Local Archives — Page 2 of 294 — San Francisco Bay Guardian Archive 1966

Two-fer Tuesday: New music videos from Cathedrals and The Stone Foxes

Steven T. Jones

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September 30, 2014

Two-fer Tuesday: New music videos from Cathedrals and The Stone Foxes

Because nothing showcases the breadth of music being made in the Bay Area better than some chilled-out electro R&B followed by a driving blues-rock sprint of a song: Here are the latest music videos from local faves Cathedrals and the Stone Foxes.

The Cathedrals‘ first music video, for their song “Unbound,” marks one year since the duo began releasing music online — beginning with that tune, with Brodie Jenkins’ seductive singalong of a chorus over a layered symphony of Johnny Hwin’s guitar and synths. For the video, released today, the pair recruited Maria Kochetkova, a dancer with the San Francisco Ballet, to perform in front of a light sculpture called Sugar Cubes, by SF artist Alex Green. Cathedrals’ debut EP came out this month on Neon Gold, and they’ll play Treasure Island Music Festival Oct. 19.

And in an entirely different vein, The Stone Foxes, who are home this week after a whirlwind tour of the West Coast, gave us this brand-new video for “Locomotion,” in which our heroes — showcasing a good sense of humor alongside their lack of physical prowess — challenge a bunch of guys who actually know how to play basketball to an ill-fated game. “We thought, what kind of video could encapsulate the song’s story of the [band members] Koehler Brothers’ great grandfather running away from the authorities in newly communist Russia? A sports movie of course!” wrote the band by way of explanation. Gonna call that one a slam dunk.

The band promises to release new music the first Friday of every month for the next year, building up to an album in late 2015. For now, the Stone Foxes will kick off a residency at The Chapel Nov. 1 with Strange Vine.

The Mountain Goats’ John Darnielle on his first novel, unreliable narrators, and the joys of getting real mail

Steven T. Jones

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September 26, 2014

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The Mountain Goats’ John Darnielle on his first novel, unreliable narrators, and the joys of getting real mail

John Darnielle’s brain seems like it runs at just a slightly higher RPM than other people’s.

One could get this impression from listening to the tightly crafted mini-universe he creates inside each track on a Mountain Goats record — take your pick, he’s penned some 14 full-length studio LPs inside the last 18 years, not counting a slew of singles and B-sides and other assorted treats — or from his Twitter feed, which zooms from his enthusiasm for black metal to witty commentary about televised wrestling to on-point, eloquent opining about Ferguson, vegetarianism, or abortion rights.

He also wet his feet in the world of publishing in 2008 by penning an unconventional book for the 33 ⅓ series about Black Sabbath’s Master of Reality, in the form of a collection of fictional journal entries written by a teenager from a mental hospital.

But his first novel, Wolf in White Van (published this month by Farrar, Straus & Giroux), is another animal altogether, one running at an even more impressive speed. Though its motifs won’t be unfamiliar to Darnielle fans — despair, metal, the difficulty of connecting to other human beings, the isolation and unsung miseries of suburban adolescence — the narrative is far more vast and complex than anything he’s ever written. Told backward, the story unfolds like a labyrinthian treasure map, one in which the treasure chest keeps moving but you’re careening toward it regardless, and also you’re a little scared of what you’ll find when you get there.

For the first half of the book, all we know is our protagonist, Sean, is a man whose face is horribly disfigured because of something mysterious that happened when he was 17, and who lives a highly secluded life as a result. He makes a living running an analog role-playing game called “Trace Italian,” set in a post-apocalyptic Midwest, in which players snail-mail him their choices and he mails back where those choices have led. Sean finds himself on trial when two teens take the game a little too seriously, and the rest of his life story — including the the incident that caused his disfigurement — is delivered to readers in surreal, highly visual flashes. It’s a survivor’s story, however dark. (Which is, of course, the very feeling that draws listeners to Darnielle’s music, record after record after record.)

Within weeks of its publication, the book’s garnered rave reviews, including a nomination for a National Book Award. Also, I’m not going to lie; I felt mildly fucked up for about three days after reading it. Which I think is generally a sign of good art?

Darnielle’s currently in the middle of a national book tour, reading and speaking at bookstores throughout the U.S. — including the new Green Apple Books on the Park this Mon/29. We caught up with the impossibly fast-talking Darnielle on the phone a couple weeks ago from his home in North Carolina, where he’d just returned home from grocery shopping and was inspecting the little fishpond in his backyard, worried that the herons had attacked and eaten the last of his fish. [Note: I erred on the side of vagaries rather than spoilers in this interview, which has also been lightly edited for the sake of cohesiveness.]

San Francisco Bay Guardian So I love the book. I read it in one sitting and I haven’t been able to get it out of my head. Are you getting good feedback? How does it feel different from having a new album come out?

John Darnielle Thank you. I’m so glad, I really didn’t know how it was going to be received. The wait for a book to be out in the world is so long, and you read it 15 times, and the first time you’re thinking “This seems so fresh and so good” …and then by the end you lose sight of the big picture, going “I hope this reads as well as it was reading five years ago.”

With music, I always try to write and record and get it out there into the world. Because there’s a freshness for me, and also because I want people to hear them when they’re new. Before the Internet came around I used to just play new stuff all the time. With a book, there’s so much to it, by the final process, it’s like you’ve built a house.

Also, this is all me, by myself. People always treat my albums like they’re just me, but there are other musicians — Jon Wurster and Peter Hughes — who are a big part of it.

SFBG Speaking of which, you’ve also put out four albums in the last six years. Can you walk me through the timeline of how this book came about amidst all that?

JD The day after I turned in Masters of Reality in 2007, I wrote what ended up being the last chapter of [Wolf in the White Van]. And that was going to be the one chapter that Sean got — I wrote all these other chapters from the perspectives of different narrators. Some of them made it back into the book in a different form. But the day that I got the idea to tell it backwards, I decided, okay, let’s stay with the one guy.

The scene that opens the book [in which Sean’s father is carrying him down a hallway after coming home from the hospital] was originally told from his father’s point of view. It was very hard to let go of those chapters, how I’d already been through that process.

SFBG The father-son relationship still feels very central, and I know your relationship with your own stepfather shows up a lot in your songwriting. Do you think becoming a father yourself affected that aspect of the story?

JD I actually wrote that before [my wife] was even pregnant. But yeah, there’s a lot of grief for father-son relationships [in my work], and I think if I wrote the book now, being a son and a father certainly inform those things. I’m old enough now to think about parents, you know, that they’re parents. [Sean’s] parents were once parents to a baby.

I was at one point suicidal when I was a teenager, and that’s a thing, as a parent, how do you deal with it when your kid says that?…you have to have respect for that situation, and this is his account about living with the aftermath. And part of that is not ever being close to his parents again. That’s where you have to respect people’s descriptions of the worlds they live in, and not force them to live in a world that just makes sense to you.

SFBG When you decided it was just going to be Sean as a narrator, were you wanting people to realize they were working with an unreliable narrator? As the book goes on and we understand more about his situation, I think empathize with him more but also maybe trust his point of view less.

JD I think people rely on narrators to give them what they want to hear, and he’s actually really reliable in that he describes the reality of the situation — right down to not being certain of his motives. I think that’s where you realize that narrative is kind of an imposition. When people break up with each other, we always ask ‘Oh, what happened?’ or ‘They grew apart’ to put some kind of story together and it’s really, they just sort of did. A little bit of this, a little bit of that, and someone pulled the chain.

I think Sean’s reliable in that he’s telling the truth about himself, and the way that looks from the outside is something we have to infer from the way people look at him, treat him. It’s kind of a basic existential problem with subjectivity, right?

SFBG The last time I talked to you, you mentioned that some of your song names came from notebooks you keep, with simple phrases you see and like — “Outer Scorpion Squadron” [from All Eternals Deck] and the like. I noticed some similar phrases in the game, on the cards Sean sends back to players.

JD Yeah, I was able to weasel one or two of those in there. The rock throne. In a big book, especially with his game, you can do that — you’re really just making a giant tapestry with all these obsessions, occupations, old interests, small things that inspire you; you can get all of those sewn together in your quilt.

SFBG How did the game come about? It’s such a detailed world within the world of the book.

JD It wasn’t part of the initial idea. When I was brainstorming I had bits of a story to tell, and I was going “Okay, if I have this person [who’s so isolated], how would he make a living?” And in the present day, it would be a lot of IT jobs, home office type of stuff. But back then [pre-Internet] I think it would’ve been much harder. I think I got the idea on an airplane and just started to swell up from the idea of it, having this whole other universe to populate.

SFBG Which is, of course, how a lot of people spend their time now, but they’re universes that exist on the Internet.

JD And the Internet is great for a lot of things, but it is a more solitary activity. There’s something about the mail — speaking of old interests — I used to submit my old short stories to magazines when I was 12 or 13 years old, and there was the whole world of getting something in the mail from far off, a feeling that was really intense, that I don’t think happens when you get something back in seconds. I also used to send away for stuff from [Belgian hardcore band] Agathocles, and they’d send you stuff directly from Holland — 7-inch white vinyl, flyers for local shows and things like that. It was a very arcane and awesome world to be part of.

I mean, the mail is kind of rad. I always like when you see little ads that are just, send in $5, and you have no idea what this service is, but you’ll probably learn something you don’t know anything about. I like thinking about, you know, someone took out that ad, and what the story is behind that.

SFBG Before I let you go — tell me about this fish you’re so concerned with.

JD Well, we live in a pretty wild area in North Carolina, so we have this pond, nothing fancy, just a little fishpond, and there are also hawks around and sometimes herons, so I guess these goldfish were destined to be eaten, so that happened recently. And I was up here the other day, actually doing an interview, and I saw this flash of orange and it was this one fish that used to bully the others that had survived the massacre. This one survivor fish. But I’m not seeing him now.

SFBG Well, that’s upsetting.

JD It was a big one; that would be a mouthful. He could turn up, though.

[Update, two days later: “One fish is still among the living.”]

John Darnielle will read from Wolf in White Van, in conversation with Robin Sloan, at 7pm on Sept. 29, at Green Apple Books on the Park (1231 9th Ave, SF). More deets: www.greenapplebooks.com.

Tough decisions ahead: The Bay Area Record Fair, the Oakland Music Festival, and more

Steven T. Jones

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September 24, 2014

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Tough decisions ahead: The Bay Area Record Fair, the Oakland Music Festival, and more

Ever get so overwhelmed by all the awesome events in the Bay Area on a given weekend that you give up on trying to decide between any of them and find yourself just hanging with whomever you can get to come to your house to drink with you and your cats? Or, if you’re feeling really adventurous, venturing 50 yards down the street to watch baseball at the closest bar with a TV?

Haha, me neither! Just kidding; that person sounds like a loser who is definitely not me. ANYWAY, this is one of those weekends where you’re going to have to make some tough calls. It’s called being a grownup. Here we go.

FRI/26

San Franciscans may think they have the market cornered on psychedelia, but things sound a little different in the desert — dusty, moody, lonely, and super atmospheric. All of these are apt words for decker., a Sedona-based “desert folk” act led by singer-songwriter Brandon Decker that won hearts with its soulful live act at SXSW, among other stages. This show at Bottom of the Hill (1233 17th St, SF), which serves as a record release party for the band’s fifth album, Patsy, will actually be a double-helping of soul: Oakland favorites Whiskerman, with multi-instrumentalist Graham Patzner’s vocal chops at the helm, will help open the evening.

Bob Mould, Castro resident and extremely well-spoken guy in addition to being an exceedingly talented guitarist and legendary all-around frontman, is coming home — and his welcome party’s at the Fillmore (1805 Geary, SF) tonight with Cymbals Eat Guitars. Mould’s new record, Beauty and Ruin, has been on repeat in certain headphones; check our interview with him in this week’s paper for more.

SAT/27

The Bay Area Record Fair, aka the best new acronym to come out of the local music scene since possibly ever, is throwing the second edition of its schmooze-fest/record sale/party this Saturday at Thee Parkside (1600 17th St, SF) and the surrounding blocks. This free shindig, thrown by local label Father/Daughter Records alongside promoters Professional Fans, will feature live sets from Happy Diving (whose excellent debut LP is out next month), Hot Flash Heat Wave, Wild Moth, and Flim Flam and The Jet Stars of Three O’Clock Rock. All of that while you swing by tables from more than 30 Bay Area record labels, who’ll be hawking CDs, LPs, t-shirts, stickers, that one weird rare flexi-disk you’ve been looking for forever, etc. The party goes down from noon to 5pm, but $5 gets you early entry (first access to the crates, you fiends) at 11am. RSVP here. Oh, and here’s our review of the last one.

Over on the other side of the Bay, the second annual Oakland Music Festival highlights the best in local-ish hip-hop, funk, R&B, dance and electronic music, with a few folky singer-songwriters in there for good measure. The daylong fest has four stages throughout downtown (21st, 22nd, and Grand Streets between Broadway and Webster) with headliners like rapper Dom Kennedy, beatmaker Esta, soulful singer SZA as headliners, while the legendary Chuy Gomez and hometown heroes Trackademicks and 1-O.A.K hold down the DJ stage. Plus, you know, food, beer, a beautiful day in the East Bay sunshine. Tickets (for $28 or $35, unless you go VIP) right here.

SUN/28

How do you get away with throwing a bonkers dance party on public Ocean Beach in broad daylight? Pipe the music directly into the crowd’s headphones, that’s how. The Silent Frisco crew has found the ultimate underground vibe, above ground, with HushFest. Here’s how it works: Gather at the party spot (imbibe your libations beforehand, please, no drugs or alcohol on the beach), pay $20 for special wireless headphones, and dance in the sand with a huge gaggle of other wildly, silently gesticulating aficianados — all for $20, kicking off at 11am. DJs at this annual event around include genius duo Psychmagik, who rejigger deepest funk-rock memories of the 1970s, Rob Garza of Thievery Corporation, and Fort Knox Five. Yes, you can still yell “woo!” (Marke B.)

The Aislers Set, Cold Beat, and the Mantles at The Chapel (777 Valencia, SF). This here’s an SF triple-threat, with the Brit-influenced, late ’90s/early aughts indie-pop veterans The Aislers Set making their much-awaited return tonight. Hannah Lew’s (ex-Grass Widow) Cold Beat will lend a harder edge to the evening, sandwiched alongside the Mantles’ 60s-tinged dream-pop. Also for $20, we can think of worse ways to stave off the Sunday night blues.

Pedaling and feasting

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September 24, 2014

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FEAST: COAST BY BIKE I spent my vacations on my bicycle this summer, pedaling from southern Oregon to San Luis Obispo and looping through the Santa Cruz Mountains on three separate bike tours, covering almost 1,000 miles over three weeks, fully loaded with camping and other gear.

It was as healthy, athletic, and adventurous as it sounds — but it also involved some serious feasting along the way. We were often ravenously hungry when we would stop for meals, eager to splurge on whatever struck our fancy on the menus, or just feel an almost irrational appreciation for simple snacks.

After all, we had earned it. And with hiker-biker campsites costing just $5 per night, we could spend our vacation money on good food and drink to fill our internal fuel tanks and feed our taste for decadent delights.

There’s a certain ethos to eating on a bike tour, as I learned from my friend Jason Henderson (the SF State geography professor who writes the Guardian’s Street Fight column) and other veteran bike tourers along the way. Some young cyclists on long trips go for austerity, eating simple meals out of cans or jars to keep their costs down, but we were going for maximum enjoyment.

We cooked about half our meals, mapping out the last place to shop for fresh food before our camping destination for the night. That sometimes meant schlepping heavy groceries — fruits and vegetables, pasta and sauce, rice and beans, beer and wine — up to 10 miles.

We didn’t always use perfect judgment, such as on the long day’s ride from Humboldt Redwoods State Park to the Standish-Hickey State Recreation Area, an otherwise remote site along the Redwood Highway that nonetheless had an awesome restaurant and store, The Peg House, right outside the campground entrance.

In the mornings before breaking camp and hitting the road, usually by 8am, we made coffee and top-quality oatmeal mixed with fresh berries (occasionally picked ourselves from the roadside), brown sugar, and walnuts. This was known as the “first breakfast.”

Two or three hours into the ride, depending on the route, we would stop at some random restaurant for the second breakfast, and it was always such a treat, anything from surprisingly awesome fried chicken from a little market to the best Hangtown Fry (mmm, oysters and eggs!) I’ve ever had.

Later, we’d stop for lunch, usually famished by then, a meal that sometimes included a beer or two if we were close to our destination for the night. Occasionally, there would be a second lunch, and on a few rare occasions when there was a restaurant at the campground, a big, fat dinner feast.

That element of randomness on a slow road trip, when hunger or whims pulled us into some funky little roadside restaurant or store along California’s epic coastline, was one of the great and unexpected joys of my summer bike tours. And while there were many awesome spots we hit along the way, here’s a representative sampling, north-to-south, of a dozen meals that lingered with me:

Fried chicken at Fort Dick Market, Fort Dick
Riding from Harris Beach, Ore. toward Crescent City, that mid-morning hunger pulled us into a little roadside market, and the smell of fried chicken propelled us from there. Fried chicken, mashed potatoes, and coleslaw for a second breakfast? Por que no? Well worth it.

Hangtown Fry at Seascape Restaurant, Trinidad
We rolled through beautiful Trinidad on one of our shortest ride days, under 30 miles, so we didn’t mind lingering down by the harbor during a long wait for a table at Seascape Restaurant. And when I put that first bite of my Hangtown Fry in my mouth, the oysters’ vital juice mixing with the cheesy eggs, I believed I reach culinary nirvana.

Sushi room service at Hotel Arcata
My riding partners had traveled all the way from Portland, so they needed a Laundromat and a night in a bed by the time we reached Arcata. The quaint and historic Hotel Arcata was great spot right on the town square, and better yet, it offered room service from Tomo Japanese Restaurant. Fat specialty sushi rolls were a decadent treat after a long ride while my friends washed their skivvies.

BBQ Oysters at The Peg House
Oh, how I wished we had known about this place before we arrived at Standish-Hickey State Park near Leggett. The store was filled with gourmet goodies and a great beer and wine selection, and the adjacent restaurant had a huge outdoor patio, a stage for live music on weekends, and a wonderfully full menu, including some of the most amazing BBQ oysters I’ve ever had, bathed in some secret sauce that I wanted to drink from a pint glass. So that night, I had two dinners.

Ribs at Bones Roadhouse in Gualala
Entering the lovely coastal town of Gualala, past the large dinosaur-shaped topiary on the edge of town, I was immediately charmed. And starving after arriving in our destination town well ahead of my traveling companions. So I hit Bones Roadhouse, a groovy spot with an ocean view and autographed dollar bills covering the walls and ceiling, and ordered a huge plate of smoked pork ribs and two local IPAs on tap. Ah, life is good.

Burger and beers at Pescadero Country Store
After a long day’s ride from San Francisco on Labor Day weekend, with only a few more miles until our Butano State Park campsite under the redwoods, this place not only had awesome gourmet burgers and two fine IPAs on tap, it also had a great little jam band playing on the sunny patio.

Pulled pork sandwich at Big Basin Store
Big Basin Redwoods State Park is a beautiful, popular spot that doesn’t seem to have a restaurant, only a little camp store. Ah, but it has recently added a little restaurant in the back, something visitors would hardly notice. And even though the menu is small, it did have some super yummy pulled pork panini sandwiches that hit the spot after a dusty ride on a dirt trail from Butano.

Coffee and Mocha at Surf City Coffee, Moss Landing
Sometime, between our first and second breakfasts, we’d stop for coffee drinks, which I’d drink as I rode from a Contigo cup that fit perfectly in one of my water bottle holders. At this cute and colorful little spot, I got one of the best mochas of the trip and picked up a bag of fresh ground coffee to go with our first breakfasts.

Whole cracked crab at Liberty Fish, Monterey
It was a big ride from Sunset State Beach all the way to Big Sur, more than 70 miles, with Fisherman’s Wharf in Monterey the lunch spot at the halfway point. To mark the spot and fuel up for a big afternoon ride, I devoured a whole cracked Dungeness crab and cup of clam chowder. Then I was good to go.

Steak at Big Sur Lodge
Halfway through our first tour from SF to SLO, we decided to spend two nights under the redwoods at beautiful Pfeiffer Big Sur State Park, which also had a fancy restaurant, Big Sur Lodge, right at the campground. We did some serious feasting both nights, short ribs the first night and a thick, perfectly cooked steak the second. Totally decadent, totally worth it.

Smoked albacore tacos at Ruddell’s Smokehouse, Cayucos
This tiny spot by the beach doesn’t look like much, offering mostly just smoked meat and fish tacos and sandwiches, but that’s all you need. It was so good that we even bought a pound of smoked albacore to go.

Lamb burritos at The Wild Donkey Cafe, San Luis Obispo
Offering the uniquely compelling combination of “Greek and Mexican Cuisine” (as well as a table that allowed us to keep an eye on our loaded bikes, which sometimes influenced our restaurant choices), this was a great little spot with an interesting menu, friendly service, and yummy grilled lamb burritos.

SEIU Local 1021 backs motorist measure and a Republican. WTF?!?!

Sasha Cuttler

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September 23, 2014

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SEIU Local 1021 backs motorist measure and a Republican. WTF?!?!

Service Employees International Union Local 1021 — which has long played an important role in San Francisco’s progressive movement, providing the money and member turnout to achieve some important victories for the left — finds itself at odds with many progressive activists in this election, particularly on the issue of transportation.

As we previously reported, the union has been aggressively campaigning for BART Board member James Fang’s reelection this year, even though Fang is the city’s only elected Republican and not particularly progressive on transit and other issues. But he was the only BART board member to walk the picket line with the workers during last year’s disastrous strikes, so it’s understandable why the union would stand with him now.

What’s less understandable is why Local 1021 has endorsed the Yes of Prop. L campaign, which seeks to undermine San Francisco’s transit-first policies and transfer money from Muni operations to subsidize more free public parking for automobiles, joining such unlikely allies as the San Francisco Republican Party, the SF Association of Realtors, and the SF Chamber of Commerce.

So we asked Local 1021 Political Chair Alysabeth Alexander about the endorsement, and she told us: “One of our member leaders is a proponent and the argument that driving is hell in San Francisco resonated with a portion of our membership that drives and for whom public transportation is not an option either because of service cuts and route changes, because their job requires car use, or because they work shifts that don’t work for public transportation or biking. Because of rising housing prices many working people have been pushed out of SF over the years, and many of our workers shifts end or start when BART or Muni isn’t working or isn’t practical. Our union is 100 percent supportive of public transportation and addressing the climate crisis head-on. We are fighting for the expansion of public transportation and for adequate funding, and sufficient staffing so that it can be maintained.”

The “member leader” she referred to was apparently Claire Zvanski, a longtime past president of the District 11 Democratic Club. But even that club couldn’t bring itself to endorse this myopic primal scream of a ballot measure, taking no position and writing, “This is a policy statement to inform the MTA that cars and those who love them are not getting enough attention in the transit planning process. This measure received a No Recommendation as an alternative to an Oppose from the eboard, mostly out of respect for our venerable past-president Claire Zvanski. The members also voted No Recommendation.”

Most progressive and transportation-related groups are opposing Prop. L, which its opponents say will actually make things worse for motorists in the city by undermining current efforts to make Muni more attractive and encourage people to use alternatives to the automobile.

“If we don’t reduce the congestion on the streets, that makes it harder for the people who really do have to drive,” No on L campaign manager Peter Lauterborn told us, responding to Alexander’s argument that the measure somehow helps working people and noting that Local 1021 never allowed the No on L campaign to make its case before endorsing the measure [UPDATE/CLARIFICATION: Alexander said the San Francisco Bicycle Coalition “did present a No on L position]. He also said the measure may have visceral appeal to frustrated drivers, but it doesn’t really make sense.

“Taking away money from the transportation system to build parking garages doesn’t help anyone,” Lauterborn said. “The Labor Council endorsed No on L and the reality is working class people use Muni at a far higher percentage than those citywide….Being pro-transit is inconsistent with supporting a ballot measure that would defund Muni.”

Meanwhile, in an allegedly unrelated matter, Local 1021 Political Director Chris Daly — who was a local leader of the progressive movement while serving the Board of Supervisors 2000-2010 — on Friday resigned from the union, where the Guardian has long been aware that he was having internal power struggles over the last year.

Daly tells us that his departure wasn’t based on political or philosophical differences with SEIU, that he’s proud of the work that he and his colleagues have done on wage equity and beating back anti-worker threats, and that it just seemed like the right time to leave, although he’s not sure what he’ll do next.

“I’m sorry to go,” he told us, “but it was time to go.”

Theater Listings: Sept. 24 – 30, 2014

Michael Redmond

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September 23, 2014

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

THEATER

OPENING

Ransom, Texas Tides Theatre, 533 Sutter, SF; www.tidestheatre.org. $10-30. Previews Sat/27, 8pm and Mon/29, 7pm. Opens Oct 2, 8pm. Runs Thu-Sat, 8pm. Through Oct 18. Virago Theatre Company performs William Bivins’ Texas-set tale of escalating tension between a father and son.

BAY AREA

Fire Work Live Oak Theatre, Live Oak Park, 1301 Shattuck, Berk; www.theatrefirst.com. $10-30. Previews Thu/25, 8pm. Opens Fri/26, 8pm. Runs Fri-Sat, 8pm; Sun, 5pm. Through Oct 19. TheatreFirst presents the world premiere of Lauren Gunderson’s romantic comedy.

ONGOING

The Barbary Coast Revue Sub/Mission Gallery, 2183 Mission, SF; www.barbarycoastrevue.com. $28. Sat, 8pm. Through Nov 29. Join Mark Twain on an interactive musical tour of Gold Rush-era San Francisco.

Cock New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Oct 12. New Conservatory Theatre Center performs Michael Bartlett’s comedy about a man who meets the woman of his dreams — while on a break from dating his boyfriend.

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Thu-Fri, 8pm; Sat, 5pm; Sun, 2pm. Extended through Oct 4. The latest solo show from celebrated writer-performer Dan Hoyle (Tings Dey Happen, The Real Americans) winds a more random course than usual across the country and abroad but then that’s the idea — or at least Hoyle warns us, right after an opening encounter with a touchy young white supremacist, that the trip he’s taking us on is a subtle one. Displaying again his exceptional gifts as a writer and protean performer, Hoyle deftly embodies a set of real-life encounters as a means of exploring the primacy and predicament of face-to-face communication in the age of Facebook. With the help of director Charlie Varon (who co-developed the piece with Hoyle and Maureen Towey), this comes across in an entertaining and swift-flowing 75-minute act that includes a witty rap about “phone zombies” and a Dylan-esque screed at a digital detox center. But the purported subject of connection, or lack there of, in our gadget-bound and atomized society is neither very original nor very deeply explored — nor is it necessarily very provocative in a theater, before an audience already primed for the live encounter. Far more interesting and central here is Hoyle’s relationship with his old college buddy Pratim, an Indian American in post-9/11 America whose words are filled with laid-back wisdom and wry humor. Also intriguing is the passing glimpse of early family life in the Hoyle household with Dan’s celebrated artist father, and working-class socialist, Geoff Hoyle. These relationships, rather than the sketches of strangers (albeit very graceful ones), seem the worthier subjects to mine for truth and meaning. Indeed, there’s a line spoken by Pratim that could sum up the essence of Hoyle’s particular art: “It’s so much better,” he says, “when you find yourself in other people than when you just find yourself.” Hoyle’s real frontier could end up being much more personal terrain, much closer to home. (Avila)

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Haze ACT Costume Shop, 1117 Market, SF; http://bit.ly/thehazeplayACT. $20. Thu/25, 7pm; Fri/26-Sat/27, 8pm. Heather Marlowe performs her solo show, a sharp-witted, autobiographical play about recovering from rape — and the way rape cases are mishandled by the justice system.

Ideation San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-120. Previews Wed/24-Fri/26, 8pm. Opens Sat/27, 8pm. Runs Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm; no matinee Sat/27); Sun, 2pm. SF Playhouse performs the world premiere of Aaron Loeb’s darkly comic suspense thriller.

King Fool Various locations TBA to reservation holders; www.weplayers.org. $30-50. Sat/27-Sun/28, times TBA. We Players presents a new, intimate, site-specific work inspired by King Lear.

The Late Wedding Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Wed-Sat, 8pm (no show Wed/24). Through Oct 11. Crowded Fire Theater performs a world premiere commission by Christopher Chen, a “journey of the soul” inspired by the work of Italian fabulist novelist Italo Calvino.

Motown the Musical Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $45-210. Wed/24-Sat/27, 8pm (also Wed/24 and Sat/27, 2pm); Sun/28, 2pm. Over 40 hits (“My Girl,” “Ain’t No Mountain High Enough”) pack this tale of Motown founder Berry Gordy’s career in the music biz.

Noises Off! Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Thu-Sat, 8pm. Through Oct 25. Shelton Theater performs Michael Frayn’s outrageous backstage comedy.

Old Hats ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Wed-Sat, 8pm and Tue/30 (also Sat, 2pm); Sun, 2pm. Extended through Oct 12. American Conservatory Theater presents Tony winners Bill Irwin and David Shiner in the West Coast premiere of Signature Theatre’s story of “clowns getting older — and even crazier.”

Pippin Golden Gate Theatre, 1 Taylor, SF; www.shnsf.com. $45-210. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Oct 19. This new production of Roger O. Hirson and Stephen Schartz’s 1972 musical won the 2013 Tony for Best Revival of a Musical.

Semi-Famous: Hollywood Hell Tales from the Middle New venue: Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Sat, 8:30pm; Sun, 7pm. Through Oct 19. Don Reed’s latest solo show shares tales from his career in entertainment.

Slaughterhouse Five Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $20-50. Thu-Sat, 8pm; Sun, 7pm (also Oct 5 and 12, 3pm). Through Oct 12. Custom Made Theatre Co. performs Eric Simonson’s adaptation of the classic Kurt Vonnegut’s semi-autobiographical novel.

Too Much Light Makes the Baby Go Blind Boxcar Theatre, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri-Sat, 9pm. Ongoing. The Neo-Futurists perform Greg Allen’s spontaneous, ever-changing show that crams 30 plays into 60 minutes.

BAY AREA

An Audience with Meow Meow Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Tue and Thu-Sat, 8pm (also Sat and Oct 16, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 19. This self-styled “musical play” by a winking “post-post-modern” diva (the vocally and comically talented Australian chanteuse Meow Meow) is in fact much thinner than either category suggests — more like a tired music hall variety act. Written by Meow Meow and adapted and directed by Kneehigh’s Emma Rice, the routines are premised on the imperiousness and insecurities of a soi-disant megastar whose band and stage crew gradually abandon her, leaving her alone with her adoring audience. While there are one or two musical moments worth perking up a little for — in particular a vocally potent version of “Ne Me Quitte Pas,” and a mood-shifting rendition of Hans Eisler and Bertolt Brecht’s “The German Miserere” that feels incongruous here, like part of another and better show — the going is otherwise tough, the narrative forced and clunky in the extreme. Rice’s staging not only lacks inspiration but comes with a dismal abundance of low-hanging call-out-the-audience participation laughs. Barry Humphries’ Dame Edna (presumably an inspiration here) could get away with this get-the-guests approach, being a weightier and far wittier character. But here it comes across as a desperate attempt to sell a poorly written sketch supporting some unevenly appealing musical numbers. (Avila)

“Breaking Chains Festival” Various venues, Oakl (one venue in SF); www.ubuntutheaterproject.com. $15-25. Through Sat/27. New company Ubuntu Theater Project presents this festival of six site-specific works. Authors include Marcus Gardley, Tim Price, Clifford Odets, George Brant, Bennet Fisher, and N’Jameh Camera.

House and Garden Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Oct 5. Pear Avenue Theatre performs Alan Ayckbourn’s two interlocking but separate comedies, a unique theatrical experience in which the audience stays put and the actors travel between adjacent theaters, performing each play at the same time.

An Ideal Husband Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $12-35. Runs in repertory through Sat/27; visit website for specific performance dates and times. Marin Shakespeare Company performs Oscar Wilde’s witty tale.

Life Could Be a Dream Center REPertory Company, Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.centerrep.org. $37-66. Wed, 7:30pm; Thu-Sat, 8pm (also Sat/27, 2:30pm); Sun, 2:30pm. Through Oct 5. CenterREPertory Company performs Roger Bean’s doo-wop musical.

Lovebirds Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-100. Fri, 8pm; Sat, 8:30pm. Through Oct 18. Marga Gomez brings her solo show to Berkeley after runs in SF and NYC.

A Midsummer Night’s Dream Bruns Amphitheater, 100 California Shakespreare Theater Wy, Orinda; www.calshakes.org. $45-82. Wed/24-Thu/25, 7:30pm; Fri/26-Sat/27, 8pm; Sun/28, 4pm. Cal Shakes performs Shana Cooper’s remix of the Bard’s classic fantasy.

The New Electric Ballroom Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (Oct 5, show at 2pm). Through Oct 5. Shotgun Players perform Enda Walsh’s poetic nightmare about three sisters who are obsessed with their memories.

Rapture, Blister, Burn Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-50. Wed/24-Sat/27, 8pm; Sun/28, 2 and 7pm. Aurora Theatre Company opens its 23rd season with Gina Gionfriddo’s drama about three generations of women “struggling with feminism’s foibles.”

Romeo and Juliet Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $12-35. Runs in repertory through Sun/28; visit website for specific performance dates and times. Marin Shakespeare continues its 25th season with the Bard’s timeless tragedy.

Year of the Rooster La Val’s Subterranean, 1834 Euclid, Berk; http://impacttheatre.com. $10-25. Thu-Sat, 8pm; Sun, 7pm. Through Oct 12. Impact Theatre performs Eric Dufault’s comedy, told from the point of view of a rooster that enters cockfights.

PERFORMANCE/DANCE

“AfroSolo Arts Festival: Black Voices Performance Series: Our Stories, Our Lives” African American Art and Culture Complex, 762 Fulton, SF; www.afrosolo.org. Program A: Fri/26, 8pm; Sun/28, 3pm. Program B: Sat/27, 8pm; Sun/28, 7pm. $15-50. Performers include Stephanie Anne Johnson, Lance Burton, Tarika Lewis, and DJ Lamont.

BATS Improv Bayfront Theater, B350 Fort Mason, SF; www.improv.org. $20. This week: special guests 3 For All, Fri/26-Sat/27, 8pm; Sun/28, 2pm.

“Bay Area Cabaret’s Opening Night Gala” Venetian Room, Fairmont San Francisco, 950 Mason, SF; www.bayareacabaret.org. Sun/27, 8pm. $60-75. Celebrating songwriter-composer Stephen Schwartz (Wicked) with Ana Gasteyer, Liz Callaway, and Michael McCorry Rose.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/28, Oct 4, 11, 16, 26, 6:30pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

Doc’s Lab 124 Columbus, SF; www.docslabsf.com. This week: Comedy with Greg Edwards, Stroy Moyd, and Cameron Vannini, Wed/24, 8pm, $10-12; “Learn From Me: Comedy Showcase,” Thu/25, 8pm, $8-10; “Magicians and Mind Readers Christian Cagigal and Paul Draper, Fri/26, 8pm, $15-20; comedy with Joe Bartnick, Sal Calanni, and Al Gonzales, Sat/27, 8pm, $15-18; “Doc’s Comedy Open Mic,” Tue/30, 7pm, free.

“Dream Queens Revue Eighth Anniversary Show” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/24, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

“Exotic Destinations: Around the World in 80 Minutes” Sir Francis Drake Hotel, Empire Ballroom, Second Flr, 450 Powell, SF; www.sflgfb.org. Sat/27, 4-6pm. $10-20. The San Francisco Lesbian/Gay Freedom Band performs.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: Clairdee in “More Melody Makers,” Wed/24, 7pm, $15; Charles Busch with musical director Tom Judson, Thu/25-Fri/26, 8pm, $35-50; Michael Cavanaugh from Broadway’s Movin’ Out, Sat/27, 7pm, $35-50; Frenchie Davis, Sun/28, 7pm, $25-40.

“Gallus Gallus Domesticus” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/26-Sat/27, 8pm; Sun/28, 7pm. $15-20. Rosemary Hannon performs “a dance about fear and knowing how human it is to be chicken.”

“Have We Come a Long Way, Baby?” Joe Goode Annex, 401 Alabama, SF; www.brownpapertickets.com. Fri/25-Sat/27, 8pm. $25-50. Hope Mohr Dance’s fifth annual Bridge Project presents two evenings of solo performances by Anna Halprin, Simone Forti, Hope Mohr, and Peiling Kao, followed by panel discussions.

Lenora Lee Dance Dance Mission, 3316 24th St, SF; www.lenoraleedance.com. Program A: Fri/26-Sat/27, 8pm; Sun/28, 3pm; Program B: Oct 3-4, 8pm; Oct 5, 3pm. $15-50. Lenora Lee Dance presents its seventh anniversary season, two weekends of multimedia performances that tap into dance, martial arts, video projection, text, and music to tell stories of Chinese migrants in the United States.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. Ongoing. $12. A new, completely improvised show every week.

“People in Plazas” Various locations, SF; www.peopleinplazas.org. Through Oct 3. Free. Lunchtime concerts in various downtown locations showcasing jazz, world, funk, and other styles of music.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Ongoing. $5-15. “Weekly New Talent Shows,” Wed-Thu, 7pm. “Purple Onion All-Stars,” Wed-Thu, 8:15pm. “The Later Show,” Wed-Thu, 10pm. “The Cellar Dwellers” Fri-Sat, 7:30pm. This week’s “Cellar Dwellers” headliner is Beaumont Bacon.

“Terminator Too: Judgment Play” and “Point Break LIVE!” DNA Lounge, 375 11th St, SF; www.dnalounge.com. Oct 3, Nov 7, and Dec 5, Terminator at 7:30pm; Break at 11pm. $20-50. The raucous, interactive staged recreations of two of 1991’s greatest action films return to the DNA Lounge.

tinypistol ODC Theater, 3153 17th St, SF; www.odctheater.org. Thu/25-Sat/27, 8pm. $18-25. Maurya Kerr’s dance company performs the world premiere of beast and the reprise of Wantful.

“Wonderboy” and “29 Effeminate Gestures” Z Space, 450 Florida, SF; www.zspace.org. Thu/25-Sat/27 and Oct 2-4, 8pm; Sun/28 and Oct 4, 3pm. $15-70. Joe Goode Performance Group and Z Space present two of Goode’s signature works, including collaboration with puppeteer Basil Twist Wonderboy, and Goode’s iconic 1987 solo Gestures (performed by company member Melecio Estrella).

“Yatra: Journey from India to Spain” Palace of Fine Arts, 3301 Lyon, SF; www.kathak.org. Sat/27, 8pm; Sun/28, 2pm. $28-58. Kathak master Pandit Chitresh Das combines forces with flamenco artist Antonio Hidalgo Paz for this innovative new work.

BAY AREA

“Androcles and the Lion” Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. Fri/26-Sat/27, 8pm; Sun/28, 2 and 7pm. $10. Masquers Playhouse performs George Bernard Shaw’s classic.

“FSM” Thrust Stage, Berkeley Repertory Theatre, 2025 Addison, Berk; http://stagebridge.org. Sat/27, 8pm; Sun/28, 2 and 7pm. $20. Stagebridge presents a play with music about the 1964 Free Speech movement at Berkeley.

Indonesian American Cross-Cultural Concert Art House Gallery and Cultural Center, 2905 Shattuck, Berk. Sat/27, 7:30-9:30pm. $10-20. Lisa Graciano hosts this concert featuring shadow puppet master Midiyanto, gamelan music, Javanese dance, and more.

Mark Morris Dance Group and Music Ensemble Zellerbach Hall, 101 Zellerbach, Berk; www.calperformances.org. Thu/25-Sat/27, 8pm (also Sat/27, 2pm); Sun/28, 3pm. $40-96. Five performances in two separate programs, including the West Coast premiere of Crosswalk (2013) and four Bay Area premieres.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“Nerd Nation” Pacific Pinball Museum, 1510 Webster, Alameda; www.pacificpinball.org. Fri/26, 8pm. $15. Comedian and storyteller Dhaya Lakshminarayanan performs her work-in-progress solo show.

“Wavy Gravy’s Hippy Icon, Flower Geezer, and Temple of Accumulated Error” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Sat/27 and Oct 4, 8pm; Sun/28 and Oct 5, 2pm. $15-50. The peace activist, entertainer, and Ben and Jerry’s flavor inspiration performs his autobiographical solo show.

“What Rhymes with America” Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org.

Mon/29, 8pm. $10. Douglas Morrison Theatre kicks off its 2014-2015 Bare Bones staged reading series with Melissa James Gibson’s “funny-sad” play about lost souls. *

Go west

Michael Redmond

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September 23, 2014

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joe@sfbg.com

FEAST: WESTERN NEIGHBORHOODS Vacations are expensive. But if you’re a Bay Area cat hankering for new eats to explore, check out a magical, far-off foggy place many call the Outerlands: San Francisco’s oft-ignored Inner and Outer Richmond and Sunset neighborhoods. (And yes, there’s even a restaurant called Outerlands at 4001 Judah, serving local, organic food.)

For our staycation food tour, stretch and saunter sleepily down Clement Street. The sun is rising and the fog is low, but Toy Boat Dessert Café (401 Clement) is open early. Your creamy cup of coffee is accompanied by a cavalcade of toys, from Pee-wee Herman’s Chairy to Buzz Lightyear. The joint is a people-watching feast, as elderly couples canoodle and tiny tykes buck on the café’s mechanical horse.

Perhaps you’re a bang-flipping Missionite. For the trendy at heart, coast your fixie to the Outer Sunset’s Andytown Coffee Roasters. (3655 Lawton) The wood panel-meets-Apple Store look appeals to laptop-workers, but delish plum mint scones crumble tastily and the signature Snowy Plover (coffee soda mix) will furiously spin anyone’s bike legs ’round.

Duly caffeinated, jitter on to breakfast. The fancy route leads to Eats (50 Clement). Chomp the fluffiest waffles in the Richmond, or order any skillet-bound breakfast and chew slowly, savoring every spicy sensation.

Should your stomach growl for bigger portions, the Irving Street Café (716 Irving) serves up mighty omelets and keeps the coffee pouring. It’s tastier than most greasy-spoon diners, and one’s hunger is easily conquered for under ten greenbacks. The old-school atmosphere (and signed Chris Isaak poster) encourages one to hum rock ‘n’ roll.

As the morning fog burns off and that lunch bell clangs, head to Uncle Boy’s (245 Balboa). Any ’80s-’90s hip-hoppers will bop right at home here, as the chefs flip their heads with a well-met “yo.” Check out the cool Niners schwag as your Pool Boy burger juicily bursts under the slatherings of chipotle sauce. The garden patties handily convert die-hard meat lovers.

Not feelin’ burgers? Drown your tortilla desires in the Taco Shop at Underdogs (1824 Irving), where the fish tacos — imported from Nick’s on Polk — perfectly complement all the beer you’re about to chug.

Snacky lunch alternatives await at Wing Lee Bakery (503 Clement) and Good Luck Dim Sum (736 Clement), which offer perfect contrasting su bao options. Wing Lee’s savory pork bun sports some BBQ tang, whereas Good Luck’s buns are fluffy and sweet.

As evening hits, Karl the Fog slowly caresses the ‘hood again. Hop the 31 Balboa to 19th Avenue, where the unassuming Han Il Kwan (1802 Balboa) awaits. Mind your drool as the waitress slices succulent beef from its bone for your stew. Hankering for Russian fare? Head to Cinderella Bakery & Café, though the delicious stuffed Chicken Cutlet a la Kiev isn’t the star (the side of freshly baked rye bread steals the show).

The chill late night begs for warm dessert. Follow the intoxicating sweet scent to Genki Ramen (3944 Clement) for crepes, or nurse an after dinner drink at Tee Off Bar (3129 Clement) and play Rock ‘Em Sock ‘Em Robots. With a wee bit o’luck, perhaps you’ll find an Irish band furiously fiddling at Plough & Stars (116 Clement), where Kilkenny cream ale offers a lighter alternative to heavy stouts.

This tour is only a sampling, and many local favorites await (we didn’t even get to any sushi!). But for non-Richmond or Sunset dwellers, sailing into the misty sea-soaked western neighborhoods can be like landing in an entirely different city where hundreds of new tasty eateries await. Just remember to wear your hoodie. *

Southern light

Michael Redmond

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September 23, 2014

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marke@sfbg.com

FEAST: ITALY There are 22 Caravaggio paintings in southern mainland Italy, and we were determined to feast our eyes on every last one of them this past May. (We got up all the way up to 21: one was on loan to the Dallas Museum of Art.) As important: We would eat and drink a wide path to each painting, leaving no plate unlicked in that famously delicious part of the world. Here are some highlights.

ROME

While you’re basically tripping over ancient ruins and gorgeous people everywhere you turn, Rome’s chic bistro and cute street food scene will have your head in the culinary clouds. Several experiences really stood out: relaxing in the super old-school family feel of Trattoria di Carmine (squid casserole, insanely layered eggplant parmagiana, gorgeous citrusy anchovies); wandering through the Jewish ghetto devouring as many traditional fried artichokes as we could; scooping up all the gelato at Giolitti; dropping into the trendy spots of the Pigneto neighborhood (kind of like the Mission, gentrification woes and all); drinking and dancing all night at one of the best clubs I’ve been to, Frutta e Verdura.

But there are three I keep coming back to. One is the fantastic, kind-of-hidden lunch treasure Coso near the Spanish Steps, with its lovely takes on classics like hefty but somehow delicate polpette (meatballs) and cacio e vaniglia (a sweet twist on Rome’s eternal pasta dish, spaghetti with cheese and ground pepper). Another was the almost too-hip, yet still laid-back, scene at Barzilai — how those fashionable scruffy models could eat all that rich, irresistible sfumato de artichoke and asparagus flan, we couldn’t figure. But the top of it all was a trip out to the suburbs to visit the fabled Betto e Mary, which serves pretty much what the gladiators ate, but in a family atmosphere, its walls lined with socialist memorabilia. Here we had a vast assortment of interestingly prepared sweetbreads (thymus in lemon, fried pancreas), pasta sauce with more unfamiliar animal parts, and calf’s brain in a zingy orange tomato sauce. Those gladiators sure loved their organs!

NAPLES

Probably my favorite city in the world right now — brimming with chaotic energy, street art, and strange corners and ancient alleyways, which often overflow with music and partying until 4am. The city was bombed heavily in World War II, and it looks like instead of rebuilding all those Renaissance-era monastic buildings and 17th century armories, they just graffitied them with abandon. Pizza, pizza, pizza is what you’ll get here — who’s complaining? — and a lot of bold, full-bodied wines from the surrounding Campagnia region: Taurasi red and Fiano di Avellino and Greco di Tufo whites. Fried balls of dough and zucchini make excellent street bites. Pasta with beans and pan-fried rabbit break up the pizza routine. But perfectly blistered thin-crust pies will make you weep with joy (especially if you’ve spent all day exploring the vast ruins of Pompeii. Hopping, affordable, late-night Pizzeria I Decumani is definitely a top choice.

AMALFI COAST

The thin, winding cliff roads of this region are terrifying — but you’ll gladly risk death (preferably on a motorbike) for stunning views of pastel-colored towns sprawling up mountains, imposing 1,000-year-old Saracen towers left over from the coast’s Arab occupiers, and fantastic seafood galore. Every town boasts quaint delights, but my husband and I were really taken with tiny Atrani, with its staircase streets, large clock tower, and main plaza lined with good restaurants. Here we dived into octopus, sardines, squid, every kind of fish imaginable, and bright chartreuse glasses of limoncello liquor alongside the sparkling Mediterranean.

MATERA

The sprawling, ancient cave city of Matera, in the central south, is a home base for cucina povera, peasant cooking that serves as some of the best comfort food in the world. Among the moonlit, picturesque stone buildings jutting from their original cave bases, warm dining spots serve orecchiette (ear-shaped pasta) or cavatelli (rolled up orecchiette) cooked with the region’s leafy species of broccoli rabe and sprinkled with lard-fried breadcrumbs. Sometimes they drown the whole plate in melted mozzarella. Paired with a local primitivo wine — the Basilicata region has been producing grapes since 1300 BC — it’s pure hog heaven. “You will never have orecchiette as good as this,” said our waiter at incredible neighborhood favorite Trattoria Due Sassi as he dropped off a giant bowl to share. Why? “Because my mother makes it.”

TRANI

Trani is a seaside resort town on the east coast with some serious maritime history, and a cathedral — Cattedrale di San Nicola Pellegrino — that dates back to the fourth century. When we were there, it was windy and cold. No beach weekend for us, but we took necessary solace in a magical little wine shop called Enoteca de Toma Mauro. Octogenarian owner Francesco was a perfect guide to the wines of Lucania, Salento, and Puglia (the heel of Italy’s boot) in general. He also carried some killer Amaro, the favored digestif of the region — herbal and bittersweet, but with an exceptionally smooth finish, I couldn’t get enough of it. *

Beat it

Michael Redmond

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September 23, 2014

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marke@sfbg.com

SUPER EGO Just a wee bit battered and still fried from Folsom Street Fair, but there’s no rest for the deliciously wicked. This coming weekend is wall-to-wall party time.

HYPERDUB ANNIVERSARY

Beloved UK bass label celebrates 10 years of intelligent rumblings with the fantastic Kode9, DJ Spinn and Taso, and Scratcha DVA.

Wed/24, 9:30pm, $12.50 advance. Mighty, 119 Utah, SF. www.mighty119.com

MARCEL DETTMAN

Marcel Dettman has great hair — and a great, spacey sound that knits together various strands of Berlin techno. He’s at a special As You Like It party with Matrixxman, Mossmoss, and Patrick Gill.

Thu/25, 9pm-3am, $10–$15. Public Works, 161 Erie, SF. www.publicsf.com

DANIEL WANG

Berlin deep disco player (and total cutie) Wang brings some sonic spirit to the Castro’s Lookout bar, which boasts a fancy new sound system.

Fri/26, 5pm-2am, $10 advance. Lookout, 3600 16th St, SF. www.lookoutsf.com

TEN WALLS

Marijus Adomaitis, the man behind pleasant techno anthem “Walking With Elephants” brings his audiovisual spectacular to North America for the first time. With Recondite and John Charnis.

Fri/26, 9pm-3:30am, $12–$20. Public Works, 161 Erie, SF. www.publicsf.com

ART BEATS

Local art, performance, and great music come together for a three-day spectacle at the enormous Pier 70. Icee Hot afterparty with Avalon Emerson on Friday, Baths afterparty on Saturday.

Fri/26-Sun/28, see www.facebook.com/bayartbeats for all the info.

TIARA SENSATION PAGEANT

Every year a dazzle of drag queens rush the runway at de Young Museum, attempting to snatch the Tiara Sensation tiara. High kicks, back flips, spandex for days — you kind of have to see it. (I’ll be judging, of course.)

Fri/26, 5:30pm, free. de young Museum, Golden Gate Park, SF. www.tinyurl.com/tiarasensation2014

BASIC SOUL UNIT

Killer Torontonian technician knows how to break a room down live, with acid beats and driving grooves. He’s at one more As You Like It party with Tin Man, Jason Kendig, and Bells & Whistles.

Fri/26, 9pm-4am, $10–<\d>$15. Monarch, 101 Sixth St, SF. www.ayli-sf.com

HERCULES AND LOVE AFFAIR

The latest iteration of the live ’90s house revivalist band is very cute, and you’ll be dancing in no time. With one of my favorite DJs, Tensnake, breaking down and reconstructing soul-funk hooks.

Fri/26, 9pm, $15–$30. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

OSUNLADE

You know that moody tech-pop stuff the kids are calling “deep house”? Come hear this Yoruban genius to find out what real deep house is. At the Mighty Deep party with Marques Wyatt.

Fri/26, 10pm-late, $10–$20. Mighty, 119 Utah, SF. www.mighty119.com

CANDY RAIN

“Candy Rain’s low budget Hype Williams music video aesthetic clashing awkwardly with the 120 Minutes party’s tasteful Tumblr porn gif aesthetic not only promises to be the 3rd most awesome party you attend this month but also the 1st coolest.” OK then.

Sat/27, 10pm, $5 advance. Elbo Room, 647 Valencia, SF. www.elbo.com

Money for Muni

Michael Redmond

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September 23, 2014

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news@sfbg.com

STREET FIGHT San Francisco’s November ballot is crowded. With 12 local measures and seven state measures, sifting through them can be daunting. Three local measures, Propositions A, B, and L, involve transportation and have great bearing on the city’s future.

Not to belittle the other ballot measures, some of which address critical health and housing problems, these three transit-related measures say a lot of how the city is addressing — and failing to address — the need for a sustainable transportation system.

TRANSPORTATION BOND

Prop. A is the most important of the three transportation measures on the ballot, but also the most difficult to pass because it requires approval from two-thirds of voters.

It would provide $500 million for Muni, street repaving, and pedestrian and bicycle safety projects. That’s a modest sum compared to the $10 billion the city should really be spending, but it would help make 15 of the city’s busiest transit routes 20 percent faster and more reliable.

Portions of the funds would go to modernizing Muni’s maintenance shops, which need upgraded ventilation, fueling, and washing facilities and to new elevators and passenger platforms to make Muni more accessible to the elderly and disabled. Prop. A’s campaign also touts $142 million going towards pedestrian, bicycle, and motorist safety in corridors where the most death and injury have occurred.

Prop. A should really be thought of as two parts, one good, one not so good. The first part involves up to $55 million in annual revenue coming from property assessments. Since Prop. A simply replaces retiring city debt, it does not raise property taxes, but rather it sustains existing rates.

This links property values to what makes property valuable in the first place — public investment in infrastructure. As long as Prop. A is used for those 15 Muni corridors and safer streets, it is sound public policy.

The second part of Prop. A involves bonds, or borrowing money and paying interest to financiers. This is a long-used method of infrastructure finance, and was in fact how Muni got started in 1909 when voters approved creating public transit. The taxation will pay off the capital debt.

But bonds are a funding scheme that involves interest and fees that go to Wall Street — not the most progressive approach to infrastructure finance. While no one can say for sure, some critics suggest up to $350 million in debt would be incurred over the life of the bond scheme, which means Prop. A is really an $850 million package.

Ultimately, this is a regressive approach to transport finance and needs to be replaced by a more pay-as-you-go approach.

We are stuck between a rock and a hard place on Prop. A. Floating this bond now would bring in money very quickly, improving everyone’s commute, especially lower- and middle-income transit passengers. If approved it will also leverage state and federal matching funds, such as new cap-and-trade funding, hastening shovel-ready projects that many San Franciscans are clamoring to get done.

Getting transportation projects going now is less expensive than waiting while construction costs climb. Prop. A funds vitally important transportation infrastructure projects and it deserves support.

GROWTH AND MUNI

While Prop. A deals with streets and capital projects for Muni, it can’t be used to fund acquisition of new vehicles or Muni operations. This is where Prop. B comes in because it specifically involves an annual set-aside of about $22 million from the city’s General Fund to provide new vehicles and operating funds.

Prop. B is a well-intentioned linkage of population growth to transit capacity. The money goes towards Muni capacity expansion, based on population growth over the past decade, would increase with population growth in future years, about $1.5 million per year based on past trends.

There’s no doubt that transportation is failing to keep up with San Francisco’s boom. New housing and offices are coming into neighborhoods where buses are already jam-packed and streets saturated with traffic. But there are a couple of problems with Prop. B.

First, Prop. B is promised as a short-term measure because the mayor can end this general fund set-aside if a local increase in the vehicle license fee is approved by voters in 2016. The VLF, which was gutted by Gov. Arnold Schwarzenegger in 2003, would bring in about $75 million to the city annually.

That the mayor would voluntarily (and it is the mayor’s discretion) sunset B in two years is a big “if” and voters are notoriously forgetful.

In the meantime, Prop. B does not come with a revenue source to account for this increasing set-aside for Muni, so something else in the General Fund must give. What that would be, nobody can say, but advocates for social service and affordable housing fear more vulnerable San Franciscans will be hurt in the 2015 city budget.

Given the incredibly slow city response to the gentrification and displacement crisis, their fears may be warranted.

GLOOMY REALITY

My hesitation about Prop. B and tepid support for Prop. A stem from a gloomy reality in San Francisco’s politics of mobility. Today, it is easier for politicians to raise transit fares on the working poor, divert funds from social services and housing, or incur massive debt through bonds than it is to raise taxes on downtown commercial real estate and charge wealthier motorists for their detrimental impact to the city and society — both of which would be fairer ways to finance transportation.

Twenty years ago, it was estimated that a modest tax assessment on downtown offices and their impact to the transportation system would bring in $54 million a year. Today, that would likely be well over $100 million annually. But with land-owning elites and tech barons calling the shots in City Hall, there is a de facto gag order on what would be the most progressive approach to Muni finance.

Meanwhile, had Mayor Ed Lee not pandered to wealthier motorists, Sunday metering would be providing millions annually in Muni operating fees. Sup. Scott Wiener, the author of Prop. B, and his colleagues on the board, were shamefully silent about blowing that $10 million hole in Muni’s budget. They were also silent or complicit in stopping expansion of SF Park, which is smart management of our streets and would provide millions more in operations funding for Muni without needing to dip into the city General Fund to plug gaps.

Meanwhile, congestion pricing — or charging drivers to access the most traffic-snarled portions of the city during peak hours — could bring in up to $80 million annually. Together with a reestablished VLF, that would simultaneously erase the need to do Prop. B and reduce our need to incur more wasteful debt.

Instead of bonds, Prop. A’s $55 million could be coupled with an annual downtown property assessment, an annual VLF, a congestion charging zone, and revenue from an expanded SF Park, the city could borrow less, manage traffic wisely, and keep transit capacity at pace with population growth. We could avoid raiding the General Fund to subsidize Muni operations and could reduce debt simultaneously.

Transit advocates are right to cry foul when other revenue sources have been removed from consideration, mostly because of gutless reluctance to challenge wealthy landowners and motorists. This is the crux of why transit advocates, backed into a corner by Mayor Lee’s repeal of Sunday meters and the VLF, are supporting Prop. B. The “B” in Prop. B basically stands for backfilling broken promises.

But ultimately, all of the supervisors, including Wiener, are complicit in the mayor’s mess. Why didn’t the supervisors speak up when Sunday metering was repealed? Why didn’t the supervisors insist on placing the VLF on this year’s ballot? With a two-thirds vote of the board, it would be on the ballot now. And unlike Prop. A, the VLF only needs a simple majority to pass.

And now, because the mayor and supervisors have pandered to motorists to the umpteenth degree, a small group of them feel even more emboldened and entitled to grab more. That takes us to Prop. L.

TRANSIT-LAST

Prop. L, which seeks to reorder transportation priorities in San Francisco, is awful. It comes from an angry, spiteful, ill-informed, knee-jerk lack of understanding of the benefits of parking management (which makes parking easier and more sensible for drivers). It is a purely emotional backlash that seeks to tap into anyone angry about getting a parking ticket.

Although a nonbinding policy statement, the basic demand of Prop. L is that the city change transportation priorities to a regressive cars-first orientation. It calls for freezing parking meter rates for five years while also using parking revenue to build more parking garages. The costs of these garages would dwarf parking revenue, and these pro-car zealots don’t say where these garages would be built, or that it would ultimately siphon more money from Muni.

Prop. L demands “smoother flowing streets,” which is a deceitful way of saying that buses, bikes, and pedestrians need to get out of the way of speeding car drivers who believe they are entitled to cross the city fast as they want and park for free. It conjures up a fantasy orgy of cars and freeways long ago rejected as foolish and destructive to cities.

Proponents on this so-called Restore Transportation Balance initiative don’t really care about “transportation balance.” When you consider the origins and backers of Prop L, it’s mainly well-to-do motorists with a conservative ideology about the car. These are the very same people who have opposed bicycle lanes on Polk, Masonic, Oak, and Fell streets, and throughout the city.

These are the very same people who decried expansion of SF Park, thus making it harder, to find parking, not easier. These are the same people who complain about Muni but offer zero ideas about how to make it better. These disparate reactionaries have banded together around their animosity toward cyclists and Muni.

In the 1950s, when the love affair with cars was on the rise, San Francisco had about 5,000 motor vehicles per square mile. To accommodate more cars, planners required all new housing to have parking, made it easy to deface Victorians to insert garages, and proposed a massive freeway system that would have eviscerated much of the city.

Thankfully, neighborhood and environmental activists fended off most of the freeways, but San Franciscans failed to really take on the car. So by 1970, despite the freeway revolts and commitment to BART, automobile density rose to over 6,000 cars per square mile.

By 1990, San Francisco had almost 7,000 motor vehicles per square mile, even as population leveled off.

The current density of cars and trucks — now approaching 10,000 per square mile — is one of the highest in the nation and in the world. To put that into context, Los Angeles has less than 4,000 cars per square mile, and Houston less than 2,000 per square mile, but these are largely unwalkable cities with notorious environmental problems.

Do San Franciscans want to tear apart their beautiful city to be able to drive and park like Houstonians?

If proponents of Prop. L were truthful about “restoring balance” they would instead advocate a return to the car density of the 1950s, when San Francisco had just under 5,000 motor vehicles per square mile, Muni was more stable due to fairer taxes, and many of the streets in the city had yet to be widened, their sidewalks yet to be cut back.

Prop. L is tantamount to hammering square pegs into round holes. Jamming more cars into San Francisco would be a disaster for everyone. Don’t be misled, Prop. L would make the city too dumb to move. It would deepen and confuse already vitriolic political fissures on our streets and it would do nothing to make it easier to drive or park, despite its intention.

Prop. L must not only lose at the ballot, it must lose big, so that maybe our politicians will get the message that we want a sustainable, equitable, and transit-first city.

Alerts: Sept. 24 – 30, 2014

Michael Redmond

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September 23, 2014

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THURSDAY 25

The Free Speech Movement — 50 Years Later

First Unitarian Church, 1187 Franklin Street, SF. 7pm, free. Join three veterans of the Free Speech Movement — Lynne Hollander Savio, Mike Smith, and Jack Weinberg — as they discuss their participation in the monumental events that took place in Berkeley 50 years ago, with emphasis on how the movement retains its relevance in the 21st century. The event is sponsored by Progressive Democrats of America San Francisco in connection with the 50th Anniversary Free Speech Celebration in Berkeley, beginning Fri/26.

SATURDAY 27

Women Walk for Campos

Dolores Park, Dolores and 19th, SF. davidcampossf.com. 10am, free. Join in a walk in support for David Campos for California State Assembly, who is seeking to represent the 17th District in the upcoming election. Start the day with a little exercise and spread the word about Campos’s campaign for issues such as women’s health, LGBT rights, affordability, and public safety.

47th Birthday Beer Bust for Community Housing Partnership

SF Eagle, 398 12th St., SF. chp-sf.org/donatenow. 3-6pm, $12. Enjoy beer, food and music at a fundraiser for the Community Housing Partnership. Featuring performances by Degentrified, a ukelele percussion band with Jason Smart (aka Frieda Laye) and Glendon Hyde (aka Anna Conda). DJ set by Dirty Knees of Charlie Horse and Hot Rod. San Francisco Black Leadership Forum Endorsement Meeting 5126 Third Street, SF. sfblf2002@yahoo.com. 10am-4pm, free. Join the San Francisco Black Leadership Forum, local candidates, and ballot measure representatives for a full day of interviews and discussion on how the issues will impact the black community in San Francisco and beyond. Eligible members will be asked to stay and vote on BLF Endorsements for the November election.

Guardian Intelligence: Sept. 24 – 30, 2014

Michael Redmond

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September 23, 2014

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MASONIC MOONWALK

Beck brought his endlessly funky band to the new Masonic Sept. 19 for opening night, where they ran through melancholy new tunes from this year’s Moon Phase before switching gears toward his more upbeat hits for a serious dance party (there was caution tape involved). See a full review and more photos on our Noise blog at SFBG.com PHOTO BY ERIN CONGER

TIFF TAKES

Bay Guardian film festival correspondent Jesse Hawthorne Ficks returned from the 2014 Toronto International Film Festival, having deployed his usual tactic of seeing as many films as possible — and then writing about them at length on the Pixel Vision blog at SFBG.com. Visit the Pixel Vision blog for his series of posts, including takes on the trend toward ultra-long films (FYI, he’s a huge Lav Diaz fan…), Joshua Oppenheimer’s The Look of Silence (pictured), Bennett Miller’s Foxcatcher, and other buzzed-about titles. PHOTO COURTESY OF TIFF

DEATH TO CAPITALISM!

The Bay Area’s edition on the Sept. 21 Global Climate Convergence was held on the edge of Lake Merritt in Oakland, where some of the best speakers went full-on commie in connecting capitalism to the climate crisis, calling for revolutionary change. Socialist Action’s Jeff Mackler brought the old-school Trotskyite class analysis while up-and-coming Socialist Alternative (the party of Seattle City Council member Kshama Sawant) had a strong presence. The Coup’s Boots Riley opened with an a cappella “Love for the Underdog,” followed by some fiery oratory and a couple more strong songs, including the militant anthem “Ghetto Blaster.” Power to the people!

EXPORTING CYCLETRACKS

San Francisco pushed the envelope in building cycletracks, bike lanes physically separated from cars, before state law allowed them. But on Sept. 20, when Gov. Jerry Brown signed AB 1193, a bill by Assemblymember Phil Ting (D-SF) that inserted cycletrack standards into state transportation codes, they suddenly became a legal, easy option for cities around the state to start building, just like they already do in Europe. So as cyclist safety improves in California, they can have San Francisco to thanks. You’re welcome.

GLOVER INSPIRES

Major kudos to actor and local hero Danny Glover for his recent visit to the San Francisco County Jail Reentry Pod. “With that great smile and laid-back style, Danny connected with inmates about preparing to get out and staying out,” said Sheriff Ross Mirkarimi, who spent some time with Glover and inmates preparing for release. “Be the example.” The reentry pod stems from a collaboration between the Sheriff’s Department and Adult Probation, to prepare AB109 prisoners from state realignment for their release. PHOTO COURTESY SF SHERIFF’S DEPARTMENT

EVICTION PROTECTION

Now you can don condoms against evictions! At Folsom Street Fair, activists handed out condoms adorned by the face of Ellis Act evictor (and leather lover) Jack Halprin. Why are the protesters equating him with an ejaculate receptacle? Halprin purchased a San Francisco property on Guerrero two years ago and filed to evict the tenants under the Ellis Act, one of whom is a San Francisco elementary school teacher with a 2-year-old son. From the condom wrapper: “Jack be simple, Jack’s a dick! Jack’s evictions make us sick!”

TRI-VALLEY POUR-A-THON

This issue of the Guardian is all about delicious travel — here’s something close to home that will have beer lovers gripping their steins. The new Tri-Valley Beer Trail lights up Pleasanton, Livermore, San Ramon, Dublin and Danville with foamy craft goodness — reinstating that area as one of the original homes of California beer (the region formerly contained one of the largest hops farms in the world). Fifteen stops, innumerable beers to try, and warm weather all the way. See www.visittrivalley.com for more details.

OPEN SEASON

Art Explosion Studios, the Mission’s largest artist collective, prides itself on supplying affordable studio space to local painters, sculptors, photographers, jewelers, fashion designers, and other creative types. An affordable situation for artists? In the Mission? What is this, 1994? Support this organization and meet the artists (over 100 in total) right where they do their makin’ at the annual Art Explosion Fall Open Studios. Hit up the opening gala Fri/26, 7-11pm, or stop by Sat/27-Sun/28 from noon-5pm. 2425 17th St, SF; 744 Alabama, SF; www.artexplosionstudios.com.

SHADY TRANSIT DEAL

A wonky tale of woe just got a happy ending. Developers looking to make big bucks from the construction of the new Transbay Terminal tower, now the SalesForce tower, were looking to skim money off San Francisco by reneging on their required taxes, possibly costing the city $1.4 billion dollars. After the developers hired slick ex-Mayor, lobbyist, and SF Chronicle columnist Willie Brown to smooth the deal, they almost got away with saving hundreds of millions of dollars that would go to Muni, pedestrian safety, and infrastructure. At the last minute, the city changed its tune, and now the SoMa area will get the funding it was promised. The people win, and the fat cats lose.

Changing the climate in SF

Michael Redmond

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September 23, 2014

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EDITORIAL As hundreds of thousands of people filled the streets of New York City and other cities around the world for a Global Climate Convergence on Sept. 21, demanding that our political and business leaders finally get serious about global warming (see “Flooding the streets“), there was no such gathering in San Francisco.

Sure, there were a few thousand Bay Area activists who gathered for the climate change event along Lake Merritt in Oakland, which included many groups and individuals from San Francisco. But we found it telling symbolism that San Francisco, as a city, was absent from this important political moment.

A city that was once a trailblazing leader on environmental issues such as solid waste reduction, transit-first policies, and adopting the precautionary principle — which calls on city officials to avoid policies and purchases that have the potential to cause environmental harm — has instead become a city guided by the logic and imperatives of capitalism, eager to grow and consume at any cost.

Speaker after speaker in New York City, Oakland, and other cities called for humanity to wake up to the realities of global climate change, slow down the wasteful economic churn and rapid depletion of important natural resources, and pursue fundamental changes to the system.

But in San Francisco, we appear to be headed in the opposite direction. The Mayor’s Office unceremoniously killed CleanPowerSF, the city’s only plan for offering more renewable energy to city residents. And it has pandered to motorists in ways that have taken millions of dollars away from public transit (see “Money for Muni“), encouraging more driving in the process even though we know that adds to global warming.

It isn’t just the neoliberals in City Hall, but the entire institutional structure of the city. Even SEIU Local 1021, long a stalwart supporter of progressive causes, has strangely endorsed the pro-automobile Prop. L and is aggressively supporting BART Board member James Fang, a Republican who supports costly extensions of the system rather than projects that promote more intensive transit uses in the urban core.

Finally, there’s this city’s monomaniacal promotion of the energy-intensive technology industry. Americans emit more greenhouse gases per capita than anyone, and recent reports show that reality is compounded by massive increases in China’s greenhouse gas emissions — which is partly because Bay Area companies produce their tech gadgets and other toys in China, which we then consume here.

San Franciscans need to stop being such voracious consumers and strive to be true innovators who accept our responsibilities and work to disrupt the rapid descent into a dangerously warming world.

Mezcal: Mexico In a Bottle fest sets high bar for mezcal lovers

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September 23, 2014

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When it comes to tasting mezcal, the experts have some generally accepted rules. Chief among them is that “you should never taste more than four together,” cautioned Oaxaca’s Graciela Carreño of Mezcal Real Minero at the Mezcal: Mexico In a Bottle event, held at Public Works, Sept. 14. It’s usually good advice: With the spirit’s alcohol content regularly topping 50 percent ABV, and its flavor components so nuanced yet so varied from one bottle to the next, it can be hard to distinguish mezcal’s finer points when your tastebuds are aflame with intense spice, smoke, and minerality.

But when you’re staring down nearly 20 of the world’s absolute best mezcal brands in one room, each of which has at least three or four different offerings on hand (if not plenty more), heeding that first caveat is a patent impossibility.

Events like Mexico In a Bottle are not everyday happenings in the US, so for mezcal aficionados and fans, this was something of a paradise. It wasn’t until the next day that I could even hazard a guess as to how many different mezcals I tasted over the course of those four hours, but it’s somewhere in the neighborhood of 40. I, naturally, was not the only one on such a course.

At a table helmed by Arik Torren of Fidencio Mezcal and Esteban Morales, who was properly introducing La Venenosa Raicilla to the US for the first time that night, there were no fewer than 13 expressions to taste — from basic espadín to pechuga distilled with fruits and raw chicken breast to wild-grown madrecuixe to single-distilled Jaliscan raicilla that started off with an almost cheese-like scent before moving into sweeter flavors. All of them were sublime.

Another bit of advice? Mezcal should be “kissed,” rather than drank, but when one considers the blood, sweat, and centuries of callouses that mark these magical hand-made elixirs’ travels from Mexican hillsides to our mouths in a club off of Mission Street, spitting or pouring out your leftovers seems at least guilt-inducing, if not downright shameful. You can see where this is going: No matter how little you kiss, there’s a good chance you leave feeling pretty fucked up.

That wasn’t, of course, the first order of business. It was to simply explore the plentitude of offerings — the explosively tasty spirits from relative newcomers like Mezcal Tosba, La Niña Del Mezcal, and El Jolgorio to the more widely distributed Del Maguey and Mezcal Vago brands. Local restaurants such as Sabrosa, Tamarindo, Loló, and La Urbana also created special mezcal-based cocktails for the celebration, and paired them with small bites.

Upstairs, Max Garrone (who, along with his Mezcalistas.com co-author, Susan Coss, organized the event) hosted a panel discussion with Morales and Wahaka Mezcal’s Raza Zaidi on the history and culture of the spirit, and others like Carreño, Montelobos creator Iván Saldaña, and writer John McEvoy (aka the Mezcal PhD) walked guests through guided tastings. As the evening progressed, and more folks willfully discarded any recommendations of restraint, those informative tastings became less and less formal, to the point where the crowds’ attention was even a little hard to corral — which made for even livelier and more interactive samplings.

Of course, one of the most exciting elements of an event like this is getting your lips on super-unique bottlings heretofore unknown and unavailable in the US. Along with La Venenosa’s debut, Wahaka also premiered its soon-to-be-released line of vegan pechuga mezcals, which involves placing a bag of herbs (Espadín Botaniko) or heirloom apples (Espadín Manzanita) in the still during the spirit’s second distillation.

Mexico City’s Erick Rodriguez, who is known as the Indiana Jones of Mezcal, because of his extreme forays out into the mountains and pueblos in search of the rarest of the rare, also presented a few gems that he sourced for the Oaxaca-based brand/tasting room Mezcaloteca, along with some from his own Almamezcalera line. Due to their extremely small runs and primitive production methods — which can include wild-harvesting and hand-mashing the agave, and fermenting it in leather sacks or hollowed-out tree trunks — many of the mezcals he finds will forever remain in the collectors-only realm, but damn, they’ve got character.

While pondering the larger issues surrounding this oft-misunderstood and mistreated spirit was a big part of why people came to Mezcal: Mexico In a Bottle, it was also, of course, to celebrate its legacy, its cultural importance, and its vibrancy. Mezcal has inspired a cult-like following that only seems to be growing, and while it may be at a crossroads in terms of its sustainability, it’s clearly got a huge support network that has spread well beyond the borders of Oaxaca to points all around the world– one of the biggest of which is, without a doubt, San Francisco. As some of the brand reps echoed during one panel, with an increase in consumer awareness like we’re seeing, there is hope for mezcal despite its current socio-economic challenges. And events like this one can only help.

Golden Gate unions to strike this week, stall commutes

Erica Hanna

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September 22, 2014

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Golden Gate unions to strike this week, stall commutes

The Golden Gate Bridge Labor coalition announced it will strike this week, impacting commutes via bridge or ferries, and perhaps both.

Thirteen unions in the Golden Gate Highway and Transportation District are members of the coalition, whose talks with the district stalled today, representatives told us.

It is still unclear which unions in the coalition will strike, but commutes will definitely be affected, Alex Tonisson, co-chair of the Golden Gate Bridge Labor Coalition said.

“There’ll be an announcement in a day or two,” he told us. As to which unions specifically would strike, “I can’t say exactly who it will be right now, to be honest.”

“None of us wants to be on strike,” said Michelle Shalagin, currently a member of LiUNA!, Local 261 (Laborers) working on landscaping, in a press statement. “But what choice do we have? The District has not moved, and the raises they are offering are completely wiped out by the high cost of the healthcare premiums they are proposing.”

The district and the coalition are deadlocked over healthcare proposals. As we reported last week, the unions maintain that the cost of living in the Bay Area has skyrocketed. Housing prices are up, gas prices are up, everything is up. Though the district’s offer includes a 3 percent wage increase next year, and further increases in subsequent years, the new health care plan would cost 2 percent of workers’ wages, largely nullifying any increases.

The district posted a full response to arguments against their healthcare offer at its blog. The district argues the workers are paid higher than their counterparts in other districts. The unions say the other districts don’t have to contend with local cost of living burdens, warnings which representatives said are largely falling on deaf ears.

“The last strike was purposefully giving [the district] a warning another strike would happen,” Tonisson said. He was referring to last week’s iron workers strike, which garnered a bit of media attention, but for the most part did not move the needle on their contract negotiations. The two parties are still stalled on healthcare talks, despite the first “warning shot” picket line.

“This was their reaction,” Tonisson said. “The sense I had is they want us to strike.”

The impact of a strike depends on which of the 13 unions participate. Toll taking is now automated on the Golden Gate, but the unions still have options to affect commuters and garner attention. Workers changing the lanes on the bridge could snarl traffic during commutes, Golden Gate Transit drivers could strand bus-goers, and ferry workers could strand folks by the water.

“Imagine the backup on Lombard or Van Ness,” Tonisson said, referring to lane changers on strike. “It wouldn’t shut the bridge down entirely but it would make a mess of things.”

The real mess, though, is the state of the workers’ health care. But who’s willing to bet the public cares more about the snarled traffic than a thriving a middle class?

Below we’ve embedded a flyer from the union coalition, demonstrating its argument about cost of living and health care.

TIFF 2014: Foreign favorites, part two (Asia and beyond)

Sue Vaughan

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September 22, 2014

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TIFF 2014: Foreign favorites, part two (Asia and beyond)

Jesse Hawthorne Ficks reports from the recent 2014 Toronto International Film Festival. Previous installment here!

Zhang Yimou’s Ju Dou (1990) was an unofficial remake of the American film noir The Postman Always Rings Twice (1946) — and it was also a showcase for the 25-year-old Gong Li. I’ve grown up with each of his films over the past decades, including classics To Live (1994) and The Road Home (1999). His latest, Coming Home (China), is his most gut-wrenching film yet.

https://www.youtube.com/watch?v=0GsKijZmtlM

Zhang began his studies at the Beijing Film Academy in 1978, after the death of Mao Zedong and the end of the Cultural Revolution in 1976. He quickly blossomed into the leader of the Fifth Generation of Chinese filmmakers, and has gone through his fair share of controversy with the Chinese government and later with audiences who felt his films had lost their contrarian political stances. His latest heartbreaker is set during the Cultural Revolution, as it follows a university professor who is sent to labor camps, leaving his own wife and daughter to fend for themselves along with the negative status of being an “intellectual.”

Zhang was in attendance for the Coming Home screening, and spoke at length about how China’s youth have never heard any of this history and how this film is not just one family’s struggle, but represents stories of millions of people that are being forgotten. Gong’s remarkable turn as a traumatized peasant ranks as one the year’s best performances and shame on the Oscars (in advance) for not recognizing her (yet again). As an aside: this is Zhang’s 18th feature and eighth time working with Gong; someone really needs to be putting together a complete retrospective. Qigang Chen’s Coming Home soundtrack is still haunting me weeks after the screening. This film is more proof that sentimentality should not be considered a dirty word in cinema. In fact, those that fight nostalgic tendencies are often the ones that have the most to hide.

Hong Sang-soo’s Hill of Freedom (South Korea) is yet another mini-masterpiece from the filmmaker, and another hilarious take on awkward, drunken relationships between 40-somethings. Hong upends linear storytelling, as usual, and showcases the legendary Korean actress Moon So-ri. (Her most recent Hong film was 2012’s In Another Country, with Isabelle Huppert.) With a running time at only 66 minutes, Hill of Freedom makes for the perfect appetizer on any film festival night.

In Myroslav Slaboshpytskiy’s The Tribe (Ukraine), an all deaf-mute cast leads the way to one of the most explosive films of the year, and it does so without a single line of dialogue or subtitling. This otherworldly experience forces audiences to pay attention to every action that these excluded teenagers make. While it ruthlessly emphasizes the violent, transgressive, and explicitly sexual nature of the teens, there is an intense structuralist method being utilized here that multiple viewings will be necessary to further pinpoint.

Belarusian filmmaker Sergei Loznitsa’s feature debut was the remarkable narrative My Joy (2010), which consisted of (according to the filmmaker) “140 cuts in the whole film.” With his third film, Maidan (Ukraine), he has created a jaw-dropping observational documentary of the Ukrainian people’s uprising in Kiev from December 2013 to February 2014. It is comprised of a series of fixed long shots that will be burned into your skull for the rest of your life, though your patience may be tested during the film’s 133 relentless minutes.

Each sequence slowly gathers hundreds of faces, historically patriotic songs, and ultimately a unified people before, during, and after the government’s terrifying late night attacks. The film is not just a testament to the present-day political moment, but is a study in uncompromising cinema. This film has to be seen on a large screen. And if any local film festival to you is brave enough to program it, attend it all costs. Warning: A few audience members I spoke to were furious with the film for not “getting to know” any of the film’s inhabitants up close and personal.

Eugène Green is an American-born, naturalized French filmmaker that I had never heard of until his showstopper La Sapienza (France/Italy) screened on my final day at TIFF. With a plot that must be an homage to Roberto Rossellini’s Journey to Italy (1954), this eloquent exploration of a lifeless marriage caught me by surprise with its direct approach to the couple’s interactions. It follows Robert Bresson’s philosophy of removing cinema’s “masks,” and I found myself incredibly moved as a middle-aged man shared his genuine love for 17th century architect Francesco Borromini. Kino Lorber has acquired the film for a US release later this year — and with it, hopefully a larger audience for Green.

This was the first year that TIFF put together an international shorts program (“Short Cuts”), and art-house favorite Claire Denis led the pack with Voilà l’enchantement (France), a 30-minute tale involving an interracial couple and no sets. The mesmerizing actor Alex Descas shines in this wonderfully dramatic exercise. Tsai Ming-liang also continued his short film output with Journey to the West (Taiwan/France) — part of his “Walker” series. This time, Tsai brings his hidden camera to France and places both his regular actor Lee Kang-shang and the iconic Denis Lavant in unison on the streets of Marseille. The film runs close to 60 minutes, and there is truly nothing more enjoyable than watching these two performers hypnotizing the unaware locals (as well as the moviegoers around you). Tsai’s previous announcement of retirement will hopefully be soon forgotten.

Franklin Delano Roosevelt: His 1932 speech to the Commonwealth Club previewed the New Deal

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September 21, 2014

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By Bruce B. Brugmann (with the full text of FDR’s address)

Ken Burns’ documentary on the Roosevelts, broadcast last week by KQED, was a stunning achievement and the best work Burns has done. It previewed key elements of the New Deal and provided historic context and relevance for the progressive politics of San Francisco and California. But it didn’t mention a key local angle, FDR’s famous speech to the Commonwealth Club on Sept. 21, 1932, in the heat of his winning campaign for president.

I got on to the speech when Joseph J. Ellis, the noted historian, spoke to the club last year on his new book, “Revolutionary Summer, The birth of American independence.” In his introduction, Ellis said that “in my view the most important political speech in the 20th century was delivered here by Franklin Roosevelt.”

The speech was written by Adolph Berle, a member of Roosevelt’s “brain trust,” and drew heavily on earlier progressive ideas, particularly those of John Dewey, a leading progressive scholar who taught mainly at Columbia University in New York. His speech is in the Commonwealth Club collection “Each a Mighty Voice,” a beautiful hardcover book published by Heyday. Here is his speech. b3

https://online.hillsdale.edu/document.doc?id=282

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the San Francisco Bay Guardian. He was the editor and with his wife Jean Dibble the co-founder and co-publsher of the Guardian, 1966-2012.)

TIFF 2014: Foreign favorites, part one

Sue Vaughan

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September 19, 2014

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Jesse Hawthorne Ficks reports from the recent 2014 Toronto International Film Festival. Previous installment here!

** Working steadily for over 40 years, achieving more than 20 features, Mike Leigh has stayed true to his “kitchen sink realism” aesthetic. Contemporary audiences could all too easily take him for granted. His latest, Mr. Turner (UK), is a rigorous and immensely rewarding journey that explores the life of British artist J. M. W. Turner (1775-1851).

Spall won the award for Best Actor at this year’s Cannes Film Festival, not just for emulating Turner’s cartoonish and almost frightening physique, but also inhabiting and truly expressing the ghastly terror one struggles with after the death of a loved one. Recalling Jane Campion’s dazzling An Angel at My Table (1990), Leigh’s film places emphasis on the immense difficulties that an artists put themselves — and the others around them — through, and cinematographer Dick Pope (who has shot ten of Leigh’s films since 1990, and won a special jury award at Cannes for his work on Mr. Turner) gives every frame an almost spiritual look.

** Olivier Assayas’ Clouds of Sils Maria (France/USA) feels like a remake of his Maggie Cheung showpiece Irma Vep (1996), with Juliette Binoche and Kristen Stewart playing out the filmmaker’s latest enchantments. Stewart, who plays the personal assistant to Binoche’s famous-actress character, is an absolute revelation, holding her own during the most fascinating and even erotic scenes of the film.

Clouds is deliciously layered with self-referential mirrorings of its stars’ real-life careers; it also contains ambiguity that left me talking to others about the film for days. The film was shot in 35mm, which is remarkably utilized during the many depth-of-field sequences in its Swiss-mountains setting.

** The Dardenne Brothers have added yet another stunning film to their collective résumé with Two Days, One Night (Belgium/France). The drama follows a woman (Marion Cotillard, in a stunning, panic-driven performance) as she desperately tracks down each of her fellow factory workers in hopes of saving her job, giving the audience an eye-opening look at the state of middle-class Belgian neighborhoods.

** Jean-Luc Godard’s Goodbye to Language 3D (France) offers a purposefully playful take on 3D, forcing viewers to constantly readjust their focal points toward not just the images but the subtitles as well. This fast and furious farewell to our language of the past (and present?) is overflowing with so much energy, it should be screened twice in a row.

** Ruben Östlund’s Force Majeure (Sweden/Norway/Denmark/France) lived up to its title when took this year’s Cannes Film Festival by storm, winning the Jury Prize in the Un Certain Regard section. This often surprisingly hilarious look at a Swedish bourgeoisie family slowly spills into much darker terrain, creating a minefield of gut-wrenching gender-politics. Similar to Julia Loktev’s gripping The Loneliest Planet (2011), director Östlund does an astounding job weaving through relationship expectations. With this being the Swedish entry for the Best Foreign Language Film at the 87th Academy Awards, hopefully someone local will program the filmmaker’s previous three films — The Guitar Mongoloid (2004), Involuntary (2008), and Play (2011) — which look just as mesmerizing.

** Mia Hansen-Løve’s Eden (France), an ode to the 1990s Electronic Dance Music scene, received countless write-ups due to the fact that the film includes the members of Daft Punk in the film. This humorously parallels the movie’s story, as it follows a French DJ who created the “French Touch” but whose legacy — like many in every youth movement — fell short of success. This was definitely one of the hottest cinephile tickets of the festival, and those who were patient with this two-part, 131-minute odyssey were rewarded with quite a poignant punch.

The director made a splash with her hypnotic The Father of My Children (2009), which won the Special Jury Prize in the Un Certain Regard section at the Cannes Film Festival, and followed it up with the coming-of-age Goodbye First Love (2011). Eden has a built-in audience of EDM fans who will be educated on quite a number of unsung heroes from 1990s; added to that is the melancholic role played by Greta Gerwig, which should intrigue many non-EDM fans.

Folsom Special: Guerrilla Queer Bar returns as leather “Pop-Up”

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September 18, 2014

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Folsom Special: Guerrilla Queer Bar returns as leather “Pop-Up”

Picture it: the Marina, 2000, a club called Trap Door playing goofy throwback hip-hop, shirty dudes and “woo” girls playing the heter-mating game with hetero-abando.

In strut a gaggle of rough and ready queers, me included, part of Guerrilla Queer Bar, to shake things up and sprinkle a little unicorn rainbow dust (and wig hair) on the proceedings. Web 1.0 was in full effect, queers were losing their spaces, and so we wanted to “take it back” by invading “straight” neighborhoods and wreaking a little lavender havoc — you know, to even things out and have fun. It was kind of the original flashmob, spread only by the limited social media of the time (i.e. email listservs).

And that’s when the shiny-cuffed bro pulled out a $20 and told me to make out with his male roommate so he and his friends could watch. “We’ve never seen two guys make out in real life!” he said. I didn’t know whether to be flattered or insulted, but damn right I took his money stright up, and cultural experiences were shared all ’round.

Now, just in time for Folsom frolicking (most of it restricted to Soma), GQB is back, but in a much more global-reaching form called “Pop-Up Gay Bar,” still intending to challenge assumptions gay and straight in unexpected neighborhoods, while downing some yummy cocktails and making new friends. The next one will take place tomorrow, Fri/21 — sign up at the link above to get the details! Let’s take some queer leather and love to the normals.

I talked to Brian McConnell, Pop-Up Gay Bar organizer (along with Sister Selma Soul and a few others).

SFBG What prompted you to reactivate GQB — and in this new form?

Brian Mcconnell A couple things prompted me.

One was going to eastern Tennessee a couple of months ago for my grandfather’s 95 birthday. This is in serious Appalachia (Smokey Mountains etc). Before I left, I stopped at a sports bar near the regional airport, and overheard the bartender talking with customers about his BF, etc. Twenty years ago you’d get beaten to a pulp, and then the cops would laugh at you for being a faggot. So obviously things have changed a lot, even in redneck country. It’s not the Castro, of course, but clearly things have improved, at least to the point people feel comfortable being more open now.

The other thing motivating me is I feel like the trend of everyone moving to the city is about played out. Yes, we’d all like to live in a cute house in a cute neighborhood, etc, but there’s only so much space, and the people who are already entrenched don’t want to move. So I think there are going to be a lot of people bypassing places like SF for other places. I moved here in 1994, partly because being gay and spending a lot of time in the South I was tired of that climate, and partly because I grew up around computers. At the time, it was really the only option professionally and personally. If it were today, I don’t know that I’d feel the same way about SF. It’s still a great place, but I don’t think the pull is as obvious now. What was a no-brain decision is less so now. (For context, I thought $800/month for a crappy 1 BR in the Tenderknob was expensive).

SFBG Who is all involved in the reboot, and have you launched in other cities yet?

BM In SF, it’s primarily me and Sister Selma Soul, who ran Pink Saturday for several years.

We’ve heard from people who are interested in organizing events in Marin/Sonoma, a guerrilla transgender event in East Bay, Baltimore and Harlem. The Pop Up Gay Bar system is set up so organizers can send email to people in their vicinity. It’s a location aware email listserv that I built. We’re letting it develop organically outside SF, since we noticed that GQB was different in each city it spread to.

SFBG What are some of your favorite GQB memories?

BM “Priscilla Queen of Walnut Creek” (Green Tortoise bus caravan to the East Bay). I remember Peaches Christ driving around a Safeway in one of the granny carts announcing “I need a price check for a rump roast.”

Saint Patricia’s Day. These two Irish tourists emailed us in advance of their trip to ask if we could organize something for them. At first we thought this a bit presumptuous, then realized they’d be here in March. So we organized a Saint Patrick’s Day parade two weeks early in Chinatown and made them the grand marshals.

“I’m Dreaming of a White Necklace.” We rented out (porn theater) The Campus Theatre for a Christmas party. Pro tip: if you are going to organize a completely illegal party across the street from a police precinct, rent searchlights and put out a red carpet (they’ll assume it’s legit).

SFBG Have you finalized this year’s location — and are you encouraging people to wear leather?

BM People can sign up at the site to get the information sent to them. On the record, we’re headed to Union Square, think of SantaCon with chaps. And yes, we are encouraging leather, or clowns, or whatever freak flag people want to fly.

SFBG What do you think the biggest challenges for queers are right now, both in the Bay Area and the country at large?

BM I think in general there has been a loss of LGBT space. Even in SF, gay bars have been disappearing (most recently Esta Noche), and there’s hardly anything here for lesbians. Outside SF, you’re lucky if there’s a place within an hour’s drive. So we’re hoping PUGB will spread, and that even the smallest towns will use it or something like it to create local space.

SFBG Should we bring our own girly drink to the pop up? Because what if there’s only beer.

BM You should always bring a flask.

While we definitely plan to have fun around SF, this time around its much more about getting this rolling everywhere, even places like Morristown, TN. That would be a good SF export in my opinion, and it is the kind of thing SF is good at starting.

Airbnb says it will collect and pay local taxes in SF. Really.

Sasha Cuttler

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September 17, 2014

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Airbnb says it will collect and pay local taxes in SF. Really.

In the wake of this week’s contentious hearing on legislation to legalize and regulate short-term housing rentals in San Francisco, where Airbnb was chastised for snubbing the city on collecting and paying local taxes, the company today sent an email to its hosts announcing that it would begin doing so Oct. 1.

The message tells hosts that it will be collecting and remitting the city’s Transient Occupancy Tax on their behalf and that “hosts will not have to do anything extra.” But as Tax Collector Jose Cisneros told us for our article this week, that isn’t totally true. He said that hosts are still businesses and therefore need a business license, although companies like Airbnb can assume responsibility for the other two tasks involve: obtaining a “certificate of authority” that allows a business to collect taxes and filing monthly tax statements.

“All hosts would have to do is file annual business registrations,” Cisneros told us.

But hey, following local laws and correctly informing their customers about the legality of these transactions has never been Airbnb’s strong suit, so I suppose this is progress. The company’s email follows in its entirety:

Earlier this year, we announced that we would begin collecting occupancy taxes on behalf of hosts and guests in San Francisco. We’ve been working with the City to make the process streamlined and easy to follow, and today we are pleased to share that we are planning to launch this program on October 1. We know our community contributes substantial, positive economic impacts in neighborhoods across San Francisco, and this initiative will continue to make the city even stronger.

We’ve posted more information about this announcement on our Public Policy blog and we hope you’ll check it out. We also wanted to share more details about what this update specifically means for hosts and guests in San Francisco:

For reservations in San Francisco booked on or after October 1, guests will see a new line item on their Airbnb receipt for the city-imposed Transient Occupancy Tax. The tax will be added to the total amount paid by guests on stays of fewer than 30 days – hosts will not have to do anything extra. If you’ve already been collecting the San Francisco Transient Occupancy Tax for Airbnb guests, you should not do so after October 1.

Collection of these taxes won’t affect the payout amounts you receive as a host. Just like before, you’ll continue to receive your accommodation fee minus the Airbnb host service fee. Before paying and on the itemized receipt, your guests will see a separate amount for taxes in the total amount they pay for a reservation. If you’d like to learn more about occupancy taxes and Airbnb, please visit our Help Center.

Additionally, tomorrow our Regional Head of Public Policy David Owen will be hosting a webinar to discuss this important topic, and to give you the opportunity to ask questions. You can sign up to participate here.

San Francisco is our home and we look forward to continuing to work with everyone here to make it an even better place to live, work and visit.

Thanks,
The Airbnb Team

Indian Joe suffers a tragic injury, keeps his sense of humor

Sasha Cuttler And Mary Magee

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September 17, 2014

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Indian Joe suffers a tragic injury, keeps his sense of humor

We spotted Indian Joe, an iconic San Francisco character who’s famous for emulating the look of rock legend Alice Cooper, on the sidewalk outside the Bay Guardian office Monday morning. Donning his signature top hat, he beamed and said hello. But something was wrong.

Joe was sitting in a wheelchair, and the lower half of his right leg was gone.

He filled us in on how it happened: Less than a month ago, a concrete block fell onto his leg at a recycling facility operated by Recology, instantly crushing his ankle and foot. He’d gone to the recycling center, located at Pier 96 on Amadour Street in San Francisco, on Aug. 18, to help a friend unload recycled cardboard.

They’d gone numerous times before. He said they used the same practice for unloading his friend’s pickup truck that they and other recyclers always use, which involves tying one end of a rope securing the bundle of cardboard to a concrete block with an eyelet sticking out of it, and driving forward a few feet to pull the cardboard off the truck bed. But on this day, the concrete somehow came loose and crushed Indian Joe’s leg, causing him to lose a limb.

The day after we encountered Joe on the street, we stopped in to see him at the Hotel Alder, a Sixth Street SRO where he’s lived for four years. He shares his room with a sweet gray cat named Thin Lizzy, named after the rock band. Jack Ottaway, a photographer who’s acted as Joe’s caretaker since the accident, was with him, preparing to take him to a doctor’s appointment later that morning.

Joe said that after the concrete block fell onto his leg, a number of Recology employees came running over but didn’t immediately free him from the enormous weight he was trapped under, even though he could see a forklift nearby. Finally the concrete was moved aside, and he was rushed to the hospital by ambulance. “I heard them in the ambulance as they were talking to [San Francisco General Hospital],” he recalled, “and they were saying, ‘we’re going to have to amputate his leg.’”

Joe is still experiencing serious pain and he said he’s been having nightmares about the accident. He got emotional when he explained what had happened, but he’s maintained his sense of humor throughout the ordeal. “I may be down, but I’m not out. The first bionic Indian!” he laughed.

“I’m getting ready to go swimming,” he jokingly told a neighbor later on, top hat in place, as his caretaker wheeled him toward the elevator on their way to the doctor. “I’m gonna do the high dive!”

A few days after the operation, Joe celebrated his 52nd birthday in the hospital. He received a giant get well soon / happy birthday card signed by students from Crocker Middle School. They’d taped a picture of Alice Cooper on the front and covered the card in hand-written messages.

Earlier on the day of the accident, Joe had gone to De Marillac Academy, a school that educates low-income, underserved youth from the Tenderloin, to deliver a “motivational talk.” It’s one of several schools, including Crocker, where he regularly speaks to youth, telling his personal story. “We talk about hunger, homelessness, and what it’s like being Native American,” he explained. “They all love me to death.”

Joe was homeless on the streets of San Francisco for many years before moving into the SRO. “Over the years, the city’s been good to me,” he said. He’s made appearances in two documentary films. One of them, the Emmy-winning “A Brush With the Tenderloin” by filmmaker Paige Bierma, focuses on a Tenderloin mural painted by local artist Mona Caron. Indian Joe is painted into the mural.

“People recognize me,” Joe said. “I got to wearing my top hat, and that became my trademark over the years.” Then came the Alice Cooper makeup, which a friend did for him the first time. Walking down the street, “I felt so self-conscious, and people were looking at me,” he said. “And then I thought: There’s a lot weirder people than me in San Francisco!”

Joe said he grew up in British Columbia, and his family is a part of the Shuswap Tribe. While living on the streets, he said, he became a victim of violence more than once: “I was stabbed eight times,” he noted, lifting his shirt to show the scars. “I was shot in the back with a 9 millimeter.” He also said he kicked a decade-long heroin addiction. “I just told the devil, here’s the needle, I quit,” he said. The withdrawal “was five years of hell,” he said, but since then, a few people have approached him to say that he inspired them to give it up, too.

When Joe sits on the sidewalk outside of his SRO in his wheelchair, practically every other passerby stops to greet him, shake his hand, and ask him how he’s getting along. But he’ll be making many more visits to the doctor in the near future, and meeting with his lawyer.

Attorney Tanya Gomerman, who is representing him, told the Bay Guardian that she and her team are “currently investigating the facts of the injury,” and believe that “Recology was negligent in maintaining their premises in a reasonably safe condition.”

Reached by phone, Recology spokesperson Adam Alberti said the concrete block, called a push wall, wasn’t supposed to be used for the purpose of helping to unload recycled cardboard from the back of a truck. But Alberti said he didn’t have enough information to explain why attendants wouldn’t have intervened to prevent an unsafe practice. “Recology is saddened by this accident and is evaluating all aspects of its operations,” Alberti said. “Our sympathies go out to the customer.”

Events Listings: sept. 17-23, 2014

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September 17, 2014

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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 17

“Black Widow Pulsars: Vengeful Star Corpses” Randall Museum Theater, 199 Museum Way, SF; www.randallmuseum.org. 7:30pm, free. Stanford University’s Dr. Roger Romani speaks — Gamma rays, black holes, neutron stars! — as part of the San Francisco Amateur Astronomers’ 2014 lecture series.

Novella Carpenter Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author (Farm City: The Education of an Urban Farmer) reads from her latest memoir, Gone Feral: Tracking My Dad Through the Wild. Carpenter also talks Feral Sat/20, 5pm, Green Arcade, 1680 Market, SF; www.thegreenarcade.com.

THURSDAY 18

“Hardly Strictly Warren Hellman” Contemporary Jewish Museum, 736 Mission, SF; www.thecjm.org. Opens Thu/18, 11am-8pm. $5-12. Exhibit runs through Oct 2016 (daily except Wed, 11am-5pm; Thu, 11am-8pm). Celebrating the legacy of banker, philanthropist, musician, and Hardly Strictly Bluegrass Festival founder Hellman, who died in 2011. Exhibit contains footage from HSB’s archive of live performances, and personal objects like Hellman’s banjo.

“The Magic City: Treasure Island’s Golden Gate International Exposition” 2 Bryant, Suite 300, SF; www.sfheritage.org. 6pm, $15. San Francisco Heritage hosts this lecture with authors Anne Schnoebelen and Therese Poletti, who will discuss the 1939 Golden Gate International Exposition, themed “the Pageant of the Pacific,” and for which Treasure Island was constructed.

Jason Segal JCCSF, 3200 California, SF; www.jccsf.org/arts. 7pm. $15. The actor and comedian shares his new book for kids, Nightmares!

FRIDAY 19

“Art/Act: Maya Lin” David Brower Center, 2150 Allston, Berk; www.browercenter.org. Opens Fri/19, 7-9pm. Free. Exhibit runs through Feb 4 (Mon-Fri, 9am-5pm; Sun, 10am-1pm). The acclaimed sculptor, architectural designer, and environmentalist displays abstract works inspired by the Bay Area’s natural environments, including the interactive What is Missing? project.

Eat Real Festival Jack London Square, Oakl; www.eatrealfest.com. Fri/19, 1-9pm; Sat/20, 10:30am-9pm; Sun/21, 10:30am-5pm. Free. Billed as a combo “state fair, street-food festival, and block party,” this fest offers sustainable, regionally-sourced eats (BBQ, ice cream, curry, and more) costing eight bucks or less.

Oktoberfest by the Bay Pier 48, SF; www.oktoberfestbythebay.com. Fri/19, 5pm-midnight; Sat/20, 11am-5pm and 6pm-midnight; Sun/21, 11am-6pm. $25-75 (Sat/20-Sun/21 day session, kids 13-18, $5; must be accompanied by parent). The Chico Bavarian Band returns to add oompah to your eating and, more importantly, drinking experience. Prost!

“A Taste of Greece” Annunciation Cathedral, 245 Valencia, SF; www.sfgreekfestival.org. Fri/19-Sat/20, noon-10pm; Sun/21, noon-8pm. Free. Greek-food connoisseurs won’t want to miss this annual festival, which rolls out spanakopita, gyros, wine, pastries, and other specialties, plus live music and dancing.

SATURDAY 20

“Among Dreams” LGBT Center, 1800 Market, SF; www.amongdreams.com. Opens Sat/20, 6-9pm. Free. Exhibit runs through Nov 11. Chelsea Rae Klein presents photographic portraits, collages, and other works honoring LGBTQI veterans and active-duty military members, based on archival materials as well as interviews conducted since the 2011 repeal of “Don’t Ask, Don’t Tell.”

“Fertile Ground: Art and Community in California” Oakland Museum of California, 1000 Oak, Oakl; www.museumca.org. Opens Sat/20, 10am-6pm. $6-15. Exhibit runs through April 12 (Wed-Thu, 11am-5pm; Fri, 11am-9pm; Sat-Sun, 10am-6pm). Oakland Museum of California and SFMOMA collaborate on this exhibition, which focuses on local history and social movements that shaped California art. Communities include the artists who worked with Diego Rivera and Frida Kahlo in SF in the 1930s; painters and photographers from the California School of Fine Arts in the 1940s and ’50s (Mark Rothko, Richard Diebenkorn); UC Davis students and faculty in the 1960s and ’70s (Wayne Theibaud); and the “new Mission” artists of the 1990s (Barry McGee, Chris Johanson).

Mill Valley Fall Arts Festival #58 Old Mill Park, 325 Throckmorton, Mill Valley; www.mvfaf.org. 10am-5pm, $5-10. Through Sun/21. Over 140 fine artists participate in this fair, which is held in a can’t-be-beat location (hi, majestic redwoods) and also features live music and children’s entertainment.

Sarah Waters Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The award-winning novelist (Tipping the Velvet, Affinity) reads from her latest, The Paying Guests.

SUNDAY 21

Folsom Street Fair Folsom between Eighth and 13th Sts, SF; www.folsomstreetfair.com. 11am-6pm, $10 donation requested (donation sticker entitles wearer to $2 off drinks). The leather and fetish fantasia returns with over 200 exhibitor booths, two giant dance floors, public play stations, erotic art, and more.

MONDAY 22

Patrick Hoffman Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author of The White Van discusses his work with Matt Gonzalez as part of the “New Voices, New Stories” series.

TUESDAY 23

“Primus, Over the Electric Grapevine: Insight into Primus and the World of Les Claypool” Doc’s Lab, 124 Columbus, SF; www.citylights.com. 7pm, free (tickets required, must be picked up at the front counter of City Lights at 261 Columbus; call 415-362-8193 to inquire about availability). Primus’ Les Claypool, Larry LaLonde, and others discuss Greg Prato’s new book, offering the definitive oral history of the band. *

Stage Listings: September 17-23, 2014

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September 17, 2014

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

THEATER

OPENING

Ideation San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-120. Previews Sept 23-26, 8pm. Opens Sept 27, 8pm. Runs Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm; no matinee Sept 27); Sun, 2pm. SF Playhouse performs the world premiere of Aaron Loeb’s darkly comic suspense thriller.

The Late Wedding Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Previews Thu/18-Sat/20, 8pm. Opens Mon/22, 8pm. Runs Wed-Sat, 8pm (no show Sept 24). Through Oct 11. Crowded Fire Theater performs a world premiere commission by Christopher Chen, a “journey of the soul” inspired by the work of Italian fabulist novelist Italo Calvino.

Pippin Golden Gate Theatre, 1 Taylor, SF; www.shnsf.com. $45-210. Opens Tue/23, 8pm. Runs Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Oct 19. This all-new production of Roger O. Hirson and Stephen Schartz’s 1972 musical won the 2013 Tony for Best Revival of a Musical.

BAY AREA

Lovebirds Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-100. Opens Fri/19, 8pm. Runs Fri, 8pm; Sat, 8:30pm. Through Oct 18. Marga Gomez brings her solo show to Berkeley after runs in SF and NYC.

ONGOING

The Barbary Coast Revue Sub/Mission Gallery, 2183 Mission, SF; www.barbarycoastrevue.com. $28. Sat, 8pm. Through Nov 29. Join Mark Twain on an interactive musical tour of Gold Rush-era San Francisco.

Cock New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Oct 12. New Conservatory Theatre Center performs Michael Bartlett’s comedy about a man who meets the woman of his dreams — while on a break from dating his boyfriend.

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Thu-Fri, 8pm; Sat, 5pm; Sun, 2pm. Extended through Oct 4. The latest solo show from celebrated writer-performer Dan Hoyle (Tings Dey Happen, The Real Americans) winds a more random course than usual across the country and abroad but then that’s the idea — or at least Hoyle warns us, right after an opening encounter with a touchy young white supremacist, that the trip he’s taking us on is a subtle one. Displaying again his exceptional gifts as a writer and protean performer, Hoyle deftly embodies a set of real-life encounters as a means of exploring the primacy and predicament of face-to-face communication in the age of Facebook. With the help of director Charlie Varon (who co-developed the piece with Hoyle and Maureen Towey), this comes across in an entertaining and swift-flowing 75-minute act that includes a witty rap about “phone zombies” and a Dylan-esque screed at a digital detox center. But the purported subject of connection, or lack there of, in our gadget-bound and atomized society is neither very original nor very deeply explored — nor is it necessarily very provocative in a theater, before an audience already primed for the live encounter. Far more interesting and central here is Hoyle’s relationship with his old college buddy Pratim, an Indian American in post-9/11 America whose words are filled with laid-back wisdom and wry humor. Also intriguing is the passing glimpse of early family life in the Hoyle household with Dan’s celebrated artist father, and working-class socialist, Geoff Hoyle. These relationships, rather than the sketches of strangers (albeit very graceful ones), seem the worthier subjects to mine for truth and meaning. Indeed, there’s a line spoken by Pratim that could sum up the essence of Hoyle’s particular art: “It’s so much better,” he says, “when you find yourself in other people than when you just find yourself.” Hoyle’s real frontier could end up being much more personal terrain, much closer to home. (Avila)

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Haze ACT Costume Shop, 1117 Market, SF; http://bit.ly/thehazeplayACT. $20. Thu, 7pm; Fri-Sat, 8pm. Through Sept 27. Heather Marlowe performs her solo show, a sharp-witted, autobiographical play about recovering from rape — and the way rape cases are mishandled by the justice system.

King Fool Various locations TBA to reservation holders; www.weplayers.org. $30-50. Fri-Sun, times TBA. Through Sept 28. We Players presents a new, intimate, site-specific work inspired by King Lear.

LongShotz: The Things That Separate Us Tides Theatre, 533 Sutter, Second Flr, SF; http://amios.wordpress.com. $25. Program B: Wed/17, 8pm. Amios presents two separate programs of three 30-minute plays, each written by a different author. Each play is inspired by the Radiohead lyric, “Just ’cause you feel it doesn’t mean it’s there.”

Motown the Musical Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $45-210. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Sept 28. Over 40 hits (“My Girl,” “Ain’t No Mountain High Enough”) pack this tale of Motown founder Berry Gordy’s career in the music biz.

Noises Off! Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Thu-Sat, 8pm. Through Oct 25. Shelton Theater performs Michael Frayn’s outrageous backstage comedy.

Old Hats ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Opens Wed/17, 8pm. Runs Wed-Sat, 8pm and Sept 30 (also Sat, 2pm); Sun, 2pm; Tue/23, 7pm. Extended through Oct 12. American Conservatory Theater presents Tony winners Bill Irwin and David Shiner in the West Coast premiere of Signature Theatre’s story of “clowns getting older — and even crazier.”

San Francisco Fringe Festival Exit Theatreplex, 156 Eddy, SF; www.sffringe.org. $10 or less at the door; $12.99 or less online (passes, $45-75). Through Sat/20. Unique, daring indie theater (murder mysteries! Tech tales! Dating dramas! Clowns!), with 35 shows and 150 performances over 14 days.

Semi-Famous: Hollywood Hell Tales from the Middle New venue: Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Sat, 8:30pm; Sun, 7pm. Through Oct 19. Don Reed’s latest solo show shares tales from his career in entertainment.

Slaughterhouse Five Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $20-50. Thu-Sat, 8pm; Sun, 7pm (also Oct 5 and 12, 3pm). Through Oct 12. Custom Made Theatre Co. performs Eric Simonson’s adaptation of the classic Kurt Vonnegut’s semi-autobiographical novel.

The Taming of the Shrew McLaren Park, Jerry Garcia Amphitheater, 40 John F Shelley, SF; www.sfshakes.org. Free. Sat/20-Sun/21, 2pm. Continues through Free Shakespeare in the Park presents this take on the Bard’s barb-filled romance.

Too Much Light Makes the Baby Go Blind Boxcar Theatre, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri-Sat, 9pm. Ongoing. The Neo-Futurists perform Greg Allen’s spontaneous, ever-changing show that crams 30 plays into 60 minutes.

BAY AREA

An Audience with Meow Meow Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Tue and Thu-Sat, 8pm (also Sat, 2pm but no matinee Sat/20; also Fri/19 and Oct 16, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 19. British singer-comedian Meow Meow world-premieres her new show at Berkeley Rep, under the direction of Kneehigh’s Emma Rice.

Berlin to Broadway with Kurt Weill Masquers Playhouse, 105 Park, Point Richmond; www.masquers.org. $22. Fri/19, 8pm; Sat/20, 7pm. Masquers Playhouse performs a revue celebrating the life and work of Kurt Weill.

“Breaking Chains Festival” Various venues, Oakl (one venue in SF); www.ubuntutheaterproject.com. $15-25. Through Sept 27. New company Ubuntu Theater Project presents this festival of six site-specific works. Authors include Marcus Gardley, Tim Price, Clifford Odets, George Brant, Bennet Fisher, and N’Jameh Camera.

Funny Girl Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-42. Thu/18-Sat/20, 8pm; Sun/21, 2pm. Hillbarn Theatre performs the classic romantic musical comedy, with music by Jule Styne, lyrics by Bob Merrill, and book by Isobel Lennart.

House and Garden Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Oct 5. Pear Avenue Theatre performs Alan Ayckbourn’s two interlocking but separate comedies, a unique theatrical experience in which the audience stays put and the actors travel between adjacent theaters, performing each play at the same time.

An Ideal Husband Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $12-35. Runs in repertory Fri-Sun through Sept 27; visit website for specific performance dates and times. Marin Shakespeare Company performs Oscar Wilde’s witty tale.

The Last Days of Judas Iscariot Flight Deck, 1540 Broadway, Oakl; brownpapertickets.com/event/780550. $15-25. Thu/18-Sat/20, 8pm; Sun/21, 7pm. Stephen Adly Guirgis’ courtroom drama takes on the fate of the New Testament turncoat.

Life Could Be a Dream Center REPertory Company, Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.centerrep.org. $37-66. Wed, 7:30pm; Thu-Sat, 8pm (also Sept 20 and 27, 2:30pm); Sun, 2:30pm. Through Oct 5. CenterREPertory Company performs Roger Bean’s doo-wop musical.

A Midsummer Night’s Dream Bruns Amphitheater, 100 California Shakespreare Theater Wy, Orinda; www.calshakes.org. $45-82. Tue-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 4pm. Through Sept 28. Cal Shakes performs Shana Cooper’s remix of the Bard’s classic fantasy.

The New Electric Ballroom Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (Oct 5, show at 2pm). Through Oct 5. Shotgun Players perform Enda Walsh’s poetic nightmare about three sisters who are obsessed with their memories.

Rapture, Blister, Burn Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-50. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 28. Aurora Theatre Company opens its 23rd season with Gina Gionfriddo’s drama about three generations of women “struggling with feminism’s foibles.”

Romeo and Juliet Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $12-35. Runs in repertory Fri-Sun through Sept 28; visit website for specific performance dates and times. Marin Shakespeare continues its 25th season with the Bard’s timeless tragedy.

Wonder of the World Douglas Morrisson Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-32. Thu/18-Sat/20, 8pm; Sun/21, 2pm. Douglas Morrison Theatre opens its 35th season with David Lindsay-Abaire’s comedy about self-fulfillment.

Year of the Rooster La Val’s Subterranean, 1834 Euclid, Berk; http://impacttheatre.com. $10-25. Thu-Sat, 8pm; Sun, 7pm. Through Oct 12. Impact Theatre performs Eric Dufault’s comedy, told from the point of view of a rooster that enters cockfights.

PERFORMANCE/DANCE

“AfroSolo Arts Festival: Black Voices Performance Series: Our Stories, Our Lives” African American Art and Culture Complex, 762 Fulton, SF; www.afrosolo.org. Program A: Fri/19 and Sept 26, 8pm; Sun/21 and Sept 28, 3pm. Program B: Sat/20 and Sept 27, 8pm; Sun/21 and Sept 28, 7pm. $15-50. Performers include Stephanie Anne Johnson, Lance Burton, Tarika Lewis, and DJ Lamont.

“BATS Summer Improv Festival” Bayfront Theater, B350 Fort Mason, SF; www.improv.org. $20. This week: “Improvised Game of Thrones,” Fri/19-Sat/20, 8pm.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/21, Sept 28, Oct 4, 11, 18, 26, 6:30pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Comedy Returns to El Rio” El Rio, 3158 Mission, SF; www.brownpapertickets.com. Thu/18, 8pm, $7-20. With Maureen Langan, Dan St. Paul, Matt Gubser, Anthony Durante, and Lisa Geduldig.

“Dances of the Sacred and Profane” Cowell Theater, Fort Mason Center, Marina at Buchanan, SF; www.mfdpsf.org. Thu/18-Sat/20, 8pm; Sun/21, 3pm. $18.50-28.50. Mark Foehringer Dance ProjectSF presents an ambitious world premiere as the Cowell Theater re-opens following an extended closure for seismic retrofitting.

Doc’s Lab 124 Columbus, SF; www.docslabsf.com. This week: Comedy with Robert Hawkins, Kurt Weitzmann, and Leslie Small, Wed/17, 8pm, $10-12; “Learn From Me: Comedy Showcase,” Thu/18, 8pm, $8-10; comedy with Beth Stelling, David Gborie, and Joey Devine, 8pm, $15-18; “Doc’s Comedy Open Mic,” Tue/23, 7pm, free.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: Linda Lavin in “Possibilities,” Thu/18-Fri/19, 8pm, $45-60; “Celebrity Autobiography” with Tim Bagley, Laraine Newman, and Fred Willard, Sat/20-Sun/21, 7pm, $35-50.

“FSM” Brava Theater Center, 2781 24th St, SF; www.brownpapertickets.com. Sat/20, 8pm; Sun/21, 2 and 7pm. Also Sept 27, 8pm; Sept 28, 2 and 7pm, Thrust Stage, Berkeley Repertory Theatre, 2025 Addison, Berk. $20. Stagebridge presents a play with music about the 1964 Free Speech movement at Berkeley.

“Hand to Mouth Comedy” Cinecave, Lost Weekend Video, 1034 Valencia, SF; http://hand2mouthcomedy.com. Fri/19, 8:30pm. $10. Trevor Hill presents comedy with Jules Posner, Kelly Anneken, Kimberly Rose Wendt, and others.

“The Luminous Edge” Yerba Buena Center for the Arts Theater, 701 Mission, SF; www.ybca.org. Thu/18-Sat/20, 8pm; Sun/21, 3pm. $25-36. A new, evening-length dance theater work from Garrett + Moulton Productions.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Mission Position” Cinecave, Lost Weekend Video, 1034 Valencia, SF; www.missionpositionlive.com. Thu/18, 8pm. $10. Comedy with Matt Lieb, Kate Willett, Trevor Hill, and Jessica Sele.

“Multiple Mary and Invisible Jane” US Hastings College of the Law, 333 Golden Gate, SF; www.flyawayproductions.com. Wed/17-Thu/18, noon and 8pm; Fri/19-Sat/20, 8 and 9pm. Free. Choreographer Jo Kreiter’s Flyaway Productions presents a world premiere aerial dance work exploring the experiences of homeless women in the Tenderloin.

“My Friend Hafiz” Dance Mission Theater, 3316 24th St, SF; www.sweetcanproductions.com. Fri/19-Sun/21, 8pm (also Sat/20-Sun/21, 4pm). $20. Sweet Can Productions and the Levins present this performance of the folk duo’s album, backed with aerialists, clowns, and other circus acts.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. Ongoing. $12. A new, completely improvised show every week.

“People in Plazas” Various locations, SF; www.peopleinplazas.org. Through Oct 3. Free. Lunchtime concerts in various downtown locations showcasing jazz, world, funk, and other styles of music.

“Perverts Put Out for Folsom Eve!” Center for Sex and Culture, 1349 Mission, SF; www.simonsheppard.com. Sat/20, 8pm. $10-25. The performance series (proceeds benefit CSC) celebrates the Folsom Street Fair with Sherilyn Connelly, Greta Christina, Philip Huang, Lori Selke, horehound stillpoint, and Xan West, plus hosts Simon Sheppard and Dr. Carol Queen.

“PUSHfest” ODC Theater, 3153 17th St, SF; www.odcdance.org. Program A: Fri/19, 8pm; Sun/21, 4pm. Program B: Sat/20, 8pm; Sun/21, 7pm. $25-30 (both shows, $50). Raissa Simpson’s PUSH Dance Company presents this cross-genre dance festival, with works from both local and visiting artists.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Ongoing. $5-15. “Weekly New Talent Shows,” Wed-Thu, 7pm. “Purple Onion All-Stars,” Wed-Thu, 8:15pm. “The Later Show,” Wed-Thu, 10pm. “The Cellar Dwellers” Fri-Sat, 7:30pm. This week’s “Cellar Dwellers” headliner is Beaumont Bacon.

San Francisco Improv Festival Eureka Theatre, 215 Jackson, SF; www.sfimprovfestival.com. Through Sat/20. $5-35. An array of comedy talent takes the stage at this all-improv festival.

“The Story Brother Sun Sister Moon” SF Community Music Center, 544 Capp, SF; (707) 795-3545. Sat/20, $10-15. Also Sun/21, 2 and 7:30pm, $14-16, Arlene Francis Center for Spirit, Art and Politics, 99 W Sixth Ave, Santa Rosa. Alva Sound Art Studio presents the Story Orchestra in this original production, which uses songs by Donovan to help tell the life story of St. Francis of Assisi.

“Synaptic Motion” Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Thu/18-Sat/20, 8pm (also Sat/20, 5pm); Sun/21, 2 and 5pm. $25-35. Science and technology dance company Capacitor performs a world premiere conceived and choreographed by artistic director Jodi Lomask.

“Terminator Too: Judgment Play” and “Point Break LIVE!” DNA Lounge, 375 11th St, SF; www.dnalounge.com. Oct 3, Nov 7, and Dec 5, Terminator at 7:30pm; Break at 11pm. $20-50. The raucous, interactive staged recreations of two of 1991’s greatest action films return to the DNA Lounge.

“Wait Until Dark” Victoria Theatre, 2961 16th St, SF; www.circleoflifetheatre.org. Thu/18-Sat/20, 8pm; Sun/21, 2pm. $30-35. Circle of Life Theatre, which includes actors with and without disabilities, performs a modern take on Frederick Knott’s thriller.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Through Oct 26. Free. This week: SambaDá, Thu/18, 12:30-1:30, free; Juan de Marcos and the Afro-Cuban All-Stars, Sun/21, 1-2:30pm, free.

BAY AREA

“The Anastasio Project” Eastside Arts Alliance, 2277 International, Oakl; www.nkdancetheater.com. Fri/19-Sun/21, 8pm. $10-40. José Navarrete and Debby Kajiyama present the latest evening-length, multidisciplinary performance from their NAKA Dance Theater. The piece explores experiences of violence endured by people of color living in Oakland.

“Free Beer and BYOB Comedy Night” Bergeron’s Books, 375 15th St, Oakl; www.bergeronsbooks.com. Sat/20, 8pm. $5. With Matt Lieb, Cameron Vannini, Irene Tu, Rudy Ortiz, Andrew Holmgren, and host Adrian McNair.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“Monsieur Chopin” Berkeley Repertory Theatre, 2025 Addison, Berk; www.berkeleyrep.org. Wed/17 and Sun/21, 2 and 7pm; Thu/18-Sat/20, 8pm (also Thu/18 and Sat/20, 2pm). $29-87. Hershey Felder returns for the farewell presentation of his acclaimed solo show. *

This Week’s Picks: Sept 17-23, 2014

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September 17, 2014

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WEDNESDAY/17

Multiple Mary and Invisible Jane

Flyaway Productions, the aerial dance company that aims to “expose the range and power of female physicality,” will use an 80-foot wall offered up by the UC Hastings College of the Law to perform its new, site-specific dance created for the Tenderloin. If you’ve never seen aerial dance before, get ready to hold your breath as you watch dancers careen, tumble, and pirouette some seven stories up into the stratosphere. But the social justice themes for this performance keep its spirit on the streets, while dancers Erin Mei-Ling Stuart, Alayna Stroud, Marystarr Hope, Becca Dean, Laura Ellis, and Esther Wrobel fly through the air: Multiple Mary and Invisible Jane was choreographed by Jo Kreiter to narrate the experience of homeless women in San Francisco, in a neighborhood where extreme privilege and poverty collide. This afternoon’s performance will also have tabling with housing activists from Tenants Together. (Emma Silvers)

Wed/17-Thu/18 at noon and 8pm; Fri/19-Sat/20 at 8 and 9pm; free

UC Hastings School of the Law

333 Golden Gate, SF

(415) 672-4111

www.flyawayproductions.com

THURSDAY/18

Quaaludes

Some know quaaludes as a sedative that was popular in the disco era for its dizzying side effects. Others more hip to San Francisco’s independent music scene know Quaaludes as an all-girl quartet from the city by the Bay. Combining elements of grunge, post-punk, and riot grrrl, the band is unapologetically fierce when it comes to its live shows and lyric matter. In the band’s latest conquest to conquer a primarily male-dominated scene, Quaaludes is releasing its newest 7″ EP, dubbed Nothing New, on Dollskin and Thrillhouse Records this week. In celebration of this and their upcoming tour, the band will be playing with Generation Loss, Bad Daddies and Man Hands at everybody’s favorite Bernal Heights’ dive bar, The Knockout. (Erin Dage)

With Generation Loss, Bad Daddies, Man Hands

10pm, $7

Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com

FRIDAY/19

Eat Real Festival

Do you like noshing on food that’s as tasty as it is wallet-friendly? (If the answer is negative, the follow-up is: Do you have a pulse?) Oakland’s Eat Real Festival lures some of the most tempting food trucks and vendors in the Bay Area to Jack London Square, none of which will charge more than eight bucks for whatever’s on the menu. Besides affordable, sustainable and local are other key buzzwords at play, but the loudest buzz of all will be emanating from the hungry as they feast on mac n’ cheese, tacos, BBQ, falafel, vegan delights, sweet treats, and more. (Cheryl Eddy)

Today, 1-9pm; Sat/20, 10:30am-9pm; Sun/21, 10:30am-5pm, free

Jack London Square

55 Harrison, Oakl.

www.eatrealfest.com

Cine+Mas 6th Annual SF Latino Film Festival

Filmmakers, young and old, parading their versions of the provoca-creative relationship between the eye behind the lens and the image in front of the camera. This 6th edition of the San Francisco Latino Film Festival not only highlights most genres and styles of cinematography but a substantial example of the new Latin American film current. The result might well outshine Hollywood. In El Salvador, there is still a lot to do to settle scores with one of its most prolific (and ignored) poets, and the film Roque Dalton, Let’s Shoot the Night! (Austria, El Salvador, Cuba) is one step forward. In Peru’s Trip to Timbuktu, teenagers Ana and Lucho use love to hide from the social unrest of the ’80s. The festival opens with LA’s Alberto Barboza Cry Now. Films will also be shown in Berkeley, Oakland, and San Jose. (Fernando A. Torres)

Through Sept. 27

7pm, $15 (prices and times vary)

Brava Theater

2781 24th St., SF

(415) 754-9580

www.sflatinofilmfestival.org

Beck

In case you hadn’t heard, the Nob Hill Masonic Center recently had a little work done — a nip here, a tuck there, the installation of 3,300 brand-new seats, a few new bars, food options, and a rather expensive state-of-the-art sound system. Kicking things off at the new-and-improved music venue that will henceforth be known as The Masonic is Beck, who seemingly never ages, and whom you can count on to christen the stage but good with his idiosyncratic blend of funk, rock, and melancholy blues (this year’s Moon Phase was on the mopier side of the spectrum, but in a darn pretty way). The last time we saw him we were freezing our butts off at the Treasure Island Music Festival, so we’re excited to see him moonwalk again (hopefully!) in slightly cozier pastures. (Silvers)

8pm, $85-$120

Masonic

1111 California, SF

(415) 776-7475

www.sfmasonic.com

SATURDAY/20

“Silent Autumn”

Good news, SF Silent Film Festival fans: The popular “Silent Winter” program is now “Silent Autumn,” and its movie magic (with live musical accompaniment) arrives at the Castro months earlier than usual. The day is packed with top-notch programming, but if you must narrow it down: The British Film Institute-curated “A Night at the Cinema in 1914” showcases newsreels (think votes-for-women protestors and World War I reports), comedies (early Chaplin!), a Perils of Pauline episode, and more; while the freshly restored, memorably creepy German expressionist classic The Cabinet of Dr. Caligari (1920) gets its US premiere. (Eddy)

First program at 11am, $15

Castro Theatre

429 Castro, SF

www.silentfilm.org

Samhain

After the breakup of the original Misfits in 1983, Glenn Danzig built upon the horror punk foundation of his first band and added even darker lyrical content, and later on, a more metal sound to the mix, creating Samhain — a group that would go on to release three records before the singer re-tooled the lineup and adopted the eponymous moniker of Danzig. When original members Steve Zing and London May join Danzig on stage in San Francisco tonight — one of only seven gigs that the band is playing on this special reunion tour — you can be assured that “All Hell Breaks Loose!” (Sean McCourt)

With Goatwhore and Kyng

8pm, $30-$45

The Warfield

982 Market, SF

www.thewarfieldtheatre.com

SUNDAY/21

Berkeley World Music Festival

Telegraph Avenue is enough of a spectacle in and of itself on an average day, but on day two of this free fest — which marks the first time organizers have thrown a fall party in addition to the spring festival — the whole street will become a stage, as organizers have closed the Ave to cars between Dwight and Durant. Get ready to hear Zydeco and Canjun sounds, Klezmer tunes, Moroccan Chaabi pop, Zimbabwean dance numbers, Sufi trance, and just about every other kind of international music you can think of. A kids’ section will have puppet shows and street art, while a special beer garden on Telegraph at Haste serves to benefit Berkeley’s beloved Ashkenaz Music & Dance Community Center. No passport necessary. (Silvers)

Starts Sat/20, noon to 6pm, free

Telegraph between Dwight and Durant, Berk.

www.berkeleyworldmusic.org

MONDAY/22 The Raveonettes Grafting lush harmonies, catchy song structures, and timeless production values from 1950s rock ‘n’ roll pioneers such as Buddy Holly and the Everly Brothers onto a modern indie approach, The Raveonettes have created an ethereal sound that is virtually all their own. Sune Rose Wagner and Sharin Foo have added fuzz-tone guitars and more on top of their history-steeped musical foundation over the course of several records to great effect, including their latest, Pe’ahi, which hit stores in July. Based on tracks like “Endless Sleeper,” it appears that living in Los Angeles has added a ripping surf twang to their guitar sound — along with other welcome, varied instrumentation. (McCourt) 8pm, $28 Bimbo’s 365 Club 1025 Columbus, SF (415) 474-0365 www.bimbos365club.com TUESDAY/23 Robin Williams Double Feature: The World According to Garp and The Birdcage What is there to say about the beloved comedian that hasn’t already been said? Better to let him speak — rant, sing, preach — for himself, in any of the countless, ridiculous voices in which he spoke. The 1982 adaptation of John Irving’s novel sees Williams in the title role of Garp, alongside Glenn Close making her feature debut, plus John Lithgow’s Academy Award-nominated turn as a transgender jock. And The Birdcage, Mike Nichols’ classic, uproarious 1996 adaptation of La Cage aux Folles, pairs Williams with two of the other finest comedic actors of his generation, Hank Azaria and Nathan Lane, for the original Meet the Parents, so to speak. (Hint: It’s funnier when one of the couples owns a gay nightclub in South Beach.) Shoes optional? (Silvers) 4:45pm, 7pm, 9:30pm, $11 Castro Theatre 429 Castro, SF www.castrotheatre.com George Thorogood Celebrating 40 years of bringing blues and booze-fueled good times to fans around the globe, George Thorogood and The Destroyers continue to be the unabashedly best bar band in the world. Just hearing the first few notes or verses of songs like “Move It On Over,” “I Drink Alone,” “Who Do You Love,” and of course, “Bad to the Bone” transports listeners to a jumpin’ juke joint of yesteryear, where you forget all your daily troubles and just dance the night away — and you know what to order when the bartender asks. Of course, it’s “One Bourbon, One Scotch, One Beer!” (McCourt) 8pm, $38.50 The Fillmore 1805 Geary, SF (415) 346-3000 www.thefillmore.com The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian, 835 Market Street, Suite 550, SF, CA 94103; or e-mail (paste press release into e-mail body — no attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.