a story in a way that felt relevant and fresh to all of us. Earthbound uses metaphors of intergalactic distances to talk about diaspora and cultural connection and disconnection.

Last December I became a member of the SF Amateur Astronomers. I was hosting the deYoung’s Van Gogh Starry Night event and the Amateur Astronomers were around the pond outside. They had about nine or 10 different telescopes that you could look through. I saw the moon, but I also saw Jupiter and four of its moons. It was an incredibly impactful moment for me, especially since I’d been thinking about the reality of these distances that we talk about.

Gabriel had been reading a book by Neti Okorafor, who’s a Nigerian science fiction writer who wrote a book about the Sudan in the future. And all three of us are total science fiction buffs. I love Star Trek.

SFBG: You’re a Trekkie?

MH: The Next Generation… TNG, that’s my era. Yes, I know that I’m revealing my inner dorkiness. Anyway we’d been talking about making a record together for years, and after being in Ethiopia together we were just like it’s time. Crossing that distance while these metaphors were churning kind of came out in the story.

SFBG: Do you relate Copperwire to intergalactic ’70s acts like Funkadelic?

MH: Definitely. It’s also in the line of Outkast, Janelle Monae, David Bowie. It definitely feels like it’s in an intergalactic lineage.

SFBG: Tell me about the star sounds that factor into Earthbound.

MH: While we were recording I saw a posting by one of my fellow TED fellows about an installation in the Bavarian forest that had been done with star sounds. I sent her an email asking “What are these star sounds and how can I get some?” We figured out how to use them in our beats using a program called the isotope spectrum, and used the star sounds in combination with a whole bunch of instruments.

SFBG: What about the star guitar?

MH: The idea for the star guitar came after we’d stopped recording and I’d been wanting to figure out how to do it live. Jon Jenkins from NASA’s Keppler Mission made the star sounds based on their oscillations of light. You can say I want 50 percent star and 50 percent guitar, or you can say I want 30 percent star and 70 percent guitar. You can also hybridize just the highs or just the lows. I’m still experimenting. There are a bunch of different sounds, but I’ve chosen a few that I particularly like.

SFBG: How many different stars are you working with?

MH: Right now I’m working with two stars.

SFBG: Do you know their names?

MH: I don’t and I don’t know where they are, that’s one thing I want to talk with Jon about. But he’s also posting a whole host of new star sounds so I’ll have a lot more to choose from pretty soon. *

COPPERWIRE

With Bocafloja

Sat/5, 9pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

Big trouble in old China

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Big trouble in old China

cheryl@sfbg.com

LIT It was a cold, windy January morning in 1937 when a horrifically mutilated body was found sprawled at the base of a rumored-to-be-haunted watchtower in what was then called Peking.

Intrigued yet? Paul French’s Midnight in Peking: How the Murder of a Young Englishwoman Haunted the Last Days of Old China (Penguin Books, 260 pp., $26) reads like a mystery thriller, with its dramatic cast of characters (a Chinese-British detective team, a cranky old father with something to prove, a budding beauty filled with secrets, and multiple sinister figures with shadowy pasts) and exotic setting (Peking’s fusty, foreigners-only Legation Quarter — and utterly lawless Badlands district — on the eve of China’s occupation by Japan).

As he wrote Midnight, the Shanghai-based Brit was able to solve the long-cold case — or at least present a rather convincing theory about who killed 19-year-old Pamela Werner. Satisfying closure in a true-crime book about an unsolved murder? Read it and weep, Black Dahlia obsessives. I caught up with French amid his tour to promote Midnight‘s American release.

San Francisco Bay Guardian How did you research what it would have been like to live in 1937 Peking?

Paul French There are quite a lot of both Chinese and foreign memoirs — all of the diplomats, and a lot of the journalists, scholars, and missionaries wrote them. People wrote travel guides. There’s a lot of Chinese literature from that time, too.

SFBG Was the story of Pamela’s murder mentioned in one of the memoirs?

PF I was reading a biography of [journalist] Edgar Snow, which was very dry and boring. The first time I saw the Pamela story was in a little footnote: “and then this girl was murdered, and there was a British detective who worked with a Chinese detective.” There was a whiff of opium, and a bit of sex floating around it, and scandal, and I just thought, “Wow! That sounds really interesting.”

SFBG Was it difficult to dig up more information?

PF At first, I was able to dive in and get all the newspaper reports and the autopsy. I was doing quite well. Then I sort of hit a wall, and thought, “This is all I’m gonna get. I’m going to write a book, but it’s not really going to have an ending. It’ll just be lots of atmosphere, hopefully, and at the end I’ll just say, murders don’t always get solved.” Right on the brink of this collapse of civilization to barbarism, this one girl briefly becomes a kind of symbol of the horrors that China’s about to go into.

So I thought I’d get away with that. But I was in the National Archives in London, and that’s when I completely stumbled across these 150 pages of evidence that Pamela’s father [a former diplomat named E.T.C. Werner] had put together for his own investigation. It had been filed and forgotten for 75 years.

At that moment, the project moved to a whole other level. I looked through everything, and — of course the official line is that I solved the crime, but the truth is, her father really solved it. I compared [his findings] with what the police knew at the time, what the newspapers reported at the time, and the autopsy, and I managed to find four or five people still alive who knew Pamela.

When you cross-reference all of that, I think that it stacks up, which is why I footnoted the back of the book. If people want to have a look at the documents themselves, they’re more than welcome to. And since the book came out — it came out in Australia and Asia first — I have had a few people come to me with new bits of information that sort of confirm what Pamela’s father discovered. Werner was cold, unemotional, and wrapped up in his scholarship; he didn’t pay enough attention to Pamela [while she was alive]. But in the end, he dedicated his whole life, all of his money, and all of his health, to try and track down some kind of justice for her. I came to admire him in the end. *

PAUL FRENCH

May 9, 7 pm, free

Books Inc.

1760 Fourth St., Berk.

(510) 525-7777

 

May 10, 7pm, free

Book Passage

51 Tamal Vista, Corte Madera

(415) 927-0960

www.midnightinpeking.com

City case speculates about Mirkarimi’s interference with investigation

Sasha Cuttler
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City case speculates about Mirkarimi’s interference with investigation

The City Attorney’s Office laid out much of its case against suspended Sheriff Ross Mirkarimi yesterday when it released a list of witnesses and their expected testimony, as requested by the Ethics Commission, and it offers little support for the city’s accusation that Mirkarimi dissuaded witnesses or sought to destroy evidence of a crime, which are among the most serious allegations in the official misconduct case against him.

The longest and most significant section in the brief was the testimony of Ivory Madison, the neighbor who initiated the police investigation into whether Mirkarimi physically abused his wife, Eliana Lopez, during a Dec. 31 incident that she subsequent reported to Madison, who made a video of her story and a bruise on her arm.

It was the most detailed account yet of what happened from the perspective of Madison, who has refused media interviews, and it differs in some key areas from accounts that Mirkarimi gave to the Guardian and other media outlets.

For example, Mirkarimi said he grabbed his wife’s arm in the car during a heated argument and that tempers had cooled by the time they went inside. But Madison is expected to testify that, “Inside the house, Sheriff Mirkarimi pushed, pulled and grabbed Ms. Lopez, who was crying and screaming, as was their son. Ms. Lopez asked Sheriff Mirkarimi to stop, and said look what you’re doing to our son. Ms. Lopez then ran out of the house. While both inside and outside the house, Lopez was yelling, do you want me to call the police. When Ms. Lopez yelled about calling the police while outside, Sheriff Mirkarimi said no, come inside. Ms Lopez went back inside.”

It is unclear from the memo whether Madison was a direct witness to those events or whether they were relayed to her by Lopez, but it sounds like the latter given that the story is in a paragraph that began with the phrase “According to Ms. Lopez.” Since the incident, Lopez has consistently denied that Mirkarimi abused her and downplayed the conflict. The only other neighbor on the witness list, Callie Williams, wasn’t at home during the conflict, but she’s expected to testify that Lopez told her about that and an earlier instance of abuse and that “Sheriff Mirkarimi was scared that she was going to tell people what happened.”

While Madison’s expected testimony confirms Lopez’s account that the video was made to be used in the event of a child custody battle if the couple divorced, Madison’s account paints Lopez as actively worried about her safety: “Ms. Madison suggested calling the police. Ms. Lopez was afraid that the police would not believe her and would not protect her from Sheriff Mirkarimi, and was concerned about what the police could do to protect her.”

It also confirms what journalist Phil Bronstein, a friend Madison called for advice, told the Guardian about Madison’s initial call to police being a simple inquiry and that she didn’t intend to initiate a police investigation just yet. And it indicates that “Ms. Lopez was unhappy about the investigation. Ms. Lopez called Linnette Peralta Haynes (Sheriff Mirkarimi’s campaign manager in the November 2011 election) on her mobile phone. After speaking with Ms. Haynes, Ms. Lopez handed her phone to Ms. Madison. Ms. Haynes attempted to dissuade Ms. Madison from cooperating with the police and attempted to persuade Ms. Madison to lie to the police.”

Yet there is nothing in Madison’s expected testimony to indicate Mirkarimi was behind any of these efforts, and he denies it and says that he wasn’t even aware that Lopez had talked to Madison or made a video or that police had been called at that point. Peralta Haynes, who sources say is in the late stage of a difficult pregnancy, hasn’t cooperated with the investigation so it’s obviously speculative on the city’s part to indicate that she was acting as Mirkarimi’s “agent” in thwarting the investigation, as the city is claiming.

The only “evidence” that the city seems to offer in support of its accusation that Mirkarimi tried to thwart the criminal investigation comes from Madison’s husband, Abraham Mertens, who is expected to repeat the claim he first made in a controversial March 20 op-ed in the San Francisco Chronicle that, “During the time that SFPD inspectors were interviewing Ms. Madison on January 4, Mr. Mertens received a telephone call from Eliana Lopez urging him to make Ms. Madison stop talking to the police. Mr. Mertens heard Sheriff Mirkarimi’s voice in the background,” a more resolute version than Mertens had previously given when he wrote in the op-ed: “I recognized what I thought was Ross’ voice in the background.” Mertens also has not answered Guardian calls.

Mirkarimi categorically denies that he was present during that phone call and says that he was in meetings at City Hall and that he wasn’t aware that any of this was happening at the time. And he has denied urging Peralta Hayes to get involved, but her testimony could evolve into evidence if the city can show they talked before she spoke to Madison, but that’s still speculative. The city is seeking live testimony from Peralta Haynes about her communications with Mirkarimi on Jan. 4 and before.

During the recent Ethics Commission hearing on setting up procedures for the hearing, Mirkarimi attorney Shepherd Kopp noted that the city hadn’t done key interviews or collected physical evidence (such as phone records or the Lopez video) to support its charges against Mirkarimi before making its allegation, something that Deputy City Attorney Peter Keith didn’t dispute, noting that the the city had not yet received much of the evidence that it intends to present, such as the video.

The city appears to be banking on compelling incriminating testimony from Lopez and Mirkarimi, who they plan to treat as hostile witnesses. The other interesting name on the city’s witness list was Mayor Ed Lee, who the city is recommending give live testimony and who could also likely be subjected to a vigorous cross-examination that could have interesting political ramifications.

The Katz correlations

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le.chicken.farmer@gmail.com

CHEAP EATS Bagels aren’t my favorite thing. Maybe you’ve noticed. I haven’t new-favorite-restauranted a lot of bagel places, if any, through the years. But then one day I was on my way to BART, very much in need of caffeination, and Cafe Petra was, to my surprise, all boarded up.

So the next possibility was Katz Bagels, around the corner on 16th Street. I stood outside, looking in, but had a hard time pulling the trigger. You know how it is, sometimes, when you are too uncaffeinated to make a decision — even a no-brainer, like whether or not to get a cup of coffee. Or pull the trigger.

Trouble was, I needed a bite, too, and bagels are not my thing. I mean, given butter and jam, or lox, or cheese, I like bagels fine. It’s just: If I am totally honest with myself, I don’t think I’ll ever be able to forgive them for not being donuts.

But I was standing there trying to decide if now was the time to try, when a happyish fellow came caffeining out, noted my attitude of indecision and said, “They’re good. Good bagels.”

So, OK. Went in. And then was faced with a whole new problem: what to get.

What I really want (if I can’t have donuts), is a cinnamon-raisin bagel, or blueberry one, with butter and/or bacon all over it. But I’m too ashamed to order it because, what will the Jews think?

San Francisco is not New York. Go ahead, little hippie, and have your toasted cinnamon-raisin swirl, or your blueberry bonnet with bows of bacon, you rube.

I couldn’t. I can’t. Stop taunting me, me!

This sounded good: the number three sandwich on the menu board — egg with spinach, tomato, onion, and Swiss cheese. Yeah, I could do that, and live with myself, for breakfast. Probably.

And coffee.

“Small coffee,” I said, because it was my turn. And I still didn’t know. So I said small coffee real slow.

“And a sesame seed bagel,” I said, “with eggs,” I said, “spinach,” I said, “hmm, tomato, onion, and . . . yeah, Swiss.”

“Number 3?” the woman said.

“Yeah. A Number 3,” I said, “would be another way of looking at it.”

She laughed, hurried to get me my coffee, and from that point on whenever she looked at me she laughed again. I had made a friend behind the counter! Which helps, where bagels are concerned. Because now, I’m thinking, I can probably go in there any time and order my bagel with ham, pineapple, and sprinkles on top. It doesn’t matter. She’s going to laugh at me anyway. With me.

For coffee, they serve Rodger’s individually dripped brews. No idea who Rodger is, but I do like his work. One sip, sitting at the end of the counter there, and my head cleared all up.

But I still didn’t know why Petra was closed. Or when. I had taken it for a neighborhood mainstay. Not that I ever went there. I mean, I did, for meeting people, when I used to date, because — even though it was only a block and a bit from my place — I never saw anyone I knew in there. Unlike, say, Java Supreme.

Petra was a nice place to sit. A nice place to, you know, get to know someone, A little. Without any fear whatsoever that Earl Butter would show up with a wooden tennis racket and/or Tupperware.

Wow, maybe my dating days coming to an abrupt end, thanks to Hedgehog, contributed to the downfall of the second-closest coffeehouse to my house, I thought, while waiting for my bagel at Katz’s. And I didn’t care what he was carrying, if Earl Butter came in here, I thought, I would buy him a bagel. Now that I am “in” with the counter woman.

Then I had another sip of Rodger, bless him.

My bagel came, and required salt and pepper, but was otherwise what else the doctor ordered. Delicious. Nutritious. There . . .

My new favorite restaurant is Katz. It’s just a nice, comfy bagel bar, with good bagels. Great coffee. A fine place to stop, on your way to BART, and think stupid things.

KATZ

Mon.-Fri. 6:30am-1pm; Sat.-Sun. 7am-2pm.

3147 16th St., SF.

(415) 552-9050

Cash only

No alcohol 

 

On the Cheap Listings May 2-8, 2012

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On the Cheap listings are compiled by Soojin Chang. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 2

Thee Oh Sees Public Works, 161 Erie, SF. (415) 932-0955, www.publicsf.com. 9pm, free with RSVP. The FADER and Captain Morgan are hosting a free show tonight featuring San Francisco’s most delightfully chaotic psych-rock band.

Photobooth film basics workshop Photobooth, 1193 Valencia, SF. (415) 824-1248, www.photoboosf.com. 7pm-9pm, free. Bring that seemingly useless analog camera you scavenged at the bottom of the sales bin at a thrift store and learn just how to put Instagram to shame. Classes fill up quickly so reserve your spot by sending an email to classes@photoboothsf.com.

THURSDAY 3

Guacamole Mash-Off NextSpace SF, 28 2nd St., SF. (415) 514-0456, www.nextspace.us. 6:30pm-8:30pm, $5 to attend; free if you compete. What does the perfect guacamole taste like? We are all more than happy to be the guinea pigs for this experiment. Bring an appetite and avocado expertise — NextSpace will supply the fresh ingredients and free beer.

FRIDAY 4

Amoeba Art show 2928 Telegraph, Oakl. (510) 549-1125, www.amoeba.com. 6pm-11pm, free. Amoebites not only know every record known to humankind in exquisite detail, but also make art themselves. Check out the creative works of the music store’s staff while noshing on vegan baked goods by Fat Bottom Bakery. Live DJs will be spinning all night, and if you need to step outside for some air, Oakland Art Murmur will be outside to greet you.

“The Dick Show” visual art exhibit of penises Center for Sex and Culture, 1349 Mission, SF. (415) 902-2071, www.sexandculture.org. 6pm-9pm, free. Which side is the penis’ best side? What makes a penis better than a dildo? What would life be like without penises? Participating artists have tackled such questions head on, and have expressed their enlightened answers in the form of a collective art show.

“First Friday Follies” burlesque and creepy puppet show Stork Club, 2330 Telegraph, Oakl. (510) 444-6174, sfburlesque.blogspot.com. 9pm, free. Sultry dancing accompanied by sinister dolls bring to mind the words “blissful terror.” Come see how sexy strange can be at Oakland Art Murmur’s most confusingly seductive after party. You won’t be able to peel your eyes away.

SATURDAY 5

Moonlight hike Sports Basement Presidio, 610 Old Mason, SF. (800) 869-6670, www.sportsbasement.com. 6:30pm-9:30pm, free. If you feel like you haven’t seen a clear night sky in a while or have started to unconsciously accept building lights as stars, it’s time to take a walk away from the city. Attendance is limited and is on a first-come, first-served basis.

Filmmaking open house and free margarita party Bay Area Video Coalition, 2727 Mariposa, SF. (415) 861-3282, www.bavc.org. 12:30pm-6pm, free. Take a workshop on DSLR cinematography, learn about the latest innovations in the world of Adobe, and talk with professionals about the nuances of the tech and film industries — all while working your way around the salt rim of your celebratory margarita.

Vagabond Indie Craft Fair Urban Bazaar, 1371 9th Ave, SF. (415) 664-4442, vagabondsf.wordpress.com. Through Sunday 6. Noon-7pm, free. Independent craftspeople are like vagabonds or gypsies in a sense, because they travel around selling their art and don’t rely on factory-made consumer culture. In Urban Bazaar’s backyard garden this weekend, you will find free sewing classes taught by local talent, bake sales benefiting high school art programs, and enough handmade gems to gift to friends for years.

Free Comic Book Day 2012 In various participating comic stores. Comic Experience, 305 Divisadero, SF; Neon Monster, 901 Castro, SF; Mission: Comics and Art, 3520 20th St., SF; Jeffrey’s Toys, 685 Market, SF; Fantastic Comics, 2026 Shattuck, Berk. www.freecomicbookday.com. All day, free. For one day a year only, participating stores give away comic books absolutely free of charge to whoever walks through their doors.

SUNDAY 6

Urban Air Market Octavia at Hayes, SF. www.urbanairmarket.com. 11am-6pm, free. Urban Air Market is a curated fashion festival featuring 150 independent designers — all of whom were carefully chosen based on their originality, quality, and method of sustainability in design. Live music will be playing all day as you mosey around the market’s impressive collection of handcrafted jewelry, one-of-a-kind clothing, and unique home décor.

MONDAY 7

SFMade Week Open Factories: Ritual Coffee Roasters Ritual Coffee, 1050 Howard, SF. (415) 641-1024, www.sfmadeweek.org.1pm-2pm, $10. SFMade Week is a weeklong touring extravaganza that celebrates San Francisco’s manufacturing sector. Learn about the crafty techniques and detailed science that precede every perfectly smooth cup of Ritual coffee from their roastery team in SOMA.

Beatles Karaoke Night Cafe Royale, 800 Post, SF. (415) 441-4099, www.caferoyale-sf.com. 8pm, free. Ditch the droning, flat audio and the creepy screen playing completely unrelated videos. It’s just you, the live pianist, and “Michelle” tonight.

TUESDAY 8

“Raise the Macallan” scotch tasting benefit event for Charity Water The Regency Ballroom, 1300 Van Ness, SF. (415) 673-5716, www.raisethemacallan.com. 8pm, $5. Drinking scotch to benefit a charity for water (www.charitywater.org) is a bit strange. But who cares? From time to time you have to revel in the beautiful contradictions that make up life — especially the ones that involve whisk

Stage Listings May 2-8, 2012

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

THEATER

OPENING

Down to This Exit Stage Left, 156 Eddy, SF; www.sleepwalkerstheatre.com. $12-20. Opens Thu/3, 8pm. Runs Thu-Sat, 8pm. Through May 26. Sleepwalkers Theatre performs a pulpy thriller with two possible endings.

“San Francisco International Arts Festival” Various venues, SF; www.sfiaf.org. Free-$70. May 2-20. Performance festival featuring theater and dance from Cuba, Iran, Russia, the U.S., China, Japan, Estonia, and more.

The Wrong Dick Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Opens Thu/3, 8pm. Runs Thu-Sat, 8pm. Through May 26. Ham Pants Productions presents a noir-inspired comedy set in San Francisco.

Zorba Eureka Theater, 215 Jackson, SF; (415) 255-8207, www.42ndstmoon.org. $20-50. Previews Wed/2, 8pm; Thu/3-Fri/4, 8pm. Opens Sat/5, 6pm. Runs Wed, 7pm; Thu-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through May 20. 42nd Street Moon performs Kander and Ebb’s musical salute to Greece.

BAY AREA

Crevice La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thu/3-Fri/4, 8pm. Opens Sat/5, 8pm. Runs Thu-Sat, 8pm. Through June 9. Impact Theatre and PlayGround present Lauren Yee’s world premiere play about 20-something siblings whose couch-potato lives are uprooted when a chasm opens up in their living room.

ONGOING

Act One, Scene Two Phoenix Arts Association Theatre, 414 Mason, Ste 601, SF; www.un-scripted.com. $10-20. Thu-Sat, 8pm. Through May 12. Un-Scripted Theater Company performs the beginning of a new, unfinished play by a local author — and creates an ending on the spot once the script runs out.

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Wed/2-Thu/3, 7pm; Fri/4-Sat/5, 8pm. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the “staff only” backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

“Bay One Acts Festival” Boxcar Theatre, 505 Natoma, SF; www.bayoneacts.org. $25-45. Wed-Sat, 8pm (also Sat/5 and May 12, 3pm); Sun, 3 and 7pm. Through May 12. Ten bold and adventurous short plays by local playwrights, performed two full programs running in repertory.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Thu, 8pm; Sat, 8:30pm; Sun, 7pm (no show Sun/6). Through June 10. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

*Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-35. Thu-Sat, 8pm. Extended through May 19. Cheap thrills don’t come much cheaper or more thrilling than at a Thrillpeddlers musical extravaganza, and their newly remounted run of Hot Greeks affords all the glitter-dusted eye-candy and labyrinthian plot points we’ve come to expect from their gleefully exhibitionist ranks. Structured as loosely as possible on Aristophanes’ Lysistrata, Greeks appropriately enough follows the trials and tribulations of a college sorority tired of “losing” their boyfriends to the big football match every year (Athens U vs. Sparta Tech). Pledging to withhold sex from the men unless they call off the game results in frustration for all, only partially alleviated by the discovery that sexual needs can be satisfied by “playing the other team,” as it were. But like other Cockettes’ revivals presented by the Thrillpeddlers, the momentum of the show is carried forward not by the rather thinly-sketched narrative, but by the group song-and-dance numbers, extravagant costuming (and lack thereof), ribald wordplay, and overt gender-fuckery. In addition to many TP regulars, including a hot trio of Greek columns topped with “capital” headdresses who serve as the obligatory chorus (Steven Satyricon, Ste Fishell, Bobby Singer), exciting new additions to the Hypnodrome stage include a bewigged Rik Lopes as stalwart sister Lysistrata, angelically-voiced Maggie Tenenbaum as the not-so-angelic Sodoma, and multi-faceted cabaret talent Tom Orr as heartthrob hunk Pendulum Pulaski. (Gluckstern)

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm, Sun, 7pm. Extended through May 27. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh San Francisco. (Avila)

Killing My Lobster Chops Down the Family Tree TJT, 470 Florida, SF; www.killingmylobster.com. $10-22. Thu-Sat, 8pm (May 12, shows at 7 and 10pm); Sun, 7pm. Through May 13. The sketch comedy troupe performs a new show inspired by contemporary families.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Opens Thu/3, 7:30pm. Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through May 27. Annie Elias and Cutting Ball Theater artists present a world premiere “documentary theater” piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

Thunder Above, Deeps Below Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20-25. Thu/3-Sat/5, 8pm. Bindlestiff presents A. Rey Pamatmat’s dramatic comedy about three homeless young adults.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through May 26. 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

Anatol Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 13. Aurora Theatre Company performs a world premiere translation of Arthur Schnitzler’s drama about the love life of an Viennese philanderer.

A Hot Day in Ephesus Live Oak Theatre, 1301 Shattuck, Berk; info@aeofberkeley.org. $12-15. Fri-Sat, 8pm; May 13, 2pm. Through May 19. Actors Ensemble performs the world premiere of a musical based on Shakespeare’s Comedy of Errors.

In Paris Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $22.50-125. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed, 7pm; Sun, 2pm. Through May 13. Mikhail Baryshnikov stars in Dmitry Krymov’s romantic new play.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat/5, 8:30pm; Sun/6, 7pm. 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)

Lucky Duck Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Thu and Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm (additional performance May 11, 7pm). Through May 13. Berkeley Playhouse performs a musical inspired by the “Ugly Duckling” tale.

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Through May 19. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

Oleanna Berkeley City Club, 2315 Durant, Berk; www.theatrefirst.com. $15-30. Thu-Sat, 8pm; Sun, 5pm. Through May 13. TheatreFIRST performs David Mamet’s tense two-charater drama.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tue and Thu-Fri, 8pm; Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; no 8pm show May 12; Sun, 7pm). Extended through May 12. Mark Rothko (David Chandler) isn’t the only one painting with a broad brush in this labored and ultimately superficial two-hander by John Logan, enjoying a competent but underwhelming production by outgoing Berkeley Rep associate artistic director Les Waters. Set inside the late-1950s New York studio of the legendary abstract expressionist at the height of his fame, the play introduces a blunt and brash young painter named Ken (John Brummer) as Rothko’s new hired hand, less a character than a crude dramatic device, there first as a sounding board for the pompous philosophizing that apparently comprises a good chunk of the artist’s process and finally as a kind of mirror held up to the old iconoclast in challenging proximity to a new generation that must ultimately transcend Rothko’s canvases in turn. The dialogue holds up signs announcing intellectual and aesthetic depths but these remain surface effects, reflecting only platitudes, while the posturing tends to reduce Rothko to caricature. Much of the self-consciously reluctant filial interaction here smacks of biographical sound bites or heavy-handed underscoring of theme, and tends toward the outright hokey when touching on the credulity-bending subject of Ken’s murdered parents — with the attendant shades this adds to Rothko’s and the play’s chosen color palette. (Avila)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“Comedy SuperPAC: Promoting Good Comedy and Great Causes Since 2012!” Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Mon/7, 7pm. $5. Nate Green and W. Kamau Bell present this ongoing comedy showcase; this week’s performers are Chris Garcia, Brendan McGowan, Jeff Kreisler, and Brandie Posey.

“Cutting Ball Theater Hidden Classics Reading Series” Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. Sun/6, 1pm. Free. Readings of three one-act August Strindberg plays.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Ongoing through Nov 6. $15-50. Will Durst and friends perform in this weekly political humor show that focuses on the upcoming presidential election.

“Gaia Grrrls” Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri/4-Sat/5, 8pm (also Sat/5, 4pm); Sun/6, 4pm. $17. Dance Brigade’s Grrrl Brigade performs a contemporary dance-drama that takes on war and climate change.

“May Day: CounterPULSE’s Performance Festival-Fundraiser” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thurs/3-Sat/5, 8pm. $30-150. Local dancers and performers come together to raise funds for the venue, a haven for experimental and risk-taking work.

“Picklewater Clown Cabaret: Cabaret of Sexy Sex!” Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. Mon/7, 7 and 9pm. $15. Physical comedy, music, and mayhem.

“Radar Spectacle” Verdi Club, 2424 Mariposa, SF; www.radarproductions.org. Fri/4, 8pm. $15. Radar Lab benefits from this performance featuring music from Mirah, a reading by Armistead Maupin, a live art auction, and more.

“See Mom, I Didn’t Forget!” Shelton Theater, 533 Sutter, SF; www.brownpapertickets.com. Sun/6, 2 and 7pm. $30. “Familial craziness” is the theme of this solo performance showcase in honor of Mother’s Day.

Smuin Ballet Yerba Buena Center for the Arts, 701 Mission, SF; www.smuinballet.org. Wed/2-Sat/5, 8pm (also Sat/5, 2pm); Sun/6, 2pm. $25-62. Program includes the West Coast premiere of Val Caniparoli’s Swipe and the world premiere of Ma Cong’s Through. *

 

Our Weekly Picks May 2-8, 2012

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WEDNESDAY 2

Loom of Ruin reading

Sam McPheeters has a way with language that has translated from lyrics to journalism and now: his first official solo novel, The Loom of Ruin. The former frontperson of a trilogy of punk and experimental acts (Born Against, Men’s Recovery Project, Wrangler Brutes) has long written columns for the likes of Vice, and put out his own fanzines. But his first published output came at age 12 — a local legends book assembled with a pal. Now he comes full circle, back to book publishing, though this time it’s a bit different. He’s rather grown, and writing exquisitely detailed dark Los Angeles fiction about the angriest man in the world. Far from grumpy himself — the facetious gent was once known to recite Patrick Henry’s famous speech — McPheeters brings his words to the Bay this week on a book tour, including a spoken word stop at the Secret Alley tonight at 7pm after Needles+Pens. (Emily Savage)

5-7pm, free

Needles+Pens

3253 16th St., SF

(415) 255-1534

www.needlesandpens.com

 

Thu/3, 7:30pm, free

1234Go Records

420 40 St., Oakl.

(510) 985-0325

www.1234gorecords.com

 

Edward Sharpe & the Magnetic Zeros

If Alex Ebert were the best version of himself (a selfless hero akin to Superman or Jesus) he’d be Edward Sharpe. Ebert, Edward Sharpe & the Magnetic Zero’s crazy-haired front man/only guy I’ve seen successfully pull off the shirtless blazer look, dreamt up this alternate identity after getting over a serious drug addiction and shirking his reverence to the punkish concept of rebellion. On stage this ten-piece folky, psychedelic rock tribe looks like a ragtag flurry of ecstasy. There’s a lot going on when these guys perform, but somehow it’s always hard to take your eyes off Jade Castrinos, whose sultry voice and free form movements lull you into a blissful, calming trance. (Mia Sullivan)

With Aaron Embry

8pm, $32.50

Fox Theater

1807 Telegraph, Oakl.

(510) 302-2250

www.thefoxoakland.com

 

El Clásico: More Than a Game

Spain may have won the last World Cup, but as a new documentary by Kelly Candaele and students from Chico State University shows, there’s no love lost between passionate fans of the country’s two biggest club teams. When Real Madrid and FC Barcelona clash (in a game so monumental it is referred to as “El Clásico”), they bring to the field some of the world’s greatest players (Messi! Ronaldo!) — and decades of history that go way beyond fútbol and into weighty areas of national identity and politics. Even Barça fans still reeling from certain late-April results will enjoy this 55-minute exploration of one of Europe’s greatest sports rivalries. (Cheryl Eddy)

7pm, $5–$10

Mission Cultural Center

2868 Mission, SF

www.missionculturalcenter.org

 

THURSDAY 3

Electric Shepherd & OUTLAW

When Bay Area psychedelic rock groups Electric Shepherd & OUTLAW get together, their sound is something like the Doors meeting up with Jimi Hendrix on a tribalistic march and then starting to jam with a death metal version of Phish. If you carry deep-seated nostalgia for the epic rock shows you missed during the ’60s — or listen to the Velvet Underground’s Bootleg series on repeat — you should probably check these guys out. Expect luscious guitar riffs, sexy bass lines, compulsory dancing, and a wonderfully spaced out experience. (Sullivan)

With Blues for Carl Sagan, and Douglas

9pm, $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

FRIDAY 4

Predator and The Thing

Though it may be hard to believe for those of us who grew up watching them, two classic sci-fi flicks from the 1980s have come upon major milestones anniversaries. To celebrate, Jesse Hawthorne Ficks’ Midnites For Maniacs series is hosting a night not to be missed, with a 25th anniversary screening of Predator and a 30th anniversary screening of John Carpenter’s The Thing. Featuring some of the best creature designs and special effects of the era thanks to visionaries Stan Winston and Rob Bottin, both films re-defined the genre, and have continued to stand the test of time. A Boy & His Dog (1975) also screens.(Sean McCourt)

7:30pm, $13

Castro Theatre

429 Castro St., SF

(415) 621-6120

www.midnitesformaniacs.com

 

JackHammer Disco with Tiga, Damian Lazarus, & Light Year

Let’s indulge in some squelchiness, shall we? Montreal-based Tiga and UK-born, Los Angeles resident Damian Lazarus share an affinity for acid-y, electro house. In the early 2000s, Lazarus played a prominent role at the UK label City Rockers, where he oversaw the release of Tiga & Zyntherius’ cover of Corey Hart’s “Sunglasses at Night.” Since gaining fame from that release, Tiga has been a busy producer and remixer, keeping a Euro-glam tone reminiscent of the synth-y works Giorgio Moroder pushed in the ’70s. Recent Lazarus works have a more stripped-down, minimal feel that sometimes wander into leftfield, like in his 2009 album Smoke the Monster Out. (Kevin Lee)

With Light Year 10pm, $15–<\d>$20 Public Works 161 Erie, SF (415) 932-0955 www.publicsf.com

 

FRIDAY 4

It’s Casual

Here in the Bay Area, we like to complain about public transportation. There are BART horror stories and Muni diaries tossed around like old war stories, used as social currency. But really, when you compare our rapid transit systems with the snarled mess of cars elsewhere in California, we come out on top. That’s why LA-based hardcore group It’s Casual got so much traction with an ode to its own local bus line, “The Red Line.” The song, and sentiment, struck a nerve: “The freeways/are not so nice.” The band itself is growly loud, with classic Southern California punk hooks. Tonight it opens for beloved shit-stirrers Early Man (note: the two bands will release a split seven-inch come May 22). Take the 22 Fillmore to the show and write a song about it. (Savage)

With Early Man, Shock Diamond, Satya Sena

9pm, $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

SATURDAY 5

CreaturesCon

Seemingly rising from the grave like so many of the monsters and ghouls that it showcased over a 14-year run on local television, the beloved Bay Area show Creature Features is being resurrected once again to satiate fans’ undying thirst for the creepy, kooky, and campy. John Stanley, who hosted the KTVU program from 1979-’84, will be on hand for CreaturesCon One, a day of special screenings, Q&As, and more, along with archivist and documentary filmmaker Tom Wyrsch and Ernie Fosselius of Hardware Wars fame. For all you monster kids out there, this will be a nightmare, er, dream come true. (McCourt)

3-10pm, $10

Historic Bal Theater

14808 East 14th St., San Leandro

www.creaturescon.com

 

Father John Misty

I always wonder about the drummer. They’re usually the life of the party but, at the same time, are often concealed behind a wall of instruments, and you rarely hear them sing, or say, anything. Ex-Fleet Foxes drummer Joshua Tillman has said that drumming for his former superstar band began to bore him. So he exited, took up the moniker “Father John Misty,” and started creating lush, lyrically based Americana folk ballads laden with lucid imagery and social commentary. He played SXSW this year, made a surprise appearance at Café Du Nord in April, and his debut, Fear Fun, came out Tuesday. (Sullivan)

With Har Mar Superstar, Worth Taking

10pm, $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

SUNDAY 6

Omar Sosa Afreecanos Quartet

Talk about versatility. Cuban pianist and composer Omar Sosa splits his time between Oakland and Spain and incorporates musical influences from just about everywhere in between. On last year’s Calma: Solo Piano &… Sosa displayed his introspective and meditative side with floating piano melodies flanked by the occasional electronic accent or sampled sound. Contrast the solo effort on Calma with Sosa’s performance as lead of the Afreecanos Quartet, where technical dynamism becomes the name of the game. At live shows, Sosa becomes a grinning whirlwind, playing classical piano on one hand and electronic piano on another, trading looks and body language with his fellow musicians, and fostering a joyful, collective, improvisational spirit. (Lee)

With Marque Gilmore, Childo Tomas and Peter Apfelbaum

1pm, free

Yerba Buena Gardens

760 Howard, SF

(415) 543-1718

www.ybgfestival.org


MONDAY 7

“La Bamba: Latinos in Vintage Rock, Pop, and Soul”

Local rock music historian and author Richie Unterberger, whose books include White Light/White Heat: The Velvet Underground Day by Day and Music USA: The Rough Guide, will once again share his extensive knowledge with music fans at his presentation “La Bamba: Latinos in Vintage Rock, Pop, and Soul.” Featuring film clips of performers such as Ritchie Valens, Santana, Linda Ronstadt, and Los Lobos, the evening promises to be a unique look at the contributions of Latinos in rock from the earliest days of the 1950s up through the ’80s. (McCourt)

6:30-8:30pm, free

SF Public Library, Mission Branch

300 Bartlett, SF

www.sfpl.org

 

TUESDAY 8

Steve Coll

Longtime journalist Steve Coll won a Pulitzer Prize and widespread acclaim for his 2004 account on the CIA and the agency’s history in Afghanistan leading up to 9/11. In his latest investigative effort, Private Empire: ExxonMobil and American Power, Coll explores the global influence of the Texas-based oil corporation. According to Coll, big-money donations and a sophisticated DC lobbying machine have allowed ExxonMobil to shift the debate on climate change. At the same time, the oil corporation continues to expand its foothold in developing countries. A two-time Pulitzer Prize winner, Coll currently serves as president of the New American Foundation, a nonprofit, nonpartisan think tank that maintains a significant presence in California. (Lee)

In conversation with Greg Dalton

6pm, $7–$20

Commonwealth Club

595 Market, SF

(415) 597-6700

www.commonwealthclub.org

 

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Upper highs, Valley loves

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Upper highs, Valley loves

virginia@sfbg.com

APPETITE I’m constantly asked what my favorite restaurant is. It’s an impossible question. Inquire about my favorite taqueria, German spot, tea house, French bistro, and I’m ready to talk. There’s a favorite for every style and mood in a metropolitan city such as ours. My current home is on the cusp of Haight-Ashbury and Cole Valley, which, like every neighborhood in our food-rich city, has its treasures. We’ll breeze past the touristy swill and explore its best here. Find more of my picks in this neighborhood, from coffee to cocktails, here.

 

ALEMBIC

Thank God for The Alembic. The bar has been one of SF’s best since it opened, thanks to bar manager Daniel Hyatt, whose expertise in American whiskeys equals an ahead-of-the-curve selection. Alembic claims many gifted bartenders, like Danny Louie and Janiece Gonzalez, and I’m never disappointed when asking for an off-menu cocktail creation. The food is destination-worthy in its own right — maybe the best in the Haight. Whether at the bar with jerk-spiced duck hearts and a bowl of shishito peppers, or dining on caramelized scallops and sweetbreads over kabocha squash spaetzle, I continue to be satisfied.

1725 Haight, SF. (415) 666-0822, www.alembicbar.com

 

MAGNOLIA PUB AND BREWERY

Owner and brewmaster Dave McLean opened Magnolia Brewery more than 14 years ago, brewing the best beers in SF (in my humble opinion). Magnolia’s space has Old World, gastropub charm in black leather and wood booths and antique floor tiles. It serves the best brunch in the area — sorry, Zazie and Pork Store — which includes BBQ belly over Anson Mills cheddar grits, or quinoa hash and eggs if you want to cut down the fat quotient. For lunch and dinner, house sausages delight (rabbit currywurst!) as does savory mushroom bread pudding or a near-perfect Magnolia pub burger.

1398 Haight, SF. (415) 864-7468, www.magnoliapub.com

 

GIOVANNI’S PIZZA AT CLUB DELUXE

Upper Haight’s best hidden gem is Giovanni’s, a pizza kitchen in the back of Club Deluxe (eat in the bar or take-out). Giovanni’s pies aren’t so much Neapolitan perfection as a mix between Italian and East Coast styles, with a classic margherita and spicy Diavola, laden with pepperoncini, salami, Parmigiano, and a Belizean hot sauce. Save room for a West Coast rarity: a fresh cannoli, sweet ricotta stuffing brightened with orange blossom oil. Club Deluxe’s drinks are of the mojito, greyhound kind. Not exactly a cocktailian destination. What makes Deluxe special? Nightly live jazz in a well-loved bar that thankfully hasn’t changed decor for decades, with a 1950s, cozy bar feel. Bands rotate: trios, duos, quartets, even organ acts, providing some of the best jazz in the city, usually free. If only, like New Orleans, our neighborhoods were lined with such clubs.

1511 Haight, SF. (415) 552-6948, www.sfclubdeluxe.com

 

ICE CREAM BAR AND SODA FOUNTAIN

I wrote much of Ice Cream Bar back in February, so I’ll send you to the review detailing my fascination with this one-of-a-kind, 1930s-era soda fountain. It’s my top pick for dessert.

815 Cole, SF. (415) 742-4932, www.theicecreambarsf.com

 

PARADA 22

Parada 22 is a vibrant little space with aquamarine walls and vintage South American food products lining the shelves. The casual eatery feels vacation-like, offering Puerto Rican food. My favorite dish here is camarones a la Criolla: sauteed shrimp, tomato and onions in a dreamy-light cream sauce. Sides like plantains and red or white beans in sofrito-based sauces, are fresh and appealing. The restaurant has recently joined forces with sister restaurant Boogaloos (www.boogaloossf.com) in the Mission, serving Boogaloos’ brunch menu every weekend.

1805 Haight, SF. (415) 750-1111, www.parada22.com

 

THAI DUO: PLOY II AND SIAM LOTUS

Haight-Ashbury has two unexpectedly strong Thai spots serving authentic dishes. Ploy II is upstairs in an old Victorian space, with weathered carpet and decor (elephants, tapestries) straight out of Chang Mai’s Night Bazaar. It does standards well, and I crave the mango panang curry: spicy, creamy with coconut milk and peanut sauce. Siam Lotus also is reliable on Thai classics, though it’s the daily changing chef’s special board that sets it apart. Thankfully on the permanent menu, the Thai tacos are a must. Though the paper thin crepes fall apart at the touch, a filling of ground chicken, shredded coconut, mini-shrimp, and peanuts makes for one of the more fun Thai dishes anywhere.

Ploy II: 1770 Haight, SF. (415) 387-9224, www.ployii.com

Siam Lotus: 1705 Haight, SF. www.siamlotussf.com

 

HAMA-KO

Hama-Ko husband-and-wife owners Tetsuo and Junko Kashiyama open only when they feel ready and usually treat regulars best, service is slow, and certainly there are no California rolls. But this nearly 30-year-old classic is one of those neighborhood secrets that locals return to and sushi devotees enjoy. It’s straightforward sushi: silky scallops, bright-as-the-sea tai (red snapper), melt-in-your-mouth unagi avocado maki. You won’t find the variety of rare fish found at Zushi Puzzle (www.zushipuzzle.com), but you will find impeccable freshness — Tetsuo sources his fish from the same place The French Laundry and Chez Panisse gets theirs, he proudly tells me — from a couple who cares.

108 Carl, SF. (415) 753-6808

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

 

International movement

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International movement

arts@sfbg.com

DANCE How do you keep a performance festival alive in a city known for its fractured arts community? A place where officialdom is not exactly ready to jump on the bandwagon, especially when belt-tightening by cutting the arts has become a national sport? Simple. You enlist the people who have always been the arts’ biggest supporters — the artists themselves. They know how to work with limited resources; they are risk-takers and have accepted that what they love to do will never make them rich.

The approach seems to work. “This year, we have had the biggest advance ticket sales ever,” says Andrew Wood, executive director of the San Francisco International Arts Festival. What Wood has done since 2003 is develop his own version of “think globally, act locally.”

The British-born impresario has programmed discoveries from around the world that often erase traditional boundaries between theater and dance. They bring a whiff of global artistic trade winds and broaden our sometimes narrow perspectives. In 2009 it was South Korea’s stunning Cho-In Theatre, which performed The Angel and the Woodcutter without speaking a single word. Last year, Polish import Teatr Zar’s multi-venue performance of The Gospels of Childhood Triptych seared itself into memory. Sometimes, glimpses into non-American cultural productions can look eerily prescient, as with 2006’s The Solitary — an exchange between a prisoner and his jailer — by Syria’s Al-Khareef Theatre Troupe.

Engagements by international companies are only possible because they bring a lot of their own funding, either from their own governments or cultural organizations in this country. Sasha Waltz and Guests’ 2009 Travelogue I, for instance, would not have been possible without the Goethe-Institut’s support.

“Most people [abroad] don’t realize how under-resourced we are in this country,” Wood explains. In terms of performance fees he tells the artists that “this is what I can offer if we get the money, otherwise I’ll pay you what I can.”

One of Wood’s biggest challenges, besides patching together the money for the companies he wants to present, is getting them here at all. The State Department has its own ideas of who should be seen by Bay Area audiences. Last year an Iraqi group’s engagement fell short when only two of its company members received visas. This year the “permission slips” for Cuba’s Raices Profundas, SFIAF’s opening act, came through at the last minute.

Raices’ mixed program will offer a perspective on Afro-Cuban dance grounded in both its ritualistic and popular social dance traditions. While he greatly admires the breath and depth of their artistry, bringing this company to the fest “is as much a political act as any thing else,” Wood says. “We have to maintain the human connection [with these artists]. They are in such difficult positions, and they work so hard living in a kind of netherworld where rules don’t work.”

One of the festival’s hallmarks has become the shared programs between local and guest dancers. One can only image the backstage cross-cultural fertilizations that must take place between artists that previously may have known very little of each other.

This year the Swiss company Cie 7273’s Listen and Watch is sharing an evening with Thieves by Oakland’s Dance Elixir. Both works are based on the intimate relationships with music performed live on stage. Two first US showings and a world premiere (created in Tallinn, Estonia; San Francisco; and Helsinki) are on a triple bill with Cid Pearlman Performance Project, Post: Ballet’s Robert Dekkers, and Susanna Leinonen Company.

A welcome opportunity to see two previously shown pieces will come from AXIS Dance Company’s astounding 2011 collaboration with Marc Brew Company, Full of Words. Brew will also dance the American premiere of his solo Remember When. In 2010, inkBoat’s The Crazy Cloud Collection, named after a 15th century Zen monk — the purported subject of this astounding collaboration with Butoh artist Ko Murobushi — looked anarchic, maddeningly obscure, and totally mesmerizing. I’ll attend this encore performance for sure. *

SAN FRANCISCO INTERNATIONAL ARTS FESTIVAL

May 2-20, free-$70

Various venues, SF

www.sfiaf.org

 

Music Listings

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

WEDNESDAY 2

ROCK/BLUES/HIP-HOP

Breathe Owl Breathe, Victoria Williams Brick and Mortar Music Hall. 9pm, $10-$12.

Fezant, Stratic, Blood Wedding Hemlock Tavern. 9pm, $6.

Full Time Beret Make-Out Room. 8pm, $8.

Kids on a Crime Spree, James & Evander, Adios Amigo Bottom of the Hill. 9pm, $8.

La Panique, Buzzmutt Knockout. 10pm.

Manicato Elbo Room. 9pm, $5.

Jason Marion vs. Lee Huff Johnny Foley’s Dueling Pianos. 9:30pm.

Kelly McFarling, Lia Rose, Fox & Woman Rickshaw Stop. 8pm, $10-$12.

James Morrison, HoneyHoney Fillmore. 8pm, $25.

Overkill, God Forbid, Suidakra, Diamond Plate Regency Ballroom. 8pm, $30.

Pro Blues Jam with Keith Crossan & Ron Hacker Biscuits and Blues. 8 and 10pm, $15.

Terry Savastano Johnny Foley’s. 9pm, free.

Ty Segall, White Fence, Shannon and the Clams, Mallard Independent. 8pm, $12.

JAZZ/NEW MUSIC

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

Chris Amberger Trio & Jazz Jam Yoshi’s Lounge. 6:30 and 9:30pm.

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

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Michael Parsons Revolution Cafe, 3248 22nd St., SF; (415) 642-0474. 8:30pm.

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

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.

KUSF-in-Exile DJ Night: Andre Monarch, 101 Sixth St., SF; www.savekusf.com. 5:30-9:30pm.

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.

Spilt Milk Milk Bar. 9pm, free. With Wentworth, YR SKULL, Citizen Zain, Shaky Premise, Taylor Fife.

THURSDAY 3

ROCK/BLUES/HIP-HOP

A B & the Sea, Tommy & the High Pilots, Yellow Red Sparks Great American Music Hall. 8pm, $13-$15.

Chris Baio, popscene DJs Rickshaw Stop. 10pm, $10-$12.

Willis Earl Beal, Yassou Benedict Cafe Du Nord. 9pm, $12.

Trace Bundy Swedish American Hall. 8pm, $17-$20.

Electric Shepherd & OUTLAW, Blues for Carl Sagan, Douglas Hemlock Tavern. 9pm, $6.

Flytraps, Standard Poodle, Hight Anxiety! Thee Parkside. 9pm, $5.

Katie Herzig, Andrew Belle Independent. 8pm, $15.

Lee Huff vs. Jason Marion Johnny Foley’s Dueling Pianos. 9:30pm.

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

Misisipi Mike and the Midnight Gamblers, Heeldraggers Amnesia. 9pm, $7-$10.

Mumble Mumble, Myonics, Party Land, Tint Sub-Mission. 9:30pm, $2.

Silian Rail, Whiskerman, Michael Musika Bottom of the Hill. 9pm, $10.

“Stevie Ray Vaughan Tribute” Biscuits and Blues. 8 and 10pm, $20. With Alan Iglesias & Crossfire.

Yellow Dubmarine Brick and Mortar Music Hall. 9pm, $7-$12.

JAZZ/NEW MUSIC

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

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

Dino Piranha Revolution Cafe, 3248 22nd St., SF; (415) 642-0474. 8:30pm.

Savanna Jazz Jam Savanna Jazz, 2937 Mission, SF; www.savannajazz.com. 7:30pm, $5.

FOLK/WORLD/COUNTRY

Deciders Atlas Cafe, 3049 20th St, SF; www.atlascafe.net. 8-10pm, free.

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. With DJ/host Pleasuremaker spins Afrobeat, 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, 80’s and Soul with weekly guests.

KUSF-in-Exile DJ Night Lucky 13, 2140 Market, SF; www.savekusf.com. 8pm.

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 4

ROCK/BLUES/HIP-HOP

Amen Dunes Elbo Room. 10pm.

Seth Augustus Revolution Cafe, 3248 22nd St., SF; (415) 642-0474. 8:30pm.

Battlehooch, White Cloud, B Hamilton Brick and Mortar Music Hall. 9pm, $7-$10.

“Cowpokes, Gunslingers & Outlaw Country” Red Devil Lounge. 9pm, $13. With Good Luck Thrift Store Outfit, Vandella.

Curren$y, Styles P, Jets, Smoke DZA, Fiend 4 Da Money Regency Ballroom. 8pm, $22.

Early Man, It’s Casual, Shock Diamond, Satya Sena Thee Parkside. 9pm, $8.

Rachel Goodrich, Raffa & Rainer, Jascha & Spiff Amnesia. 8pm, $7-$10.

Lee Huff, Greg Zema, Jason Marion Johnny Foley’s Dueling Pianos. 9:30pm.

Toh Kay, Dan Potthast, Sycarmore Smith Cafe Du Nord. 8pm, $15.

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

Marchforth Marching Band, Diego’s Umbrella Independent. 9pm, $20.

Rocky Votolato, Devotionals, Kevin Long Bottom of the Hill. 9pm, $12.

Ruins Alone, Bronze, Bill Orcutt Hemlock Tavern. 9:30pm, $10.

“Stevie Ray Vaughan Tribute” Biscuits and Blues. 8 and 10pm, $20. With Alan Iglesias & Crossfire.

Steep Canyon Rangers, Carrie Rodriguez Slim’s. 9pm, $21.

Trainwreck Riders, Passage Walkers, Bobby Joe Ebola and the Children MacNuggits, Apogee Sound Club Rickshaw Stop. 8pm, $10-$12.

X-Static Johnny Foley’s. 9pm, free.

JAZZ/NEW MUSIC

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

Black Market Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.

Terry Disely Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 5:30-8:30pm, free.

Live Dubstep Orchestra Brava Theater, 2781 24th St., SF; www.brava.org. 8pm, $30.

Martin Luther with Siddhartha Yoshi’s SF. 10:30pm, $18.

FOLK/WORLD/COUNTRY

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

DANCE CLUBS

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

Demdike Stare, Tropic Of Cancer, Water Borders Public Works. 9pm, $10.

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.

Jackhammer Disco with Tiga, Damian Lazarus, Light Year Public Works. 10pm, $20.

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

Lucio K SOM. 10pm, $10. With DJs Elan and Zamba.

Oldies Night Knockout. 9pm, $2-$4. DJs Primo and Baddass Daniel B.

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

120 Minutes Elbo Room. 10pm. With DJs S4NtA MU3rTE, Nako, and Planet Death.

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.

Pledge: Fraternal Lookout. 9pm, $3-$13. Benefiting LGBT and nonprofit organizations. Bottomless kegger cups and paddling booth with DJ Christopher B and DJ Brian Maier.

Retro Attack DNA Lounge. 9pm, $10. DJs Lex and Tripp spin ’80s and ’90s.

Strangelove: Star Wars Night Cat Club. 9:30pm, $3-$7. Goth, industrial, and electro with DJs Tomas Diablo, Bryan Hawk, Sage, and Mz. Samantha.

SATURDAY 5

ROCK/BLUES/HIP-HOP

Antonette G Make-Out Room. 8pm, $7.

Casy & Brian, Hides, Dark Materials, Rare Leather Thee Parkside. 9pm, $6.

“Cinco De Mayo with Historical Merkin Society” Grant and Green. 10pm, free.

Copperwire, Bocafloja Rickshaw Stop. 9pm, $12.

Dirty Ghosts, Dante Vs. Zombies Cafe Du Nord. 9:30pm, $10.

Father John Misty, Har Mar Superstar Bottom of the Hill. 10pm, $12.

Fucking Buckaroos Riptide, 3639 Taraval, SF; www.riptidesf.com. 10 and 11:15pm, free.

Grubstake, Disastroid, Bam! Vox 50 Mason Social House, SF; www.50masonsocialhouse.com. 10pm, free.

Marchforth Marching Band, Diego’s Umbrella Independent. 9pm, $20.

Redwood Wires, Blacktooth Thee Parkside. 3pm, free.

Mark Sultan, Burnt Ones, Primitive Hearts Hemlock Tavern. 9:30pm, $10.

Super Natural, Rabbles Make-Out Room. 7:30pm, $8.

Top Secret Band Johnny Foley’s. 9pm, free.

Trespassers, Windy Hill, Faux Renwah, Melody Walker Great American Music Hall. 8pm, $15.

Greg Zema, Jason Marion,Lee Huff Johnny Foley’s Dueling Pianos. 9:30pm.

Zepparella, Pockit, California Wildebeest Slim’s. 9pm, $16.

JAZZ/NEW MUSIC

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

Rosanne Cash Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 8pm, $30-$70.

Tin Cup Serenade Revolution Cafe, 3248 22nd St., SF; (415) 642-0474. 8:30pm.

FOLK/WORLD/COUNTRY

Bobbito Garcia, La Misa Negra Brick and Mortar Music Hall. 9pm, $12-$15.

G.S. Sachdev and Swapan Chaudhuri Palace of Fine Arts Theatre, 3301 Lyon, SF; www.palaceoffinearts.org. 8pm, $25-$65.

Craig Ventresco & Meredith Axelrod Atlas Cafe, 3049 20th St, SF; www.atlascafe.net. 4-6pm, free.

“Yoshi’s Cinco De Mayo Party: Mexican Institute of Sound DJ set” Yoshi’s SF. 10:30pm, $15.

DANCE CLUBS

Bootie SF: Cinco De Mayo Mashup Party DNA Lounge. 9pm, $10-$20. With DJs Faroff, Mad Murdock, John! Jiohn!, and more.

Cinco De Ill Public Works. 10pm, $20. With DJ Icey, Keith Mackenzie, DJ Fixx, DJ Hero, and more.

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 10:30pm, $3 after. With MegaLo.

Icee Hot with Levon Vincent Public Works Loft. 10pm.

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. With DJs Lucky, Paul Paul, and Phengren Oswald.

SUNDAY 6

ROCK/BLUES/HIP-HOP

Tommy Castro Biscuits and Blues. 8 and 10pm, $20.

HowellDevine Revolution Cafe, 3248 22nd St., SF; (415) 642-0474. 8:30pm.

Jeff Landau and Genevieve Wolff Brainwash Cafe, 1122 Folsom, SF; www.brainwash.com. 7pm, free.

Meshuggah, Baroness & Decapitated Fillmore. 8pm, $29.50.

North Fork, Cry!, Spiral Electric Hemlock Tavern. 9pm, $6.

Peelander-Z DNA Lounge. 8pm, $18.

Jason Reeves, Amber Rubarth, Andy Kong Cafe Du Nord. 8pm, $10.

Terry Savastano Johnny Foley’s. 9pm, free.

JAZZ/NEW MUSIC

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

Kenny Garrett Quartet Yoshi’s SF. 6 and 8pm, $22.

Michael Nelson Rrazz Room. 8pm, $25.

Noertker’s Moxie Quintet Musicians’ Union Hall, 116 Ninth St., SF; www.noertker.com. 7:30pm, free.

Savanna Jazz Jam Savanna Jazz, 2937 Mission, SF; www.savannajazz.com. 7pm, $5.

Tango No. 9 with Dmitri Matheny Bliss Bar, 4026 24th St., SF; www.blissbarsf.com. 4:30pm, $10.

FOLK/WORLD/COUNTRY

Omar Sosa Afreecanos Quartet Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. 1pm, free.

Twang Sunday Thee Parkside. 4pm, free. With Silver Threads.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, roots, 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 7

ROCK/BLUES/HIP-HOP

Damir Johnny Foley’s. 9pm, free.

Garrick Davis, Fabulous FunkyBand Osteria, 3277 Sacramento, SF; www.osteriasf.com. 7pm, free.

Negura Bunget, Eclipse Eternal, Din Brad Thee Parkside. 8pm, $12.

Skinny Singers, John Fullbright, Breathe Owl Breathe Cafe Du Nord. 8pm, $12. Communion.

Luke Sweeney’s Wet Dreams, Dry Magic, Paula Frazier Trio Brick and Mortar Music Hall. 9pm, free.

Wombats, Static Jacks, Neighborhood Great American Music Hall. 8pm, $16.

JAZZ/NEW MUSIC

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

Marco Eneidi Make-Out Room. 8pm.

Tommy Igoe Big Band Rrazz Room. 7:30pm, $25.

FOLK/WORLD/COUNTRY

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

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.

So Fresh Elbo Room. 9pm, $5. With Edison, West Coast Trade School, Rand Warchild, Javie Mosley & the Know Notes, Matt Bloom, and more. Benefits Rob Strawder.

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 8

ROCK/BLUES/HIP-HOP

Allo Darlin,’ Wave Pictures, SorryEverAfter Rickshaw Stop. 8pm, $10-$12.

DragonForce, Holy Grail, Huntress Slim’s. 7:30pm, $20.

Jezabels, Imagine Dragons, Benjamin Frances Lefwich Independent. 8pm, $14.

Origin, Cattle Decapitation, Battlecross, Aborted, Decrepit Birth, Rings of Saturn DNA Lounge. 6:30pm, $25.

Post Paint, Michael Beach Hemlock Tavern. 9pm, $6.

Carina Round Cafe Du Nord. 9:30pm, $12.

JAZZ/NEW MUSIC

Bombshell Betty and Her Burlesqueteers, Fromagique Elbo Room. 9pm, $10.

Crown Syncopators Pier 23. 5-8pm.

Dave Scott Quartet Revolution Cafe, 3248 22nd St., SF; (415) 642-0474. 8:30pm.

Gaucho Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 7-10pm, free.

Kenny Garrett Quartet Yoshi’s SF. 8pm, $18.

Valerie Simpson Rrazz Room. 8pm, $45-$55.

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.

Study Hall John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. Hip-hop, dancehall, and Bay slaps with DJ Left Lane. 

Heads Up: 7 must-see concerts this week

Tony Robles
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Are you ready for another folk revival? It’s definitely here, in fact, this is a rather late post about such things – New York Magazine just did a spread including Mumford & Sons, the Head the Heart (whose June 1 show at the Fillmore is already sold out), and the Lumineers, for chrissakes.

It was the startling revelation elsewhere that Alex Ebert of Edward Sharpe & the Magnetic Zeros was also the formerly angular-haircut-having leader of electroclashy IMA Robot that really got me thinking about about all this. Could it already be time for New Weird America 2.0?  (Grain of salt: Mumford & Sons are from England.) That last round was only a handful of years ago – Devendra, all those acts on the pages of beloved Arthur Magazine, et. al. –  though this batch seems decidedly less weird. These acts, as NY Mag points out, have broader crossover appeal.

It makes sense, recessions seem to bring out the twang in folks, and many of these beard-and-suspenders types rose up around 2009 or later. What else brought this to the forefront of my thoughts? This week in the Bay Area, the debatable leaders of this relatively newish pack, Edward Sharpe & the Magnetic Zeros, make their first visit since that Railroad Revival tour with Mumford & Sons last year.

Also this week, New York’s jazzier swing folk duo Two Man Gentlemen Band – I’m stretching here – takes the steamboat (we wish) to San Francisco. And of course, there are shows with our own homegrown fiddlers, banjo-pickers, and boot-wearers. As always, a few tangentially related or just plain totally unrelated acts made the list below.

Here are your must-see Bay Area concerts this week/end:

Breathe Owl Breathe
The dreamy folk pop trio brings inherent playfulness – they wrote a children’s book –  to frosty despair, mixing somber lyrical content with lush vocal harmonies, subtle elegant strumming with the sporadic hand clapping.
With Victoria Williams
Wed/2, 9pm, $10-$12
Brick and Mortar Music Hall
1710 Mission, SF
(415) 800-8782
www.brickandmortarmusic.com
http://www.youtube.com/watch?v=YTEkELB7mFk

Edward Sharpe & the Magnetic Zeros
On stage this ten-piece folky, psychedelic rock tribe looks like a ragtag flurry of ecstasy. (Mia Sullivan)
With Aaron Embry
Wed/2, 8pm, $32.50
Fox Theater
1807 Telegraph, Oakl.
(510) 302-2250
www.thefoxoakland.com
http://www.youtube.com/watch?v=DHEOF_rcND8&ob=av2n

Trainwreck Riders
The punk-tinged alt-country rockers have been together since 2000 (under the TR name as of 2004) and the born-and-bred San Franciscans have gained a steady local following thanks to moxie, bluegrass spirit, and encouraged sing-alongs. Noteworthy: the whole evening lineup is packed with Bay Area up-and-comers, so it’s an excuse to watch the whole show.
With Passage Walkers, Bobby Joe Ebola and the Children MacNuggits, Apogee Sound Club
Fri/4, 8pm, $10-$12
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=9MzDqtjCQkA

Battlehooch
The song and video for “Pickin’ Fields”  (the first release of the band’s single series) are reason enough to fall in pleasantly bemused love with the “shape-shifting” orchestral folk rockers. The San Francisco six-piece buzzes through genres, and in the process, riles up crowds.
With White Cloud, B Hamilton
Fri/4, 9pm, $7-$10.
Brick and Mortar Music Hall
1710 Mission, SF
(415) 800-8782
www.brickandmortarmusic.com
http://www.youtube.com/watch?v=EiKCUPBeREE

Father John Misty and Har Mar Superstar
This is a weird (read: awesome) lineup – Father John Misty is the darkly folk rock ex-Fleet Foxes drummer and Har Mar Superstar is a swarthy, sex-soaked R&B god recently caught live with ’80s-esque backup singers and a surprise Blood Orange appearance. Well, I guess they both do have that sexy thing going on.
Sat/5, 10pm, $12
Bottom of the Hill
1233 17th St., SF
(415) 621-4455
www.bottomofthehill.com
NSFW http://www.youtube.com/watch?v=iS84BMFszW0

Again, NSFW http://www.youtube.com/watch?v=g98QXm42mmA

Two Man Gentlemen Band
Former street performers are always the best entertainers. And with their years playing to unwilling pedestrians, the Two Man Gentlemen Band’s Andy Bean (singer, tenor guitar, banjoist) and Fuller Condon (upright bass) have learned to pluck out crowd pleasers: jazzy, irreverent dixieland swing with a knowing wink. They come in support of recently released LP Two At A Time.
Sun/6, 9pm, $10
Amnesia
853 Valencia, SF
(415) 970-0012
www.amnesiathebar.com
http://www.youtube.com/watch?v=-c85RZ5biws&feature=fvwrel

Meshuggah
Swedish. Extreme. Metal. And holy hell is it fast. Not folk in the slightest, but well worth a trip the Fillmore.
With Baroness & Decapitated
Sun/6, 8pm, $29.50
Fillmore
1805 Geary, SF
(415) 346-6000
www.thefillmore.com
http://www.youtube.com/watch?v=4A_tSyJBsRQ

Dick Meister: Only we can save the children

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By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

I remember checking into a small hotel in Coimbra, Portugal, with my wife Gerry in 1962, three very heavy suitcases in tow. Rushing out at the urgent clang of the desk clerk’s bell came a uniformed bellhop. A midget, I supposed. But, no, it was a child, nine, maybe ten years old.

He smiled shyly and tugged at the suitcases, eager to lug them up the long, narrow staircases that led to our room. I wouldn’t let go, but the clerk insisted. “It’s his job,” senhor.”

It was indeed his job, one that paid poorly and kept him from school – but a job necessary for his family’s survival.

There were millions of others like him, aged 5 to 15, throughout southern Europe, and Asia and Africa and Latin America, making up as much as one-third of the workforces in some countries. And there still are – 50 years later.

Although most countries have laws against child labor, and it is banned by United Nations’ conventions, there are at least 200 million children now at work in 71 countries.

Many work in slave-like conditions for up to 18 hours a day, seven days a week, on farms, in mines, in factories and elsewhere, to produce goods for sale in this country – food and metal products, jewelry and clothing, toys, carpets, furniture, electronic components, shoes, fireworks, matches, rugs, soccer balls, leather goods, paper cups and much more. Some, like the bellhop we encountered, work in hard, poor paying menial service jobs.

Most must work, whatever the conditions, if their families are to survive. Among them are children sold into bondage by starving parents or put to work to pay off loans made to their parents. Their wages are never enough to erase the debts and are further eroded by exorbitant charges for living accommodations and tools, and fines for “unsatisfactory work.”

Many are forced to live in cramped, dirty housing compounds near their workplaces, some as virtual prisoners forbidden to leave without passes from their overseers

Many of the workplaces are owned, at least in part, by U.S.-based corporations or by local employers under contract to such corporations.

The youngsters’ childhood is denied them. They have little time for play and none for schooling. Like their parents, they are doomed to a life of hard work under abysmal and often dangerous conditions, a life of poverty, ignorance and exploitation.

It could be better for them if the United States would use its great economic strength to challenge the growth of child labor in negotiating trade agreements with nations that allow or encourage the practice. The United States could at least refuse to trade with nations where child labor is common, making U.S. agreement to trade pacts contingent on its trading partners cracking down on child labor.

Given the corporate-oriented stance of Democratic and Republican leaders alike, the prospects for U.S. action are slight. And without U.S. support nothing meaningful can be done to stem the steady growth of child labor.

The nations in which the abuses occur won’t act for fear that would increase labor costs and thus put them at a disadvantage in the highly competitive world market. The United States and other major economic powers won’t act for fear of reducing corporate profits.

That leaves consumers, people like you and me who buy the goods made by children for the great profit of their employers. It’s up to us to find out just what those goods are and refuse to buy them, and to let President Obama, Congress and those who sell the goods know why we are refusing to buy them, and will continue to do so as long as children are used to produce them.

You can be sure that if we don’t act, no one else will. Only we can save the children.

Dick Meister, former labor editor of the SF Chronicle and KQED-Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

The two defining votes of 2012

Zelda Bronstein
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The two defining votes of 2012

The Board of Supervisors will be facing two votes in the next couple of months that will define this board, establish the extent of the mayor’s political clout — and potentially play a decisive role in the political futures of several board members.

Oh: They’ll also have a lasting impact on the future of this city.

I’m talking about 8 Washington and CPMC — one of them the most important vote on housing policy to come along in years, the other a profound decision that will change the face of the city and alter the health-care infrastructure for decades to come.

Both projects have cleared the Planning Commission, as expected. Neither can go forward without approval from a majority of the supervisors. And there will be intense downtown lobbying on both of them.

The 8 Washington project would create what developer Simon Snellgrove calls the most expensive condos ever built in San Francisco. A piece of waterfront property would become a gated community for the very, very rich, many of whom won’t even live here most of the time. If it’s approved, the economy won’t collapse, neighborhoods won’t be destroyed — but it will make a powerful statement about the city’s housing policy. The message: We build housing for the 1 percent. We are a city that caters only to one very tiny group of people. We are willing to let the needs of the few drive our policy over the needs of the many.

Face it: There is no shortage of housing for the people who will buy Snellgrove’s condos. There’s a severe shortage of housing for most of the people who actually work in San Francisco. And the city’s housing policy is so scewed up that it’s making things worse. That’s the message of 8 Washington.

Then there’s CPMC. California Pacific Medical Center wants to put a snazzy state-of-the art new medical center on Van Ness, which is all well and good. But the giant nonprofit Sutter Health, which operates CPMC, has been openly hostile to some of the city’s demands (for housing, transit and other environmental mitigiation) and the proposal that Mayor Ed Lee has signed off on is way out of balance. There’s not anything even close to a reasonable link between jobs and housing — which will impact the entire city. You bring in a lot of new workers and don’t help build enough housing for them and everyone’s rent goes up.

CPMC also wants to radically downsize St. Luke’s Hospital, the only full-service facility on the south side of town except for the overcrowded and overloaded SF General. Health care for a sizable part of the city will suffer.

This is a very big deal, and the Chamber of Commerce is pushing hard for the supes to approve it. A lot of labor and the entire affordable housing community is against it.

So put those two votes in front of a board where the progressive majority has been very shaky of late — and where Lee will be working hard to line up six votes — and you’ve got potential political dynamite. Supervisor John Avalos told me he has serious concerns about both projects. Sup. David Campos told me he feels the same way. Sup Eric Mar is unlikely to vote for 8 Washington and unlikely to oppose the health-care workers and the progressive leaders who want to block the CPMC deal and make Sutter come back with a better offer, but some elements of labor are pushing hard for 8 Washington and Mar is up for re-election in one of the city’s swing districts.

Sup. David Chiu is against 8 Washington. I’ve called Sups. Jane Kim and Christina Olague (who was not a fan of the project when she was on the Planning Commission) but they haven’t gotten back to me. Olague is running for re-election this fall in the city’s most progressive district, one that’s right on the edge of the CPMC project site; Kim’s district is on the other edge.

You can’t really count to six on either of these projects without getting Chiu and/or Kim and/or Olague. Chiu has no progressive opposition, but if he supports the CPMC deal, someone may decide to challenge him. If Olague supports either project, it will give her opponents plenty of fodder for the fall campaign (John Rizzo, who is running against her, told me he opposes both). If Olague opposes the two projects, it’s going to be much harder for anyone to run against her from the left since she will have demonstrated that she can stand up the mayor on tough issues.

I’ll let you know if I hear more.

 

 

 

Streaming live: The world championship robotics competition

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Streaming live: The world championship robotics competition

I have become a robotics junkie.  Full disclosure: I am a robotics junkie because my grandson, Nicholas Perez, a senior at Dos Pueblos High School in Goleta, is a world class driver on his world class high school robotics team.  His team has won all of its matches today by large margins in the two day  World Championship Robotics Competition in St. Louis, Missouri. He and his 1717  team and supporters are stars and are treated as such during the competition.  Some 402 teams  are competing in the national tournament, illustrating the point that robotics is coming up fast  behind football and basketball as popular sports in hundreds of high schools all over the country.  

The students make their own robots and then maintain and drive and orchestrate them to make baskets with basketballs and perch on platforms and do all kinds of crowd-pleasing things.  It’s all  fascinating to watch. I urge you to join in by viewing this link and going to the Newton field  and clicking on the “feed” line. Keep an eye out for 1717 and its next match at 3:50 PST.  Final matches tomorrow (Saturday) at l0 am. PST.  The announcer said this morning that “this robot rarely misses a shot.” B3, a former high school football and basketball player who admits he could never build nor drive a robot

http://science.ksc.nasa.gov/robotics/

Jasons Segal and Statham close out April as summer (movie season) looms

Sue Vaughan
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Jasons Segal and Statham close out April as summer (movie season) looms

Summer is here! Well, almost. And by “summer” I mean “summer movie season,” which kicks off May 4 with the arrival of Marvel’s The Avengers. No fools when it comes to making a buck (or hundreds of millions of bucks), Hollywood crams in a few last smaller-ish films before the floodgates open, and they’re certainly about to open — Dark Shadows, The Dictator, Battleship, Men in Black 3, and Prometheus all come out before summer actually begins in mid-June. (Side note: fuck yeah, Prometheus!)

All in good time. There’s something for almost everyone this weekend: a rom-com, a murder mystery featuring John Cusack as Edgar Allan Poe, and a Statham (Statham (n): a bare-bones action movie in which one grizzled-yet-handsome antihero distributes as many ass-beatings as possible.) Read on, popcornheads.

The Five-Year Engagement In 2008’s Forgetting Sarah Marshall, viewers were treated to the startling, tragicomic sight of Jason Segel’s naked front side as his character got brutally dumped by the titular perky, put-together heartbreaker. In The Five-Year Engagement, which he reunited with Sarah director Nicholas Stoller to co-write, Segel once again sacrifices dignity and the right to privacy, this time in exchange for fake orgasms (his own), ghastly hand-knit sweaters, egregious facial-hair arrangements, and various other exhaustively humiliating psychological lows — all part of an earnest, undying quest to make people giggle uncomfortably. Segel plays Tom, a talented chef with a promising career ahead of him in San Francisco’s culinary scene (naturally, food carts get a cameo in the film). On the one-year anniversary of meeting his girlfriend, Violet (Emily Blunt), a psychology postgrad, he asks her to marry him in a meticulously planned, gloriously botched proposal scene coengineered by Tom’s oafish friend Alex (Chris Pratt), little realizing that this romantic gesture will soon lead to successive frozen winters in the Midwest (Violet gets offered a job at the University of Michigan), loss of professional stature, cabin fever, mead making, bow-hunting accidents, the titular nuptial postponement, and other, more gruesome events. The humor at times descends to some banally low depths as Segel and Stoller explore the terrain of the awkward, the poorly socialized, and the playfully grotesque. But Segel and Blunt present a believable, likable relationship between two warm, funny, flawed people, and, however disgusted, no one should walk out before a scene in which Violet and her sister (Alison Brie) channel Elmo and Cookie Monster to elaborate on the themes of romantic idealism and marital discontent. (2:04) Marina. (Lynn Rapoport)

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

The Raven How did Edgar Allan Poe, dipsomaniac, lover of 13-year-old child brides, and teller of tales designed to make the flesh creep and crawl, wind up, at age 40, nearly dying in the gutter and spending his last days in a Baltimore hospital, muttering incoherent imprecations about a mysterious fellow named Reynolds? In The Raven, director James McTeigue (2006’s V for Vendetta) makes the case for a crafty, sociopathic serial killer having played a role in the famous yet impoverished writer’s sad, derelict demise. Recently returned to the dark, thickly fog-machined streets of Baltimore, Poe, vehemently embodied by John Cusack, is chagrined to learn from one Detective Fields (Luke Evans) that someone has begun using his macabre stories (“The Pit and the Pendulum” to particularly gory effect) to enact a series of murders. When the killer successfully gains Poe’s full attention by seizing his ladylove, Emily Hamilton (Alice Eve), the pileup of bodies inspires a few last outbursts of genius. The trail of literary clues feels a bit forced, and Cusack’s Poe possesses an admirable quantity of energy, passion, and general zest for life for one so roundly indicted — by everyone from his editor to his barkeep to his sweetheart’s roundly repellent father (Brendan Gleeson) — as a useless, used-up slave to opiates and alcohol. But the script is smart enough and the action absorbing enough to keep us engaged as Poe attempts to rescue Emily and the film attempts to rescue Poe’s reputation through imagined heroics of both the pen and the sword. (1:50) California, Presidio. (Rapoport)

http://www.youtube.com/watch?v=QEa1zn3iXZg

Safe The poster would be slightly more on-point if its suave thug of a star, Jason Statham, were hiding behind the scrunched-faced Catherine Chan rather than the other way around — because at times it’s tough to see this alternately enjoyable and credibility-taxing action flick as more than some kind of naked play for the Chinese filmgoer. Jamming the screen with a kind of frantic kineticism, director-writer Boaz Yakin seems to be smoothing over the problems in his vaguely stereotype-flaunting, patchy puzzle of a narrative with a high body count: the cadavers pile like those in an old martial arts flick — made in Asia, it’s implied, where life is cheap and spectacle is paramount. Picking up in the middle, with flashbacks stacked like firewood, Safe opens on young math prodigy Mei (Chan) on the run from the Russian mafia. A pawn and virtual slave of the Chinese mob, she holds a number in her head that they want. To her rescue is mystery man Luke Wright (Statham), who has had his own deadly tussle with the same Russian baddies and is now on the street and on the verge of suicide, believe it or not. It’s tough to wrap your head around the fact that any of Statham’s rock-hard tough guys could possibly crumble — or even have a sense of humor. You’ll need one to accept the ludicrous storyline as well as the notion that a jillion bullets could be fired and never hit his superhuman street-fighting man. (1:35) Various theaters. (Kimberly Chun)

Also worth checking out: Willem Dafoe as a taciturn man tracking down the last Tasmanian tiger in Aussie import The Hunter (see Dennis Harvey’s review), and great new doc about a grunge-era survivor at the Roxie:

Hit So Hard Along with Last Days Here, which screened earlier this year as part of the San Francisco Independent Film Festival, Hit So Hard is one of the most inspiring rock docs in recent memory. Patty Schemel was the drummer for Hole circa Live Through This, coolly keeping the beat amid Courtney Love’s frequent Lollapalooza meltdowns after Kurt Cobain’s 1994 death. Offstage, however, she was neck-deep in substance abuse, weathering several rounds of rehab even after the fatal overdose of Hole bandmate Kristen Pfaff just months after Cobain (who appears here in Schemel’s own remarkable home video footage). P. David Ebersole’s film gathers insight from many key figures in Schemel’s life — including her mother, who has the exact voice of George Costanza’s mother, and a garishly made-up, straight-talking Love — but most importantly, from Schemel herself, who is open and funny even when talking about the perils of drug addiction, of the heartbreak of being a gay teen in a small town, and the ultimate triumph of being a rock ‘n’ roll survivor. (1:43) Roxie. (Cheryl Eddy)

Why three families, who never missed a rent payment, may face eviction

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Alma Sierra has been living in her home at 490 Athens for three years. Sierra, her nine year old son, and two other mothers with their children share a rental unit. They have diligently paid their rent, and her son goes to school across the street. But last year, US Bank foreclosed on the small-time landlords that owned the property- now, the tenants face eviction.

“We’re three single mothers with children. We don’t have the means to just up and leave,” Sierra, a part-time domestic worker, told me through a translator from Causa Justa, an organization that works for tenants’ rights.

Their work helped pass the Just Cause eviction policy for which the organization is named last year.

Under city law, a landlord needs one of 14 reasons to justly evict a tenant. The reasons include failure to pay rent and trashing the property, as well as owner move-in and Ellis Act evictions.

But the foreclosure crisis has brought on a wave of bank-owned properties. These are tricky situations legally; banks generally want to sell the property, a task made more difficult if there are pesky tenants living there.

“The banks want to get rid of the tenants. The realtors for the banks always tell them they can get more money if there aren’t any tenants in it. Because that way they would have to do an owner move-in eviction,” said Tommi Mecca, a long-time tenants’ rights advocate in the city.

According to Mecca, US Bank has been pressuring the three families to leave the building, although no eviction papers have been filed yet. The Guardian is awaiting calls back from US Bank representatives.

In fact, it was only recently that the tenants even learned about the change of ownership, and contacted Causa Justa to ask for assistance.

The San Francisco Housing Rights Committee (SFHRC) got involved, as well- and discovered that the foreclosure had likely taken place in March of 2011.

“We got no notice about it,” said Sierra.

She added that she and the other tenants had continued to pay their rent to the former landlords for almost a year– even after the landlords no longer owned the property.

“It can take many months, in some cases longer, to actually sell property,” said Sarah Shortt, an organizer with the SFHRC.

“So in the meantime the bank is the landlord and they haven’t been responsible in lending or as landlords. They tend to disregard tenants’ rights and trample over the needs and concerns of renters.”

Even when tenants are made aware that the property they live in has been sold back to bank, it can often be difficult to determine who to turn to for repairs, complaints, or even the right address for rent checks.

“One of the things we see a lot of is, the bank acquires the property and then they’re just MIA. Tenants come to us and say, we don’t know who owns our building, where to pay rent, who to ask to fix leaky ceiling. We help them research to find who owner is,” said Shortt.

These situations often end with buy-outs, in which the bank pays the tenants to leave the property. The amount ranges, but according to Mecca, it can often be insubstantial.

“They start at $1,000, $3,000, something really insulting. And it’s only if tenants walk in somewhere like [the SFHRC] that we tell them, wait a minute, your tenancy is worth so much more than that.”

As for Sierra and her roommates, they are determined not to leave.

“We don’t want to leave,” said Sierra. “We didn’t do anything wrong.”

At a press conference in front of a branch of US Bank on 16th and Mission today, more than 40 supporters came out to support the tenants in their attempts to stay in their home. In compliance with police, they left an aisle for pedestrians and blocked neither the sidewalk nor the street, and made efforts to allow customers room to enter and exit the bank. The manager opted to lock the doors anyway.

Once the door had been locked, some of the children who live in the unit taped letters they had hoped to deliver inside to the doors. One letter reads in part, “We have nowhere to go. None of our families can afford to move. And we shouldn’t have to. As tenants, we have rights in San Francisco.”

The letters cites a recent report which states that 2.3 million children in the United States have lost their homes to foreclosure  that one in eight children in the United States has been affected by foreclosure (based on data for loans that were made between 2004 and 2008.)

And supporters plan to keep up the pressure on banks in these and other cases of foreclosure and eviction- there’s hardly a lull before an “occupy the auctions dance party” planned for tomorrow.

For Shortt, the housing issue fits squarely into heightened protest activity launched by occupy protesters last fall.

“I think that’s one of the most important pieces of the occupy movement, starting to educate ourselves and each other about how ubiquitous the toll that’s been taken on cities, neighborhoods, communities by banking industry and one percent,” said Shortt.

“Any of these cases we talk about homeowners, renters, it’s the 99 percent we’re talking about, and tends to be the lower tier of the 99 percent, low income people are being disproportionately hit by this.”

Burning Man on probation after busting its population cap

Sasha Cuttler
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Burning Man on probation after busting its population cap

[UPDATED BELOW] Black Rock City LLC, the SF-based company that stages Burning Man in the Nevada desert, was placed on probation by the Bureau of Land Management after exceeding the 50,000-person population cap at last year’s event, jeopardizing its current efforts to get a five-year permit and adding a new pressure to an already difficult transition year.

“Probationary status limits the Bureau of Land Management to issuance of a one-year permit,” said Cory Roegner, who oversees the event from BLM’s Winnemucca office. His office put BRC on probation after it reported populations of 53,341 on Sept. 2 and 53,735 on Sept. 3, although BRC has appealed the ruling to the Interior Board of Land Appeals, which has not issued a ruling.

Representatives from that office and BRC have not yet returned Guardian calls for comment.

Roegner has been working on finalizing the Environmental Analysis of BRC’s proposal for a five-year permit that would allow the event to gradually increase from 58,000 to 70,000 participants. A draft report was released in March, and Roegner is now working on responses to the 40 comments that were received during the 30-day comment period, with the final report expected to be released the first week in June.

At that time, the BLM office would set the population limit for this year’s event and issue the permit. But if the BLM probation ruling isn’t overturned, that permit would be for just this year. And under BLM rules, if BRC violated its population cap again this year, it could be banned from holding events in the future.

“Population is a very important issue. That’s a big focus of the environmental analysis on which the permit is based,” he told us, referring to the 2006 study that placed the current 50,000 cap on population.

This places BRC in a precarious position given that it has already sold 57,000 tickets for this year’s event and will be giving away thousands more to staff, groups that have received art grants, and a host of other visitors and VIPs (last year, three members of the Board of Supervisors attended and Mayor Ed Lee is rumored to be mulling a trip this year).

Roegner and his boss at the BLM, Rolando Mendez, say it’s up to BRC to live by its permit. “Black Rock City LLC is free to sell as many tickets as they’re inclined to,” Mendez told us in February. “That’s a calculated business decision on their part, but I would expect Black Rock City LLC to live by the population cap that I set.”

In fact, despite the fact that tickets have already been sold, it’s possible that Burning Man won’t even get a permit this year, although that’s very unlikely and both BRC and BLM have said they have a good, cooperative working relationship. The environmental report studies alternatives that include no event, maintaining the current 50,000 population cap, and gradually increasing it to 70,000, with a 58,000 cap this year.

Roegner said the report (which you can read here in PDF form) and its comments identify traffic and transportation, air quality, and trash as key issues that could require additional mitigation measures, but he said it was still too early to determine exactly what that will mean for Burning Man and its participants.

Burning Man, which started on Baker Beach in 1986 and moved to the the Black Rock Desert in 1990, seems to be suffering from its own success. Last year, the event sold out for the first time and this year a new ticketing system proved problematic and sparked widespread criticism. But BRC officials have maintained that they’re addressing the problems and creating systems to ensure the long-term survival of the event and culture it has spawned.

4/46 UPDATE: BRC spokesperson Marian Goodell responded to our inquiries via text message, downplaying concerns over probation and the population issues. Initially, she wrote that probation “won’t effect 5-year permit process,” and when we noted that Roegner said it would limit BRC to a one-year permit, she wrote, “We are still continuing the 5-year permit process. The probation is under appeal.”

We asked how BRC plans to abide by this year’s population cap given that it has already sold or distributed more tickets than the number of people allowed by the permit, she wrote, “Easy. Usually at least 6,000 leave before we hit the peak. Sometimes more on dusty, wet or cold years.”

Yet Ron Cole, who lives on a ranch near the event site and made comments during the EA process, was critical of BRC for defying BLM controls and trying to substantially increase the size of Burning Man. “They should just give them a one-year permit and 50,000 cap,” he told us, citing the event’s impacts on air quality and limitations on getting people on and off the playa. He was dubious about BRC’s behavior this year: “You can sell tickets, bill credit cards, and you don’t even have a permit yet?”

Letters from Hole guitarist Eric Erlandson

Tony Robles
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Letters from Hole guitarist Eric Erlandson

As the guitarist for Hole, Eric Erlandson was at the center of the alternative rock explosion of the early 1990s, a member of one of the most popular and controversial bands of the time, and a friend and confidant to one of the scene’s most influential players, Nirvana’s Kurt Cobain. With the 18th anniversaries of both the suicide of Cobain and the release of Hole’s hit record Live Through This passing this month, Erlandson has just released his first book, Letters To Kurt (Akashic Books) a touching and enlightening collection of prose poems addressed to his departed friend.

During a phone conversation from Los Angeles, Erlandson — who will be appearing at several events in the Bay Area this week — touched on the creative and cathartic process of writing the book, the release of Hit So Hard, a documentary about Hole drummer Patty Schemel, an impromptu on-stage reunion with Courtney Love, and the recent news stories about a supposed Kurt Cobain solo album.

SFBG: Your book “Letters To Kurt” is not your standard rock n’ roll memoir — what was the impetus for going the route that you did?

Eric Erlandson: When I was writing it, I was doubting it and resisting it the whole way through, now when I’m presenting it, I’m still unsure; ‘Is anybody going to get this?’ It is a strange book, it’s not your normal memoir, it’s disturbing to read for me still, so it’s weird to be talking about it in public and reading from it.

I was inspired by Jim Harrison’s book Letters To Yesenin, I started a process in my journal writing out my own letters to people, and then once I let go of my hesitation of using Kurt, the first letter in the book was what came out, and the voice was strong, powerful, and different than anything I’d ever written.

I just kept going with it — when you start writing about the past, the past starts to come back into your life and affect you, and that’s what happened until I got to that 52 number. I thought it felt right, it’s resolved, it’s complete — as much is it can be complete, at this point.

Bringing the issue of suicide on the table, and keeping that as part of it — that’s the bigger picture, it’s not just a book about my views on life, or my relationships, or my ramblings, it’s trying to connect to the universal, that they’re all connected, and that suicide is something that affects us all.

SFBG: The documentary “Hit So Hard” is also getting a wide release this month, and you’ve been appearing at screenings with Patty Schemel — what has it been like seeing your old bandmates again?

EE: Patty’s movie just happens to come out the same time as my book, it wasn’t planned — it was her journey and then my journey. With the fact that they are both being released to the public at the same time, I started to try to put them together at some events.

Patty, Melissa [Auf der Maur] and I played at an event, and from that, it felt so good, it felt like we were back in 1992 in a basement in Seattle playing covers. It just felt really fun, we were free to do whatever we wanted to do, there was no pressure, there was no machine, no business behind us pushing us to do anything, so that was really kind of a liberating experience for us.

We then did another performance for the Hit So Hard premiere in New York, and of course, Courtney lives in New York, and got wind of it, showed up, and it was spontaneous.

If you face the past, if you stop shoving it under the rug, and you start thinking more about what’s happening to your relationships, then you’re able to resolve them, or experiences will happen that will force you to resolve them—or will give you an opportunity to do so at least.

I’m hoping that is where things will go; it can be a positive by-product of the book that I hadn’t even expected.

SFBG: You’ve been away from the mainstream music scene for quite awhile—can fans expect any new music from you in the future?

EE: I’m planning on doing a soundtrack to the book, I just ran out of time, I couldn’t get it out at the same time as the book, but I plan to get it out this year.
That should be really fun, to go back and use all my musical influences and not have it be tied to a band project.

SFBG: There was a flurry of news articles in the last couple of weeks quoting you as saying that Kurt Cobain had recorded a solo album before he died, his “White Album”— were those comments taken out of context?

EE: It was definitely taken out of context, misquoted, and misinterpreted. I think that Courtney had mentioned in like 1995 or 1996, that there was some sort of White Album — or somebody did, I remember hearing it, it’s nothing new to me.

I think the writer chose to present that in a way that there was some hidden gem, or secret being revealed, but there is no secret being revealed, it was me speculating on what I had heard—which is what many people have heard, which is [the song ] “Do Re Mi.” It just had a different mood to it. I was speculating that that’s probably where he was headed, and said something about that White Album comment that somebody had made in the ‘90s — but I was tying it into the topic of suicide, and that’s the thing that he didn’t present in his interview.

I was saying that when someone commits suicide — and I’m not criticizing someone that feels suicidal — by going into that tunnel, and suffering in that way, once you choose to take that huge act of taking your own life, you’re affecting everybody’s lives. This is nothing new, and we all know this, but I was bringing it back to music; by taking your own life, by self-destructing using drugs, by checking out, then you’re taking your gifts away from the world.

I’m not dropping anything that world doesn’t already know. I never claimed that he was making a solo album; I was speculating that if he had continued, he might have made a solo album.

In Kurt’s case, who knows where that music would have gone.

Wed/25, 7:30pm, free
Moe’s Books
2476 Telegraph, Berk.
(510) 849-2087
www.moesbooks.com

Thu/26, 7pm,free
City Lights Bookstore
261 Columbus Ave., SF
(415) 362-8193
www.citylights.com

Fri/27-Sat/28, 7:15 and 9:30pm, $10
Roxie Theater
3117 16th St., SF
(415) 863-1087
www.roxie.com

Our Weekly Picks April 25-May 1

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WEDNESDAY 25

>> Norm Talley

It’s been a good decade since the Detroit Beatdown sound was unleashed on the world via an eponymous triple-disc release on the UK’s Third Ear Records, which collected the works of several integral Motor City dance music producers. In truth, the Beatdown sound wasn’t so much a cohesive style — although it did reflect the spinetingling synthesis of Detroit’s hypnotic, unhurried house sound with the Zen-like disco-funk loopiness that was earning Moodymann and Theo Parrish rabid followers at the time — than a foray into bumpin’ erotic grooviness, no matter the tempo or sample source. An uptick in Beatdown sound reverence has lead to recent tours by many of the original players, including Norm Talley, who will bring almost 30 years worth of decks magic to the incredibly welcoming Housepitality weekly party. (Marke B.)

9pm, $5 before 11pm, $10 after

Icon

1192 Folsom, SF

(415) 626-4800

www.housepitalitySF.com


>> Eric Erlandson

As the guitarist for Hole, Eric Erlandson was at the center of alternative rock explosion of the early ’90s, a member of one of the most popular bands of the time, and a friend and confidant to one of the scene’s most influential players, Nirvana’s Kurt Cobain. With the 18th anniversaries of both the suicide of Cobain and the release of Hole’s hit record Live Through This passing this month, Erlandson has just released his first book, Letters To Kurt (Akashic Books) a touching and enlightening collection of prose poems addressed to his departed friend. He’ll read from the book and do an acoustic performance tonight. (Sean McCourt)

7:30pm, free

Moe’s Books

2476 Telegraph, Berk.

(510) 849-2087

www.moesbooks.com

 

In conversation with Andi Mudd

Thu/26, 7pm, free

City Lights

261 Columbus, SF

(415) 362-8193

www.citylights.com

 

>> “A Change of the World: In Memory of Adrienne Rich”

The iconic contemporary poet — how many of those have we got left, friend? — passed away at her home in Santa Cruz last month. But Adrienne Rich’s legacy of strong-willed, powerfully voiced feminism, radical lesbian activism, perfectly illuminated quotidian details, and, hopefully, incredible control of poetic form, is set to be carried on for generations, beginning with this huge tribute at the SF Main Library from notable Bay Area wordsmiths. Join Elana Dykewomon, Aaron Shurin (whose latest volume, Citizen, is a stunner), Jewelle Gomez, Justin Chin, Kevin Killian, Toni Mirosevich, and oodles more as they resurrect Rich’s voice and offer their own oblations on the rough altar of her inspiring genius. OMG she would hate that I got all over-dramatic with the language back there. (Marke B.)

6pm, free

Hormel Gay and Lesbian Center at the SF Main Library

100 Larkin, SF

www.sfpl.org

 

 

>> “John Waters in Conversation”

Oh hell yes. Sometimes San Francisco resident John Waters (if you’ve spotted him on Muni, I am sooo jealous) visits California College of the Arts to screen 2004 sex-com A Dirty Shame, which features a typically eclectic cast (including Waters regulars Mink Stole and Patricia Hearst, and Selma Blair’s memorable, uh, udders). The “Pope of Trash” (he’s also an author, occasional actor, hilarious solo performer, and photographer) hangs out after to chat about his filmmaking career — and the fact that this killer event is free (part of CCA’s Cinema Visionaries program and Design and Craft Lecture Series) is just icing on the poo. Er, cake. (Cheryl Eddy)

7-9pm, free

Timken Lecture Hall

California College of Arts

1111 Eighth St., SF

(415) 703-9563

www.cca.edu

 

THURSDAY 26

>> “Bloomsbury/It’s Not Real”

In the early part of the 20th century and for a short period only, the London neighborhood of Bloomsbury became a center of civilized thought. In their salons its members argued about poetry, painting, and history. They passionately believed in Art and embraced total freedom — artistic, sexual, personal. Some of them became famous; others dropped by the wayside. Yet in retrospect, Bloomsbury looks like a small Shangri-la. Or was it? Jenny McAllister has been popping the balloons of pretense for close to 20 years, creating dance theater pieces that are as witty as they are humorous. In “Bloomsbury Group/It’s Not Real” she and her 13th Floor Dance Theater introduces us to some of those peculiar characters that called Bloomsbury home. (Rita Felciano)

Thu/26-Sun/29, 8pm, $18–$23

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org


>> The Touré-Raichel Collective

Israeli pianist Idan Raichel and Malian guitarist Vieux Farka Touré forged a friendship after crossing paths at a Germany airport in 2008. The Israeli pop star, known for culling from many worldly influences, had been a fan of Vieux’s father, legendary guitarist Ali Farka Touré. Raichel beckoned the younger Touré to visit him in Tel Aviv for a jam session. Their serendipitous collaboration resulted in The Tel Aviv Session, an acoustic, improvisational masterwork. Throughout Tel Aviv, Touré sets the stage with dramatic strumming and guitar-picking, while Raichel engages with his own meticulous, twinkling ripostes. The duo’s casual chemistry facilitates a rare and absolutely mesmerizing interplay fused together by impeccable technique. (Kevin Lee)

8pm, $25–$85 Herbst Theatre 401 Van Ness, SF (415) 392-4400

www.cityboxoffice.com

 

>> Trippple Nippples

Poised to make a splash at SXSW this year with its hyperkinetic live show, Tokyo’s Trippple Nippples unfortunately had to cancel due to visa complications. The band is now making up for lost time with a string of West Coast shows that includes a Thursday stop at Thee Parkside. A mix of psychedelic performance art, electronics. and in-your-face noise rock, the group has caused a stir in Japan, in addition to finding endorsements from American artists such as Pharrell, who recently championed it in Vice’s mini-documentary, Tokyo Rising. Check out the Dan Deacon-esque slice of kaleidoscopic electropop “LSD” for a taste. (Landon Moblad)

With Ass Baboons of Venus and Ghost Town Refugees

9pm, $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

>> Afrolicious Five-Year Anniversary

Give it up for unstoppable, adorable DJ brothers Señor Oz and Pleasuremaker, a.k.a. Oz and Joey McGuire. A half-decade ago, when the idea of mixing as many global dance music styles into one party as possible was still pretty radical, the bros’ Afrolicious party went one better with live instrumentation (often courtesy of Joey’s band, Pleasuremaker, which drops a new full-length later this year), remarkable guest stars, and a fantasy Latin funk sheen. Best of all, Afrolicious pumped a welcoming, soulful, old-school smiley vibe — free of the slightly sour, scene-y sting of other such endeavors. Afrolicious anniversary parties burst apart at the seams with guest-star goodies and span two wild nights. This one is no exception, with resident percussionists Qique and Diamond, Brazilian drum troupe Fogo Na Roupa, DJs New Life and Sergio, and more. (Marke B.)

Thu/26-Fri/27, 9:30pm, $10

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

FRIDAY 27

>> “First Breath — Last Breath”

Bad Unkl Sista, participators in arts-party mega-fare (like Maker Faire, for instance), take over Z Space this weekend for the world premiere of a new performance work, “First Breath — Last Breath,” directed, choreographed, and costumed by founder and artistic director Anastazia Louise, a Butoh-trained dancer and dance teacher who honed her skills in the “wearable art” costuming department as a core member of the Carpetbag Brigade from 2000 to 2009. A sensory-stimulating meditation on life and death, the piece promises an apt element of the unscripted in its hybrid spectacle of dance, Butoh, aerial work, couture, percussive scenic design, film, and music. (Robert Avila)

Fri/27, 8pm; Sat/28, 2 and 8pm, $35

Z Space

450 Florida, SF

(415) 209-5569

www.badunklsista.com

 

SATURDAY 28

>> Jim Gaffigan

Comedian and actor Jim Gaffigan could pontificate on any subject, but his delightful treatises on bacon bits, Cinnabons, and other dubious delectables rank as fan favorites. “I’ve never eaten a Hot Pocket and been like, ‘I’m glad I ate that,'” he opines during a popular sermon on the sloppy snack. Followers gravitate toward his languid style and natural inclination to poke fun at his own comedy, especially through whiny, one-line asides he whispers as an aghast faux audience member. New 75-minute stand-up routine “Mr. Universe” is available for $5 as an online stream, $1 of which will go toward The Bob Woodruff Foundation in support of veterans and their families. (Lee)

Sat/28, 7:30 and 10pm; Sun/29, 7pm, $39.75–$49.75 Warfield 982 Market, SF (415) 567-2060 www.thewarfieldtheatre.com

 

>> “Dear Howard, I Love You But I’m Leaving You For Bryant”

You know how friends get your help moving with a little beer and a few laughs? Artists go all out in this regard. This joint fundraiser between the Garage and THEOFFCENTER benefits the new home for the Garage at 715 Bryant. The current Garage space at 975 Howard was literally that in 2007 when Joe Landini moved in and converted it into his “safehouse” for local artists, an ambitious low-rent breeding ground for dance, theater, and performance. The name stays but the venue changes to a more accommodating space nearby. In celebration, the Garage plays, parades, parties, and moves this Saturday in cunningly pragmatic programming that starts at 975 Howard and ends, via “procession,” with a bash at the new digs. (Avila)

The Garage

6pm, performance

975 Howard, SF

8pm, procession

8:30pm, party

715 Bryant, SF

www.715bryant.org

 

MONDAY 30

>> Marshall Crenshaw

Singer-songwriter-guitarist extraordinaire Marshall Crenshaw has been writing and making records for more than 30 years now, first gaining mainstream exposure with his 1981 hit “Someday, Someway.” In 1987, he portrayed Buddy Holly in the film La Bamba, playing an excellent cover of Holly’s then-obscure outtake “Crying, Waiting, Hoping,” virtually turning the song into his own, one which remains a staple in his live shows to today. The past few years have seen Crenshaw nominated for a Golden Globe for Best Original Song for the title track he wrote for the movie Walk Hard: The Dewey Cox Story, and the release of the album Jaggedland—don’t miss your chance to see him at this unique solo performance. (McCourt)

8pm, $18

Yoshi’s

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

TUESDAY 1

>> Treat Social Club

On a blustery evening in March, organizers Finn Kelly and Adam Theis invited their friends to converge inside a hangar-like space in the Mission for Treat Social Club’s inaugural event. No one knew quite what to expect but once inside revelers found themselves swaying to Realistic Orchestra’s moody silent film score, awed by fabulous visuals, and mesmerized by the aerial choreography Amanda Boggs. It was an auspicious start for the monthly series and with performances by tap dancer Tyler Knowlin, and an aerial piece that will be influenced by crowd participation, the second edition promises to be just as tantalizing as the first. (Mirissa Neff)

7:30pm, $10-20

Go Game Headquarters

400 Treat (Suite F), SF

www.treatsocialclub.com

 

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Live Shots: Lulacruza at Red Poppy Art House

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After Latin American duo Lulacruza finished playing their opening piece last Saturday, the entire, sardine-packed Red Poppy Art House fell totally silent. It wasn’t that the audience didn’t like the music, it was that everyone was in a trance. Seriously, in some sort of hypnotized bliss.

That’s what happens when you hear Lulacruza live, as they mixes traditional South American instruments, electro-beats, and nature sounds, in songs that sometimes last more than six minutes, to create mesmerizing music.

The musicians, Alejandra and Luis, also made the space sacred before they performed, “washing” themselves clean in burning sage and dangling feathers from their microphones. Their ability to combine electronic drum machines and the Colombian cuatro is enchanting — and downright sexy.

 

Guardian endorsements for June 5 election

Andrew Lam
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Guardian endorsements for June 5 election

>>OUR ONE-PAGE “CLEAN SLATE” PRINTOUT GUIDE IS HERE. 

As usual, California is irrelevant to the presidential primaries, except as a cash machine. The Republican Party has long since chosen its nominee; the Democratic outcome was never in doubt. So the state holds a June 5 primary that, on a national level, matters to nobody.

It’s no surprise that pundits expect turnout will be abysmally low. Except in the few Congressional districts where a high-profile primary is underway, there’s almost no news media coverage of the election.

But that doesn’t mean there aren’t some important races and issues (including the future of San Francisco’s Democratic Party) — and the lower the turnout, the more likely the outcome will lean conservative. The ballot isn’t long; it only takes a few minutes to vote. Don’t stay home June 5.

Our recommendations follow.

PRESIDENT

BARACK OBAMA

Sigh. Remember the hope? Remember the joy? Remember the dancing in the streets of the Mission as a happy city realized that the era of George Bush and The Gang was over? Remember the end of the war, and health-care reform, and fair economic policies?

Yeah, we remember, too. And we remember coming back to our senses when we realized that the first people at the table for the health-policy talks were the insurance industry lobbyists. And when more and more drones killed more and more civilian in Afghanistan, and the wars didn’t end and the country got deeper and deeper into debt.

Oh, and when Obama bailed out Wall Street — and refused to spend enough money to help the rest of us. And when his U.S. attorney decided to crack down on medical marijuana.

We could go on.

There’s no question: The first term of President Barack Obama has been a deep disappointment. And while we wish that his new pledge to tax the millionaires represented a change in outlook, the reality is that it’s most likely an election-year response to the popularity of the Occupy movement.

Last fall, when a few of the most progressive Democrats began talking about the need to challenge Obama in a primary, we had the same quick emotional reaction as many San Franciscans: Time to hold the guy accountable. Some prominent left types have vowed not to give money to the Obama campaign.

But let’s get back to reality. The last time a liberal group challenged an incumbent in a Democratic presidential primary, Senator Ted Kennedy wounded President Jimmy Carter enough to ensure the election of Ronald Reagan — and the begin of the horrible decline in the economy of the United States. We’re mad at Obama, too — but we’re realists enough to know that there is a difference between moderate and terrible, and that’s the choice we’re facing today.

The Republican Party is now entirely the party of the far right, so out of touch with reality that even Reagan would be shunned as too liberal. Mitt Romney, once the relatively centrist governor of Massachusetts, has been driven by Newt Gingrich and Rick Santorum so deeply into crazyland that he’s never coming back. We appreciate Ron Paul’s attacks on military spending and the war on drugs, but he also opposes Medicare and Social Security and says that people who don’t have private health insurance should be allowed to die for lack of medical care.

No, this one’s easy. Obama has no opposition in the Democratic Primary, but for all our concerns about his policies, we have to start supporting his re-election now.

U.S. SENATE

DIANNE FEINSTEIN

The Republicans in Washington didn’t even bother to field a serious candidate against the immensely well-funded Feinstein, who is seeking a fourth term. She’s a moderate Democrat, at best, was weak-to-terrible on the war, is hawkish on Pentagon spending (particularly Star Wars and the B-1 bomber), has supported more North Coast logging, and attempts to meddle in local politics with ridiculous ideas like promoting unknown Michael Breyer for District Five supervisor. She supported the Obama health-care bill but isn’t a fan of single-payer, referring to supporters of Medicare for all as “the far left.”

But she’s strong on choice and is embarrassing the GOP with her push for reauthorization of an expanded Violence Against Women Act. She’ll win handily against two token Republicans.

U.S. CONGRESS, DISTRICT 2

NORMAN SOLOMON

The Second District is a sprawling region stretching from the Oregon border to the Golden Gate Bridge, from the coast in as far as Trinity County. It’s home to the Marin suburbs, Sonoma and Mendocino wine country, the rough and rural Del Norte and the emerald triangle. There’s little doubt that a Democrat will represent the overwhelmingly liberal area that was for almost three decades the province of Lynn Woolsey, one of the most progressive members in Congress. The top two contenders are Norman Solomon, an author, columnist and media advocate, and Jared Huffman, a moderate member of the state Assembly from Marin.

Solomon’s not just a decent candidate — he represents a new approach to politics. He’s an antiwar crusader, journalist, and outsider who has never held elective office — but knows more about the (often corrupt) workings of Washington and the policy issues facing the nation than many Beltway experts. He’s talking about taxing Wall Street to create jobs on Main Street, about downsizing the Pentagon and promoting universal health care. He’s a worthy successor to Woolsey, and he deserves the support of every independent and progressive voter in the district.

U.S. CONGRESS, DISTRICT 12

NANCY PELOSI

Nancy Pelosi long ago stopped representing San Francisco (see: same-sex marriage) and began representing the national Democratic party and her colleagues in the House. She will never live down the privatization of the Presidio or her early support for the Iraq war, but she’s become a decent ally for Obama and if the Democrats retake the House, she’ll be setting the agenda for his second term. If the GOP stays in control, this may well be her last term.

Green Party member Barry Hermanson is challenging her, and in the old system, he’d be on the November ballot as the Green candidate. With open primaries (which are a bad idea for a lot of reasons) Hermanson needs support to finish second and keep Pelosi on her toes as we head into the fall.

U.S. CONGRESS, DISTRICT 12

BARBARA LEE

This Berkeley and Oakland district is among the most left-leaning in the country, and its representative, Barbara Lee, is well suited to the job. Unlike Pelosi, Lee speaks for the voters of her district; she was the lone voice against the Middle East wars in the early days, and remains a staunch critic of these costly, bloody, open-ended foreign military entanglements. We’re happy to endorse her for another term.

U.S. CONGRESS, DISTRICT 13

JACKIE SPEIER

Speier’s more of a Peninsula moderate than a San Francisco progressive, but she’s been strong on consumer privacy and veterans issues and has taken the lead on tightening federal rules on gas pipelines after Pacific Gas and Electric Company killed eight of her constituents. She has no credible opposition.

STATE SENATE, DISTRICT 11

MARK LENO

Mark Leno started his political career as a moderate member of the Board of Supervisors from 1998 to 2002. His high-profile legislative races — against Harry Britt for the Assembly in 2002 and against Carole Migden for the Senate in 2008 — were some of the most bitterly contested in recent history. And we often disagree with his election time endorsements, which tend toward more downtown-friendly candidates.

But Leno has won us over, time and again, with his bold progressive leadership in Sacramento and with his trailblazing approach to public policy. He is an inspiring leader who has consistently made us proud during his time in the Legislature. Leno was an early leader on the same-sex marriage issue, twice getting the Legislature to legalize same-sex unions (vetoed both times by former Gov. Arnold Schwarzenegger). He has consistently supported a single-payer health care system and laid important groundwork that could eventually break the grip that insurance companies have on our health care system. And he has been a staunch defender of the medical marijuana patients and has repeatedly pushed to overturn the ban on industrial hemp production, work that could lead to an important new industry and further relaxation of this country wasteful war on drugs. We’re happy to endorse him for another term.

STATE ASSEMBLY, DISTRICT 17

TOM AMMIANO

Ammiano is a legendary San Francisco politician with solid progressive values, unmatched courage and integrity, and a history of diligently and diplomatically working through tough issues to create ground-breaking legislation. We not only offer him our most enthusiastic endorsement — we wish that we could clone him and run him for a variety of public offices. Since his early days as an ally of Harvey Milk on gay rights issues to his creation of San Francisco’s universal health care system as a supervisor to his latest efforts to defend the rights of medical marijuana users, prison inmates, and undocumented immigrants, Ammiano has been a tireless advocate for those who lack political and economic power. As chair of Assembly Public Safety Committee, Ammiano has blocked many of the most reactionary tough-on-crime measures that have pushed our prison system to the breaking point, creating a more enlightened approach to criminal justice issues. We’re happy to have Ammiano expressing San Francisco’s values in the Capitol.

STATE ASSEMBLY, DISTRICT 19

PHIL TING

Once it became abundantly clear that Assessor-Recorder Phil Ting wasn’t going to get elected mayor, he started to set his eyes on the state Assembly. It’s an unusual choice in some ways — Ting makes a nice salary in a job that he’s doing well and that’s essentially his for life. Why would he want to make half as much money up in Sacramento in a job that he’ll be forced by term limits to leave after six years?

Ting’s answer: he’s ready for something new. We fear that a vacancy in his office would allow Mayor Ed Lee to appoint someone with less interest in tax equity (prior to Ting, the city suffered mightily under a string of political appointees in the Assessor’s Office), but we’re pleased to endorse him for the District 19 slot.

Ting has gone beyond the traditional bureaucratic, make-no-waves approach of some of his predecessors. He’s aggressively sought to collect property taxes from big institutions that are trying to escape paying (the Catholic Church, for example) and has taken a lead role in fighting foreclosures. He commissioned, on his own initiative, a report showing that a large percentage of the foreclosures in San Francisco involved some degree of fraud or improper paperwork, and while the district attorney is so far sitting on his hands, other city officials are moving to address the issue.

His big issue is tax reform, and he’s been one the very few assessors in the state to talk openly about the need to replace Prop. 13 with a split-role system that prevents the owners of commercial property from paying an ever-declining share of the tax burden. He wants to change the way the Legislature interprets Prop. 13 to close some of the egregious loopholes. It’s one of the most important issues facing the state, and Ting will arrive in Sacramento already an expert.

Ting’s only (mildly) serious opponent is Michael Breyer, son of Supreme Court Justice Breyer and a newcomer to local politics. Breyer’s only visible support is from the Building Owners and Managers Association, which dislikes Ting’s position on Prop. 13. Vote for Ting.

DEMOCRATIC COUNTY CENTRAL COMMITTEE

You can say a lot of things about Aaron Peskin, the former supervisor and retiring chair of the city’s Democratic Party, but the guy was an organizer. Four years ago, he put together a slate of candidates that wrenched control of the local party from the folks who call themselves “moderates” but who, on critical economic issues, are really better defined as conservative. Since then, the County Central Committee, which sets policy for the local party, has given its powerful endorsement mostly to progressive candidates and has taken progressive stands on almost all the ballot issues.

But the conservatives are fighting back — and with Peskin not seeking another term and a strong slate put together by the mayor’s allies seeking revenge, it’s entirely possible that the left will lose the party this year.

But there’s hope — in part because, as his parting gift, Peskin helped change state law to make the committee better reflect the Democratic voting population of the city. This year, 14 candidates will be elected from the East side of town, and 10 from the West.

We’ve chosen to endorse a full slate in each Assembly district. Although there are some candidates on the slate who aren’t as reliable as we might like, 24 will be elected, and we’re picking the 24 best.

DISTRICT 17 (EAST SIDE)

John Avalos

David Campos

David Chiu

Petra DeJesus

Matt Dorsey

Chris Gembinsky

Gabriel Robert Haaland

Leslie Katz

Rafael Mandelman

Carole Migden

Justin Morgan

Leah Pimentel

Alix Rosenthal

Jamie Rafaela Wolfe

 

DISTRICT 19 (WEST SIDE)

Mike Alonso

Wendy Aragon

Kevin Bard

Chuck Chan

Kelly Dwyer

Peter Lauterborn

Hene Kelly

Eric Mar

Trevor McNeil

Arlo Hale Smith

State ballot measures

PROPOSITION 28

YES

LEGISLATIVE TERM LIMITS

Let us begin with a stipulation: We have always opposed legislative term limits, at every level of government. Term limits shift power to the executive branch, and, more insidiously, the lobbyists, who know the issues and the processes better than inexperienced legislators. The current system of term limits is a joke — a member of the state Assembly can serve only six years, which is barely enough time to learn the job, much less to handle the immense complexity of the state budget. Short-termers are more likely to seek quick fixes than structural reform. It’s one reason the state Legislatures is such a mess.

Prop. 28 won’t solve the problem entirely, but it’s a reasonable step. The measure would allow a legislator to serve a total of 12 years in office — in either the Assembly, the Senate, or a combination. So an Assembly member could serve six terms, a state Senator three terms. No more serving a stint in one house and then jumping to the other, since the term limits are cumulative, which is imperfect: A lot of members of the Assembly have gone on to notable Senate careers, and that shouldn’t be cut off.

Still, 12 years in the Assembly is enough time to become a professional at the job — and that’s a good thing. We don’t seek part-time brain surgeons and inexperienced airline pilots. Running California is complicated, and there’s nothing wrong with having people around who aren’t constantly learning on the job. Besides, these legislators still have to face elections; the voters can impose their own term limits, at any time.

Most of the good-government groups are supporting Prop. 28. Vote yes.

PROPOSITION 29

YES

CIGARETTE TAX FOR CANCER RESEARCH

Seriously: Can you walk into the ballot box and oppose higher taxes on cigarettes to fund cancer research? Of course not. All of the leading medical groups, cancer-research groups, cancer-treatment groups and smoking-cessation groups in the state support Prop. 29, which was written by the American Cancer Society and the American Heart Association.

We support it, too.

Yes, it’s a regressive tax — most smokers are in the lower-income brackets. Yes, it’s going to create a huge state fund making grants for research, and it will be hard to administer without some issues. But the barrage of ads opposing this are entirely funded by tobacco companies, which are worried about losing customers, particularly kids. A buck a pack may not dissuade adults who really want to smoke, but it’s enough to price a few more teens out of the market — and that’s only good news.

Don’t believe the big-tobacco hype. Vote yes on 29.

San Francisco ballot measures

PROPOSITION A

YES

GARBAGE CONTRACT

A tough one: Recology’s monopoly control over all aspects of San Francisco’s waste disposal system should have been put out to competitive bid a long time ago. That’s the only way for the city to ensure customers are getting the best possible rates and that the company is paying a fair franchise fee to the city. But the solution before us, Proposition A, is badly flawed public policy.

The measure would amend the 1932 ordinance that gave Recology’s predecessor companies — which were bought up and consolidated into a single behemoth corporation — indefinite control over the city’s $220 million waste stream. Residential rates are set by a Rate Board controlled mostly by the mayor, commercial rates are unregulated, and the company doesn’t even have a contract with the city.

Last year, when Recology won the city’s landfill contract — which was put out to bid as the current contract with Waste Management Inc. and its Altamont landfill was expiring — Recology completed its local monopoly. At the time, Budget Analyst Harvey Rose, Sup. David Campos, and other officials and activists called for updating the ordinance and putting the various contracts out to competitive bid.

That effort was stalled and nearly scuttled, at least in part because of the teams of lobbyists Recology hired to put pressure on City Hall, leading activists Tony Kelley and retired Judge Quentin Kopp to write this measure. They deserve credit for taking on the issue when nobody else would and for forcing everyone in the city to wake up and take notice of a scandalous 70-year-old deal.

We freely admit that the measure has some significant flaws that could hurt the city’s trash collection and recycling efforts. It would split waste collection up into five contracts, an inefficient approach that could put more garbage trucks on the roads. No single company could control all five contracts. Each of those contracts would be for just five years, which makes the complicated bidding process far too frequent, costing city resources and hindering the companies’ ability to make long-term infrastructure investments.

It would require Recology to sell its transfer station, potentially moving the waste-sorting facility to Port property along the Bay. Putting the transfer station in public hands makes sense; moving it to the waterfront might not.

On the scale of corrupt monopolies, Recology isn’t Pacific Gas and Electric Co. It’s a worker-owned company and has been willing to work in partnership with the city to create one of the best recycling and waste diversion programs in the country. For better or worse, Recology controls a well-developed waste management infrastructure that this city relies on, functioning almost like a city department.

Still, it’s unacceptable to have a single outfit, however laudatory, control such a massive part of the city’s infrastructure without a competitive bid, a franchise fee, or so much as a contract. In theory, the company could simply stop collecting trash in some parts of the city, and San Francisco could do nothing about it.

As a matter of public policy, Prop. A could have been better written and certainly could, and should, have been discussed with a much-wider group, including labor. As a matter of real politics, it’s a messy proposal that at least raises the critical question: Should Recology have a no-bid, no contract monopoly? The answer to that is no.

Prop. A will almost certainly go down to defeat; Kopp and Kelly are all alone, have no real campaign or committee and just about everyone else in town opposes it. Our endorsement is a matter of principle, a signal that this longtime garbage deal has to end. If Recology will work with the city to come up with a contract and a bid process, then Prop. A will have done its job. If not, something better will be on the ballot in the future.

For now, vote yes on A.

PROPOSITION B

YES

COIT TOWER POLICY

In theory, city department heads ought to be given fair leeway to allocate resources and run their operations. In practice, San Francisco’s Department of Recreation and Parks has been on a privatization spree, looking for ways to sell or rent public open space and facilities as a way to balance an admittedly tight budget. Prop. B seeks to slow that down a bit, by establishing as city policy the premise that Coit Tower shouldn’t be used as a cash cow to host private parties.

The tower is one of the city’s most important landmarks and a link to its radical history — murals painted during the Depression, under the Works Progress Administration, depict local labor struggles. They’re in a bit of disrepair –but that hasn’t stopped Rec-Park from trying to bring in money by renting out the place for high-end events. In fact, the tower has been closed down to the public in the past year to allow wealthy patrons to host private parties. And the city has more of that in mind.

If the mayor and his department heads were acting in good faith to preserve the city’s public spaces — by raising taxes on big business and wealthy individuals to pay for the commons, instead of raising fees on the rest of us to use what our tax dollars have already paid for — this sort of ballot measure wouldn’t be necessary.

As it is, Prop. B is a policy statement, not an ordinance or Charter amendment. It’s written fairly broadly and won’t prevent the occasional private party at Coit Tower or prevent Rec-Park from managing its budget. Vote yes.

 

Stage Listings

Andrew Lam
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0

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

THEATER

OPENING

Killing My Lobster Chops Down the Family Tree TJT, 470 Florida, SF; www.killingmylobster.com. $10-22. Opens Thu/26, 8pm. Runs Thu-Sat, 8pm (May 12, shows at 7 and 10pm); Sun, 7pm. Through May 13. The sketch comedy troupe performs a new show inspired by contemporary families.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Previews Fri/27-Sat/28, 8pm; Sun/29, 5pm. Opens May 3, 7:30pm. Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through May 27. Annie Elias and Cutting Ball Theater artists present a world premiere “documentary theater” piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

BAY AREA

In Paris Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $22.50-125. Opens Wed/25, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed, 7pm; Sun, 2pm. Through May 13. Mikhail Baryshnikov stars in Dmitry Krymov’s romantic new play.

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Opens Fri/27, 8pm. Runs Fri, 8pm; Sat, 5pm. Through May 19. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

ONGOING

Act One, Scene Two Phoenix Arts Association Theatre, 414 Mason, Ste 601, SF; www.un-scripted.com. $10-20. Thu-Sat, 8pm. Through May 12. Un-Scripted Theater Company performs the beginning of a new, unfinished play by a local author — and creates an ending on the spot once the script runs out.

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through May 5. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the “staff only” backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

Any Given Day Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Extended run: Wed/25-Sat/28, 8pm (also Sat/28, 2:30pm); Sun/29, 2:30 and 7:30pm. Magic Theatre performs Linda McLean’s Glasgow-set play about modern, urban life.

“Bay One Acts Festival” Boxcar Theatre, 505 Natoma, SF; www.bayoneacts.org. $25-45. Wed-Sat, 8pm (also May 5 and 12, 3pm); Sun, 3 and 7pm. Through May 12. Ten bold and adventurous short plays by local playwrights, performed two full programs running in repertory.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Thu, 8pm (no show Thu/26); Sat, 8:30pm; Sun, 7pm (no show May 6). Through June 10. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

*Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Wed/25-Sat/28, 8pm. Actors Theatre of San Francisco and director Keith Phillips offer a sharp, spirited production of the 1984 play by David Mamet in which four real estate agents (Mark Bird, Sean Hallinan, John Krause, and Christian Phillips) jockey and scheme for advantage in their Chicago office in a landscape of insecurity and fierce competition symbolized by the selective doling out of the best leads by manager and company man John (Frank Willey). Clients (like the gullible young husband played by Randy Blair), meanwhile, are just witless marks for the machinations of the predatory salesman, no more meaningfully human than the “muppets” targeted by Greg Smith’s Goldman Sachs. If the scenic design is a little shabby, the strong cast makes that hardly an impediment to a story that feels especially timely in its sharply etched, not to say angry portrait of the ruthless and corrosive business mentality to which egos, livelihoods, and lives — not to mention the culture at large — are enthralled. (Avila)

Goodfellas Live Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Fri/27-Sat/28, 8pm. The Dark Room offers a comedic take on Scorsese’s gangsters.

*Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-35. Thu-Sat, 8pm. Extended through May 19. Cheap thrills don’t come much cheaper or more thrilling than at a Thrillpeddlers musical extravaganza, and their newly remounted run of Hot Greeks affords all the glitter-dusted eye-candy and labyrinthian plot points we’ve come to expect from their gleefully exhibitionist ranks. Structured as loosely as possible on Aristophanes’ Lysistrata, Greeks appropriately enough follows the trials and tribulations of a college sorority tired of “losing” their boyfriends to the big football match every year (Athens U vs. Sparta Tech). Pledging to withhold sex from the men unless they call off the game results in frustration for all, only partially alleviated by the discovery that sexual needs can be satisfied by “playing the other team,” as it were. But like other Cockettes’ revivals presented by the Thrillpeddlers, the momentum of the show is carried forward not by the rather thinly-sketched narrative, but by the group song-and-dance numbers, extravagant costuming (and lack thereof), ribald wordplay, and overt gender-fuckery. In addition to many TP regulars, including a hot trio of Greek columns topped with “capital” headdresses who serve as the obligatory chorus (Steven Satyricon, Ste Fishell, Bobby Singer), exciting new additions to the Hypnodrome stage include a bewigged Rik Lopes as stalwart sister Lysistrata, angelically-voiced Maggie Tenenbaum as the not-so-angelic Sodoma, and multi-faceted cabaret talent Tom Orr as heartthrob hunk Pendulum Pulaski. (Gluckstern)

It Is What It Is and The Watchtower Exit Theater, 156 Eddy, SF; www.myadultland.com. $20. Fri/27-Sat/28, 8pm; Sun/29, 3pm. Short plays by Diane Karagienakos and Christopher Barranti, presented on the same stage with a brief intermission.

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm, Sun, 7pm. Extended through May 27. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh San Francisco. (Avila)

Thunder Above, Deeps Below Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20-25. Thu-Sat, 8pm. Through May 5. Bindlestiff presents A. Rey Pamatmat’s dramatic comedy about three homeless young adults.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through May 26. 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

Anatol Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 13. Aurora Theatre Company performs a world premiere translation of Arthur Schnitzler’s drama about the love life of an Viennese philanderer.

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed/25-Thu/26, 7pm; Fri/27-Sat/28, 8pm; Sun/29, 5pm. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

A Hot Day in Ephesus Live Oak Theatre, 1301 Shattuck, Berk; info@aeofberkeley.org. $12-15. Fri-Sat, 8pm; May 13, 2pm. Through May 19. Actors Ensemble performs the world premiere of a musical based on Shakespeare’s Comedy of Errors.

John Brown’s Truth La Peña Cultural Center, 3105 Shattuck, Berk; www.brownpapertickets.com. $10-15. Sun/29, 7:30pm. The story of abolitionist John Brown comes to life via William Crossman’s script-libretto, plus dance, spoken word, and a variety of improvised music styles.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. 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)

Lucky Duck Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Thu and Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm (additional performance May 11, 7pm). Through May 13. Berkeley Playhouse performs a musical inspired by the “Ugly Duckling” tale.

Of Mice and Men TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Wed/25, 7:30pm; Thu/26-Sat/28, 8pm (also Sat/28, 2pm); Sun/29, 2pm. TheatreWorks performs the Steinbeck classic.

Oleanna Berkeley City Club, 2315 Durant, Berk; www.theatrefirst.com. $15-30. Thu-Sat, 8pm; Sun, 5pm. Through May 13. TheatreFIRST performs David Mamet’s tense two-charater drama.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tue and Thu-Fri, 8pm (also Thu/26, 2pm; no show Fri/27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; no 8pm show May 12; Sun, 7pm). Extended through May 12. Mark Rothko (David Chandler) isn’t the only one painting with a broad brush in this labored and ultimately superficial two-hander by John Logan, enjoying a competent but underwhelming production by outgoing Berkeley Rep associate artistic director Les Waters. Set inside the late-1950s New York studio of the legendary abstract expressionist at the height of his fame, the play introduces a blunt and brash young painter named Ken (John Brummer) as Rothko’s new hired hand, less a character than a crude dramatic device, there first as a sounding board for the pompous philosophizing that apparently comprises a good chunk of the artist’s process and finally as a kind of mirror held up to the old iconoclast in challenging proximity to a new generation that must ultimately transcend Rothko’s canvases in turn. The dialogue holds up signs announcing intellectual and aesthetic depths but these remain surface effects, reflecting only platitudes, while the posturing tends to reduce Rothko to caricature. Much of the self-consciously reluctant filial interaction here smacks of biographical sound bites or heavy-handed underscoring of theme, and tends toward the outright hokey when touching on the credulity-bending subject of Ken’s murdered parents — with the attendant shades this adds to Rothko’s and the play’s chosen color palette. (Avila)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

Bad Unkl Sista Z Space, 450 Florida, SF; www.brownpapertickets.com. Fri/27-Sat/28, 8pm (also Sat/28, 2pm). $35. The company melds Butoh, aerial installations, couture costuming, and more in the world premiere First Breath — Last Breath.

BATS Improv Bayfront Theater, Fort Mason Center, Marina and Laguna, SF; www.improv.org. Fri/27, 8pm: “Theatresports Madness,” $20.

“Comedy SuperPAC: Promoting Good Comedy and Great Causes Since 2012!” Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Mon, 7pm. Through May 7. $5. Nate Green and W. Kamau Bell present this ongoing comedy showcase; this week’s performers are Chris Garcia, Brendan McGowan, Jeff Kreisler, and Brandie Posey.

Company C Contemporary Ballet Cowell Theater, Fort Mason Center, Marina at Laguna, SF; (415) 392-4400, www.cityboxoffice.com. Fri/27-Sat/28, 8pm; Sun/29, 2pm. $23-45. The company’s spring program includes works by Charles Anderson, Gregory Dawson, and Peter Anastos.

“Dancers’ Group presents 2012 Bay Area Dance Week” Various locations; www.bayareadance.org. Through Sun/29. Free. Over 600 free dance events at locations throughout San Francisco, the East Bay, and beyond.

“Dances From the Heart” Cowell Theater, Fort Mason Center, Marina at Laguna, SF; www.helpisontheway.org. Mon/30, 7:30pm. $30-50. Dancers from Ballet San Jose, Diablo Ballet, ODC, and more perform to raise money for the Richmond/Ermet AIDS Foundation.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Ongoing through Nov 6. $15-50. Will Durst and friends perform in this weekly political humor show that focuses on the upcoming presidential election.

“Mark Foehringer Dance Project SF: Young Choreographer’s Forum” Kunst Stoff Arts, One Market, SF; www.mfdpsf.org. Sat/28, 11:30am-12:30pm. Free. As part of Bay Area Dance Week, dance makers ages 16-24 perform.

“Move to the Now” 111 Minna Gallery, 111 Minna, SF; www.asimagery.org, www.postballet.org. Sat/28, 6-9pm. Free. As part of National Dance Week, Amy Seiwert’s Imagery and Post: Ballet present “one night of extravagant dance” featuring performances by numerous Bay Area companies.

“Poems Under the Dome” City Hall, North Light Court, One Dr. Carlton B. Goodlett Pl, SF; www.poemdome.net. Fri/27, 5:30-8:30pm. Free. Celebrate National Poetry Month with this open mic at City Hall.

Smuin Ballet Yerba Buena Center for the Arts, 701 Mission, SF; www.smuinballet.org. Fri/27-Sat/28 and May 1-5, 8pm (also Sat/28 and May 5, 2pm); Sun/29 and May 6, 2pm. $25-62. Program includes the West Coast premiere of Val Caniparoli’s Swipe and the world premiere of Ma Cong’s Through.

“Youth Speaks Teen Poetry Slam” Masonic Auditorium, 1111 California, SF; www.youthspeaks.org. Fri/27, 7pm. $6-18. Sixteen finalists battle it out in Youth Speaks’ 16th annual slam competition.

David Zambrano Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787, www.ybca.org. Fri/27-Sat/28, 8pm. $20. The renowned choreographer performs Soul Project.

BAY AREA

“April Follies Same Sex Dance Sport Competition” Just Dance Ballroom, 2500 Embarcadero, Oakl; www.aprilfollies.com. Sat/28, 10am-5pm (competition); 6:30-7:30pm (beginning lessons); 8-11pm (showcase of champions). $15-35. Styles include tango, swing, merengue, salsa, something called “American Smooth,” and more.

“CubaCaribe Dance Festival” Laney College Theater, 900 Fallon, Oakl; www.cubacaribe.org. Fri/27-Sat/28, 8pm; Sun/29, 7pm. $10-24. The festival’s final week features Oil and Water, a world premiere by Alayo Dance Company. 

 

Music Listings

Andrew Lam
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0

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

WEDNESDAY 25

ROCK/BLUES/HIP-HOP

Bright Light Social Hour, Allofsudden Cafe Du Nord. 8pm, $10.

Allen Clapp and His Orchestra, Hollyhocks, Corner Laughers Bottom of the Hill. 8pm, $8.

Damir Johnny Foley’s. 9pm, free.

Fancy, Music Wrong, Meridians El Rio. 8pm, $5.

Griffin House, Hayley Sales Swedish American Hall. 8pm, $16.

Guntown, Bender, Silent Motif, Midnight Snackers Red Devil Lounge. 7pm, $13.

Hazel’s Wart, Future This, Business End Hemlock. 9pm, $6.

Ingrid Michaelson Fillmore. 8pm, $25.

Eddie Roberts’ Roughneck Brick and Mortar Music Hall. 9pm, $7-$10.

She’s, Bilinda Butchers, Trails and Ways Rickshaw Stop. 8pm, $10.

Jimmy Thackery Biscuits and Blues. 8 and 10pm, $20.

Todd vs. Charlie Johnny Foley’s Dueling Pianos. 9:30pm.

Jonathan Wilson, Magic Trick, Tortured Genies Great American Music Hall. 9pm, $15.

JAZZ/NEW MUSIC

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

Chris Amberger Trio & Jazz Jam Yoshi’s Lounge. 6:30 and 9:30pm.

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

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

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

Will Bernard Trio Yoshi’s SF. 8pm, $18.

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.

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

“KUSF 35th Anniversary Party” Vertigo, 1160 Polk, SF; www.savekusf.org. 8pm. With KUSF-In-Exile DJs Cactus, Terry Dactyl, Carolyn, Andre, and more.

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.

Shutter Elbo Room. 10pm, $5. with DJs Nako, Omar, and Justin.

Southern Fried Soul Knockout. 9:30pm, $3. With Medium Rare (Jason Duncan) and Psychy Mikey.

THURSDAY 26

ROCK/BLUES/HIP-HOP

All Together, BVHM Band, Chiles Verdes Amnesia. 7-8:30pm.

Big Drag, Schande, Night Call Hemlock. 9pm, $6.

Charlie vs. Todd Johnny Foley’s Dueling Pianos. 9:30pm.

Dig, Mist and Mast, Farewell Typwriter Bottom of the Hill. 9pm, $10.

Dolorata, Upside Down, Harriot Cafe Du Nord. 8pm, $10-$12.

Fancy, Foxtails Brigade Revolution Cafe, 3248 22nd St, SF; www.revolutioncafesf.com. 8:30pm

Bob Frazier and Lenny, Kate Fiano, Quite Time, New Thoreaus Amnesia. 9pm.

Fruit Bats, Kelley Stoltz, Gold Leaves Independent. 8pm, $17.

Greensky Bluegrass, Ten Mile Tide Slim’s. 8pm, $16.

Holy Shit! Brick and Mortar Music Hall. 9pm, $9-$12.

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

Kittie, Blackguard, Agonist Regency Ballroom. 7:30pm, $24.

Knocks, popscene DJs Rickshaw Stop. 10pm, $12.

Ben Kweller, Sleeper Agent, Noah Gunderson Great American Music Hall. 8pm, $19-$21.

Lean, Freedom Club, Street Justice Knockout. 9:30pm, $6.

Jimmy Thackery Biscuits and Blues. 8 and 10pm, $20.

Three Guys: The Mix El Rio. 6pm, free. With Josh Klipp, Joe Stevens, Eli Conley, and Beau Dream.

Trippple Nippples, Ass Baboons of Venus, Ghost Town Refugees Thee Parkside. 9pm, $10.

JAZZ/NEW MUSIC

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

Varla Jean Merman Rrazz Room. 8pm, $35-$40.

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

David Pack Yoshi’s SF. 8pm, $22; 10pm, $18.

Savanna Jazz Jam Savanna Jazz, 2937 Mission, SF; www.savannajazz.com. 7:30pm, $5.

FOLK/WORLD/COUNTRY

Bluegrass and old time jam Atlas Cafe, 3049 20th St, SF; www.atlascafe.net. 8-10pm, free.

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

Toure-Raichel Collective Herbst Theatre, 401 Van Ness, SF; www.sfwmpac.org. 8pm. $25-$85.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. With DJs/hosts Pleasuremaker and Senor Oz, Afrolicious live band, and DJ Smash.

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

Joakim Public Works Loft. 9:30pm, $12.

KUSF in Exile DJ Carolyn Hemlock Tavern. 6-9pm.

Thursdays at the Cat Club Cat Club. 9pm, $6 (free before 9:30pm). ’80s with DJs 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 27

ROCK/BLUES/HIP-HOP

Aerosols, Soft Bombs, Goldenhearts Brick and Mortar Music Hall. 9pm, $7-$10.

Matt Alber, Jeb Havens Swedish American Hall. 8pm, $18.

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

Body and Soul Johnny Foley’s. 9pm, free.

Cypress Hill Regency Ballroom. 9pm, $42.

“Deathrock Night Terrors Music Festival” Sub-Mission. 9pm, $8. With Moira Scar, Burning Skies, and more.

Glorious First of June, Ivan and Alyosha Hotel Utah. 9pm, $10.

“Guitarmageddon Blues Ball” Slim’s. 8:30pm, $13-$16. With Mark Calderon, Josh Clark, Daria Johnson, and more.

Arann Harris and the Farm Band, Stairwell Sisters, Barbary Ghosts Cafe Du Nord. 9pm, $10-$12.

Inciters, Bang, Police and the Thieves, DJ Dr. Scott Thee Parkside. 9pm, $8.

Lord Loves a Working Man, Quinn DeVeaux and the Blue Beat Review, Song Preservation Society Bottom of the Hill. 10pm, $12.

Loquat, Mister Loveless, Excuses for Skipping Independent. 9pm, $15.

Nectarine Pie, Cumstain, Molestations, Coke and Glitter Hemlock. 9pm, $7.

Orgone, Aggrolites Great American Music Hall. 9pm, $16.

Sista Monica Biscuits and Blues. 8 and 10pm, $22.

Rosie Thomas Hotel Utah. 9pm.

Todd, Rome Balestrieri, Charlie Johnny Foley’s Dueling Pianos. 9pm.

JAZZ/NEW MUSIC

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

Black Market Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.

Terry Disley Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 5:30-8:30pm, free.

Havana D’Primera Yoshi’s SF. 8 and 10pm, $30.

Lady Rizo Rrazz Room. 10pm, $25.

Carol Luckenbach Savanna Jazz, 2937 Mission, SF; www.savannajazz.com. 7:30pm, $8.

Dmitri Matheny JCCSF, 3200 California, SF; www.jccsf.org. 7pm, free.

FOLK/WORLD/COUNTRY

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

DANCE CLUBS

Afrolicious Elbo Room. 10pm, $10. With DJs/hosts Pleasuremaker and Senor Oz, Afrolicious live band, and VooDoo Killer DJ Newlife, DJ Sergio, and Fogo Na Roupa.

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

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

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.

Public Access: Hype Williams Public Works. 9pm, $15. With Gatekeeper, Teengirl Fantasy, and Zebra Katz.

Teenage Dance Craze Knockout. 10pm, $5. With DJs Russell Quan, Okie Oran, dX the Funky Granpaw.

Greg Wilson, Green Gorilla Lounge Monarch, 101 Sixth St, SF; www.monarchsf.com. 9Pm, $15-$20.

 

SATURDAY 28

ROCK/BLUES/HIP-HOP

Back Pages Johnny Foley’s. 9pm, free.

Bayonics, Kev Choice Elbo Room. 10pm, $12.

Charlie, Rome Balestrieri, Todd Johnny Foley’s Dueling Pianos. 9pm.

DJ Shadow, Nerve Regency Ballroom. 9pm, $38.

Female Trouble, Enemy’s Daughter Thee Parkside. 3pm, free.

Filthy Thieving Bastards, Bloodtypes, Midnite Snaxxx El Rio. 9pm, $8.

Fresh & Onlys, Young Prisms, Mallard, Light Fantastic Brick and Mortar Music Hall. 9pm, $10-$13.

Go Radio, This Providence, Tyler Carter, 5606 Bottom of the Hill. 7:30pm, $12.

Janam and Broken Shadows Family Band Brava Theater Center, 2781 24th St, SF; www.songbirdfestival.org. 9-11pm. Power of Song Series.

Alex Kelly Brava Theater Center, 2781 24th St, SF; www.songbirdfestival.org. 5-8pm. Power of Song Series.

Muck and the Mires, Hi-Nobles, Krells Hemlock. 9:30pm, $10.

Planet Booty, Greenhorse Cafe Du Nord. 9:30pm, $12.

John C. Reilly and Friends Bimbo’s. 9pm, $21.

Ronnie Mund Block Party Great American Music Hall. 8 and 10:30pm, $25-$35.

Rupa & the April Fishes, Shake Your Peace Independent. 9pm, $20.

Earl Thomas & the Blues Ambassadors Biscuits and Blues. 8 and 10pm, $22.

Tipper Fillmore. 9pm, $25.

Tragedy, Needles, Sete Star Sept, Permanent Ruin, Stressors Thee Parkside. 9pm, $10.

JAZZ/NEW MUSIC

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

Anna Estrada Savanna Jazz, 2937 Mission, SF; www.savannajazz.com. 7:30pm, $8.

Havana D’Primera Yoshi’s SF. 8 and 10pm, $30.

“Israeli Jazz Festival” JCCSF, 3200 California, SF; www.israelijazzfest.org. 7pm

Lady Rizo Rrazz Room. 10pm, $25. Living Earth Show Unitarian Universalist Society of San Francisco Chapel, 1187 Franklin; www.tangentguitarseries.com. 7:30pm, $15.

Scott Nicholson and Anthony Bello Exit Cafe, 156 Eddy, SF; www.songwritersaturdays.com. 8:30pm, free.

SF Contemporary Players ODC Dance Commons, 351 Shotwell, SF; www.sfcmp.org. 4:30pm, $5-$10.

Slippery Slope, Broun Fellinis 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 10pm, $10. Celebrating Bob Kaufman.

 

FOLK/WORLD/COUNTRY

Madjo Theater La Perouse, 1201 Ortega, SF; www.lelycee.org. 8pm.

Craig Ventresco & Meredith Axelrod Atlas Cafe, 3049 20th St, SF; www.atlascafe.net. 4-6pm, free.

DANCE CLUBS

Blow Off Slim’s. 10pm, $10. Hosted and DJ’d by Bob Mould and Rich More.

Bootie SF: Aprilween DNA Lounge. 9pm, $10-$20. With Smash-Up Derby, Die Die My Darling, DJ Tripp, costume contest, and more.

Dark Room Hot Spot, 1414 Market, SF; (415) 355-9800. Electro, punk, and industrial with Violent Vickie, DJ Le Perv, and Dark Drag performances.

Go Bang! Deco Lounge, 510 Larkin, SF; www.gobangsf.com. 9pm, $5. With Tim Zawada, Steve Fabus, Sergio Fedasz, and more.

Mad: Reprise Monarch, 101 Sixth St, SF; www.monarchsf.com. 9pm, $10. Presented by Mad Techno, with Mr. C.

Mango El Rio. 3-8:30pm, $8-$10. Sweet sexy fun for women with DJs Edaj, Marcella, Olga and La Coqui.

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.

Rocket Rickshaw Stop. 10pm, $7.

Roots and Rhythm Series Amoeba Music,1855 Haight, SF; www.savekusf.org. 2-5pm. With KUSF-In-Exile DJ Harry Duncan.

Shine On Knockout. 10pm, $5, free before 11pm with RSVP. With DJs Jamie Jams, Placentina, Little Amy, and Yule Be Sorry spinning indie pop, dream pop, and shoegaze.

SUNDAY 29

ROCK/BLUES/HIP-HOP

Apocryphon, Prizehog, Author & Punisher, Badr Vogu Hemlock. 6pm, $7.

Sonya Cotton, Conspiracy of Venus Brava Theater Center, 2781 24th St, SF; www.songbirdfestival.org. 9-11pm. Power of Song Series.

Escalator Hill, Lonely Wild Brick and Mortar Music Hall. 9pm, $5-$8.

Julia Holter, Jib Kidder, William Winant Percussion Group Rickshaw Stop. 8pm, $12.

Inspector Gadje, Dangerate Cafe Du Nord. 7pm, $10.

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

JAZZ/NEW MUSIC

Daria, Jean Michel Hure, Alex Baum Bliss Bar, 2086 24 St, SF; www.blissbarsf.com, 4:30pm, $10.

“Israeli Jazz Festival” JCCSF, 3200 California, SF; www.israelijazzfest.org. 7pm

Savanna Jazz Jam Savanna Jazz, 2937 Mission, SF; www.savannajazz.com. 7pm, $5.

Steady Rollin’ Bob Margolin Yoshi’s SF. 8pm, $20.

FOLK/WORLD/COUNTRY

Festival of the Mandolins Croatian American Cultural, 60 Onondaga, SF; www.croatianamericanweb.org. 11:30-6pm, $15.

Twang Sunday Thee Parkside. 4pm, free. With Gravel Spreaders.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, and dancehall with DJs Sep, Maneesh the Twister, and DJ B-Love.

45 Club Knockout. 10pm, free. Funky soul with English Steve, Dirty Dishes, and dX the Funky Granpaw.

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 30

ROCK/BLUES/HIP-HOP

Black Crown String Band Amnesia. 9pm, free.

Damir Johnny Foley’s. 9pm, free.

Coles Whalen, Mental99 Elbo Room. 6pm, $7.

JAZZ/NEW MUSIC

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

Marshall Crenshaw Yoshi’s SF. 8pm, $18.

SF Contemporary Players Herbst Theatre, 401 Van Ness, SF; www.cityboxoffice.com. 8pm, $10-$30.

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.

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

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 1

ROCK/BLUES/HIP-HOP

Club Crasherz, Giggle Party, Young Digerati Elbo Room. 9pm, $6.

FayRoy, Old Monk Hemlock. 9pm, $6.

Girl in a Coma, Pinata Protest, Sara Radle Independent. 8pm, $15.

Midnight Youth Brick and Mortar Music Hall. 9pm, free.

Joe Pug, Bailiff, Goodnight Texas Bottom of the Hill. 9pm, $12.

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

Colin Stetson Hotel Utah. 8pm.

Yukon Blonde, Wild Kindness, Together We Can Rule the Galaxy Cafe Du Nord. 8:30pm, $10.

JAZZ/NEW MUSIC

Gaucho Bottle Cap, 1707 Powell, SF; www.bottlecapsf.com. 7-10pm, free.

Maureen McGovern Rrazz Room. 8pm, $35-$45.

DANCE CLUBS

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

KUSF in Exile DJ Carolyn Casanova Lounge, 527 Valencia, SF; www.savekusf.org. 6-9pm. Post-Dubstep Tuesdays Som., 2925 16th St, SF; (415) 558-8521.10pm, free. DJs Dnae Beats, Epcot, Footwerks spin UK Funky, Bass Music. Study Hall John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. Hip-hop, dancehall with DJ Left Lane. 

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