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Go north, film fan

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If you’re gonna make the journey across the Golden Gate Bridge, the movie better be worth it, right? Fortunately, the 2013 Mill Valley Film Festival boasts a stellar schedule. Read on for our top picks.

Run & Jump (Steph Green, Ireland/Germany) San Francisco-born director Steph Green’s first feature is a likable seriocomedy about an Irish family trying to adjust to some drastic, unforeseen changes. After suffering a stroke and coming out of a coma, Conor Casey (Edward MacLiam) is a changed man — uncommunicative, sometimes volatile, seldom at all like the beloved husband and father he was. As wife Venetia (Maxine Peake) and their two kids tiptoe around him, they get a houseguest in the form of American neurologist Ted (Will Forte), who’s here to study Conor’s recovery (or lack thereof) with clinical detachment. The reserved, emotionally withdrawn Yank finds himself drawn into the Caseys’ shared warmth, particularly in its current need for a fill-in adult male — opening up to the children and, more riskily, striking romantic sparks with the Mrs. A bit formulaic but a crowd-pleaser nonetheless, the film is perhaps most notable for its winning dramatic turn by Saturday Night Live alum Forte, also at MVFF in Alexander Payne’s Nebraska. Fri/4, 9:15pm, and Sun/6, 1pm, Sequoia. (Dennis Harvey)

Imagine (Andrzej Jakimowski, Poland) Andrzej Jakimowski’s quiet yet sometimes exhilaratingly original film manages to make blindness relatable as perhaps never before in a primarily visual medium. Ian (Edward Hogg) is an enigmatic Englishman who shakes up a Lisbon facility for his fellow sightless with radical ideas and an insistence that residents push their limits — throwing away their canes, moving about more boldly in the world via developing almost superhuman attentiveness to sound reverberation as their guide. There are a couple astounding (and hair-raising) sequences where the viewer’s own sensory intake is focused in unfamiliar ways. Mysterious, peculiar, and wistful, Imagine is uneven but often arrestingly memorable, its biggest minus being a musical score that mistakenly thinks this is an antic comedy. Sat/5, 6:15pm, and Sun/6, 6:30pm, Smith Rafael. (Harvey)

Desert Runners (Jennifer Steinman, US) It’s appropriate that Mill Valley, starting point of the legendary Dipsea Race, hosts the US premiere of this doc about a group of runners who attempt to complete the 4 Deserts Race Series, which stages ultramarathons across unforgiving terrain in Chile, China, Egypt, and Antarctica. Each athlete has his or her own stirring backstory, and each shows incredible grit in the face of injuries and intense dehydration. Darker moments come courtesy of petite Aussie Samantha’s mid-race encounter with a would-be rapist, and the news that a competitor (not featured in the film) has died along the trail. But Desert Runners is ultimately an admiring portrait of its charismatic subjects (all white, all presumably able to afford the $20,000-plus total cost of entering all four races) who willingly subject themselves to extreme bodily harm. It’s up to the viewer to decide if they’re inspirational, or kinda nuts. Or both. Sun/6, 2:15pm, Sequoia; Oct 12, 5:45pm, 142 Throckmorton. (Cheryl Eddy)

Le Week-End (Roger Michell, UK) Director Roger Michell and writer Hanif Kureishi first collaborated two decades ago on The Buddha of Suburbia, when the latter was still in the business of being Britain’s brashest multiculti hipster voice. But in the last 10 years they’ve made a habit of slowing down to sketching portraits of older lives — and providing great roles for the nation’s bottomless well of remarkable veteran actors. Here Lindsay Duncan and Jim Broadbent play a pair of English academics trying to re-create their long-ago honeymoon’s magic on an anniversary weekend in Paris. They love each other, but their relationship is thorny and complicated in ways that time has done nothing to smooth over. This beautifully observed duet goes way beyond the usual adorable-old-coot terrain of such stories on screen; it has charm and humor, but these are unpredictable, fully rounded characters, not comforting caricatures. Briefly turning this into a seriocomedy three-way is Most Valuable Berserker Jeff Goldblum as an old friend encountered by chance. It’s not his story, but damned if he doesn’t just about steal the movie anyway. Mon/7, 6:30pm, and Oct 11, 5:15pm, Sequoia. (Harvey)

Like Father, Like Son (Hirokazu Kore-eda, Japan) A yuppie Tokyo couple are raising their only child in workaholic dad’s image, applying the pressure to excel at an early age. Imagine their distress when the hospital phones with some unpleasant news: It has only just been learned that a nurse mixed up their baby with another baby, with the result that both families have been raising the “wrong” children these six years. Polite, forced interaction with the other clan — a larger nuclear unit as warm, disorganized, and financially hapless as the first is formal, regimented, and upwardly mobile — reveals that both sides have something to learn about parenting. This latest from Japanese master Hirokazu Kore-eda (1998’s After Life, 2004’s Nobody Knows, 2008’s Still Walking) is, as usual, low-key, beautifully observed, and in the end deeply moving. Oct 9, 2:30pm, Smith Rafael; Oct 12, 8pm, Lark. (Harvey)

Dallas Buyers Club (Jean-Marc Vallée, US) Jared Leto appears in person for this screening of Jean-Marc Vallée’s well-crafted, based-on-true events drama about the early days of the AIDS epidemic, specifically focusing on the struggles patients faced in getting safe, effective medication. Leto, who has lately been focusing on his music career, has a standout supporting turn as Rayon, a transgender woman who loves Marc Bolan, gowns, and sparring with business partner Ron Woodroof (Matthew McConaughey). Look for Leto and McConaughey — the best he’s ever been, as a good ol’ boy and confirmed homophobe who becomes an activist and agitator after contracting HIV — to earn plenty of notice come awards season. Oct 10, 6:30pm, Smith Rafael. (Eddy)

At Middleton (Adam Rodgers, US) Star and co-producer Andy Garcia will be on hand for the local premiere of this romantic comedy co-starring Vera Farmiga. They play strangers paying introductory visits to the titular (fictive) college with offspring on the brink of leaving home and starting independent adult lives. Everyone is temperamentally ill-matched — jokester mom with humorless daughter, persnickety dad with laid-back son — but during the course of the day strolling around campus, frissons of romance and new self knowledge occur on both sides of the generation gap. Adam Rodgers’ feature is pleasant but a little too pat, relying overmuch on the appeal of lead actors who’ve been better served elsewhere. Oct 12, 5pm, and Oct 13, 11:15am, Sequoia. (Harvey)

All is Lost (J.C. Chandor, US) As other reviewers have pointed out, All is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. Oct 12, 3:30pm, Smith Rafael; Oct 13, 8:15pm, Sequoia. (Eddy)

The Missing Picture (Rithy Panh, Cambodia/France) Rithy Panh’s latest film about the homeland he fled as a teenager is atypically, directly autobiographical, and most unusually crafted. He re-creates his once comfortable Phnom Penh family’s grim fate after Pol Pot and company seized control of Cambodia in 1975 — as all fell prey to the starvation, forced labor, and other privations suffered by perceived “enemies” of the new regime — not by any conventional means but via elaborate dioramas of handmade clay figures depicted in prison camp life (and death). There’s also ample surviving propagandic footage of the Khmer Rouge trumpeting its “model society” that was in reality little more than an experiment in mass execution and torture. The result is a unique and powerful take on one of the 20th century’s worst crimes against humanity. Oct 12, 4:45pm, Lark; Oct 13, 5:30pm, Smith Rafael. (Harvey) *

The 36th Mill Valley Film Festival runs Oct. 3-13 (most shows $12.50-$14). Major venues are the Christopher B. Smith Rafael Film Center, 1118 Fourth St, San Rafael; Cinéarts@Sequoia, 25 Throckmorton, Mill Valley; Lark Theater, 549 Magnolia, Larkspur; and 142 Throckmorton Theater, 142 Throckmorton, Mill Valley. Complete schedule at www.mvff.com.

Whales protected from ships in SF Bay

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Whales and marine mammals in the San Francisco Bay and along the California coast are being protected by new policies that will help prevent them from being struck by ships, including new shipping policies and a whale tracker application.

An increasing number of deadly interactions between whales and ships drew attention in 2010 when at least five whales that had been struck by ships beached themselves and died. But that is thought to be only a small indicator of a much larger problem.

“According to experts, only about 10 percent of whales killed by strikes show up on beaches,” lead researcher Dr. Jamie Jahncke of Point Blue Conservation Society, which has been working with the Coast Guard on ways to make the bay safer for whales, told us.

The Coast Guard implemented narrower and longer shipping lanes beginning June 1 in San Francisco Bay, as well as in Los Angeles and Long Beach, in an attempt to reduce the number of whale strikes in these regions. The Coast Guard has also begun directing ships to reduce their speed when entering and exiting the bay to no more than 10 knots.

The purpose of the change in the shipping lanes is to keep ships out of primary whale habitats and other areas where they are typically found. Jahncke believes these changes will reduce the interaction between whales and ships by 70 percent.

Both Jahncke and Melissa Pitkin, also of Point Blue, see these new policies as a good thing.

Jahncke called the changes “very positive” and added they are good “for human safety and benefit wildlife as well.”

Pitkin says the Coast Guard “has been a great participant” and part of a “great collaborative effort” to make waters like San Francisco Bay safer for the whales.

While the new shipping lanes keep ships out of areas in which whales are most commonly found, the animals do not confine themselves to only those parts of the bay. Researchers go out on the bay to collect information on where the whales go and congregate, but they are only out there three to five weeks out of the year.

This is why, Jahncke says, they “need additional help… [and] eyes out on the water.”

Researchers have been seeking ways to further reduce the chances of ships striking whales in San Francisco Bay. They have recently decided to enlist the public’s help with the implementation of the new Whale Spotter app, which will allow anyone out on the water to report where they see whales.

The hope is that whale watchers, recreational fishers, and others will use the app to report any whale sightings. Point Blue will then be able to use the information provided via the app to “make maps and represent the data in a way NOAA can use it,” says Jahncke.

Pitkin said, “The goal is to get information available in real-time to mariners about where whale concentrations are so they know” how to alter their course or speed.

The app is not the only way members of the public can join in the efforts to protect local whales. Point Blue is seeking financial contributions to aid its effort to raise funds for the app and ongoing marine research. People can visit www.prbo.org to make a donation.

Meanwhile, on Sept. 25, a federal judge ruled the National Marine Fisheries Service failed to protect thousands of whales, dolphins, sea lions, seals, and porpoises from US Navy training exercises along the Pacific coast. It requires the agency to reconsider permits and whether exercises violated the Endangered Species Act. The case was filed by Earthjustice, whose attorney Steve Mashuda said, “This is a victory for dozens of protected species of marine mammals, including critically endangered Southern Resident orcas, blue whales, humpback whales, dolphins, and porpoises.”

Community not criminalization

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By María Poblet

OPINION San Francisco is poised to break ground in defense of immigrants, an important step towards turning the tide against the criminalization of communities of color.

In a unanimous vote on September 24, the Board of Supervisors supported a due process ordinance that, after final approval, will reduce deportations by setting strict limits on collaboration between federal immigration enforcement and local authorities. Our city will make history by refusing to implement the federal Secure Communities program, which allows US Immigration and Customs Enforcement (ICE) to request an immigration hold detention without cause, regardless of immigration status, at local expense.

This victory didn’t trickle down like fog from the “progressive Bay Area bubble.” It was hard fought, from the bottom up. Immigrant and undocumented people most impacted by the problems led the fight, and they built a movement too strong to ignore. Causa Justa::Just Cause helped organize the groundswell, as part of the San Francisco Immigrant Rights Defense Committee, a broad grassroots collaboration. We had support from progressive champions John Avalos, Eric Mar, David Campos, and five additional co-sponsors on the board.

This movement builds on the fights in the 1980s to make San Francisco a Sanctuary City, welcoming survivors of the wars in Central America. We build on the fights in the ’90s to re-commit to those values in the face of a new wave of migration, when economic refugees arrived, fleeing the hunger caused by US-imposed Free Trade Agreements. We build on the very personal fights of everyday people, like a woman we’ll call Silvia, a domestic violence survivor who met with the District Attorney repeatedly, demanded that he lead those meetings in Spanish so she could participate fully, advocated for herself and her community, and ultimately won his commitment of support for this ordinance. This victory belongs to the hundreds of community leaders who, like Silvia, overcame intimidation, organized their families and neighbors, and showed our elected officials the way forward.

In a national context, where states like Georgia, Alabama and Arizona hunt down immigrants, we in California, a majority immigrant, majority people of color state, have the opportunity, and the responsibility, to follow Silvia’s leadership. It’s time to reject criminalization, and build community.

Every time there’s a new way to label someone a “criminal,” more families and communities are torn apart. Millions of black and Latino people are behind bars already, thanks to criminalization policies like the war on drugs, structural unemployment, decades of divestment from working class communities, and racial discrimination. Creating new immigration violations only makes that problem worse, trapping whole new sectors of our society in the prison dragnet. This advance in San Francisco should inspire our state as a whole not only to reject S-Comm, but also to take bold action to address the profoundly problematic prison system, and challenge the racism and poverty it depends on.

But, for our state to stand up like that is going to take a serious transformation. Gov. Jerry Brown recently announced plans to expand the prison system with revenues from Prop. 30 — the grassroots progressive tax passed last year to support public schools and social services. Causa Justa::Just Cause, as part of California Calls, through SF Rising and Oakland Rising, was one of hundreds of community groups that helped pass this progressive tax. We are outraged to see the governor literally betting on the criminalization of the next generation, with money that was supposed to support their success.

Policies like S-Comm manufacture the need for more detention facilities, ultimately benefitting corporate interests like the GEO private prison group. Its lucrative business depends on criminalization, and a culture of fear. If politicians aren’t brave enough to survive the accusation that they are “soft on crime” in order to champion real change, then we the people will have to take it into our own hands. Immigrant communities, black communities, communities of color, and poor communities need to keep building the solidarity and the movement that will allow us to win, from San Francisco to Sacramento to DC. There is much more to be done, and we can only do it together.  

María Poblet is executive director of Causa Justa::Just Cause.

Rights and wrongs

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news@sfbg.com

On a February evening in 2011, Derrick Walls ran into a friend at a bus stop near Third Street and Palou Avenue in the Bayview. Walls was headed to view a used car he thought he might be interested in buying. The men chatted briefly and, as the 44 bus rolled into sight, Walls shook his friend’s hand to say goodbye.

Seconds after they parted ways, a police cruiser passing on the other side of the street pulled a U-turn, screeched to a halt, and discharged police officers who quickly apprehended both men.

“I guess they thought they saw something,” recalled 43-year-old Walls. “I was just talking to my friend. I was going to leave because the bus was coming and I shook his hand to say ‘see you later’ and I guess the cops saw that and thought it was a transaction.”

The officers searched both men at the site. Their discovery of cash on Walls and drugs on the other man seemed to confirm that they had just witnessed a drug deal. The $1,680 Walls had saved up for a new car was alleged to be the sale’s proceeds and confiscated on the spot as evidence.

Later on at the station, a strip search of Walls yielded no evidence of drug possession or intent to sell. His friend copped to the drug charge but confessed that he’d purchased his stash elsewhere — not from Walls.

Three days later, Walls was released from custody and all charges against him were dropped. Two and a half years later, however, the city still has his money.

“I never went to court or anything,” recalled Walls. “You would think they would just give my money back right then. But they told me to go to [the civil courthouse on] McAllister Street to some other people.”

 

TWICE WRONGED

How assets seized in a criminal investigation migrate from the jailhouse to the civil courthouse — and how those wrongfully accused of crimes can get their money back — is not always clear.

“The state has such incredible power to wield and people have very little recourse,” says attorney Nick Gregoratos with Prisoner Legal Services, a division of the San Francisco Sheriff’s Department that helps the accused assert their rights.

San Francisco Police Department spokesperson Gordon Shyy would say only that the police follow the Department of Justice’s Asset Forfeiture Policy Manual and that they “don’t seize assets on the street, they take things as evidence.”

But that “evidence” often stays in the bank accounts of police or prosecutors, subsidizing their operations. DOJ guidelines say that when assets from a criminal investigation cease to have evidentiary value, they can be returned through an administrative or civil process.

“Approximately half the time, people contest the amount or contest it in its entirety,” said Assistant District Attorney Alex Bastian, who estimates that the San Francisco District Attorney’s Office handles 200 to 250 asset forfeiture cases per year.

“There are certain situations where if a charge is dropped, there is still, in fact, a forfeiture proceeding that goes forward,” Bastian explained. “There’s a criminal proceeding beyond a reasonable doubt and the civil [case] is a preponderance of evidence and the burden of proof is on the party contesting the forfeiture.”

Contesting an asset seizure can be difficult if the claimant is incarcerated or poor. Regulations seem designed to induce fatigue and resignation in those without a lawyer and the costs associated with retaining a lawyer often exceed the amount of money seized in the first place. In some cases, claimants have a right to court-appointed counsel, but they aren’t made aware of that fact.

Gregoratos represented Walls and has, over the years, worked with many others like him who have been deprived of their property without due process.

Gregoratos described another client who had cash seized by police as she was on her way to purchase a money order in SoMa to pay her rent. She was arrested on suspicion of drug sales, but there wasn’t enough evidence to support any charges against her.

The woman was instructed to file a claim within a month to get her money back. But she filed at the criminal rather than the civil court and administrators there waited until just before 30 days were up to notify the woman of her error.

The following morning, her $1,500 was considered officially forfeited because she had statutorily defaulted on her right to file claim.

“There would have been no way that they could have taken her money other than that she couldn’t figure out how to navigate the system and didn’t know her rights,” said Gregoratos, who later filed a motion opposing the default. “Essentially, she’s being precluded from having any judicial review.”

 

STACKED DECK

Many forfeiture cases unfold similarly, with the government capturing assets through a series of bureaucratic mechanisms stacked against individuals. Claimants are faced unexpectedly with the burden of proof that assets were lawfully obtained, even when law enforcement wasn’t able to meet that burden against them.

Often “the case is handled completely by the [prosecutorial] agency. There’s no judge, no hearing, no evidence, no appeal. So many people still lose by default,” commented Brenda Grantland, a Marin attorney who has fought government seizures for more than 30 years.

Civil asset forfeiture has a long and controversial history in the United States. In the Revolutionary War era, the British were known to impound the property of colonists who had fallen out of favor with the crown, without proof of guilt.

In the War on Drugs, forfeiture gained popularity as a way to strangle the financial channels underlying trafficking operations while providing a funding source for the law enforcement agencies that waged that war.

“The law is so complicated and the agencies are motivated to win these cases because it brings in money to their bank accounts. And they’re hooked on the money now. And the more money they get, the more corrupt they get,” said Grantland, who is president of the Forfeiture Endangers American Rights (FEAR) Foundation.

In 2010, the most recent year for which the California Department of Justice reported asset forfeiture statistics, San Francisco seized $391,643 in 115 separate actions completed in the city. Between 2002 and 2010, it seized nearly $6.5 million.

In most states, asset forfeitures follow federal regulations. In California, the Health and Safety Code dictates that 65 percent of assets forfeited are distributed to the local law enforcement agency responsible for the seizure, while 10 percent go to the prosecuting agency that processed the action and 1 percent go to train those who profit from forfeitures in the ethical application of related laws.

But Grantland says that training has done little to deter a “grab first, ask questions later,” approach. Critics have argued that the practice presents challenges to both the Fourth and 14th Amendments.

 

SCAMMING THE POOR

Police “don’t have to find any evidence of crime,” Grantland told us. “They have dogs that pretend to be clairvoyant. It’s all a hoax. I don’t care how much they’ve tested and trained those dogs, they can’t possibly know that’s drug money.”

Contrary to its original purpose, civil forfeitures at the local level tend to disproportionately target small-time offenders. Of the seizures completed in San Francisco in 2010, nearly half yielded under $1,000 and one as little as $242. More than three-quarters of forfeitures involved less than $2,000.

“They’re getting money from the weakest, poorest class of people,” Grantland said. “When you seize $500 or $600 every few minutes, it adds up pretty quickly.”

Though the San Francisco Police Department was the beneficiary of $254,568 in 2010 alone, SFPD’s Shyy denied that revenue from forfeitures — which funds equipment purchases, education, and training — influences its policies or tactics.

“If someone has a large amount of cash, we can’t just take it from them. That’s considered robbery,” Shyy said. But that’s pretty much what happened to Walls. “If I did that to somebody on street like that, I’d be in jail,” he said. “But they can just do it to me.”

In the last two years, Walls has complied with all the court’s discovery requests to prove the cash taken from him was lawfully obtained. He has provided paystubs from a longshoreman’s job he has held for eight years at the Port of Oakland.

Gregoratos said that the court “has people over a barrel” and will likely hold Walls’ cash for a full three years. The District Attorney has the option of re-filing a notice of forfeiture until the statute of limitations on the original criminal action is up.

“How are you going to re-file on something that was thrown out? That’s just an excuse to keep my money for a whole ‘nother year,” Walls argued. “I did everything I was supposed to do and they still haven’t given back my money.”

Endorsements 2013

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We’re heading into a lackluster election on Nov. 5. The four incumbents on the ballot have no serious challengers and voter turnout could hit an all-time low. That’s all the more reason to read up on the issues, show up at the polls, and exert an outsized influence on important questions concerning development standards and the fate of the city’s waterfront, the cost of prescription drugs, and the long-term fiscal health of the city.

 

PROP. A — RETIREE HEALTH CARE TRUST FUND

YES

Note: This article has been corrected from an earlier version, which incorrectly stated that Prop A increases employee contributions to health benefits.

Throughout the United States, the long-term employee pension and health care obligations of government agencies have been used as wedge issues for anti-government activists to attack public employee unions, even in San Francisco. The fiscal concerns are real, but they’re often exaggerated or manipulated for political reasons.

That’s one reason why the consensus-based approach to the issue that San Francisco has undertaken in recent years has been so important, and why we endorse Prop. A, which safeguards the city’s Retiree Health Care Trust Fund and helps solve this vexing problem.

Following up on the consensus pension reform measure Prop. B, which increased how much new city employees paid for lifetime health benefits, this year’s Prop. A puts the fund into a lock-box to ensure it is there to fund the city’s long-term retiree health care obligations, which are projected at $4.4 billion over the next 30 years.

“The core of it says you can’t touch the assets until it’s fully funded,” Sup. Mark Farrell, who has taken a lead role on addressing the issue, told us. “The notion of playing political football with employee health care will be gone.”

The measure has the support of the entire Board of Supervisors and the San Francisco Labor Council. Progressive Sup. David Campos strongly supports the measure and he told us, “I think it makes sense and is something that goes beyond political divides.”

There are provisions that would allow the city to tap the fund in emergencies, but only after it is fully funded or if the mayor, controller, the Trust Board, and two-thirds of the Board of Supervisors signs off, a very high bar. So vote yes and let’s put this distracting issue behind us.

 

PROP. B — 8 WASHINGTON SPECIAL USE DISTRICT

NO, NO, NO!

Well-meaning people can arrive at different conclusions on the 8 Washington project, the waterfront luxury condo development that was approved by the Board of Supervisors last year and challenged with a referendum that became Prop. C. But Prop. B is simply the developer writing his own rules and exempting them from normal city review.

We oppose the 8 Washington project, as we explain in our next endorsement, but we can understand how even some progressive-minded people might think the developers’ $11 million affordable housing and $4.8 million transit impact payments to the city are worth letting this project slide through.

But Prop. B is a different story, and it’s something that those who believe in honesty, accountability, and good planning should oppose on principle, even if they support the underlying project. Contrary to the well-funded deceptions its backers are circulating, claiming this measure is about parks, Prop. B is nothing more than a developer and his attorneys preventing meaningful review and enforcement by the city of their vague and deceptive promises.

It’s hard to know where to begin to refute the wall of mendacity its backers have erected to fool voters into supporting this measure, but we can start with their claim that it will “open the way for new public parks, increased access to the Embarcadero Waterfront, hundreds of construction jobs, new sustainable residential housing and funding for new affordable housing.”

There’s nothing the public will get from Prop. B that it won’t get from Prop. C or the already approved 8 Washington project. Nothing. Same parks, same jobs, same housing, same funding formulas. But the developer would get an unprecedented free pass, with the measure barring discretionary review by the Planning Department — which involves planners using their professional judgment to decide if the developer is really delivering what he’s promising — forcing them to rubber-stamp the myriad details still being developed rather than acting as advocates for the general public.

“This measure would also create a new ‘administrative clearance’ process that would limit the Planning Director’s time and discretion to review a proposed plan for the Site,” is how the official ballot summary describes that provision to voters.

Proponents of the measure also claim “it empowers voters with the decision on how to best utilize our waterfront,” which is another deception. Will you be able to tweak details of the project to make it better, as the Board of Supervisors was able to do, making a long list of changes to the deal’s terms? No. You’re simply being given the opportunity to approve a 34-page initiative, written by crafty attorneys for a developer who stands to make millions of dollars in profits, the fine details of which most people will never read nor fully understand.

Ballot box budgeting is bad, but ballot box regulation of complex development deals is even worse. And if it works here, we can all expect to see more ballot measures by developers who want to write their own “special use district” rules to tie the hands of planning professionals.

When we ask proponents of this measure why they needed Prop. B, they claimed that Prop. C limited them to just talking about the project’s building height increases, a ridiculous claim for a well-funded campaign now filling mailers and broadcast ads with all kinds of misleading propaganda.

With more than $1 million and counting being funneled into this measure by the developer and his allies, this measure amounts to an outrageous, shameless lie being told to voters, which Mayors Ed Lee and Gavin Newsom have shamefully chosen to align themselves with over the city they were elected to serve.

As we said, people can differ on how they see certain development deals. But we should all agree that it’s recipe for disaster when developers can write every last detail of their own deals and limit the ability of professional planners to act in the public interest. Don’t just vote no, vote hell no, or NO, No, no!

 

PROPOSITION C — 8 WASHINGTON REFERENDUM

NO

San Francisco’s northeastern waterfront is a special place, particularly since the old Embarcadero Freeway was removed, opening up views and public access to the Ferry Building and other recently renovated buildings, piers, and walkways along the Embarcadero.

The postcard-perfect stretch is a major draw for visiting tourists, and the waterfront is protected by state law as a public trust and overseen by multiple government agencies, all of whom have prevented development of residential or hotel high-rises along the Embarcadero.

Then along came developer Simon Snellgrove, who took advantage of the Port of San Francisco’s desperate financial situation, offered to buy its Seawall Lot 351 and adjacent property from the Bay Club at 8 Washington St., and won approval to build 134 luxury condos up to 12 stories high, exceeding the city’s height limit at the site by 62 percent.

So opponents challenged the project with a referendum, a rarely used but important tool for standing up to deep-pocketed developers who can exert an outsized influence on politicians. San Franciscans now have the chance to demand a project more in scale with its surroundings.

The waterfront is supposed to be for everyone, not just those who can afford the most expensive condominiums in the city, costing an average of $5 million each. The high-end project also violates city standards by creating a parking space for every unit and an additional 200 spots for the Port, on a property with the best public transit access and options in the city.

This would set a terrible precedent, encouraging other developers of properties on or near the waterfront to also seek taller high-rises and parking for more cars, changes that defy decades of good planning work done for the sensitive, high-stakes waterfront.

The developers would have you believe this is a battle between rival groups of rich people (noting that many opponents come from the million-dollar condos adjacent to the site), or that it’s a choice between parks and the surface parking lot and ugly green fence that now surrounds the Bay Club (the owner of which, who will profit from this project, has resisted petitions to open up the site).

But there’s a reason why the 8 Washington project has stirred more emotion and widespread opposition that any development project in recent years, which former City Attorney Louise Renne summed up when she told us, “I personally feel rich people shouldn’t monopolize the waterfront.”

A poll commissioned by project opponents recently found that 63 percent of respondents think the city is building too much luxury housing, which it certainly is. But it’s even more outrageous when that luxury housing uses valuable public land along our precious waterfront, and it can’t even play by the rules in doing so.

Vote no and send the 8 Washington project back to the drawing board.

 

PROP. D — PRESCRIPTION DRUG PURCHASING

YES

San Francisco is looking to rectify a problem consumers face every day in their local pharmacy: How can we save money on our prescription drugs?

Prop. D doesn’t solve that problem outright, but it mandates our politicians start the conversation on reducing the $23 million a year the city spends on pharmaceuticals, and to urge state and federal governments to negotiate for better drug prices as well.

San Francisco spends $3.5 million annually on HIV treatment alone, so it makes sense that the AIDS Healthcare Foundation is the main proponent of Prop. D, and funder of the Committee on Fair Drug Pricing. Being diagnosed as HIV positive can be life changing, not only for the health effects, but for the $2,000-5,000 monthly drug cost.

Drug prices have gotten so out-of-control that many consumers take the less than legal route of buying their drugs from Canada, because our neighbors up north put limits on what pharmaceutical companies can charge, resulting in prices at least half those of the United States.

The high price of pharmaceuticals affects our most vulnerable, the elderly and the infirm. Proponents of Prop. D are hopeful that a push from San Francisco could be the beginning of a social justice movement in cities to hold pharmaceutical companies to task, a place where the federal government has abundantly failed.

Even though Obamacare would aid some consumers, notably paying 100 percent of prescription drug purchases for some Medicare patients, the cost to government is still astronomically high. Turning that around could start here in San Francisco. Vote yes on D.

 

ASSESSOR-RECORDER

CARMEN CHU

With residential and commercial property in San Francisco assessed at around $177 billion, property taxes bring in enough revenue to make up roughly 40 percent of the city’s General Fund. That money can be allocated for anything from after-school programs and homeless services to maintaining vital civic infrastructure.

Former District 4 Sup. Carmen Chu was appointed by Mayor Ed Lee to serve as Assessor-Recorder when her predecessor, Phil Ting, was elected to the California Assembly. Six months later, she’s running an office responsible for property valuation and the recording of official documents like property deeds and marriage licenses (about 55 percent of marriage licenses since the Supreme Court decision on Prop. 8 have been issued to same-sex couples).

San Francisco property values rose nearly 5 percent in the past year, reflecting a $7.8 billion increase. Meanwhile, appeals have tripled from taxpayers disputing their assessments, challenging Chu’s staff and her resolve. As a district supervisor, Chu was a staunch fiscal conservative whose votes aligned with downtown and the mayor, so our endorsement isn’t without some serious reservations.

That said, she struck a few notes that resonated with the Guardian during our endorsement interview. She wants to create a system to automatically notify homeowners when banks begin the foreclosure process, to warn them and connect them with helpful resources before it’s too late. Why hasn’t this happened before?

She’s also interested in improving system to capture lost revenue in cases where property transfers are never officially recorded, continuing work that Ting began. We support the idea of giving this office the tools it needs to go out there and haul in the millions of potentially lost revenue that property owners may owe the city, and Chu has our support for that effort.

 

CITY ATTORNEY

DENNIS HERRERA

Dennis Herrera doesn’t claim to be a progressive, describing himself as a good liberal Democrat, but he’s been doing some of the most progressive deeds in City Hall these days: Challenging landlords, bad employers, rogue restaurants, PG&E, the healthcare industry, opponents of City College of San Francisco, and those who fought to keep same-sex marriage illegal.

The legal realm can be more decisive than the political, and it’s especially effective when they work together. Herrera has recently used his office to compel restaurants to meet their health care obligations to employees, enforcing an earlier legislative gain. And his long court battle to defend marriage equality in California validated an act by the executive branch.

But Herrera has also shown a willingness and skill to blaze new ground and carry on important regulation of corporate players that the political world seemed powerless to touch, from his near-constant legal battles with PG&E over various issues to defending tenants from illegal harassment and evictions to his recent lawsuit challenging the Accreditation Commission of Community and Junior Colleges over its threats to CCSF.

We have issues with some of the tactics his office used in its aggressive and unsuccessful effort to remove Sheriff Ross Mirkarimi from office. But we understand that is was his obligation to act on behalf of Mayor Ed Lee, and we admire Herrera’s professionalism, which he also exhibited by opposing the Central Subway as a mayoral candidate yet defending it as city attorney.

“How do you use the power of the law to make a difference in people’s lives every single day?” was the question that Herrera posed to us during his endorsement interview, one that he says is always on his mind.

We at the Guardian have been happy to watch how he’s answered that question for nearly 11 years, and we offer him our strong endorsement.

 

TREASURER/TAX COLLECTOR

JOSE CISNEROS

It’s hard not to like Treasurer/Tax Collector Jose Cisneros. He’s charming, smart, compassionate, and has run this important office well for nine years, just the person that we need there to implement the complicated, voter-approved transition to a new form of business tax, a truly gargantuan undertaking.

Even our recent conflicts with Cisneros — stemming from frustrations that he won’t assure the public that he’s doing something about hotel tax scofflaw Airbnb (see “Into thin air,” Aug. 6) — are dwarfed by our understanding of taxpayer privacy laws and admiration that Cisneros ruled against Airbnb and its ilk in the first place, defying political pressure to drop the rare tax interpretation.

So Cisneros has the Guardian’s enthusiastic endorsement. He also has our sympathies for having to create a new system for taxing local businesses based on their gross receipts rather than their payroll costs, more than doubling the number of affected businesses, placing them into one of eight different categories, and applying complex formulas assessing how much of their revenues comes from in the city.

“This is going to be the biggest change to taxes in a generation,” Cisneros told us of the system that he will start to implement next year, calling the new regime “a million times more complicated than the payroll tax.”

Yet Cisneros has still found time to delve into the controversial realm of short-term apartment sublets. Although he’s barred from saying precisely what he’s doing to make Airbnb pay the $1.8 million in Transient Occupancy Taxes that we have shown the company is dodging, he told us, “We are here to enforce the law and collect the taxes.”

And Cisneros has continued to expand his department’s financial empowerment programs such as Bank on San Francisco, which help low-income city residents establish bank accounts and avoid being gouged by the high interest rates of check cashing outlets. That and similar programs are now spreading to other cities, and we’re encouraged to see Cisneros enthusiastically exporting San Francisco values, which will be helped by his recent election as president of the League of California Cities.

 

SUPERVISOR, DIST. 4

KATY TANG

With just six months on the job after being appointed by Mayor Ed Lee, Sup. Katy Tang faces only token opposition in this race. She’s got a single opponent, accountant Ivan Seredni, who’s lived in San Francisco for three years and decided to run for office because his wife told him to “stop complaining and do something,” according to his ballot statement.

Tang worked in City Hall as a legislative aide to her predecessor, Carmen Chu, for six years. She told us she works well with Sups. Mark Farrell and Scott Wiener, who help make up the board’s conservative flank. In a predominantly Chinese district, where voters tend to be more conservative, Tang is a consistently moderate vote who grew up in the district and speaks Mandarin.

Representing the Sunset District, Tang, who is not yet 30 years old, faces some new challenges. Illegal “in-law” units are sprouting up in basements and backyards throughout the area. This presents the thorny dilemma of whether to crack down on unpermitted construction — thus hindering a source of housing stock that is at least within reach for lower-income residents — look the other way, or “legalize” the units in an effort to mitigate potential fire hazards or health risks. Tang told us one of the greatest concerns named by Sunset residents is the increasing cost of living in San Francisco; she’s even open to accepting a little more housing density in her district to deal with the issue.

Needless to say, the Guardian hasn’t exactly seen eye-to-eye with the board’s fiscally conservative supervisors, including Tang and her predecessor, Chu. We’re granting Tang an endorsement nevertheless, because she strikes us as dedicated to serving the Sunset over the long haul, and in touch with the concerns of young people who are finding it increasingly difficult to gain a foothold in San Francisco.

Problems arise from Due Process for All amendments

At today’s (Tue/1) meeting, the San Francisco Board of Supervisors is expected to grant final approval to Sup. John Avalos’ historic legislation, Due Process for All, which limits cooperation between local law enforcement and federal immigration authorities under the Secure Communities program (S-Comm). But now that amendments have been incorporated in an effort to fend off a mayoral veto, the San Francisco Sheriff’s Department has raised questions about whether the law can actually be implemented as written.

With the aim of reducing deportations and extending the Constitutional right to due process to all San Francisco residents, the legislation prohibits local law enforcement from complying with requests by Immigration and Customs Enforcement officials to detain individuals who are otherwise eligible for release from custody. The requests are made under S-Comm, an information-sharing program between ICE, the California Department of Justice and the FBI that allows authorities to check fingerprints against immigration databases.

ICE issues civil detainer requests, which aren’t mandatory, asking local agencies to hold individuals for up to 48 hours to make time for the detainee to be taken into immigration custody. While warrants must be supported by probable cause, there is no such requirement for a detainer request.

An earlier draft of Avalos’ legislation barred the Sheriff’s department from ever honoring such requests. But now that the legislation has been amended with “carve-outs” directing the sheriff to comply with the ICE requests in certain cases, Sheriff Assistant Legal Counsel Mark Nicco is uncertain about whether his staff will actually be able to do the things the law requires of them.

“I ask that there be a consult about operational concerns. It’s the unintended consequences which brings me here before you today,” Sheriff Ross Mirkarimi told supervisors at the Sept. 24 meeting.

“The sheriff does want to comply with the intent and details of this legislation,” Nicco told us. But as things stood late last week, there were “concerns about whether we’d be able to implement certain aspects.” Nicco said his office has been meeting with the City Attorney and Avalos since the Sept. 24 meeting, in an effort to iron out some of those problems. “We want guidance on what their intent is, and for them to understand our physical roadblocks and operational issues,” he said.

The amended legislation directs the sheriff’s department to detain someone in response to an ICE request in cases where that person has been “convicted of a violent felony in the seven years immediately prior.” But the definition states, oddly, “the date an individual is convicted starts from the date of release.”

That’s confusing, Nicco told us. For one thing, there’s a big difference between the date someone is convicted of a crime, and the date they’re released after having served time as punishment for that crime. Unless the person was arrested and held in San Francisco, Nicco said, “The date of release from a prior conviction is not something … we can easily determine.”

The second criteria for when a person can be detained for ICE presents another obstacle, Nicco said. According to the amended law, someone can be held if “a magistrate has determined that there is probable cause to believe the person is guilty of a violent felony and has ordered the individual to answer to the same.”

But Nicco said the Sheriff’s department has no ready access to this information. “We do not have access to whether a person has been held to answer a certain charge,” he explained. “We would have to go to Superior Court and request information.”

The carve-outs were added, in part, to garner enough votes for a veto-proof majority approval. Mayor Ed Lee had threatened to veto the law as it was previously written, and police chief Greg Suhr had expressed concerns that it would shield violent felons from deportation.

But those exceptions to the rule have resulted in a lack of clarity and obstacles to implementation, Nicco said. “If it were flat-out, no ICE detainers, it wouldn’t be an issue,” he noted.

A coalition of advocates from immigrant communities plans to attend the Tue/1 meeting to celebrate the final approval of the law, even though it is a compromised version.

“The amendments, unfortunately, do allow potentially unconstitutional immigration ‘holds’ under very limited circumstances,” advocates with the California Immigrant Policy Centered noted in a media advisory. “But the ordinance will protect most San Franciscans from the abusive requests.” 

Race car drivers, rock stars, witches, flight attendants, and more: choose your Halloween costume from this week’s new movies!

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For this week’s longer reviews, check out Dennis Harvey’s take on the doc Inequality for All, and my chat with Metallica guitarist Kirk Hammett in honor of the band’s new 3D IMAX concert film, Metallica: Through the Never. Read on for short takes galore!

http://www.youtube.com/watch?v=ZUiuzXP41aY

Baggage Claim Robin Thicke may be having the year of a lifetime, but spouse Paula Patton is clearly making a bid to leap those “Blurred Lines” between second banana-dom and Jennifer Aniston-esque leading lady fame with this buppie chick flick. How competitive is the game? Patton has a sporting chance: she’s certainly easy on the eyes and ordinarily a welcome warm and sensual presence as arm candy or best girlfriend — too bad her bid to beat the crowd with Baggage Claim feels way too blurry and busy to study for very long. The camera turns to Patton only to find a hot, slightly charming mess of mussed hair, frenetic movement, and much earnest emoting. I know the mode is single-lady desperation, but you’re trying too hard, Paula. At least the earnestness kind of works — semi-translating in Baggage Claim as a bumbling ineptitude that offsets Patton’s too-polished-and-perfect-to-be-real beauty. After all, we’re asked to believe that Patton’s flight attendant Montana can’t find a good man, no matter how hard she tries. That’s the first stretch of imagination, made more implausible by pals Sam (Adam Brody) and Janine (singer-songwriter Jill Scott), who decide to try to fix her up with her old high-flying frequent-flier beaus in the quest to find a mate in time for her — humiliation incoming — younger sister’s wedding. Among the suitors are suave hotelier Quinton (Djimon Hounsou), Republican candidate Langston (Taye Diggs), and hip-hop mogul Damon (Trey Songz), though everyone realizes early on that she just can’t notice the old bestie (Derek Luke) lodged right beneath her well-tilted nose. Coming to the conclusion that any sane single gal would at the end of this exercise, Patton does her darnedest to pour on the quirk and charm — and that in itself is as endearing as watching any beautiful woman bend over backwards, tumbling as she goes, to win an audience over. The strenuous effort, however, seems wasted when one considers the flimsy material, played for little more than feather-light amusement by director-writer David E. Talbert. (1:33) (Kimberly Chun)

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

Cloudy With a Chance of Meatballs 2 The sequel to the 2009 animated hit based on the children’s best-seller promises the introduction of “mutant food beasts,” including “tacodiles” and “shrimpanzees.” (1:35)

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

Don Jon Shouldering the duties of writer, director, and star for the comedy Don Jon, Joseph Gordon-Levitt has also picked up a broad Jersey accent, the physique of a gym rat, and a grammar of meathead posturing — verbal, physical, and at times metaphysical. His character, Jon, is the reigning kingpin in a triad of nightclubbing douchebags who pass their evenings assessing their cocktail-sipping opposite numbers via a well-worn one-to-10 rating system. Sadly for pretty much everyone involved, Jon’s rote attempts to bed the high-scorers are spectacularly successful — the title refers to his prowess in the art of the random hookup — that is, until he meets an alluring “dime” named Barbara (Scarlett Johansson), who institutes a waiting period so foreign to Jon that it comes to feel a bit like that thing called love. Amid the well-earned laughs, there are several repulsive-looking flies in the ointment, but the most conspicuous is Jon’s stealthy addiction to Internet porn, which he watches at all hours of the day, but with a particularly ritualistic regularity after each night’s IRL conquest has fallen asleep. These circumstances entail a fair amount of screen time with Jon’s O face and, eventually, after a season of growth — during which he befriends an older woman named Esther (Julianne Moore) and learns about the existence of arty retro Swedish porn — his “Ohhh…” face. Driven by deft, tight editing, Don Jon comically and capably sketches a web of bad habits, and Gordon-Levitt steers us through a transformation without straining our capacity to recognize the character we met at the outset — which makes the clumsy over-enunciations that mar the ending all the more jarring. (1:30) (Lynn Rapoport)

http://www.youtube.com/watch?v=L1TDTv_tGd8

Enough Said Eva (Julia Louis-Dreyfus) is a divorced LA masseuse who sees naked bodies all day but has become pretty wary of wanting any in her bed at night. She reluctantly changes her mind upon meeting the also-divorced Albert (James Gandolfini), a television archivist who, also like her, is about to see his only child off to college. He’s no Adonis, but their relationship develops rapidly — the only speed bumps being provided by the many nit-picking advisors Eva has in her orbit, which exacerbate her natural tendency toward glass-half-empty neurosis. This latest and least feature from writer-director Nicole Holofcener is a sitcom-y thing of the type that expects us to find characters all the more adorable the more abrasive and self-centered they are. That goes for Louis-Dreyfus’ annoying heroine as well as such wasted talents as Toni Colette as her kvetching best friend and Catherine Keener as a new client turned new pal so bitchy it makes no sense Eva would desire her company. The only nice person here is Albert, whom the late Gandolfini makes a charming, low-key teddy bear in an atypical turn. The revelation of an unexpected past tie between his figure and Keener’s puts Eva in an ethically disastrous position she handles dismally. In fact, while it’s certainly not Holofcener’s intention, Eva’s behavior becomes so indefensible that Enough Said commits rom-com suicide: The longer it goes on, the more fervently you hope its leads will not end up together. (1:33) (Dennis Harvey)

Haute Cuisine Director and co-writer Christian Vincent’s unassuming ode to French food takes for granted that we’re here to learn about the life, joys, and preoccupations of a working female chef, regardless of politically correct concerns (dig that foie gras reference) or gossipy tendencies. Precisely encapsulating a very un-haute attitude that falls in line with its mild-mannered protagonist, Haute Cuisine breaks its cool only when the country’s head of state comes into view or a testosterone-y rival pulls a power play. As the movie opens, Hortense Laborie (Catherine Frot) is hard at work at a far humbler job — cooking fine food for the rough crowd of workers at the Alfred Faure base in Antarctica while dismissing the attentions of a visiting video crew. Flashback to the story they’re hot to uncover, as the country innkeeper, farmer, and cooking teacher is swept off her feet by none other President François Mitterrand, not for romance but to make home-cooked regional food for his personal meals. The halls of power — and Hortense’s passage through the labyrinthian bureaucracy and pecking order — threaten to blot out the identity of the little cook from the country, but she holds her own in her chaste relationship with Mitterrand as she coaxes him to let her source directly from farmers and producers. However, the mostly one-way, closed relationship between the two can’t last forever. Haute Cuisine doesn’t attempt to reinvent the wheel — much as Hortense would never claim to tweak her beloved St. Honoré —and it generally refrans from looking much deeper into its main character beyond what Frot offers in her acutely telling looks and her playful give-and-take with sous chef Nicholas (Arthur Dupont). But it does gently draw the food lover and the more oblivious eater alike into its spell, with a soupçon of tasteful, and tasty-looking, food porn and its obvious respect for chefs who are dedicated to giving pleasure to those they serve. (1:35) Opera Plaza. (Kimberly Chun)

http://www.youtube.com/watch?v=5fBkfXvhzTE

Inuk Though the Greenlandic-language Inuk takes its name from its troubled Inuit protagonist, ice is arguably its central character. And the lyrical sweep and striking beauty of the icy expanses in Uummannaq Bay and Nuuk, Greenland, threaten to upstage the adventure story at Inuk’s heart. Seeking refuge from his alcoholic mother and her abusive friends and escaping into hip-hop, the teenage Inuk (Gaaba Petersen) has been found battered and sleeping his car far too often, so he’s taken to a in the north by teacher and foster care worker Aviaaja (Rebekka Jorgensen) to learn about the old ways of hunters and an ancient wisdom that is melting away with the polar icecap. A journey by dogsled with local hunters turns into a rite of passage when bear hunter Ikuma (Ole Jørgen Hammeken) takes Inuk under his damaged wing and attempts to reconnect him to his heritage. “The ice is no place for attitude,” he declares, as Inuk makes foolish choices, kills his first seal, and learns the hard way about survival north of the Arctic Circle. You can practically feel the freezing cold seeping off the frames of this gorgeous-looking film — a tribute to director Mike Magidson and his crew’s skills, even when the overt snow-blinding symbolism blots out clarity and threatens to swallow up Inuk. (1:30) Roxie. (Chun)

http://www.youtube.com/watch?v=-hteIj01zyo

“Millie Perkins in the Exploitation Cinema of Matt Cimber”  Millie Perkins was a successful 20-year-old model with no acting experience when she made her film debut in 1959’s The Diary of Anne Frank, playing the title role. But her mainstream Hollywood career almost immediately foundered and soon she was playing much less angelic roles in B-movies — among them several subsequently cult-worshipped Monte Hellman films and the 1968 AIP counterculture-nightmare hit Wild in the Streets. In the mid-1970s she made two back-to-back movies for Italian exploitation maestro Matt Cimber (aka Thomas Vitale Ottaviano), who a decade earlier had briefly been married to Jayne Mansfield. The Film on Film Foundation is screening rare 35mm prints of both in this one-night tribute bill. The better known of the duo, The Witch Who Came From the Sea (1976), is a bizarre psychochiller in which Perkins gets one hell of a role as SoCal cocktail waitress Molly, who seems normal enough (if a tad taciturn) but is prone to irrational rages, blackouts, drinking binges, indiscriminate pill-popping, and … murder, though we (and she) aren’t always sure whether her crimes are real or delusional. While Witch has gained some critical appreciation in recent years, the prior year’s Lady Cocoa (also released, even more improbably, as Pop Goes the Weasel) remains obscure — a late addition to the early ’70s blaxploitation craze with “First Lady of Las Vegas” Lola Falana in a non-singing role as a tough jailbird who gets a 24-hour pass to testify against her evil thug ex-boyfriend — or at least try to, if his goons (including NFL Hall of Famer “Mean” Joe Greene) don’t snuff her first. Perkins has a supporting role as one half of an alleged honeymooning couple who aren’t quite as harmless as they seem. Perhaps overwhelmed by the challenge of topping these two films, Perkins was inactive for several years afterward, then found herself welcomed back to Hollywood via numerous roles in TV movies and big-screen ones, plus recurring roles on primetime soap Knots Landing and the 1990 miniseries Elvis (as the King’s mom). Roxie. (Dennis Harvey)

http://www.youtube.com/watch?v=1ZXDa0Y-dPA&noredirect=1

On the Job Filipino director Erik Matti’s gritty crime thriller has such a clever hook that Hollywood is already circling it for a remake. No shock there. It is surprising, however, that On the Job is based on true events, in which prisoners were temporarily sprung to work as hired guns for well-connected politicos. (Kinda genius, if you think about it.) The big-screen version has veteran inmate Tang (Joel Torre) dreading his imminent parole; he’d rather have the steady income from his grisly gig than be unable to provide for his wife and daughter. As he counts down to his release, he trains volatile Daniel (Gerald Anderson) to take his place. Poking around on the other side of the law are world-weary local cop Acosta (Joey Marquez) and hotshot federal agent Francis (Piolo Pascual), who reluctantly team up when a hit cuts close to home for both of them. The case is particularly stressful for Francis, whose well-connected father-in-law turns out to be wallowing in corruption. Taut, thrilling, atmospheric, and graphic, On the Job makes up for an occasionally confusing storyline by offering bang-up (literally) entertainment from start to finish. Groovy score, too. (2:00) Metreon. (Cheryl Eddy)

http://www.youtube.com/watch?v=99XxMLgE3AM

Out in the Dark Meeting in a Tel Aviv gay bar, Nimr (Nicholas Jacob) and Roy (Michael Aloni) are instantly smitten with each other, though there’s much dividing them. Roy is a Jewish lawyer working at his father’s high-end firm, while the former is a Palestinian graduate psychology student who’s lucky just to get a temporary travel pass so he can take one prestigious course at an Israeli university. Even this small liberty brings him trouble, as his increasingly fanatical older brother considers any contact with Israelis borderline traitorous to their homeland and to conservative Muslim values. Needless to say, Nimr is not “out” to his family — and even though Roy is, his parents’ “tolerance” proves superficial at best. The men’s relationship soon runs into considerable, even life-imperiling difficulty from various political, cultural, religious and personal conflicts. Director and co-writer Michael Mayer’s first feature isn’t the first screen love story between star-crossed Israelis and Palestinians (or even the first gay one). It can be a bit clumsy and melodramatic, but nonetheless there’s enough chemistry between the leads and earnest urgency behind the issues addressed to make this a fairly powerful story about different kinds of oppression. (1:36) Elmwood. (Dennis Harvey)

http://www.youtube.com/watch?v=L_u3FODrenM

Rush Ron Howard’s Formula One thriller Rush is a gripping bit of car porn, decked out with 1970s period details and goofily liberated camera moves to make sure you never forget how much happens under (and around, and on top of) the hood of these beastly vehicles. Real life drivers James Hunt and Niki Lauda (played by Chris Hemsworth and Daniel Brühl, respectively) had a wicked rivalry through the ’70s; these characters are so oppositional you’d think Shane Black wrote them. Lauda’s an impersonal, methodical pro, while Hunt’s an aggressive, undisciplined playboy — but he’s so popular he can sway a group of racers to risk their lives on a rainy track, even as Lauda objects. It’s a lovely sight: all the testosterone in the world packed into a room bound by windows, egos threatening to bust the glass with the rumble of their voices. I’m no fan of Ron Howard, but maybe the thrill of Grand Theft Auto is in Rush like a spirit animal. (The moments of rush are the greatest; when Lauda’s lady friend asks him to drive fast, he does, and it’s glorious.) Hunt says that “being a pro kills the sport” — but Howard, an overly schmaltzy director with no gift for logic and too much reliance on suspension of disbelief, doesn’t heed that warning. The laughable voiceovers that bookend the film threaten to sink some great stuff, but the magic of the track is vibrant, dangerous, and teeming with greatness. (2:03) (Sara Maria Vizcarrondo)

Sweat Lodge throws rocks, stays noisy

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Here’s a brand new video from local “pow wow punk” band Sweat Lodge. Featuring the song “Throwing Rocks,” it shows the noisy psych band hanging out around San Francisco, playing music, drinking beers. All fun weekend activities! Sweat Lodge plays next Oct. 1 at Bottom of the Hill, with more early October opportunities to see the band live at the Hemlock and the Knockout.

Goodbye to a homebrewing legend: RIP Griz

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For many Bay Area homebrewers, Richmond neighborhood shop San Francisco Brewcraft is the main brewing hub. It’s where newbies pick up their kits and learn to brew, and seasoned veterans return for more tips, recipes, and grains.

And the stern but friendly, no bullshit leader of that guild was Griz (aka Greg Miller), a homebrewing expert and beloved teacher. Griz, who long suffered from diabetes and last year was diagnosed with cancer, passed away in his sleep last Monday, Sept. 23.

He’s survived by his wife Barbara and his dog, Louie, along with the employees and friends of Brewcraft.

Fellow Brewcraft employee Andre Sanchez tells me, “People have been coming through [the store], it’s been a huge outpouring of condolences for Griz.”

Griz took over Brewcraft in the late ‘90s and has taught the free homebrewing class there ever since, until he got too sick to come in. “He’s taught not only amateur homebrewers who now have become semi-pro to pro brewers throughout the entire Bay Area, but this whole craft brewing explosion that happened in the mid-2000s, we felt it here in the shop of course and Griz was a big part of teaching a lot of the brewers that came through.”

Sanchez notes that the San Francisco Brewers Guild will be making special beers in honor of Griz — using old-school recipes — but the details are in the works as of press time.

And local homebrewers have also been coming in to Brewcraft with Griz’s old recipes in hand, to gather the materials to brew their own batches in honor of the legend.

The San Francisco Homebrewers Guild posted a tribute to Griz, whom they describe as a brewer-philosopher, and also included some of his best quotes (below):

“He left us not only with many great memories, but with loads of fantastic quotes about how you shouldn’t be ‘anal retentive’ when you brew (a little funnier than the old ‘don’t worry, relax, have a homebrew’ quote, if you ask me), ‘you can’t brew a lager,’ and how it was good and comforting to be connected to a craft that mankind had been undertaking for thousands of years, ‘but turn off your goddamn cell phone before you start because it’s a creative artistic endeavor…where you can iron yourself out.’”

Griz’s coworkers are working on plans for a celebration of his life. Bay Guardian readers will note a reference to Griz and Brewcraft in recent Beer & Wine cover story, “We Built a Monster Kegerator.”

Brewcraft is located at 1555 Clement, SF. For more information visit www.sfbrewcraft.com.

For a taste of what Griz was like, see the video below:

http://www.youtube.com/watch?v=UkAJU5USlWg

After an exciting America’s Cup finish, San Francisco tallies its score

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When Oracle Team USA completed a stunning comeback yesterday to retain the America’s Cup, winning eight consecutive races, it was indeed a big sporting moment. It even had us skeptics at the Bay Guardian, who had already expressed sympathies for the Kiwi team, anxiously following the action. But the question remains whether this overhyped sailing competition will be a win for the host city of San Francisco.

That verdict won’t come in until November when race organizers and city officials finish collecting and counting revenues and expenditures related to the regatta. But it’s certain to be better from a fiscal perspective than it looked like a week ago, when the New Zealand team seemed to be headed for a blowout victory.   

For Larry Ellison — Oracle co-founder, team owner, lead champion for the AC-72 cause and de facto face of the 34th America’s Cup — it must have felt like a disaster. His $100-plus million nautical investment was tanking, attendance and revenue figures were falling far short of expectations and the support he had from the local sailing community was quickly turning malignant after Oracle lost the day’s only race, falling to 1-8 and facing seven consecutive match-points. 

But then Oracle started winning. They figured out the tricky upwind legs that had plagued them for the first two weeks of racing. They replaced their fired tactician with four-time Olympic gold medal winner Ben Ainslie. They started beating the snot out of Team New Zealand and in the races they were losing, Mother Nature would toss them lifesavers disguised as strange patches of wind. 

After weeks of fumbling, it looked like the moles had found their own mallet and were whacking away at their tormentors, and they were doing so to the tune of an unprecedented winning streak. And with it, the America’s Cup image underwent a radical transformation; both in sport and in reception. 

The change in sport is simple — both teams have figured out how to race the 13-story tall sailboats through the unpredictable weather patterns and intense ebb tides —but the change in reception is anything but. As of last Wednesday, Pier 27 was dominated by Team New Zealand supporters. Nearly everyone in attendance was waving a New Zealand flag or wearing one, and the few Oracle fans left seemed to be nothing more than lost tourists who stumbled upon the international event.

But support for Oracle steadily grew during their winning streak — Americans do love a winner — and now it looks like support for the event has been as well, something that can be attributed both to Oracle’s winning streak and the necessity for Kiwi fans to finally go home after over a month of competition.

As four-time Cup attendee Sonny Shaw told the Guardian, “I  had to change my flight and pay a lot of money, about 400 US dollars at this stage, to stay till [Tuesday]. I was hoping it would be finished by Monday.” 

As it was every single Kiwi in the park. But the numbers are representative of this trend: As of Sept. 18, according to Cup organizers, the gates had drawn just 700,000 of the 2 million anticipated attendees. Ellison and his team had raised $16.5 million of the $20 million needed to offset the city’s costs (with a reported $14 million going toward the reimbursement), and broadcasts were drawing about 1 million viewers domestically, which meant that the Cup was failing to deliver on virtually all of its promises.  

But the extra race days have drummed up interest both in the competition and in the precariously perched Oracle Team USA. The crowds — by the end ostensibly split between Emirates and Oracle as each passing day thins out the Kiwi crowds — became far larger, more raucous and more star-spangled. 

The decks were packed, the cheers are both loud and informed, and the local venom present for the first week-and-a-half of racing is at a minimum. 

Even expectations might be met. The overall goal of 2 million attendees still seems downright impossible, but as of Monday evening, 926,000 official attendees had been counted, not including those who watched the race outside of officially designated areas (up 226,000 in less than a week, according to Cup officials). In addition to the attendance spike, the 6,500 jobs that were created for the event are still paying out and the extra time only increases the likelihood that the full $20 million bill the City was expected to foot will be offset by private funds.

It was a helluva ride, San Francisco. Was it worth it? We’ll see.

New policies, and a court ruling, protect whales from ships in SF Bay and along the Pacific coast

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Whales, dolphins, and marine mammals in the San Francisco Bay and along the California coast could be better protected by a federal court ruling on US Navy exercises and new policies being put in place to prevent whales from being struck by ships.

US District Court Judge Nandor Vadas issued a ruling late yesterday (Wed/25) finding that the National Marine Fisheries Service failed to protect thousands of whales, dolphins, sea lions, seals, and porpoises from Navy training exercises along the Pacific coast. It requires the agency to reconsider permits and whether they violated the Endangered Species Act.  

“This is a victory for dozens of protected species of marine mammals, including critically endangered Southern Resident orcas, blue whales, humpback whales, dolphins, and porpoises,” said Steve Mashuda, an Earthjustice attorney representing a coalition of conservation and Northern California Indian Tribes. 

Meanwhile, in an unrelated development, the issue of an increasing number of whales strikes in the bay has been getting some proactive attention from regulators, who have developed safer new shipping polices and a whale tracker application.  

The issue drew attention in 2010 when at least five whales that had been struck by ships beached themselves and died, that is thought to be only a small indicator of a much larger problem.

“According to experts, only about 10 percent of whales killed by strikes show up on beaches,” lead researcher Dr. Jamie Jahncke of Point Blue Conservation Society, which has been working with the Coast Guard on ways to make the bay safer for whales.

The Coast Guard implemented narrower and longer shipping lanes beginning June 1 in San Francisco Bay, as well as in Los Angeles and Long Beach, in an attempt to reduce the number of whale strikes in these regions. The Coast Guard has also begun directing ships to reduce their speed when entering and exiting the bay to no more than 10 knots.

The purpose of the change in the shipping lanes is to keep ships out of primary whale habitats and other areas where they are typically found. Jahncke believes these changes will reduce the interaction between whales and ships by 70 percent.

Both Jahncke and Melissa Pitkin, also of Point Blue, see these new policies as a good thing.

Jahncke called the changes “very positive” and added they are good “for human safety and benefit wildlife as well.”

Pitkin says the Coast Guard “has been a great participant” and part of a “great collaborative effort” to make waters like San Francisco Bay safer for the whales.

While the new shipping lanes keep ships out of areas in which whales are most commonly found, the animals do not confine themselves to only those parts of the bay. Researchers go out on the bay to collect information on where the whales go and congregate, but they are only out there three to five weeks out of the year.

This is why, Jahncke says, they “need additional help… [and] eyes out on the water.”

Researchers have been seeking ways to further reduce the chances of ships striking whales in San Francisco Bay. They have recently decided to enlist the public’s help with the implementation of the new Whale Spotter app, which will allow anyone out on the water to report where they see whales.

The hope is that whale watchers, recreational fishers, and others will use the app to report any whale sightings. Point Blue will then be able to use the information provided via the app to “make maps and represent the data in a way NOAA can use it,” says Jahncke.

Pitkin further addresses the purpose of this app.

“The goal is to get information available in real-time to mariners about where whale concentrations are so they know” how to alter their course or speed.

The app is not the only way members of the public can join in the efforts to protect local whales. Point Blue is seeking financial contributions to aid their effort to raise funds for the app and ongoing marine research. People can visit www.prbo.org/ to make a donation.

Meanwhile, the federal courts are now asking the US Navy and the agencies that permits its navel exercises to also take heed of their impacts to aquatic ecosystems.

“NMFS must now employ the best science and require the Navy to take reasonable and effective actions to avoid and minimize harm from its training activities,” Mashuda said.

The Navy uses a vast area of the West Coast, stretching from Northern California to the Canadian border, for training. Activities include anti-submarine warfare exercises involving tracking aircraft and sonar; surface-to-air gunnery and missile exercises; air-to-surface bombing exercises; and extensive testing for several new weapons systems.

In 2010 and 2012, NMFS authorized the Navy to harm or “take” marine mammals and other sealife through 2015.  The permits allow the Navy to conduct increased training exercises that can harm marine mammals and disrupt their migration, nursing, breeding, or feeding, primarily as a result of harassment through exposure to the use of sonar.

New science from 2010 and 2011 shows that whales and other marine mammals are far more sensitive to sonar and other noise than previously thought.  In permitting the Navy’s activities, NMFS ignored this new information.  The Court found that the agency violated its legal duty to use this “best available data” when evaluating impacts to endangered whales and other marine life.

Mayor Lee supports PG&E’s monopoly

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After watching Mayor Ed Lee and his appointees subvert the launch of CleanPowerSF and support PG&E’s illegal monopoly control of local energy users — and PG&E’s regular attempts to greenwash its dirty power portfolio — artist Michael Ortlieb developed and submitted this editorial cartoon. Enjoy. 

Music Listings: Sept. 25-Oct. 1, 2013

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WEDNESDAY 25

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Books on Fate, Ghost Town Jenny, River Shiver, 8:30 p.m., $10.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. The Love Dimension, Electric Magpie, Mario Delia, DJs Joel Gion & Al Lover, 9 p.m., $5.

Hemlock Tavern: 1131 Polk, San Francisco. Bell Witch, Badr Vogu, Larvae, Abstracter, 8 p.m., $8.

The Independent: 628 Divisadero, San Francisco. Blue Sky Black Death, Sister Crayon, Real Magic, 8 p.m., $12-$14.

Milk Bar: 1840 Haight, San Francisco. Joshua Cook / The Key of Now, The Jacktones, Jam, 8:30 p.m., $2.

Slim’s: 333 11th St., San Francisco. Cellar Doors, Sandy’s, Eagle, 8 p.m., $10.

DANCE

The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8 p.m., free.

Cat Club: 1190 Folsom, San Francisco. “Bondage A Go Go,” w/ DJs Damon, Tomas Diablo, & guests, 9:30 p.m., $5-$10.

Club X: 715 Harrison, San Francisco. “Electro Pop Rocks: Animalistic – A Wild Things Jungle,” 18+ dance party, 9 p.m., $10-$20.

DNA Lounge: 375 11th St., San Francisco. Mount Kimbie, Jonwayne, D33J, 9 p.m., $17.50-$20.

Edinburgh Castle: 950 Geary, San Francisco. “1964,” w/ DJ Matt B & guests, Second and Fourth Wednesday of every month, 10 p.m., $2.

Elbo Room: 647 Valencia, San Francisco. “Bodyshock,” w/ Mark Pistel, Ben Stokes, Blk Rainbow, DJ Crackwhore, 9 p.m., $7.

F8: 1192 Folsom St., San Francisco. “Housepitality,” w/ Dwynn, Carlos Souffront, Miguel Solari, Stacey Hotwaxx Hale, 9 p.m., $5-$10.

Harlot: 46 Minna, San Francisco. “Qoöl,” w/ Mark Slee, 5 p.m.

Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10 p.m.

Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9 p.m., free.

MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10 p.m., free.

Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9 p.m., $3.

HIP-HOP

Cigar Bar & Grill: 850 Montgomery, San Francisco. BPos, 9 p.m., free.

Double Dutch: 3192 16th St., San Francisco. “Cash IV Gold,” w/ DJs Kool Karlo, Roost Uno, and Sean G, 10 p.m., free.

Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9 p.m., $5.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Acoustic Guitar Showcase, w/ Jeff Titus, Doug Young, and host Teja Gerken, 7 p.m.

Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7 p.m., free.

Club Deluxe: 1511 Haight, San Francisco. Happy Hour Bluegrass, 6:30 p.m., free.

Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, Every other Wednesday, 9:30 p.m., free/donation.

Hotel Utah: 500 Fourth St., San Francisco. Chris Trapper, Robert Gillies, 8 p.m., $10.

Plough & Stars: 116 Clement, San Francisco. The Toast Inspectors, Last Wednesday of every month, 9 p.m.

JAZZ

Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7 p.m., free.

Boom Boom Room: 1601 Fillmore, San Francisco. Bjelde & Bros., Fourth Wednesday of every month, 9:30 p.m., $5.

Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.

Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7 p.m., free.

Martuni’s: 4 Valencia, San Francisco. Tom Shaw Trio, Last Wednesday of every month, 7 p.m., $7.

Oz Lounge: 260 Kearny, San Francisco. Hard Bop Collective, 6 p.m., free.

Pier 23 Cafe: Pier 23, San Francisco. Macy Blackman, 6 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. Michael Parsons Trio, Every other Wednesday, 8:30 p.m., free/donation.

Savanna Jazz Club: 2937 Mission, San Francisco. “Cat’s Corner,” 9 p.m., $10.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Sebastian Parker Trio, 8 p.m.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30 p.m., $5.

United Nations Plaza: Market, San Francisco. Ben Goldberg, Sheldon Brown, and Vijay Anderson, presented by the Center for New Music, noon, free.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Jason Marsalis Vibes Quartet, 8 p.m., $21-$25.

Zingari: 501 Post, San Francisco. Chris Duggan, 7:30 p.m., free.

INTERNATIONAL

BeatBox: 314 11th St., San Francisco. “Salsa-XS,” queer salsa night, 8 p.m.

Bissap Baobab: 3372 19th St., San Francisco. Timba Dance Party, w/ DJ WaltDigz, 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10.

Pachamama Restaurant: 1630 Powell, San Francisco. “Cafe LatinoAmericano,” 8 p.m., $5.

Ruth’s Table: 580 Capp St., San Francisco. Ka-Hon Ensemble, 7 p.m., free.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Craig Horton, 8 & 10 p.m., $15.

The Royal Cuckoo: 3202 Mission, San Francisco. Big Bones & Chris Siebert, 7:30 p.m., free.

The Saloon: 1232 Grant, San Francisco. Little Jonny & The Giants, 9:30 p.m.

EXPERIMENTAL

The Knockout: 3223 Mission, San Francisco. “Trance Mutations #5,” w/ Black Thread, Bonus Beast, Jungle Jim, Chasms (DJ set), Caitlin Denny, 10 p.m., $5.

THURSDAY 26

ROCK

Amnesia: 853 Valencia, San Francisco. “Mods v. Rockers,” w/ The Fadeaways, The Ogres, DJs Russell Quan & Dutch Crunch, 9 p.m., $5.

Boom Boom Room: 1601 Fillmore, San Francisco. Acorn Project, Feral Fauna, 9:30 p.m., $8-$10.

Bottom of the Hill: 1233 17th St., San Francisco. The Burning of Rome, B. Hamilton, Once & Future Band, 9 p.m., $10.

The Chapel: 777 Valencia St., San Francisco. Suzanne Sundfør, Big Eagle, 9 p.m., $12-$15.

S.F. Eagle: 398 12th St., San Francisco. Thursday Nite Live: Folsom Weekend Kickoff Party, w/ The Ethel Merman Experience, Lucky Jesus, The Whoa Nellies, 9 p.m., $8.

Hemlock Tavern: 1131 Polk, San Francisco. White Cloud, Fine Points, Dylan Shearer, 8:30 p.m., $6.

The Knockout: 3223 Mission, San Francisco. Wild Eyes, Occult Wisdom, Heavy Action, 9:30 p.m., $7.

Milk Bar: 1840 Haight, San Francisco. The Hangover Brigade, The Moonlight Orchestra, Cassandra Farrar & The Left Brains, 8:30 p.m., $8.

Rickshaw Stop: 155 Fell, San Francisco. Breakdown Valentine, Flaamingos, I Am Animal, 8 p.m., $10.

Thee Parkside: 1600 17th St., San Francisco. Sweat Lodge, Industrial Priest Overcoats, Snit, 9 p.m., $7.

DANCE

1015 Folsom: 1015 Folsom St., San Francisco. “A Light in the Attic,” w/ Desert Dwellers, Govinda, David Starfire, Saqi, Le Portal, Jocelyn, Beli3ver, Aire Redtree, more, 10 p.m., $10-$15.

Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10 p.m., free.

Asiento: 2730 21st St., San Francisco. Charlie Prowler, benefit for Mutiny Radio, 9 p.m., free.

Audio Discotech: 316 11th St., San Francisco. “Phonic,” w/ Joachim Garraud, Tall Sasha, 9:30 p.m.

Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9 p.m., $5-$7.

BeatBox: 314 11th St., San Francisco. “Jukebox,” w/ DJ Page Hodel, 9 p.m., $10.

The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9 p.m., $5.

Cat Club: 1190 Folsom, San Francisco. “Throwback Thursdays,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9 p.m., $6 (free before 9:30 p.m.).

The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10 p.m., $5.

Club X: 715 Harrison, San Francisco. “The Crib,” 9:30 p.m., $10, 18+.

Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and live guests, 9:30 p.m., $5-$8.

Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10 p.m., $10.

Lone Star Saloon: 1354 Harrison, San Francisco. Raunch: Folsom Weekend Kickoff Party, DJ Brian Maier spins beats for bears., 9 p.m.

Lookout: 3600 16th St., San Francisco. “Cub Camp S.F.,” w/ DJs Scooter, Taco Tuesday, and Guy Ruben, 9 p.m., $5.

Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9 p.m., $5 after 10 p.m.

Q Bar: 456 Castro, San Francisco. “Throwback Thursday,” w/ DJ Jay-R, 9 p.m., free.

Raven: 1151 Folsom St., San Francisco. “1999,” w/ VJ Mark Andrus, 8 p.m., free.

Ruby Skye: 420 Mason, San Francisco. “Awakening,” w/ Norin & Rad, Maor Levi, 9 p.m., $15-$20 advance.

The Stud: 399 Ninth St., San Francisco. “Porno: Folsom Edition,” w/ DJs Hotwire & Kidd Sysko, 8 p.m., $10-$15.

Temple: 540 Howard, San Francisco. “Solid,” w/ Mancub, Influence, Kimba, Sychosis, 10 p.m., $10.

The Tunnel Top: 601 Bush, San Francisco. “Tunneltop,” DJs Avalon and Derek ease you into the weekend with a cool and relaxed selection of tunes spun on vinyl, 10 p.m., free.

Underground SF: 424 Haight, San Francisco. “Bubble,” 10 p.m., free.

Vessel: 85 Campton, San Francisco. “Base: Local Label Night,” w/ Bardia F, ThuyVu, Mac Vaughn, DJ Playdoughboy, Rishi K, Andrew Shatnyy, Ray Kang, Fabian Campos, Konam, 10 p.m., free with RSVP.

HIP-HOP

Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9 p.m., free.

The EndUp: 401 Sixth St., San Francisco. “Cypher,” w/ resident DJ Big Von., 10 p.m., $5-$10.

John Colins: 138 Minna, San Francisco. “#Quattro,” w/ DJ Dino, Fourth Thursday of every month, 9 p.m.

Park 77 Sports Bar: 77 Cambon, San Francisco. “Slap N Tite,” w/ resident Cali King Crab DJs Sabotage Beats & Jason Awesome, free.

Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10 p.m., free.

ACOUSTIC

Atlas Cafe: 3049 20th St., San Francisco. Bluegrass & Old-Time Music Jam Session, Last Thursday of every month, 8-10 p.m., free.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Open Mic with K.C. Turner, 7:30 p.m., $5.

Cigar Bar & Grill: 850 Montgomery, San Francisco. The Neckbeard Boys, 8 p.m.

Hotel Utah: 500 Fourth St., San Francisco. Addie & The Subtrax, Amy Matarazzo, Seapora & Mikus, 9 p.m., $10.

Plough & Stars: 116 Clement, San Francisco. John Caufield & Friends, 9 p.m.

SFSU Campus/Cesar Chavez Student Center: 1650 Holloway, San Francisco. “Strung Out,” acoustic showcase with Tino Drima, Dovetail, Ariana Tibi, Karli Helm, Honeyfingers, 6 p.m., free.

JAZZ

Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30 p.m., free.

Bottle Cap: 1707 Powell, San Francisco. The North Beach Sound with Ned Boynton, Jordan Samuels, and Tom Vickers, 7 p.m., free.

Cafe Claude: 7 Claude, San Francisco. Nova Jazz, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30 p.m.

Pier 23 Cafe: Pier 23, San Francisco. Ned Boynton & Friends, 7 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Chris Siebert, 7:30 p.m., free.

Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with Eddy Ramirez, 7:30 p.m., $5.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30 p.m., $10.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Jeff Lorber Fusion, 8 p.m., $25.

Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.

INTERNATIONAL

Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10 p.m., $5.

Cafe Cocomo: 650 Indiana, San Francisco. La Fuerza Gigante, DJ Good Sho, 8 p.m., $12.

Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. Dúo del Sol, 7:30 p.m., $10-$15.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Latin Breeze, 8 p.m.

Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9 p.m., $10-$15.

REGGAE

Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9 p.m., free.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Tommy Odetto Group, 8 & 10 p.m., $15.

Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bohemian Knuckleboogie, 7:30 p.m., free.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Jo Jo Diamond, 8:30 p.m.

The Saloon: 1232 Grant, San Francisco. T-Wrex & The Primitive Rhythm, 4 p.m.; Cathy Lemons, 9:30 p.m.

EXPERIMENTAL

The Luggage Store: 1007 Market, San Francisco. Fred Frith & Phillip Greenlief Duo, Eat the Sun, 8 p.m., $6-$10.

FRIDAY 27

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Finish Ticket, Holychild, Ghost (tet), 9:30 p.m., $12-$14.

Cafe Du Nord: 2170 Market, San Francisco. The Inciters, Rue ‘66, The Invisible Cities, 9 p.m., $10.

The Chapel: 777 Valencia St., San Francisco. The Autumn Defense, Bart Davenport, 9 p.m., $15.

El Rio: 3158 Mission, San Francisco. Friday Live: The Galloping Sea, DJ Emotions, 10 p.m., free.

Hemlock Tavern: 1131 Polk, San Francisco. Synthetic ID, Manatee, Cold Beat, The Riflemen, 8:30 p.m., $7.

Hotel Utah: 500 Fourth St., San Francisco. Pebble Theory, On Telegraph, Jimbo Scott & The Hot Mess, 9 p.m., $9.

The Knockout: 3223 Mission, San Francisco. The Fadeaways, The Dukes of Hamburg, 7 p.m., $5.

Mezzanine: 444 Jessie, San Francisco. Peter Hook & The Light (performing New Order’s Movement and Power, Corruption & Lies), Slaves of Venus, 8 p.m., $25.

Neck of the Woods: 406 Clement St., San Francisco. Mister Loveless, Cannons & Clouds, The Hundred Days, Mammoth Life, Danyolsan, Miles the DJ, 8 p.m., free.

Thee Parkside: 1600 17th St., San Francisco. Acid King, Black Cobra, Buffalo Tooth, 9 p.m., $12-$14.

DANCE

1015 Folsom: 1015 Folsom St., San Francisco. Lapalux, Evian Christ, Kode9, DJ Rashad, Ikonika, Brap Dem DJs, 10 p.m., $17-$22.50 advance.

4Fourteen: 414 Mason, San Francisco. “Helix 4th Fridays,” Progressive techno tunes spun by resident DJs Means+Function, David Gropper, Derek Ryan, and rotating guests, Fourth Friday of every month, 10 p.m., $20.

BeatBox: 314 11th St., San Francisco. “Haus of Stiel,” w/ DJ Shane Stiel, 10 p.m., $15-$20.

Cafe Flore: 2298 Market, San Francisco. “Kinky Beats,” w/ DJ Sergio, 10 p.m., free.

The Cafe: 2369 Market, San Francisco. “Boy Bar,” w/ DJ Matt Consola, 9 p.m., $5.

Cat Club: 1190 Folsom, San Francisco. “Dark Shadows,” w/ DJs Daniel Skellington, Sage, Melting Girl, and Skarkrow, 9:30 p.m., $7 ($3 before 10 p.m.).

The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10 p.m.

Elbo Room: 647 Valencia, San Francisco. “120 Minutes,” w/ Pharmakon, DBC, DJs Santa Muerte & Chauncey CC, 10 p.m., $8-$15.

The EndUp: 401 Sixth St., San Francisco. “Fever,” 10 p.m., free before midnight.

F8: 1192 Folsom St., San Francisco. “Vintage,” w/ DJ Toph One & guests, 5 p.m., free; “Hidden Measure,” w/ Splatter, Daya, Alex Xipit, Worker/Parasite, Nackt, Petko Nikolov, 9 p.m., $5 advance.

The Factory: 525 Harrison, San Francisco. Recon Full Fetish, Official Folsom Street Fair dance party with DJ Gordon John, presented by gay fetish hookup site Recon.com., 10 p.m., $30-$40.

The Grand Nightclub: 520 4th St., San Francisco. “We Rock Fridays,” 9:30 p.m.

Infusion Lounge: 124 Ellis, San Francisco. “Escape Fridays,” 10 p.m., $20.

Lookout: 3600 16th St., San Francisco. “HYSL,” 9 p.m., $3.

Madrone Art Bar: 500 Divisadero, San Francisco. “I ♥ the ‘90s,” w/ DJs Samala, Teo, Mr. Grant, & Sonny Phono, Fourth Friday of every month, 9 p.m., $5.

Manor West: 750 Harrison, San Francisco. “Fortune Fridays,” 10 p.m., free before 11 p.m. with RSVP.

MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9 p.m.

Mighty: 119 Utah, San Francisco. Dusty Rhino After Burn, w/ The Scumfrog, Zach Moore, DJ Loomer, DJ Dane, Nugz, Alvaro Bravo, Clarkie, Mystr/Htcht, DJMK, 10 p.m., $15-$17.50 advance.

Milk Bar: 1840 Haight, San Francisco. Planet Booty, 8th Grader, dudha.us, 9:30 p.m., $10.

Monarch: 101 6th St., San Francisco. Âme, Solar, DJ M3, Job Jobse, 9:30 p.m., $15-$20.

OMG: 43 6th St., San Francisco. “Release,” 9 p.m., free before 11 p.m.

Powerhouse: 1347 Folsom, San Francisco. Steam Does Folsom, DJ Harry Cross brings a bathhouse vibe to a nightclub setting., 9 p.m., $8.

Project One: 251 Rhode Island, San Francisco. “Rouge,” w/ DJ Mike Parsons, R&D, and Danny Firpo, 9 p.m., $5.

Public Works: 161 Erie, San Francisco. Bearracuda: Folsom Street Friday, Bear dance party with DJs Hifi Sean, P-Play, Mark Louque, Ryan Smith, and Bil Todd., 9 p.m., $20 advance.

Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9 p.m., $3.

Truck: 1900 Folsom, San Francisco. “Satisfucktory,” w/ DJ Brower, 9 p.m., free.

Underground SF: 424 Haight, San Francisco. “Bionic,” 10 p.m., $5.

Vessel: 85 Campton, San Francisco. “Project X,” w/ DJs Mario Mar, Rufio, and Elvi, 10 p.m., $10-$30.

Wish: 1539 Folsom, San Francisco. “Bridge the Gap,” w/ resident DJ Don Kainoa, Fridays, 6-10 p.m., free.

HIP-HOP

EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9 p.m.

John Colins: 138 Minna, San Francisco. “#Flow,” w/ The Whooligan & Mikos Da Gawd, Fourth Friday of every month, 10 p.m., free befoe 11 p.m.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. The Shut-Ins, 7 p.m.

Plough & Stars: 116 Clement, San Francisco. Culann’s Hounds, 9 p.m.

The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10 a.m., $5.

JAZZ

Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Johnny Smith, 8 p.m., free.

Bird & Beckett: 653 Chenery, San Francisco. Chuck Peterson Quintet, Fourth Friday of every month, 5:30 p.m.

Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Project: Pimento, 9 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Jules Broussard, Danny Armstrong, and Chris Siebert, 7:30 p.m., free.

Savanna Jazz Club: 2937 Mission, San Francisco. Carol Luckenbach, 7:30 p.m., $8.

Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9 p.m., $10.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Nick Colionne, 8 & 10 p.m., $21-$26.

Zingari: 501 Post, San Francisco. Joyce Grant, 8 p.m., free.

INTERNATIONAL

Amnesia: 853 Valencia, San Francisco. Baxtalo Drom, International shimmying for lovers of Balkan music, bellydancers, and burlesque., Fourth Friday of every month, 9 p.m., $5-$10.

Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.

Cafe Claude: 7 Claude, San Francisco. Trio Garufa, 7:30 p.m., free; Trio Garufa, 7:30 p.m., free.

Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30 p.m., $15 (free entry to patio).

Cigar Bar & Grill: 850 Montgomery, San Francisco. Montuno Swing, 8 p.m.

Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15 p.m., $15-$18.

The Ramp: 855 Terry Francois, San Francisco. “Samba Soirée,” w/ Sambaxé, DJ Alfie1Bateria, 6 p.m.

Red Poppy Art House: 2698 Folsom, San Francisco. Claudio Santome, 7:30 p.m., $10-$15.

REGGAE

Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30 p.m., free.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Shane Dwight, 8 & 10 p.m., $20.

Cafe Royale: 800 Post, San Francisco. Allister’s Chicago Blues Jam, Last Friday of every month, 9 p.m.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Little Wolf & The HellCats, 8:30 p.m.

Pier 23 Cafe: Pier 23, San Francisco. Pugsley Buzzard, 8 p.m., free.

The Saloon: 1232 Grant, San Francisco. Jan Fanucchi, Last Friday of every month, 4 p.m.; Ron Thompson, 9:30 p.m.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Adrian Costa, 8 p.m.

EXPERIMENTAL

Center for New Music: 55 Taylor St., San Francisco. Happy Hour with A/B Duo, 6 p.m., $10-$20 (includes complimentary drinks & snacks).

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. Sophistafunk, Wicked Mercies, Trio Subtonic, 9:30 p.m., $10-$15.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Angelo Moore & The Brand New Step, A Million Billion Dying Suns, Rondo Brothers, Vau de Vire Society, Heart Touch, 9 p.m., $12-$15.

Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, & Tom Thump, 10 p.m., $5.

SOUL

Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10 p.m., free.

Underground SF: 424 Haight, San Francisco. “Sissy Strut,” w/ The Handsome Young Men (DJs Ponyboy, Lil MC, Katie Duck, & Durt), Fourth Friday of every month, 10 p.m., $3-$5.

SATURDAY 28

ROCK

Bender’s: 806 S. Van Ness, San Francisco. Lost Puppy, Pineapple Princess, 10 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. Teenage Bottlerocket, The Queers, The Copyrights, 9:30 p.m., $15.

The Chapel: 777 Valencia St., San Francisco. Kelley Stoltz, The Mantles, Sopwith Camel, 9 p.m., $12-$15.

El Rio: 3158 Mission, San Francisco. Dialectic, Tall Sheep, Kaizok, 9 p.m., $5-$10.

Hemlock Tavern: 1131 Polk, San Francisco. The Wrong Words, Once & Future Band, City Deluxe, 9:30 p.m., $7.

Make-Out Room: 3225 22nd St., San Francisco. Victory, Blue-Eyed Son, 7:30 p.m., $8.

Neck of the Woods: 406 Clement St., San Francisco. Cold Fronts, The Jaded, The Wearies, Flaggs, 9 p.m., $8-$10.

Slim’s: 333 11th St., San Francisco. The Mermen, plus a screening of the surf documentary Discovering Mavericks, 9 p.m., $20.

Thee Parkside: 1600 17th St., San Francisco. Electric Shepherd, El Topo, Sweet Chariot, 3 p.m., free.

DANCE

111 Minna Gallery: 111 Minna St., San Francisco. “Barracuda,” 10 p.m., $5.

Audio Discotech: 316 11th St., San Francisco. Droog, Pedro Arbulu, MFYRS, 9:30 p.m.

Balancoire: 2565 Mission St., San Francisco. Raime, Josh Cheon, Austin Cesear, TDM, 10 p.m., $12-$15 advance.

Cafe Du Nord: 2170 Market, San Francisco. “Dark Room,” w/ High-Functioning Flesh, Lady Bear & Her Dark Drag Dolls, DJs Justin Anastasi & Le Perv, 9:30 p.m., $15.

Cafe Flore: 2298 Market, San Francisco. “Bistrotheque,” w/ DJ Ken Vulsion, 8 p.m., free.

Cat Club: 1190 Folsom, San Francisco. “Villainy: The Dance Club with a Dark Side,” w/ DJs Tomas Diablo, Chris Zachos, Donimo, Saint James, and Andy T, 9:30 p.m., $5-$8.

Club X: 715 Harrison, San Francisco. Aftershock, Magnitude after-party with DJ Abel (starts 4 a.m. Sunday morning)., $20-$40.

DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ Smash-Up Derby; A+D; DJ Dada; DJ ShyBoy; Freddy, King of Pants; more, 9 p.m., $10-$15.

S.F. Eagle: 398 12th St., San Francisco. “Sadistic Saturdays,” Fourth Saturday of every month, 10 p.m., free.

Elbo Room: 647 Valencia, San Francisco. “The Revival: 25 Years of Acid Jazz,” w/ Tom Dick & Harry, Julius Papp, The Selecter DJ Kirk, 10 p.m., $10-$15.

The EndUp: 401 Sixth St., San Francisco. Shangri-La, Asian queer dance party., Fourth Saturday of every month, 10 p.m., $15-$20 (free before 11 p.m.).

F8: 1192 Folsom St., San Francisco. Luther: Folsom 2013, The “roving fetish party and secret supergroup” presents DJs Harry Cross and Aaron Clark., 10 p.m., $15-$20 advance.

The Factory: 525 Harrison, San Francisco. Magnitude, Folsom Street Fair’s biggest — and admittedly priciest — nightlife event, featuring DJs Tony Moran, Jack Chang, Phil B, and Russ Rich (also includes DJs next door at Terra, 511 Harrison)., 9 p.m., $90 advance.

Infusion Lounge: 124 Ellis, San Francisco. “Set,” Fourth Saturday of every month, 10 p.m., $20.

Lexington Club: 3464 19th St., San Francisco. “10th Annual Infamous Uniform Party,” w/ DJs Jenna Riot & Rapid Fire, 9 p.m., free.

Lone Star Saloon: 1354 Harrison, San Francisco. “Bearometer: Leather Edition,” w/ DJ Eur-O-Steve, 9 p.m.

Lookout: 3600 16th St., San Francisco. “Bounce!,” 9 p.m., $3; “Pop the Zipper!: Pre-Folsom Party,” w/ DJ Chi Chi LaRue, 9 p.m., $5.

Madrone Art Bar: 500 Divisadero, San Francisco. “Blunted Funk,” w/ resident DJs Sneak-E Pete & Chilipino, Fourth Saturday of every other month, 9 p.m., $5 (free before 10 p.m.).

Mezzanine: 444 Jessie, San Francisco. Falcon & Raging Stallion Studios Annual VIP Party, The gay porn filmmakers present a free Folsom weekend party with DJ Ricky Sinz., 8 p.m., free.

Milk Bar: 1840 Haight, San Francisco. “Spilt Milk,” w/ The Beat Broker, C.L.A.W.S., Taylor Fife, Shaky Premise, 7 p.m., $5.

Monarch: 101 6th St., San Francisco. “Lights Down Low,” w/ Waze & Odyssey, Locked Groove, South London Ordnance, Sleazemore, Richie Panic, 10 p.m., $15-$20.

Public Works: 161 Erie, San Francisco. “Indian Summer Block Party,” w/ Speedy J, Henrik Schwarz, Tiger & Woods, Midland, Woolfy, Solar, Galen, Rich Korach, Mossmoss, Bells & Whistles, 2 p.m., $20-$40.

Qi Ultra Lounge: 917 Folsom St., San Francisco. V Is for … Virgins in Leather, Lesbian leather party with DJs China G and Saratonin., 9 p.m.

Rickshaw Stop: 155 Fell, San Francisco. “Club 1994,” w/ DJs Vin Sol & Jeffrey Paradise, 10 p.m., $10-$20.

The Stud: 399 Ninth St., San Francisco. “Growl: Official Bearwww Leather Party,” w/ DJ Mike Biggz, 9 p.m., $5.

Temple: 540 Howard, San Francisco. “Life,” w/ The Schmidt, Sk0step, That Sound, J Funk, Omar Johnson, Eddie House, more, 10 p.m., $20.

Truck: 1900 Folsom, San Francisco. “Throttle,” 9 p.m., free.

HIP-HOP

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Black Milk, 9 p.m., $15.

John Colins: 138 Minna, San Francisco. “Nice,” w/ DJ Apollo, Fourth Saturday of every month, 10 p.m., $5.

ACOUSTIC

Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco & Meredith Axelrod, Saturdays, 4-6 p.m., free.

Center for New Music: 55 Taylor St., San Francisco. Mobius Trio, 8 p.m., $10-$15.

Exit Theatre: 156 Eddy, San Francisco. “Songwriter Saturdays,” hosted by Melissa Lyn, Last Saturday of every month, 8:30 p.m., free/donation.

Plough & Stars: 116 Clement, San Francisco. Old Belle, 9 p.m.

JAZZ

Alfred’s Steakhouse: 659 Merchant, San Francisco. “The Best Is Yet to Come: A Tribute to Tony Bennett,” w/ Mark Robinson & Trio de Swing, 8 p.m., $25.

Cafe Claude: 7 Claude, San Francisco. Vijay Anderson Quartet, 7:30 p.m., free.

Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Mr. Lucky & The Cocktail Party, 9 p.m., free.

Savanna Jazz Club: 2937 Mission, San Francisco. Bryan Girard/Wayne Fettig Quartet, 7:30 p.m., $8.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9 p.m.

Zingari: 501 Post, San Francisco. Anne O’Brien, Last Saturday of every month, 8 p.m., free.

INTERNATIONAL

1015 Folsom: 1015 Folsom St., San Francisco. “Pura,” 9 p.m., $20.

Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.

Boom Boom Room: 1601 Fillmore, San Francisco. La Gente, Non Stop Bhangra DJ Jimmy Love, 9:30 p.m., $10-$15.

Cafe Cocomo: 650 Indiana, San Francisco. Avance, DJ Luis Medina, 8 p.m., $15.

Cigar Bar & Grill: 850 Montgomery, San Francisco. Conjunto Picante, 8 p.m.

El Rio: 3158 Mission, San Francisco. “Mango,” Fourth Saturday of every month, 3 p.m., $8-$10.

The Emerald Tablet: 80 Fresno St., San Francisco. Beaucoup Chapeaux, 8 p.m., $10.

Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5.

Pachamama Restaurant: 1630 Powell, San Francisco. Peña Eddy Navia & Pachamama Band, 8 p.m., free.

The Ramp: 855 Terry Francois, San Francisco. Orquesta Borinquen, 5:30 p.m.

Red Poppy Art House: 2698 Folsom, San Francisco. Sol Tevél, 7:30 p.m., $10-$15.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. The Arsenio Rodriguez Project: Las Estrellas de Arsenio, 8 & 10 p.m., $25-$45.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Earl Thomas & The Blues Ambassadors with Tia Carroll, 7:30 & 10 p.m., $24.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Willie G, 8:30 p.m.

The Saloon: 1232 Grant, San Francisco. Dave Workman, Fourth Saturday of every month, 4 p.m.; Ron Hacker, Last Saturday of every month, 9:30 p.m.

FUNK

The Independent: 628 Divisadero, San Francisco. Monophonics, AM & Shawn Lee, DJ B.Cause, 9 p.m., $20.

SOUL

Edinburgh Castle: 950 Geary, San Francisco. “Nightbeat,” w/ DJs Primo, Lucky, and Dr. Scott, Fourth Saturday of every month, 9 p.m., $3.

The Royal Cuckoo: 3202 Mission, San Francisco. Freddie Hughes & Chris Burns, 7:30 p.m., free.

SUNDAY 29

ROCK

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Youth Code, Night Sins, Intimatchine, 9 p.m., $10-$12.

Cafe Du Nord: 2170 Market, San Francisco. Hand of the Hills, Great Apes, 8 p.m., $10-$12.

El Rio: 3158 Mission, San Francisco. 3 Cards Down, Evil Beaver, Kittenhead, 8 p.m., $6.

Hotel Utah: 500 Fourth St., San Francisco. Life Leone, Kongos, Hello Echo, 8 p.m., $6.

The Independent: 628 Divisadero, San Francisco. Savages, Duke Garwood, 8 p.m., sold out.

Make-Out Room: 3225 22nd St., San Francisco. Night Drives, Little Heart, Windham Flat, 7:30 p.m., $8.

Rickshaw Stop: 155 Fell, San Francisco. Zorge, Tinavie, Kiwi Time, 7 p.m., $35-$45.

DANCE

440 Castro: 440 Castro, San Francisco. “Sunday Furry Sunday,” Last Sunday of every month, 4-10 p.m., $1.

BeatBox: 314 11th St., San Francisco. Climaxx: Folsom After Hours, DJ Tristan Jaxx plays late-late-night tunes for Folsom leathermen who don’t wanna let the weekend end (starts 3 a.m. Monday morning)., $20-$25; Deviants: Adult Arcade, Official closing party of the Folsom Street Fair with DJ Boris, Matrixxman, Olga T, and Aaron Clark., 4:30 p.m., $25-$35.

The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9 p.m., free.

The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8 p.m.

Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ Blaze Kulcha vs. No Dough Dub, DJ Sep, Ludichris, 9 p.m., $6 (free before 9:30 p.m.).

The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.; “Strictly Soul,” w/ Gene Hunt, Stephen Rigmaiden, Bryan Boogie, Steve Madera, Jaclyn Marie, M.D. Mayes, 8 p.m.

F8: 1192 Folsom St., San Francisco. “Stamina Sundays,” w/ guest DJ Robin Weber, 10 p.m., free.

Holy Cow: 1535 Folsom, San Francisco. “Honey Sundays,” w/ Honey Soundsystem & guests, 9 p.m., $5-$10.

The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10 p.m., free.

Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8 p.m., $2.

MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10 p.m.

Monarch: 101 6th St., San Francisco. “Reload,” w/ Michael Perry, Sharon Buck, Adam Beyer, Prehistoric Reptiles, 9 p.m., $5-$10.

Ocean Beach: Great Highway, San Francisco. “Silent Frisco: Ocean Beach,” w/ Mark Farina, J-Boogie, Motion Potion, Shouts!, Derek Hena, Black 22s, NVO, 1 p.m., $25.

Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9 p.m., $5 (free before 11 p.m.).

The Parlor: 2801 Leavenworth, San Francisco. DJ Marc deVasconcelos, 10 p.m., free.

Q Bar: 456 Castro, San Francisco. “Gigante,” 8 p.m., free.

Qi Ultra Lounge: 917 Folsom St., San Francisco. Drtybtch, DJs Ms. Jackson and Kidd Sysko spin electro, trap, hip-hop, and other booty beats at this “music, sex, and fashion experience.,” 7 p.m., $10.

The Stud: 399 Ninth St., San Francisco. Massive: Folsom 2013 Edition, Tea dance for bears at the legendary South of Market gay bar., 6 p.m., $5.

Temple: 540 Howard, San Francisco. “The Gift,” w/ DJ Holiday, Ruby Red I, 9 p.m., $20-$40.

HIP-HOP

Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30 p.m., free.

SOMA StrEat Food Park: 428 11th St., San Francisco. “The Beat Down: Summer Beats & Eats,” w/ resident DJ Mr. E, Last Sunday of every month, 11 a.m.-5 p.m. continues through Oct. 27, free.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Emily Jane White, Spectre Spectre, King Woman, 9 p.m., $7-$10.

Bazaar Cafe: 5927 California, San Francisco. The Hill People, Cara Sarelli, 6 p.m.

The Lucky Horseshoe: 453 Cortland, San Francisco. Sunday Bluegrass Jam, 4 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Spike’s Mic Night,” Sundays, 4-8 p.m., free.

Neck of the Woods: 406 Clement St., San Francisco. “iPlay,” open mic with featured weekly artists, 6:30 p.m., free.

Plough & Stars: 116 Clement, San Francisco. Seisiún with John Sherry & Kyle Thayer, 9 p.m.

St. Luke’s Episcopal Church: 1755 Clay, San Francisco. “Sunday Night Mic,” w/ Roem Baur, 5 p.m., free.

JAZZ

Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.

Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. Terrence Brewer Trio with Dmitri Matheny, 7:30 p.m., $10-$15.

Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4 p.m., free/donation.

The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30 p.m., free.

Union Square Park: 333 Post, San Francisco. Darren Johnston & The Trans-Global People’s Chorus: “Letters to Home,” 2 p.m., free.

Zingari: 501 Post, San Francisco. Lisa Lindsley, 7:30 p.m., free.

INTERNATIONAL

Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($15-$20 with dance lessons).

Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30 p.m., free.

The Ramp: 855 Terry Francois, San Francisco. BrazilVox, 5:30 p.m.

Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Rana Farhan, 7 p.m., $30-$35.

REGGAE

Il Pirata: 2007 16th St., San Francisco. “Ragga Ragga,” w/ DJs Vinny Ras, Kure All, & Theory, Last Sunday of every month, 7 p.m., free.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Golden Gate Blues Society IBC Regional Final, 5 p.m., $20.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Phil Berkowitz & The Dirty Cats, 4 p.m.

Revolution Cafe: 3248 22nd St., San Francisco. HowellDevine, 8:30 p.m., free/donation.

The Saloon: 1232 Grant, San Francisco. Blues Power, 4 p.m.; Takezo, 9:30 p.m.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 9 p.m., free.

EXPERIMENTAL

San Francisco Community Music Center: 544 Capp, San Francisco. T.D. Skatchit & Company, 8 p.m., $10-$20.

SOUL

Delirium Cocktails: 3139 16th St., San Francisco. “Heart & Soul,” w/ DJ Lovely Lesage, 10 p.m., free.

Pier 23 Cafe: Pier 23, San Francisco. Feelosophy, 5 p.m., free.

MONDAY 30

ROCK

Elbo Room: 647 Valencia, San Francisco. The Secret Secretaries, Saturn Cats, CIVC, 9 p.m., $6.

The Knockout: 3223 Mission, San Francisco. CCR Headcleaner, Life Stinks, 9 p.m., $5.

DANCE

DNA Lounge: 375 11th St., San Francisco. “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30 p.m., $3-$5.

Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9 p.m., free.

Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10 p.m., free.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. The Earl Brothers, 9 p.m., free.

The Chieftain: 198 Fifth St., San Francisco. The Wrenboys, 7 p.m., free.

Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30 p.m., free/donation.

Hotel Utah: 500 Fourth St., San Francisco. Open mic with Brendan Getzell, 8 p.m., free.

Milk Bar: 1840 Haight, San Francisco. S.F. Acoustic Sessions #3, w/ Scott Mickelson, Dan Coyle, Jordan Carp, Ash Thursday, 7 p.m.

Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7 p.m., free.

The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4 p.m.

JAZZ

Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7 p.m., free.

Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8 p.m.

The Union Room at Biscuits and Blues: 401 Mason, San Francisco. The Session: A Monday Night Jazz Series, pro jazz jam with Mike Olmos, 7:30 p.m., $12.

Zingari: 501 Post, San Francisco. Nora Maki, 7:30 p.m., free.

REGGAE

Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10 p.m., free.

BLUES

Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bohemian Knuckleboogie, 7:30 p.m., free.

The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30 p.m.

SOUL

Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8 p.m., free.

TUESDAY 1

ROCK

Amnesia: 853 Valencia, San Francisco. Major Powers & The Lo-Fi Symphony, 9 p.m. Starts . continues through Oct. 29.

Bottom of the Hill: 1233 17th St., San Francisco. Sweat Lodge, Balms, The Cairn, 9 p.m., $8.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. “Wood Shoppe,” w/ Holly Miranda, There’s Talk, Evil Eyes, Different Fur DJs, 9 p.m., free.

Elbo Room: 647 Valencia, San Francisco. Down & Outlaws, Down Dirty Shake, Wag, 9 p.m., $6.

Hemlock Tavern: 1131 Polk, San Francisco. Peach Kelli Pop, Meat Market, The Shanghais, 8:30 p.m., $7.

Hotel Utah: 500 Fourth St., San Francisco. The Del-Lords, 8 p.m., $12-$15.

The Knockout: 3223 Mission, San Francisco. Permanent Collection, Useless Eaters, Mane, DJ Ack Ack Ack, 9:30 p.m., $7.

Rickshaw Stop: 155 Fell, San Francisco. Young Galaxy, Mister Lies, Silver Swans, 8 p.m., $12.

DANCE

Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10 p.m., $2.

Laszlo: 2532 Mission, San Francisco. “Beards of a Feather,” Enjoy classy house records, obscuro disco, and laid-back late-’80s jams with DJ Ash Williams and guests, First Tuesday of every month, 9 p.m., free.

Monarch: 101 6th St., San Francisco. “Soundpieces,” 10 p.m., free-$10.

Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9 p.m., $3.

Underground SF: 424 Haight, San Francisco. “Shelter,” 10 p.m., free.

Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8 p.m., free.

HIP-HOP

Skylark Bar: 3089 16th St., San Francisco. “True Skool Tuesdays,” w/ DJ Ren the Vinyl Archaeologist, 10 p.m., free.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Songwriter-in-Residence: Olivia Clayton, 7 p.m. Starts . continues through Oct. 29.

Cafe Du Nord: 2170 Market, San Francisco. Jesse Ruben, Caitlin Crosby, 8 p.m., $8-$10.

Plough & Stars: 116 Clement, San Francisco. Seisiún with Suzanne Cronin, 9 p.m.

JAZZ

Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7 p.m.

Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7 p.m., free.

Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.

Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7 p.m.

Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. M.B. Hanif & The Sound Voyagers, 7:30 p.m., free.

Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m.

Oz Lounge: 260 Kearny, San Francisco. Emily Hayes & Mark Holzinger, 6 p.m., free.

Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free; Conscious Contact, First Tuesday of every month, 8 p.m., free.

Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9 p.m., $10-$12.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8 p.m., $22; Dayna Stephens Quartet, Pascal’s Triangle, 8 p.m., $24-$28.

INTERNATIONAL

Cafe Cocomo: 650 Indiana, San Francisco. “Descarga S.F.,” w/ DJs Hong & Good Sho, 8 p.m., $12.

The Cosmo Bar & Lounge: 440 Broadway, San Francisco. “Conga Tuesdays,” 8 p.m., $7-$10.

F8: 1192 Folsom St., San Francisco. “Underground Nomads,” w/ rotating resident DJs Cheb i Sabbah, Amar, Sep, and Dulce Vita, plus guests, 9 p.m., $5 (free before 9:30 p.m.).

REGGAE

Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10 p.m.

BLUES

The Saloon: 1232 Grant, San Francisco. Lisa Kindred, First Tuesday of every month, 9:30 p.m., free.

FUNK

Biscuits and Blues: 401 Mason, San Francisco. Fat Tuesday Band, 7 & 9 p.m., $15.

Madrone Art Bar: 500 Divisadero, San Francisco. “Boogaloo Tuesday,” w/ Oscar Myers & Steppin’, 9:30 p.m., free.

SOUL

Boom Boom Room: 1601 Fillmore, San Francisco. The JRo Project, First Tuesday of every month, 9:30 p.m., $5.

Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free.

SF supervisors approve policy of denying federal immigration hold requests

35

The San Francisco Board of Supervisors Chambers erupted in raucous celebration and chants of “Si se puede!” this afternoon as the board gave unanimous approval to a new city policy of refusing most detention hold requests from US Immigration and Customs Enforcement, which has used its controversial Secure Communities program to learn when undocumented immigrants end up in local jails and to have them held for deportation.

The legislation by Sup. John Avalos is intended to build trust between law enforcement and immigrants, which can be reluctant to report crimes such a domestic violence or buglaries for fear of deportation. “People who have to deal with the devastation that Secure Communities causes, they’re the ones who brought this forward,” Avalos said.

Those advocates had to wait a week for this momentus occasion because of amendments that were introduced last week, prompted by opposition to the measure by Mayor Ed Lee and Police Chief Greg Suhr, who expressed concern that it would shield violent felons from deportation.

Those amendments were introduced by Sup. Jane Kim, who had supported the original measure without them but sought to broaden support for the measure. Her amendments make exceptions for those convicted of violent felonies, sex trafficking, child molestation, and use of a gun in commission of a felony, although they call for police to consider factors such as a dependent child before allowing ICE to take custody of an undocumented immigrant.

Avalos opposed the amendments, saying “any carve-outs deter the victims of crimes from reaching out to law enforcement.” The amendments were also criticized by Sup. David Campos, who called them “counterproductive to public safety.” But both accepted them and called the measure an important victory.

“What’s happening in this chamber is a victory for the immigrant communities of San Francisco and all communities in San Francisco,” Campos said in English before repeating it in Spanish. “Let’s emphasize the common ground that we have found.”

The ordinance is set to receive final approval next week when it’s heard on second reading. Sheriff Ross Mirkarimi — who has supported the legislation since its inception and who will oversee its implementation in the jail — said his office had just received the latest amendments and is still reviewing them.

“It’s the unintended consequences that bring me here before you today,” Mirkarimi told his former colleagues at the board, saying he wants to make sure the new policy is clear enough so that even deputies working in the middle of the night would know how to handle ICE requests. “Changes in the legislation do pose some operational concerns.”

Mirkarimi had already instituted policies of resisting many federal immigration hold requests, joining with San Jose, Berkeley, and other cities who oppose the S-Comm program, and this ordinance broadened and codified those policies.

The legislation was strongly supported by the city’s Domestic Violence Consortium, representing an ironic turn of events when Mayor Lee — who waged a protracted and unsuccessful campaign to remove Sheriff Mirkarimi from office for grabbing his wife’s arm last year — threatened to veto it. Avalos also placed second in a crowded field of candidates when Lee was elected mayor in 2011.

It was Lee’s veto threat that ultimately weakened the legislation, a move opposed by activists who work on domestic violence issues. But Kim made clear that despite her amendments, she strongly opposes S-Comm and its local impacts.

“We believe the S-Comm program is deeply flawed,” Kim said, telling the story of a constituent who feared calling the police after their home had been burglarized. “No one should fear calling the police when they need help.”  

Porn again

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marke@sfbg.com

SEX + MUSIC What does Tumblr sound like? Is there an xTube channel on Pandora? Does Grindr have autoplay? (Perish the thought.) Already the gay porn soundtrack seems a relic of some ancient age, when people used pterodactyls to press “play” on the VCR, or put their real ages in their AOL chatroom handles. But even just a few years ago, during the increasingly desperate gasps of the dominant adult film studios, porn soundtracks were an essential part of big, expensive productions, and local background composers like JD Slater and Minor9 were taking experimental liberties.

Now, we’re about to be treated to the Holy Grail of lost porn soundtracks, with the upcoming release of School Daze, a double-album collecting the skin flick work of SF electronic pioneer Patrick Cowley for Fox Studio, composed from 1973-1981. Cowley, who died of AIDS in 1982, is famous for his production work with disco diva Sylvester and epic Hi-NRG tracks like “Menergy” and “Megatron Man.” School Daze contains some pretty trippy stuff — in the buffed, blonde, hairless heyday of early ’80s gay porn like Muscle Up, you’d hardly expect to come across such expressionistic (yet still playful) compositions with titles like “Seven Sacred Pools,” “Zygote,” “Pagan Rhythms,” and “Tides of Man.”

School Daze is being released on HNYTRX, local DJ crew Honey Soundsystem’s label, on Oct. 19 — Cowley’s 63rd birthday — with a celebration at Honey’s weekly Sunday party, Oct. 20. (Details at www.megatronman.com). I talked to Honey members Josh Cheon and Jacob Sperber about the unearthed gems.

SF Bay Guardian OK, rumors have been flying about these tracks for years. How did you get you get your hands on them?

Josh Cheon In 2007, Honey Soundsystem was blessed to meet the former owner of Megatone Records [Cowley’s label], John Hedges. He was moving to Palm Springs and invited us over to his basement to collect over 2000 records from his collection. Among the archives we noticed three moldy boxes of quarter inch reel-to-reel tapes. Some of the tapes had unreleased music by Patrick Cowley. Inspired, we contacted Patrick’s friends and family to discover as much information as possible.

A few of Patrick’s friends asked if anyone had discovered the gay porn soundtracks Patrick had composed. Digging deeper, we unearthed John Coletti, the owner of famed vintage gay porn company Fox Studio in Los Angeles. John had heard about Patrick’s music from the legendary Sylvester and proposed he write music for his films. That was in 1981. Patrick jumped on this offer and sent reels of his college compositions from the ’70s to John in LA. We were able to locate Coletti in Los Angeles though an old address on a porn tape. In May 2013, I flew to LA to pick up the tapes from the Fox Studio storage garage and brought them back to San Francisco.

SFBG Why do you think Patrick went so moody and trippy with these compositions?

JC I think the ambience reflects the gay bathhouse scene of San Francisco during the late ’70s. Patrick frequented the bookstores in the Castro and the bathhouses of SOMA, a few blocks from his recording studio. He had the perfect setting to compose songs there. He also smoked a lot of pot and most of these songs could be stoner jams.

Jacob Sperber It can’t be denied that these compositions have that tripped-out sound that most San Franciscan musicians end up folding into their music. The jam bands that made this place famous and the microclimates of this city breed a noodle-y and melty sound in the musicians that live here. In conversations with people who worked with Patrick, we learned how much the session musicians and jazz artists in the Bay Area influenced the sounds of 12-inch disco here. Undoubtedly Patrick worked with a lot of these session musicians and took inspiration from them. There is a foggy melancholy to this city and it comes through in the music, with perhaps a premonition of the storm to come in the ’80s, when HIV first hit.

SFBG Have you had a chance to watch the actual movies these tracks went with? Are the soundtracks effective as porn music?

JC Yes, I own both movies that use Patrick’s music. This compilation features soundtrack music from two Fox Studio films Muscle Up and School Daze. The movies were originally shot on 16mm with no microphone so they were silent. Rather than overdub fake sex moans, John Coletti decided to use Cowley’s music as soundtracks. Coletti used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scene. So yes, a lot of thought went into fitting each composition with the film scene, and it works wonderfully.

SFBG After spending so much time with this, what do you think about the sounds of porn today?

JS Honestly we don’t know many people who watch traditionally produced porn these days. Most of our friends either don’t want to pay for it, aren’t turned on by it, or are making their own at home. The new soundtrack to porn is sex. The raw grit of an iPhone microphone recording or even the silence of your laptop on mute, so that your roomies don’t know you’re jerking off, is way more of a turn-on these days.

Oakland’s Negative Standards support future punks

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The band Negative Standards is essentially a crust art project.

While maintaining d-beat chords and sludge-like breakdowns, the Oakland-based group makes use of non-instrumental noise and videos created by the band’s bassist, Will, during shows.

And as a quartet that blends elements of crust, doom metal, and noise; Negative Standards sticks out like a sore thumb in the endless sea of fellow crusty brethren and fuzzy lo-fi that exists in the East Bay.

Anonymity is key for the band. Negative Standards sticks to Roman numerals in place of song titles and prefers not to have band members names attached to the project. While being interviewed, the guys chose to keep it on a first-name basis.

So, for housekeeping purposes, the band is as follows: Al on guitar, Will on bass/video, Max on drums and noise, and Will — who wasn’t interviewed — on vocals and non-instrumental noise.

According to Will, the choice to maintain anonymity is to let the music speak for itself.

“From the beginning, the idea was to present each recording as a coherent whole, rather than just a collection of unrelated songs, and doing it this way somewhat anonymizes the individual components,” Will says. “Another effect is that the lyrics, music and samples have to speak for themselves, not having been distilled into a name or a slogan.”

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

The band makes the conscious decision to only play all-ages shows to battle the age-old problem of gentrification in the Bay Area.

Drummer and non-instrumental noise creator, Max, expands on this idea: “Gentrification and the attendant cultural colonialism of bars and ‘the underground’ is threatening the existence of DIY all ages spaces in the East Bay more with each passing year,” Max says. “It makes sense that, as a band, we would want to resist the destruction of the cultural environment that has made our existence possible.”

Guitarist Al recalls going to Berkeley’s world-famous all-ages punk venue, 924 Gilman when he was growing up. Al believes that without all-ages venues such as the Gilman, bands like theirs would not exist. Everybody has a starting point, and Al credits the Gilman as his.

“If it weren’t for this place, I wouldn’t know most any of my current good friends, let alone be in this band,” Al says. “I think it’s important to support the future punks instead of shutting them out because you want to drink.”

The band credits the Bay Area for having a thriving scene with the likes of fellow bands such as Noothgrush,Permanent Ruin, Ordstro and Vaccuum. But like most to all existing punk scenes, there exists various isms.

“Seeing the amount of misogyny, transphobia, and racism that goes totally unchecked within some corners of our supposedly ‘radical’ scene can be pretty disheartening, but there’s also some incredible people working against those normative tides,” says Will.

Negative Standards, however, is leaving the sub-cultural hub of Oakland to embark on a European tour, playing with the likes of European punks Bacchus and Throwers.

“Vendetta Records from Germany put out our LP and hooked us up with Timo from Alerta Antifacista Records, who busted his ass to put this tour together for us,” Al  says. “I’m incredibly excited. I’ve never travelled in Europe before and am looking forward to it greatly.”

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

The band also has a split LP with doom band Whitehorse coming out on Vendetta Records in October.

Most of the band remains extremely cordial and modest, lauding other bands and the proverbial scene at large (for the most part). But as mentioned before, this band sticks out amongst others and Max is sure to break the tide.

“Fuck this false modesty,” Max says. “I defy you to name another local band that has both a totally gnarly wolf AND an outlandishly colored manatee on their van’s dashboard.”

You can catch this band at its upcoming going away show at the Oakland Metro. As the Oakland Metro site states, “no turds allowed.”

Negative Standards
With Ordstro, Sutekh Hexen, Filthchain, Xenotaph
Thu/26, 7pm, $7
Oakland Metro
630 3rd Street, Oakland
(510) 763-1146
www.oaklandmetro.org

Theater Listings: September 25 – October 2, 2013

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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

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Previews Thu/26-Sat/28, 8pm; Mon/30, 8pm. Opens Oct 3, 8pm. Runs Thu-Sat and Oct 29-30, 8pm. Through Nov 23. Thrillpeddlers presents their 14th annual Grand Guignol show, “a evening of horror, madness, spanking, and song.”

BAY AREA

A Winter’s Tale Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-72. Previews Wed/25-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Tue-Thu, 7:30pm; Fri-Sat, 8pm (also Oct 19, 2pm); Sun, 4pm. Through Oct 20. Cal Shakes concludes its 2013 season with the Bard’s fairy tale, directed and choreographed by sister team Patricia and Paloma McGregor.

ONGOING

Acid Test: The Many Incarnations of Ram Dass Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Fri, 8pm; Sat, 8:30pm. Through Oct 12. Playwright Lynne Kaufman invites you to take a trip with Richard Alpert, aka Ram Dass (Warren David Keith) — one of the bigwigs of the psychedelic revolution and (with his classic book, Be Here Now) contemporary Eastern-looking spirituality — as he recounts times high and low in this thoughtful, funny, and sometimes unexpected biographical rumination on the quest for truth and meaning in a seemingly random life. Directed by Joel Mullennix, the narrative begins with Ram Dass today, in his Hawaiian home and partly paralyzed from a stroke, but Keith (one of the Bay Area’s best stage actors, who is predictably sure and engagingly multilayered in the role) soon shakes off the stiff arm and strained speech and springs to his feet to continue the narrative as the ideal self perhaps only transcendental consciousness and theater allow. Nevertheless, Kaufman’s fun-loving and extroverted Alpert is no saint and no model of perfection, which is the refreshing truth explored in the play. He’s a seeker still, ever imperfect and trying for perfection, or at least the wisdom of acceptance. As the privileged queer child of a wealthy Jewish lawyer and industrialist, Alpert was both insider and outsider from the get-go, and that tension and ambiguity make for an interesting angle on his life, including the complexities of his relationships with a homophobic Leary, for instance, and his conservative but ultimately loving father. Perfection aside, the beauty in the subject and the play is the subtle, shrewd cherishing of what remains unfinished. Note: review from an earlier run of this show. (Avila)

Beautiful: The Carole King Musical Curran Theatre, 445 Geary, SF; www.shnsf.com. $55-210. Tue-Sat, 8pm (also Sat and Oct 9 and 16, 2pm); Sun, 2 and 7:30pm (no evening show Oct 13 or 20). Through Oct 20. Pre-Broadway premiere of the musical about the legendary songwriter.

Band Fags! New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Oct 13. New Conservatory Theatre Center performs the West Coast premiere of Frank Anthony Polito’s coming-of-age tale, set in 1980s Detroit.

“Bay One Acts Festival” Tides Theatre, 533 Sutter, SF; www.bayoneacts.org. $20-40. Programs One and Two run in repertory Wed-Sun, 8pm. Through Oct 5. The 2013 BOA fest presents the world premieres of 13 short plays in partnership with 13 Bay Area theater companies.

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Oct 29. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Buried Child Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Tue, 7pm; Wed-Sat, 8pm; Sun, 2:30. Through Oct 6. Magic Theatre performs a revival of Sam Shepard’s Pulitzer-winning classic.

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.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Wed-Thu, 8pm; Sat, 8:30pm. Through Oct 26. Geoff Hoyle’s hit solo show, a comedic meditation on aging, returns to the Marsh.

The Golden Dragon ACT’s Costume Shop, 1117 Market, SF; www.doitliveproductions.com. $15. Thu/26-Sat/28, 9:30pm. Do It Live! Productions presents Roland Schimmelpfennig’s tragicomic take on globalization, set in and around an Asian restaurant.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Macbeth Fort Point, end of Marine Dr, Presidio of San Francisco, SF; www.weplayers.org. $30-60. Thu-Sun, 6pm. Through Oct 6. We Players perform the Shakespeare classic amid Fort Point’s Civil War-era fortress.

1776 ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-160. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Oct 6. American Conservatory Theater performs the West Coast premiere of Frank Galati’s new staging of the patriotic musical.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

The Shakespeare Bug Stage Werx Theatre, 446 Valencia, SF; www.killingmylobster.com. $15-30. Thu/26-Sun/29, 8pm. Killing My Lobster in association with PlayGround perform Ken Slattery’s world-premiere comedy.

To Sleep and Dream Z Below, 470 Florida, SF; www.therhino.org. $15-30. Opens Wed/25, 8pm. Runs Wed-Sat, 8pm; Sun/29, 7pm; Oct 6, 3pm. Through Oct 6. Theatre Rhinoceros performs writer-director John Fisher’s North Bay-set drama about the challenges of love.

Too Much Light Makes the Baby Go Blind Boxcar Playhouse, 505 Natoma, SF; www.boxcar.org. $11-16. Fri/27-Sat/28, 9pm; Sun/29, 7pm. Want to experience a bit of what those legendary theater towns Chicago and New York probably take for granted? Attempting to establish a West Coast stronghold for the long-running Too Much Light Makes the Baby Go Blind, members of both the Chicago and New York ensembles of Neo-Futurists have converged at the Boxcar Playhouse for a three-week run of their signature show. The premise is simple, if dizzying. Thirty short plays are performed within the space of 60 timed minutes while the audience dictates the order of performance by shouting out the number of the play they want to see next. At the end of each performance, a die is rolled and that number of plays is dropped from the lineup to make space for brand-new ones written and rehearsed before the next weekend. The content ranges from silly to cerebral, wistful to weird, and stylistically veers from confessional to confrontational to surreal, using music, minimal props, and a complete irreverence for the fourth wall to move it forward. And while it’s nice to contemplate having our own cadre of Neo-Futurists to boast in the future, catching long-time Neo veterans such as John Pierson, Marta Rainer, and Cecil Baldwin now is a real treat. (Gluckstern)

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through Oct 27. Soapy, kid-friendly antics with Louis Pearl, aka “The Amazing Bubble Man.”

BAY AREA

After the Revolution Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Extended through Oct 6. Emma (Jessica Bates) is a left-wing lawyer from a lefty Jewish family of Communist Party members and fellow travelers who heads an important defense fund for incarcerated Black Panther Mumia Abu-Jamal. When Emma learns that a book is coming out that pins her revered late grandfather (a CP martyr to McCarthyism for whom the fund is named) as a spy for Stalin, she collapses into an incapacitating personal crisis exacerbated by the revelation that her adored father (an expansive Rolf Saxon) already knew and kept the secret from her. The crisis leads to Emma’s severing ties with her father and, eventually, alienating her boyfriend (Adrian Anchondo) as the rest of the family do their best to negotiate the new dynamic, including her uncle Leo (Victor Talmadge), her rehab habitué of a sister (Sarah Mitchell), and her mother (Pamela Gaye Walker). Meanwhile, Emma faces the fraught temptation of a large donation to the fund by a wealthy old lefty (a fine Peter Kybart). Almost above the fray, by virtue of her unwavering devotion to the political legacy she shared with her husband, is Emma’s unreconstructed Stalinist of a grandmother, Vera (a jarringly affected Ellen Ratner in fakey-fakey old-lady makeup). Aurora Theater’s production of Amy Herzog’s After the Revolution offers another look at the celebrated American playwright whose Obie Award-winning 4000 Miles recently premiered at ACT. But just as the ACT production left one wondering what all the fuss was about, After the Revolution disappoints in its promise of exploring political commitment through the complexities of modern history and familial bonds. Instead, director Joy Carlin marshals a mostly strong cast to little effect against an unconvincing and strained dramatic narrative that seems oddly out of touch with today’s political currents. (Avila)

All’s Well That Ends Well Forest Meadows Amphitheater, 890 Bella, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-37.50. Presented in repertory through Sat/28; visit website for performance schedule. Marin Shakespeare Company continues its outdoor season with the Bard’s classic romance.

Bonnie and Clyde Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed/25-Thu/26, 7pm; Fri/27-Sat/28, 8pm; Sun/29, 5pm. Amorous outlaws and Depression-era rebels Bonnie Parker (Megan Trout) and Clyde Barrow (Joe Estlack) remain compelling as heroes and tragic figures in playwright Adam Peck’s 2010 retelling, but it’s their quieter, frailer, more delicate moments in Mark Jackson’s robust, at times transcendent staging that prove most memorable in this Shotgun Players production. It’s a sign of Jackson’s sure intelligence as a director that he can let a moment happen here wordlessly, without recourse to cut-and-dry cues of one sort or another, as happens near the outset of the evening as Barrow and Parker arrive on the run at an abandoned barn. We study them in such moments, and they breathe, like nowhere else. It’s here in this barn that they rest, woo, tussle, and tease for the next 80 enthralling minutes — interrupted only by Barrow’s moment-by-moment delivery to us of their final violent moments alive, channeling a fate awaiting them just down the road. Embodying the play’s only characters, Trout and Estlack are outstanding, dynamic and utterly persuasive. They’d be worth seeing even if the play and production were half as good as they are. Having “chosen to live lives less ordinary,” it turns out to be their palpable vulnerability and wide-ranging yet ordinary yearnings that make them exceptional creatures. (Avila)

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Oct 27. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

A Comedy of Errors Forest Meadows Amphitheater, 890 Bella, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-37.50. Presented in repertory through Sun/29; visit website for performance schedule. Marin Shakespeare Company presents a cowboy-themed spin on the Bard’s classic.

Ella, the Musical Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW. $37-64. Wed, 7:30pm; Thu-Sat, 8pm (also Sat/28 and Oct 12, 2:30pm); Sun, 2:30pm. Through Oct 12. Yvette Cason portrays the legendary Ella Fitzgerald in this Center REP presentation.

The Tempest Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm; Sun, 2pm. Through Oct 6. Pear Avenue Theatre performs Shakespeare’s play in a new staging by director Jeanie K. Smith.

Woman in Black — A Ghost Play Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-29. Thu/26-Sat/28, 8pm; Sun/29, 2pm. Douglas Morrison Theatre performs Stephen Mallatratt’s adaptation of Susan Hill’s spooky story.

PERFORMANCE/DANCE

Bodytraffic ODC Theater, 3153 17th St, SF; www.odcdance.org. Thu/26-Sat/28, 8pm; Sun/29, 7pm. $25-35. The LA-based repertory dance company performs Bay Area premieres by Barak Marshall and Richard Siegel, as well as a preview of a work by Kyle Abraham.

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Oct 6, 12, 20, and 26, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Death on the Ganges” Mission Cultural Center, 2868 Mission, SF; www.sirenproject.org. Thu/26-Sat/28, 7:30pm; Sun/29, 3pm. $15-50. Siren Project presents a work inspired by 57 real-life stories, staged by an all-female theater troupe, about four Bay Area women who travel to a holy city in India.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Mu” Jewish Community Center of San Francisco, 3200 California, SF; www.jccsf.org. Fri/27-Sat/28, 8pm; Sun/29, 2pm. $25. Choreographer Kimi Okada, performer Brenda Wong Aoki, and composer Mark Izu collaborate on this world premiere, based on a Japanese folk legend.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat/28, 7pm. $20-30 (free aquarium ticket with show ticket). Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“People Show 121: The Detective Show” Fort Mason Center, Southside Theater, Marina at Laguna, SF; www.peopleshowusa.com. Thu/26-Sun/29, 8pm (also Sun/29, 2pm). $39-149 (all tickets include wine; some also include dinner). The veteran British alt-theater company performs.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“Taps, Tunes, and Tall Tales” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Thu/26-Fri/27, 8pm; Sat/28, 7pm. $30-65. Tony-winning legend Tommy Tune performs.

“Union Square Live” Union Square, between Post, Geary, Powell, and Stockton, SF; www.unionsquarelive.org. Through Oct 9. Free. Music, dance, circus arts, film, and more; dates and times vary, so check website for the latest.

BAY AREA

“Bay Area Flamenco Festival” Freight and Salvage, 2020 Addison, Berk; www.bayareaflamencofestival.com. Sun/29, 8pm. $36.50-75. With David Serva, “godfather of Bay Area flamenco guitar.” *

 

Film Listings: September 25 – October 2, 2013

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, Sam Stander, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

Baggage Claim A flight attendant (Paula Patton) searches high in the sky for Mr. Right in this comedy from writer-director David E. Talbert. (1:33)

Cloudy With a Chance of Meatballs 2 The sequel to the 2009 animated hit based on the children’s best-seller promises the introduction of “mutant food beasts,” including “tacodiles” and “shrimpanzees.” (1:35) Presidio.

Don Jon Shouldering the duties of writer, director, and star for the comedy Don Jon, Joseph Gordon-Levitt has also picked up a broad Jersey accent, the physique of a gym rat, and a grammar of meathead posturing — verbal, physical, and at times metaphysical. His character, Jon, is the reigning kingpin in a triad of nightclubbing douchebags who pass their evenings assessing their cocktail-sipping opposite numbers via a well-worn one-to-10 rating system. Sadly for pretty much everyone involved, Jon’s rote attempts to bed the high-scorers are spectacularly successful — the title refers to his prowess in the art of the random hookup — that is, until he meets an alluring “dime” named Barbara (Scarlett Johansson), who institutes a waiting period so foreign to Jon that it comes to feel a bit like that thing called love. Amid the well-earned laughs, there are several repulsive-looking flies in the ointment, but the most conspicuous is Jon’s stealthy addiction to Internet porn, which he watches at all hours of the day, but with a particularly ritualistic regularity after each night’s IRL conquest has fallen asleep. These circumstances entail a fair amount of screen time with Jon’s O face and, eventually, after a season of growth — during which he befriends an older woman named Esther (Julianne Moore) and learns about the existence of arty retro Swedish porn — his “Ohhh … ” face. Driven by deft, tight editing, Don Jon comically and capably sketches a web of bad habits, and Gordon-Levitt steers us through a transformation without straining our capacity to recognize the character we met at the outset — which makes the clumsy over-enunciations that mar the ending all the more jarring. (1:30) Four Star, Marina. (Rapoport)

Enough Said Eva (Julia Louis-Dreyfus) is a divorced LA masseuse who sees naked bodies all day but has become pretty wary of wanting any in her bed at night. She reluctantly changes her mind upon meeting the also-divorced Albert (James Gandolfini), a television archivist who, also like her, is about to see his only child off to college. He’s no Adonis, but their relationship develops rapidly — the only speed bumps being provided by the many nit-picking advisors Eva has in her orbit, which exacerbate her natural tendency toward glass-half-empty neurosis. This latest and least feature from writer-director Nicole Holofcener is a sitcom-y thing of the type that expects us to find characters all the more adorable the more abrasive and self-centered they are. That goes for Louis-Dreyfus’ annoying heroine as well as such wasted talents as Toni Colette as her kvetching best friend and Catherine Keener as a new client turned new pal so bitchy it makes no sense Eva would desire her company. The only nice person here is Albert, whom the late Gandolfini makes a charming, low-key teddy bear in an atypical turn. The revelation of an unexpected past tie between his figure and Keener’s puts Eva in an ethically disastrous position she handles dismally. In fact, while it’s certainly not Holofcener’s intention, Eva’s behavior becomes so indefensible that Enough Said commits rom-com suicide: The longer it goes on, the more fervently you hope its leads will not end up together. (1:33) (Harvey)

Haute Cuisine French drama about a restaurant owner (Catherine Frot) who becomes the personal chef to president François Mitterrand. (1:35) Opera Plaza..

Inequality for All See “The Great Divide.” (1:25) California, Metreon.

Inuk Though the Greenlandic-language Inuk takes its name from its troubled Inuit protagonist, ice is arguably its central character. And the lyrical sweep and striking beauty of the icy expanses in Uummannaq Bay and Nuuk, Greenland, threaten to upstage the adventure story at Inuk‘s heart. Seeking refuge from his alcoholic mother and her abusive friends and escaping into hip-hop, the teenage Inuk (Gaaba Petersen) has been found battered and sleeping his car far too often, so he’s taken to a in the north by teacher and foster care worker Aviaaja (Rebekka Jorgensen) to learn about the old ways of hunters and an ancient wisdom that is melting away with the polar icecap. A journey by dogsled with local hunters turns into a rite of passage when bear hunter Ikuma (Ole Jørgen Hammeken) takes Inuk under his damaged wing and attempts to reconnect him to his heritage. “The ice is no place for attitude,” he declares, as Inuk makes foolish choices, kills his first seal, and learns the hard way about survival north of the Arctic Circle. You can practically feel the freezing cold seeping off the frames of this gorgeous-looking film — a tribute to director Mike Magidson and his crew’s skills, even when the overt snow-blinding symbolism blots out clarity and threatens to swallow up Inuk. (1:30) Roxie. (Chun)

Metallica: Through the Never See “Hit the Lights.” (1:32)

“Millie Perkins in the Exploitation Cinema of Matt Cimber” Millie Perkins was a successful 20-year-old model with no acting experience when she made her film debut in 1959’s The Diary of Anne Frank, playing the title role. But her mainstream Hollywood career almost immediately foundered and soon she was playing much less angelic roles in B-movies — among them several subsequently cult-worshipped Monte Hellman films and the 1968 AIP counterculture-nightmare hit Wild in the Streets. In the mid-1970s she made two back-to-back movies for Italian exploitation maestro Matt Cimber (aka Thomas Vitale Ottaviano), who a decade earlier had briefly been married to Jayne Mansfield. The Film on Film Foundation is screening rare 35mm prints of both in this one-night tribute bill. The better known of the duo, The Witch Who Came From the Sea (1976), is a bizarre psychochiller in which Perkins gets one hell of a role as SoCal cocktail waitress Molly, who seems normal enough (if a tad taciturn) but is prone to irrational rages, blackouts, drinking binges, indiscriminate pill-popping, and … murder, though we (and she) aren’t always sure whether her crimes are real or delusional. While Witch has gained some critical appreciation in recent years, the prior year’s Lady Cocoa (also released, even more improbably, as Pop Goes the Weasel) remains obscure — a late addition to the early ’70s blaxploitation craze with “First Lady of Las Vegas” Lola Falana in a non-singing role as a tough jailbird who gets a 24-hour pass to testify against her evil thug ex-boyfriend — or at least try to, if his goons (including NFL Hall of Famer “Mean” Joe Greene) don’t snuff her first. Perkins has a supporting role as one half of an alleged honeymooning couple who aren’t quite as harmless as they seem. Perhaps overwhelmed by the challenge of topping these two films, Perkins was inactive for several years afterward, then found herself welcomed back to Hollywood via numerous roles in TV movies and big-screen ones, plus recurring roles on primetime soap Knot’s Landing and the 1990 miniseries Elvis (as the King’s mom). Roxie. (Harvey)

On the Job Filipino director Erik Matti’s gritty crime thriller has such a clever hook that Hollywood is already circling it for a remake. No shock there. It is surprising, however, that On the Job is based on true events, in which prisoners were temporarily sprung to work as hired guns for well-connected politicos. (Kinda genius, if you think about it.) The big-screen version has veteran inmate Tang (Joel Torre) dreading his imminent parole; he’d rather have the steady income from his grisly gig than be unable to provide for his wife and daughter. As he counts down to his release, he trains volatile Daniel (Gerald Anderson) to take his place. Poking around on the other side of the law are world-weary local cop Acosta (Joey Marquez) and hotshot federal agent Francis (Piolo Pascual), who reluctantly team up when a hit cuts close to home for both of them. The case is particularly stressful for Francis, whose well-connected father-in-law turns out to be wallowing in corruption. Taut, thrilling, atmospheric, and graphic, On the Job makes up for an occasionally confusing storyline by offering bang-up (literally) entertainment from start to finish. Groovy score, too. (2:00) Metreon. (Eddy)

Out in the Dark Meeting in a Tel Aviv gay bar, Nimr (Nicholas Jacob) and Roy (Michael Aloni) are instantly smitten with each other, though there’s much dividing them. Roy is a Jewish lawyer working at his father’s high-end firm, while the former is a Palestinian graduate psychology student who’s lucky just to get a temporary travel pass so he can take one prestigious course at an Israeli university. Even this small liberty brings him trouble, as his increasingly fanatical older brother considers any contact with Israelis borderline traitorous to their homeland and to conservative Muslim values. Needless to say, Nimr is not “out” to his family — and even though Roy is, his parents’ “tolerance” proves superficial at best. The men’s relationship soon runs into considerable, even life-imperiling difficulty from various political, cultural, religious and personal conflicts. Director and co-writer Michael Mayer’s first feature isn’t the first screen love story between star-crossed Israelis and Palestinians (or even the first gay one). It can be a bit clumsy and melodramatic, but nonetheless there’s enough chemistry between the leads and earnest urgency behind the issues addressed to make this a fairly powerful story about different kinds of oppression. (1:36) Elmwood. (Harvey)

Rush Ron Howard’s Formula One thriller Rush is a gripping bit of car porn, decked out with 1970s period details and goofily liberated camera moves to make sure you never forget how much happens under (and around, and on top of) the hood of these beastly vehicles. Real life drivers James Hunt and Niki Lauda (played by Chris Hemsworth and Daniel Brühl, respectively) had a wicked rivalry through the ’70s; these characters are so oppositional you’d think Shane Black wrote them. Lauda’s an impersonal, methodical pro, while Hunt’s an aggressive, undisciplined playboy — but he’s so popular he can sway a group of racers to risk their lives on a rainy track, even as Lauda objects. It’s a lovely sight: all the testosterone in the world packed into a room bound by windows, egos threatening to bust the glass with the rumble of their voices. I’m no fan of Ron Howard, but maybe the thrill of Grand Theft Auto is in Rush like a spirit animal. (The moments of rush are the greatest; when Lauda’s lady friend asks him to drive fast, he does, and it’s glorious.) Hunt says that “being a pro kills the sport” — but Howard, an overly schmaltzy director with no gift for logic and too much reliance on suspension of disbelief, doesn’t heed that warning. The laughable voiceovers that bookend the film threaten to sink some great stuff, but the magic of the track is vibrant, dangerous, and teeming with greatness. (2:03) (Vizcarrondo)

ONGOING

Battle of the Year Nothing burns Americans more than getting beat at their own culture game. Hence the premise of this 3D dance movie named after the international b-boy competition that regularly shuts out US teams. Diddy-like hip-hop kingpin Dante (Laz Alonso) is feeling the softness of the market, never mind that the trend cycles have spun the other way — we gotta win the b-boy crown back from the Koreans and Russians! So he enlists his old friend and now-down-and-out coach Jason (Lost‘s Josh Holloway) to assemble a winning crew from ragtag talents pulled from across the country, among them the strutting Rooster (Chris Brown). How does one put together a real team from this loose gathering of testosterone-saturated, ever-battling egos? Korean American director Benson Lee twirls off his own documentary Planet B Boy with this fictitious exercise that begs this question: why aren’t there more 3D dance movies? Probably because, much like porn, everything surrounding the money shots usually feels like filler. Leave aside the forced drama of bad news unbearables like Brown and his frenemies — the moments when Battle really lives up to the hype are when the movie’s many hyperathletic, gravity-defying b-boys like Ivan “Flipz” Velez, Jon “Do Knock” Cruz, and David “Kid” Shreibman show off their moves. (1:49) 1000 Van Ness, SF Center. (Chun)

Blue Caprice On Oct. 24, 2002, a man and a teenager were arrested upon being found sleeping in their car at a Maryland rest stop. That ended the three-week reign of terror known as the Beltway sniper attacks, in which 13 people were shot (10 fatally) in a wide area surrounding Washington, DC. When facts started coming to light, what seemed most striking about these attacks were their utter randomness, as well as the curious relationship between the two shooters: 41-year-old John Allen Muhammad and 17-year-old Lee Boyd Malvo, who’d met three years earlier in Antigua. Malvo, who was sorely in need of guidance and a guardian, was taken back to the US by his new protector, and was too grateful, gullible, or intimidated to question his intentions. Alexandre Moors’ first feature offers an unsettling if ambiguous take on a case that still leaves a lot of questions unanswered. We see Lee (Tequan Richmond) accept whatever strange wisdom Muhammad (Isaiah Washington of Grey’s Anatomy) has to offer — becoming an outlet for John’s bottomless, often scarifying anger, and his need to create someone as emotionally disconnected from other humans as himself. The shootings themselves are dealt with very discreetly; Moors and scenarist Ronnie Porto aim to conjure an atmosphere of isolation and indoctrination where we’re nearly as blindsided as Lee. While its deliberate omissions and psychological gaps are somewhat frustrating, Blue Caprice does cast a spell — aided considerably by Brian O’Carroll’s artful photography (no shaky-cam here) and a fine, unpredictable original score by Sarah Neufeld and Colin Stetson. (1:34) Roxie. (Harvey)

Blue Jasmine The good news about Blue Jasmine isn’t that it’s set in San Francisco, but that it’s Woody Allen’s best movie in years. Although some familiar characteristics are duly present, it’s not quite like anything he’s done before, and carries its essentially dramatic weight more effectively than he’s managed in at least a couple decades. Not long ago Jasmine (a fearless Cate Blanchett) was the quintessential Manhattan hostess, but that glittering bubble has burst — exactly how revealed in flashbacks that spring surprises up to the script’s end. She crawls to the West Coast to “start over” in the sole place available where she won’t be mortified by the pity of erstwhile society friends. That would be the SF apartment of Ginger (Sally Hawkins), a fellow adoptive sister who was always looked down on by comparison to pretty, clever Jasmine. Theirs is an uneasy alliance — but Ginger’s too big-hearted to say no. It’s somewhat disappointing that Blue Jasmine doesn’t really do much with San Francisco. Really, the film could take place anywhere — although setting it in a non-picture-postcard SF does bolster the film’s unsettled, unpredictable air. Without being an outright villain, Jasmine is one of the least likable characters to carry a major US film since Noah Baumbach’s underrated Margot at the Wedding (2007); the general plot shell, moreover, is strongly redolent of A Streetcar Named Desire. But whatever inspiration Allen took from prior works, Blue Jasmine is still distinctively his own invention. It’s frequently funny in throwaway performance bits, yet disturbing, even devastating in cumulative impact. (1:38) Balboa, Clay, Metreon, 1000 Van Ness. (Harvey)

C.O.G. The first feature adapted from David Sedaris’ writing, Kyle Patrick Alvarez’s film captures his acerbic autobiographical comedy while eventually revealing the misfit pain hidden behind that wit. Tightly wound David (Jonathan Groff), on the run from problematic family relations and his sexual identity, takes the bus from East Coast grad school to rural Oregon — his uninhibited fellow passengers providing the first of many mortifications here en route. Having decided that seasonal work as an apple picker will somehow be liberating, he’s viewed with suspicion by mostly Mexican co-workers and his crabby boss (Dean Stockwell). More fateful kinda-sorta friendships are forged with a sexy forklift operator (Corey Stoll) and a born-again war vet (Denis O’Hare). Under the latter’s volatile tutelage, David briefly becomes a C.O.G. — meaning “child of God.” Balancing the caustic, absurd, and bittersweet, gradually making us care about an amusingly dislikable, prickly protagonist, this is a refreshingly offbeat narrative that pulls off a lot of tricky, ambivalent mood shifts. (1:37) Elmwood, Smith Rafael, Sundance Kabuki. (Harvey)

Elysium By the year 2154, the one percent will all have left Earth’s polluted surface for Elysium, a luxurious space station where everyone has access to high-tech machines that can heal any wound or illness in a matter of seconds. Among the grimy masses in burned-out Los Angeles, where everyone speaks a mixture of Spanish and English, factory worker Max (Matt Damon) is trying to put his car-thief past behind him — and maybe pursue something with the childhood sweetheart (Alice Braga) he’s recently reconnected with. Meanwhile, up on Elysium, icy Secretary of Defense Delacourt (Jodie Foster, speaking in French and Old Hollywood-accented English) rages against immigration, even planning a government takeover to prevent any more “illegals” from slipping aboard. Naturally, the fates of Max and Delacourt will soon intertwine, with “brain to brain data transfers,” bionic exo-skeletons, futuristic guns, life-or-death needs for Elysium’s medical miracles, and some colorful interference by a sword-wielding creeper of a sleeper agent (Sharlto Copley) along the way. In his first feature since 2009’s apartheid-themed District 9, South African writer-director Neill Blomkamp once again turns to obvious allegory to guide his plot. If Elysium‘s message is a bit heavy-handed, it’s well-intentioned, and doesn’t take away from impressive visuals (mercifully rendered in 2D) or Damon’s committed performance. (2:00) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

The Family It’s hard to begrudge an acting monolith like Robert De Niro from cashing out in his golden years and essentially going gently into that good night amid a volley of mild yuks. And when his mobster-in-witness-protection Giovanni Manzoni takes a film-club stage in his Normandy hideout to hold forth on the veracity of Goodfellas (1990), you yearn to be right there in the fictional audience, watching De Niro’s Brooklyn gangster take on his cinematic past. That’s the most memorable moment of this comedy about an organized criminal on the lam with his violent, conniving family unit. Director-cowriter Luc Besson aims to lightly demonstrate that you can extract a family from the mob but you can’t expunge the mob from the family. There’s a $20 million bounty on Giovanni’s head, and it’s up to his keeper Stansfield (Tommy Lee Jones) to keep him and his kin quiet and undercover. But the latter has his hands full with Gio penning his memoirs, wife Maggie (Michelle Pfeiffer) blowing up the local supermarket, daughter Belle (Dianna Agron, wrapped in bows like a soft-focus fantasy nymphet) given to punishing schoolyard transgressors with severe beatings, and son Warren (John D’Leo) working all the angles in class. Besson plays the Manzoni family’s violence for chuckles, while painting the mob family’s mayhem with more ominous colors, making for a tonal clash that’s as jarring as some of his edits. The pleasure here comes with watching the actors at play: much like his character, De Niro is on the run from his career-making albeit punishing past, though if he keeps finding refuge in subpar fare, one wonders if his “meh” fellas will eventually outweigh the Goodfellas. (1:51) Metreon, 1000 Van Ness, Sundance Kabuki, Vogue. (Chun)

The Grandmaster The Grandmaster is dramatic auteur Wong Kar-Wai’s take on the life of kung-fu legend Ip Man — famously Bruce Lee’s teacher, and already the subject of a series of Donnie Yen actioners. This episodic treatment is punctuated by great fights and great tragedies, depicting Ip’s life and the Second Sino-Japanese War in broad strokes of martial arts tradition and personal conviction. Wong’s angsty, hyper stylized visuals lend an unusual focus to the Yuen Woo-Ping-choreographed fight scenes, but a listless lack of narrative momentum prevents the dramatic segments from being truly engaging. Abrupt editing in this shorter American cut suggests some connective tissue may be missing from certain sequences. Tony Leung’s performance is quietly powerful, but also a familiar caricature from other Wong films; this time, instead of a frustrated writer, he is a frustrated martial artist. Ziyi Zhang’s turn as the driven, devastated child of the Northern Chinese Grandmaster provides a worthy counterpoint. Another Wong cliché: the two end up sadly reminiscing in dark bars, far from the rhythm and poetry of their martial pursuits. (1:48) Metreon. (Stander)

In a World… (1:33) Balboa, Sundance Kabuki.

Insidious: Chapter 2 The bloodshot, terribly inflamed font of the opening title gives away director James Wan and co-writer and Saw series cohort Leigh Whannell’s intentions: welcome to their little love letter to Italian horror. The way an actor, carefully lit with ruby-red gels, is foregrounded amid jade greens and cobalt blues, the ghastly clown makeup, the silent movie glory of a gorgeous face frozen in terror, the fixation with 1981’s The Beyond — lovers of spaghetti shock will appreciate even a light application of these aspects, even if many others will be disappointed by this sequel riding a wee bit too closely on its financially successful predecessor’s coattails. Attempting to pick up exactly where 2011’s Insidious left off, Chapter 2 opens with a flashback to the childhood of demonically possessed Josh Lambert (Patrick Wilson), put into a trance by the young paranormal investigator Elise. Flash-forward to Elise’s corpse and the first of many terrified looks from Josh’s spouse Renai (Rose Byrne). She knows Josh killed Elise, but she can’t face reality — so instead she gets to face the forces of supernatural fantasy. Meanwhile Josh is busy forcing a fairy tale of normalcy down the rest of his family’s throats — all the while evoking a smooth-browed, unhinged caretaker of the Overlook Hotel. Subverting that fiction are son Dalton (Ty Simpkins), who’s fielding messages from the dead, and Josh’s mother Lorraine (Barbara Hershey), who sees apparitions in her creepy Victorian and looks for help in Elise’s old cohort Carl (Steve Coulter) and comic-relief ghost busters Specs (Whannell) and Tucker (Angus Sampson). Sure, there are a host of scares to be had, particularly those of the don’t-look-over-your-shoulder variety, but tribute or no, the derivativeness of the devices is dissatisfying. Those seeking wickedly imaginative death-dealing machinations, or even major shivers, will curse the feel-good PG-13 denouement. (1:30) Metreon, 1000 Van Ness. (Chun)

Instructions Not Included (1:55) Metreon.

Lee Daniels’ The Butler (1:53) 1000 Van Ness, Presidio, SF Center, Sundance Kabuki.

Mademoiselle C Fabien Constant’s portrait of French fashion editor-professional muse-stylish person Carine Roitfeld may be unabashedly fawning, but it does offer the rest of us slobs a peek into the glamorous life. The film begins as Roitfeld leaves her job at Vogue Paris; there’s passing mention of her subsequent feud with Condé Nast as she readies her own luxury magazine start-up, CR Fashion Book, but the only conflicts the film lingers on are 1) when a model cancels last-minute and 2) when Roitfeld goes double over budget on her first issue. (Looking at the lavish photo shoots in action, with big-name photogs and supermodels aplenty, it’s not hard to see why.) Mostly, though this is a fun ride-along with Roitfeld in action: hanging with “Karl” (Lagerfeld) and “Tom” (Ford); swooning over her first grandchild; sneaking a little cell phone footage inside the Met Ball; allowing celebs like Sarah Jessica Parker and designer Joseph Altuzarra to suck up to her, etc. There’s also a funny moment when her art-dealer son, Vladimir, recalls that he was never allowed to wear sweatpants as a kid — and her daughter, fashion-person Julia, remembers her mother’s horror when she dared to wear Doc Martens. (1:30) Sundance Kabuki. (Eddy)

Museum Hours Feature documentaries Benjamin Smoke (2000) and Instrument (2003) are probably Jem Cohen’s best-known works, but this prolific filmmaker — an inspired choice for SFIFF’s Golden Gate Persistence of Vision Award, honoring “a filmmaker whose main body of work is outside the realm of narrative feature filmmaking” — has a remarkably diverse resumé of shorts, music videos, and at least one previous narrative film (albeit one with experimental elements), 2004’s Chain. Cohen appears in person to discuss his work and present his latest film, Museum Hours, about a guard at Vienna’s Kunsthistorisches Museum (“the big old one,” the man calls it) who befriends a Montreal woman visiting her comatose cousin. It’s a deceptively simple story that expands into a deeply felt, gorgeously shot rumination on friendship, loneliness, travel, art history and appreciation, and finding the beauty in the details of everyday life. (1:46) Opera Plaza. (Eddy)

One Direction: This is Us Take them home? The girls shrieking at the opening minutes of One Direction: This Is Us are certainly raring to — though by the closing credits, they might feel as let down as a Zayn Malik fanatic who was convinced that he was definitely future husband material. Purporting to show us the real 1D, in 3D, no less, This Is Us instead vacillates like a boy band in search of critical credibility, playing at an “authorized” look behind the scenes while really preferring the safety of choreographed onstage moves by the self-confessed worst dancers in pop. So we get endless shots of Malik, Niall Horan, Liam Payne, Harry Styles, and Louis Tomlinson horsing around, hiding in trash bins, punking the road crew, jetting around the world, and accepting the adulation of innumerable screaming girls outside — interspersed with concert footage of the lads pouring their all into the poised and polished pop that has made them the greatest success story to come out of The X Factor. Too bad the music — including “What Makes You Beautiful” and “Live While We’re Young” — will bore anyone who’s not already a fan, while the 1D members’ well-filtered, featureless, and thoroughly innocuous on-screen personalities do little to dispel those yawns. Director Morgan Spurlock (2004’s Super Size Me) adds just a dollop of his own personality, in the way he fixates on the tearful fan response: he trots out an expert to talk about the chemical reaction coursing through the excitable listener’s system, and uses bits of animation to slightly puff up the boy’s live show. But generally as a co-producer, along with 1D mastermind Simon Cowell, Spurlock goes along with the pop whitewashing, sidestepping the touchy, newsy paths this biopic could have sallied down — for instance, Malik’s thoughts on being the only Muslim member of the biggest boy band in the world — and instead doing his best undermine that also-oh-so-hyped 3D format and make One Direction as tidily one dimensional as possible. (1:32) Metreon, 1000 Van Ness. (Chun)

My Lucky Star Aspiring cartoonist Sophie (Ziyi Zhang) puts her romantic fantasies into her artwork — the bright spot in an otherwise dull life working in a Beijing call center and being hassled about her perma-single status by her mother and catty friends. As luck would have it, Sophie wins a trip to Singapore right when dreamy secret agent David (Leehom Wang) is dispatched there to recover the stolen “Lucky Star Diamond;” it doesn’t take long before our klutzy goofball stumbles into exactly the kind of adventure she’s been dreaming about. Romancing the Stone (1984) this ain’t, but Zhang, so often cast in brooding parts, is adorable, and occasional animated sequences add further enhancement to the silly James Bond/Charlie’s Angels-lite action. (1:53) SF Center. (Eddy)

Planes Dane Cook voices a crop duster determined to prove he can do more than he was built for in Planes, the first Disney spin-off from a Pixar property. (Prior to the film’s title we see “From The World of Cars,” an indicator the film is an extension of a known universe — but also not quite from it.) And indeed, Planes resembles one of Pixar’s straight-to-DVD releases as it struggles for liftoff. Dreaming of speed, Dusty Crophopper (Cook) trains for the Wings Around the World race with his fuel-truck friend, Chug (Brad Garrett). A legacy playing Brewster McCloud and Wilbur Wright makes Stacy Keach a pitchy choice for Skipper, Dusty’s reluctant ex-military mentor. Charming cast choices buoy Planes somewhat, but those actors are feathers in a cap that hardly supports them — you watch the film fully aware of its toy potential: the race is a geography game; the planes are hobby sets; the cars will wind up. The story, about overcoming limitations, is in step with high-value parables Pixar proffers, though it feels shallower than usual. Perhaps toys are all Disney wants — although when Ishani (a sultry Priyanka Chopra) regrets an integrity-compromising choice she made in the race, and her pink cockpit lowers its eyes, you can feel Pixar leaning in. (1:32) 1000 Van Ness. (Vizcarrondo)

Populaire Perhaps if it weren’t set in the 1950s, this would be the fluorescent-lit story of a soul-sucking data entry job and the office drone who supplements it with a moonlighting gig. But it is the ’50s — a cheery, upbeat version of the era — and director Régis Roinsard’s Populaire reflects its shiny glamour onto the transformation of small-town girl Rose Pamphyle (Déborah François) from an incompetent but feisty secretary with mad hunting-and-pecking skills into a celebrated and adored speed-typing champion. Her daffy boss, Louis Échard (Romain Duris), is a handsome young insurance salesman who bullies her (very charmingly) into competing against a vast secretarial pool in a series of hectic, nail-biting tourneys, which treat typing as a sporting event for perhaps the first time in cinematic history. (See also: scenes of Rose cranking up her physical endurance with daily jogs and cross-training at the piano.) The glamour slips a touch when Populaire starts to delve into psychological motivations to rationalize some of Louis’s more caddish maneuvers. But meanwhile, back in the arena, bets are made, words-per-minute stats are quoted by screaming, tearful fans in the bleachers, hearts are won and bruised, a jazz band performs that classic tune “Les Secrétaires Cha Cha Cha,” and we find ourselves rooting passionately for Rose to best the reigning champ’s 512(!)-wpm record. (1:51) Smith Rafael. (Rapoport)

Prisoners It’s a telling sign of this TV-besotted times that the so-called best-reviewed film of the season so far resembles a cable mystery in line with The Killing and its ilk — in the way that it takes its time while keeping it taut, attempts to stretch out beyond the perimeters of the police procedural, and throws in the types of envelope-pushing twists that keep easily distractible viewers coming back. At two and a half hours plus, Prisoners feels like a hybrid, more often seen on a small screen that has borrowed liberally from cinema since David Lynch made the Twin Peaks crossing, than the large, as it brings together an art-house attention to detail with the sprawl and topicality of a serial. Incendies director Denis Villeneuve carefully loads the deck with symbolism from the start, opening with a shot of a deer guilelessly approaching a clearing and picking at scrubby growth in the cold ground, as the camera pulls back on two hunters: the Catholic, gun-toting Keller (Hugh Jackman) and his son (Dylan Minnette), intent on gathering a Thanksgiving offering. Keller and his fragile wife Grace (Maria Bello) are coming together with another family — headed up by the slightly more yuppified Franklin (Terence Howard) and his wife Nancy (Viola Davis) — for Thanksgiving in what seems like a middle-class East Coast suburb. The peace is shattered when the families’ young daughters suddenly disappear; the only clues are the mysterious RV that rumbles slowly through the quiet neighborhood and ominous closeups from a predator’s perspective. Police detective Loki (Jake Gyllenhaal) is drawn into the mystery when the RV is tracked down, along with its confused driver Alex (Paul Dano). That’s no consolation to the families, each grieving in their own way, with Keller perpetually enraged and Franklin seemingly on the brink of tears. When Alex’s aunt (an unrecognizable Melissa Leo) comes forward with information about her nephew, Keller decides to take matters into his own hands in ways that question the use of force during interrogation and the very definition of imprisonment. Noteworthy performances by Jackman, Gyllenhaal, and Dano highlight this elegant, wrenching thriller — while Villeneuve’s generally simple, smart choices might make the audience question not only certain characters’ morality but perhaps their own. (2:33) Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

Riddick This is David Twohy’s third flick starring Vin Diesel as the titular misunderstood supercriminal. Aesthetically, it’s probably the most interesting of the lot, with a stylistic weirdness that evokes ’70s Eurocomix in the best way — a pleasing backdrop to what is essentially Diesel playing out the latest in a series of Dungeons & Dragons scenarios where he offers his wisecracking sci-fi take on Conan. Gone are the scares and stakes of Pitch Black (2000) or the cheeseball epic scale of The Chronicles of Riddick (2004); this is a no-nonsense action movie built on the premise that Riddick just can’t catch a break. He’s on the run again, targeted by two bands of ruthless mercenaries, on a planet threatened by an oncoming storm rather than Pitch Black‘s planet-wide night. One unfortunate element leaves a bitter taste: the lone female character in the movie, Dahl (Katee Sackhoff), is an underdeveloped cliché “Strong Female Character,” a violent, macho lesbian caricature who is the object of vile sexual aggression (sometimes played for laughs) from several other characters, including Riddick. (1:59) Metreon, 1000 Van Ness. (Stander)

Salinger Thank Franny and Zooey that J.D. Salinger checked out before he had to check in. At the close of Shane Salerno’s doc, when we’re informed that the privacy-loving scribbler kicked off to Bananafish land in 2010 at the age of 91, anyone who cared a whit for the Catcher in the Rye author will breathe a wee sigh of relief. What would Salinger have made of the self-promotion today’s authors are obliged to undertake, let alone our share-all social-networking culture? Savages (2012) screenwriter Salerno certainly wouldn’t win any grudging respect from the author for this overwrought, OTT documentary that seems desperate to make a case for its maker’s fascination with the writer. That’s not to say there’s no intriguing information imparted: apart from serving up rare images and footage of Salinger during World War II, the filmmaker also offers supposedly verified details on the stories and novels Salinger was working on over the years in Cornish, NH. The writer’s readers will be happy to learn about these books waiting in the wings — once they wade through stale reenactments that recall mediocre basic cable TV, a sound design that hammers home each revelation with iron-door-slamming cheese, a heavy reliance on an echo chamber of select talking heads, and the numbingly repetitive use of the few images culled from Salinger’s youthful photo sessions. All at hand are milked for maximum, heavy-handed drama — while leaving the viewer puzzling over omissions like the mysterious first wife with “Nazi affiliations” and connections between Catcher to high-profile 1980s shootings that are made, then dropped; curious about the silence of Salinger’s family; and acutely feeling the absence of the much-hyped or derided actual text. (2:00) Metreon, Presidio. (Chun)

Short Term 12 A favorite at multiple 2013 festivals (particularly SXSW, where it won multiple awards), Short Term 12 proves worthy of the hype, offering a gripping look at twentysomethings (led by Brie Larson, in a moving yet unshowy performance) who work with at-risk teens housed in a foster-care facility, where they’re cared for by a system that doesn’t always act with their best interests in mind. Though she’s a master of conflict resolution and tough love when it comes to her young chargers, Grace (Larson) hasn’t overcome her deeply troubled past, to the frustration of her devoted boyfriend and co-worker (John Gallagher, Jr.). The crazy everyday drama — kids mouthing off, attempting escape, etc. — is manageable enough, but two cases cut deep: Marcus (Keith Stanfield), an aspiring musician who grows increasingly anxious as his 18th birthday, when he’ll age out of foster care, approaches; and 16-year-old Jayden (Kaitlyn Dever), whose sullen attitude masks a dark home life that echoes Grace’s own experiences. Expanding his acclaimed 2008 short of the same name, writer-director Destin Daniel Cretton’s wrenchingly realistic tale achieves levels of emotional honesty not often captured by narrative cinema. He joins Fruitvale Station director Ryan Coogler as one of the year’s most exciting indie discoveries. (1:36) SF Center. (Eddy)

The Spectacular Now The title suggests a dreamy, fireworks-inflected celebration of life lived in the present tense, but in this depiction of a stalled-out high school senior’s last months of school, director James Ponsoldt (2012’s Smashed) opts for a more guarded, uneasy treatment. Charming, likable, underachieving, and bright enough to frustrate the adults in his corner, Sutter (Miles Teller, 2012’s Project X) has long since managed to turn aimlessness into a philosophical practice, having chosen the path of least resistance and alcohol-fueled unaccountability. His mother (Jennifer Jason Leigh), raising him solo since the departure of a father (Kyle Chandler) whose memories have acquired — for Sutter, at least — a blurry halo effect, describes him as full of both love and possible greatness, but he settles for the blessings of social fluidity and being an adept at the acquisition of beer for fellow underage drinkers. When he meets and becomes romantically involved with Aimee (Shailene Woodley), a sweet, unpolished classmate at the far reaches of his school’s social spectrum, it’s unclear whether the impact of their relationship will push him, or her, or both into a new trajectory, and the film tracks their progress with a watchful, solicitous eye. Adapted for the screen by Scott Neustadter and Michael H. Weber (2009’s 500 Days of Summer) from a novel by Tim Tharp, The Spectacular Now gives the quirky pop cuteness of Summer a wide berth, steering straight into the heart of awkward adolescent striving and mishap. (1:35) Presidio, SF Center, Sundance Kabuki. (Rapoport)

Thanks for Sharing (1:52) Metreon, Sundance Kabuki.

This Is the End It’s a typical day in Los Angeles for Seth Rogen as This Is the End begins. Playing a version of himself, the comedian picks up pal and frequent co-star Jay Baruchel at the airport. Since Jay hates LA, Seth welcomes him with weed and candy, but all good vibes fizzle when Rogen suggests hitting up a party at James Franco’s new mansion. Wait, ugh, Franco? And Jonah Hill will be there? Nooo! Jay ain’t happy, but the revelry — chockablock with every Judd Apatow-blessed star in Hollywood, plus a few random inclusions (Rihanna?) — is great fun for the audience. And likewise for the actors: world, meet Michael Cera, naughty coke fiend. But stranger things are afoot in This Is the End. First, there’s a giant earthquake and a strange blue light that sucks passers-by into the sky. Then a fiery pit yawns in front of Casa Franco, gobbling up just about everyone in the cast who isn’t on the poster. Dudes! Is this the worst party ever — or the apocalypse? The film — co-written and directed by Rogen and longtime collaborator Evan Goldberg — relies heavily on Christian imagery to illustrate the endtimes; the fact that both men and much of their cast is Jewish, and therefore marked as doomed by Bible-thumpers, is part of the joke. But of course, This Is the End has a lot more to it than religious commentary; there’s also copious drug use, masturbation gags, urine-drinking, bromance, insult comedy, and all of the uber-meta in-jokes fans of its stars will appreciate. (1:46) Metreon, 1000 Van Ness. (Eddy)

20 Feet From Stardom Singing the praises of those otherwise neglected backup vocalists who put the soul into that Wall of Sound, brought heft to “Young Americans,” and lent real fury to “Gimme Shelter,” 20 Feet From Stardom is doing the rock ‘n’ roll true believer’s good work. Director Morgan Neville follows a handful of mainly female, mostly African American backing vocal legends, charts their skewed career trajectories as they rake in major credits and keep working long after one-hit wonders are forgotten (the Waters family) but fail to make their name known to the public (Merry Clayton), grasp Grammy approval yet somehow fail to follow through (Lisa Fischer), and keep narrowly missing the prize (Judith Hill) as label recording budgets shrivel and the tastes, technology, and the industry shift. Neville gives these industry pros and soulful survivors in a rocked-out, sample-heavy, DIY world their due on many levels, covering the low-coverage minis, Concert for Bangladesh high points, gossipy rumors, and sheer love for the blend that those intertwined voices achieve. One wishes the director had done more than simply touch in the backup successes out there, like Luther Vandross, and dug deeper to break down the reasons Fischer succumbed to the sophomore slump. But one can’t deny the passion in the voices he’s chosen to follow — and the righteous belief the Neville clearly has in his subjects, especially when, like Hill, they are ready to pick themselves up and carry on after being told they’re not “the Voice.” (1:30) Smith Rafael. (Chun)

Wadjda Hijabs, headmistresses, and errant fathers fall away before the will and wherewithal of the 11-year-old title character of Wadjda, the first feature by a female Saudi Arabian filmmaker. Director Haifaa al-Mansour’s own story — which included filming on the streets of Riyadh from the isolation of a van because she couldn’t work publicly with the men in the crew — is the stuff of drama, and it follows that her movie lays out, in the neorealist style of 1948’s The Bicycle Thief, the obstacles to freedom set in the path of women and girls in Saudi Arabia, in terms that cross cultural, geographic, and religious boundaries. The fresh star setting the course is Wadjda (first-time actor Waad Mohammed), a smart, irrepressibly feisty girl practically bursting out of her purple high-tops and intent on racing her young neighborhood friend Abudullah (Abdullrahman Algohani) on a bike. So many things stand in her way: the high price of bicycles and the belief that girls will jeopardize their virginity if they ride them; her distracted mother (Reem Abdullah) who’s worried that Wadjda’s father will take a new wife who can bear him a son; and a harsh, elegant headmistress (Ahd) intent on knuckling down on girlish rebellion. So Wadjda embarks on studying for a Qu’ran recital competition to win money for her bike and in the process learns a matter or two about discipline — and the bigger picture. Director al-Mansour teaches us a few things about her world as well — and reminds us of the indomitable spirit of girls — with this inspiring peek behind an ordinarily veiled world. (1:37) Opera Plaza. (Chun)

We’re the Millers After weekly doses on the flat-screen of Family Guy, Modern Family, and the like, it’s about time movieland’s family comedies got a little shot of subversion — the aim, it seems, of We’re the Millers. Scruffy dealer David (Jason Sudeikis) is shambling along — just a little wistful that he didn’t grow up and climb into the Suburban with the wife, two kids, and the steady 9-to-5 because he’s a bit lonely, much like the latchkey nerd Kenny (Will Poulter) who lives in his apartment building, and neighboring stripper Rose (Jennifer Aniston), who bites his head off at the mailbox. When David tries to be upstanding and help out crust punk runaway Casey (Emma Roberts), who’s getting roughed up for her iPhone, he instead falls prey to the robbers and sinks into a world of deep doo-doo with former college bud, and supplier of bud, Brad (Ed Helms). The only solution: play drug mule and transport a “smidge and a half” of weed across the Mexican-US border. David’s supposed cover: do the smuggling in an RV with a hired crew of randoms: Kenny, Casey, and Rose&sdquo; all posing as an ordinary family unit, the Millers. Yes, it’s that much of a stretch, but the smart-ass script is good for a few chortles, and the cast is game to go there with the incest, blow job, and wife-swapping jokes. Of course, no one ever states the obvious fact, all too apparent for Bay Area denizens, undermining the premise of We’re the Millers: who says dealers and strippers can’t be parents, decent or otherwise? We may not be the Millers, but we all know families aren’t what they used to be, if they ever really managed to hit those Leave It to Beaver standards. Fingers crossed for the cineplex — maybe movies are finally catching on. (1:49) Metreon, 1000 Van Ness. (Chun)

The World’s End The final film in Edgar Wright’s “Blood and Ice Cream Trilogy” finally arrives, and the TL:DR version is that while it’s not as good as 2004’s sublime zombie rom-com Shaun of the Dead, it’s better than 2007’s cops vs. serial killers yarn Hot Fuzz. That said, it’s still funnier than anything else in theaters lately. Simon Pegg returns to star and co-write (with Wright); this time, the script’s sinister bugaboo is an invasion of body snatchers — though (as usual) the conflict is really about the perils of refusing to actually become an adult, the even-greater perils of becoming a boring adult, and the importance of male friendships. Pegg plays rumpled fuck-up Gary, determined to reunite with the best friends he’s long since alienated for one more crack at their hometown’s “alcoholic mile,” a pub crawl that ends at the titular beer joint. The easy chemistry between Pegg and the rest of the cast (Nick Frost, Paddy Considine, Martin Freeman, and Eddie Marsan) elevates what’s essentially a predictable “one crazy night” tale, with a killer soundtrack of 1990s tunes, slang you’ll adopt for your own posse (“Let’s Boo-Boo!”), and enough hilarious fight scenes to challenge This is the End to a bro-down of apocalyptic proportions. (1:49) Metreon, 1000 Van Ness. (Eddy) *

 

Tim’s San Francisco

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steve@sfbg.com

Longtime Bay Guardian editor Tim Redmond, who left the paper in June, is launching a new media project, continuing more than 30 years of work as one of San Francisco’s premier progressive voices by starting an online publication under a new nonprofit organization.

The San Francisco Progressive Media Center promises to deliver original news, arts, and cultural reporting on a daily basis, differentiating itself from local blogs that serve mostly to aggregate stories written by other media outlets and offer commentary on that reporting.

“Democracy can’t survive without reporters and I want to have reporters out there covering the news everyday. San Francisco has always needed a liberal daily newspaper,” Redmond told us, predicting that online reporting outlets representing various perspectives will eventually rise to compete with the limited local coverage offered by the San Francisco Chronicle and Examiner.

“I will focus on all the things I care about in San Francisco,” Redmond told us, listing land use issues, housing costs, and media criticism as some examples of his interests.

Redmond has remained remarkably upbeat and positive since his clash with the San Francisco Print Media Co. — whose purchase of the Guardian he engineered last year to save the financially troubled, locally owned newspaper — ended his long run with the Guardian (see “On Guard,” June 19).

“I’m just moving on and doing my own thing. I’m excited about my new project and I’m raising a lot of money for it,” Redmond said. “I’m getting a tremendous amount of community support. I hope to have 50-60 grand on hand by the end of the month.”

To help reach that goal, Redmond and his supporters will throw a fundraiser on Sept. 26 at the El Rio. Despite being a stalwart of the left, Redmond said he’s getting support from across the ideological spectrum. “I have spent 30 years building a reputation in town as someone who doesn’t take cheap shots and I’m fair,” was how Redmond explained his broad support.

Although he’s still awaiting IRS approval of his nonprofit status, Redmond has already assembled a board of notable progressive luminaries to help him, including Eric Weaver, Laura Fraser, Calvin Welch, Alicia Garza, Gen Fujioka, Gabriel Haaland, and Giuliana Milanese.

“I wanted a board that reflects the diversity of San Francisco’s left,” Redmond said, noting that board explicitly has no editorial control.

Haaland said that Redmond has long been an important progressive voice in San Francisco and he’s happy to see that voice continue, particularly under the new nonprofit model that he’s creating.

“Having an independent, progressive media is more important than ever, and being a nonprofit takes it to another level of independence,” Haaland told us.

Welch said the new publication is arriving just in time to help expose important issues that will affect the future of San Francisco.

“I think we’re at a critical point in this city’s history,” Welch told us, citing the growing public unease with intensified waterfront development and other economic and sociopolitical trends. “The timing is impeccable and people would be interested to read online what Tim and others’ takes are on what’s happening in the city.”

San Francisco Progressive Media Center will be the latest effort to expand the city’s media landscape amid the downsizing of the once-dominant Chronicle and Examiner (see “Media experiments,” 5/25/10). Those ventures have included the San Francisco Public Press, SF Appeal, and the Bay Citizen, which had a high-profile launch in 2009 followed by being folded into the Center for Investigative Reporting last year (see “Compressing the press,” 2/22/12).

Redmond is finalizing details of his new project and has yet to announce the name for his new publication, which he plan to launch next month. [UPDATE: At the Sept. 26 event, Redmond announced that his new publication will be called 48 Hills: The Secrets of San Francisco.” There are 47 named hills in San Francisco – and as those of us who have spent their lives fighting for social and economic justice know, there’s always one more hill to climb.“]

In the meantime, he’s been blogging at Tim’s San Francisco (timssanfrancisco.blogspot.com) and preparing to teach an investigative reporting class at City College of San Francisco. On the new site, Redmond plans to feature some video and other multimedia content, but he said “this is not a techie venture, this is a content-driven venture.” And while seeking to showcase a variety of voices, Redmond will set the tone for the publication, telling us, “I’m interested in working with anyone in this city, but I’m the editor.”

Redmond said he still supports the Guardian, even if he has concerns about its parent company’s growing list of media holdings, which also includes the San Francisco Examiner, SF Weekly, and a large share of the Bay Area Reporter. Redmond said that media consolidation works for the community only when there is a diversity of other voices.

“I’m glad Todd [Vogt, CEO of San Francisco Print Media Co.] bought the Guardian and kept it going, and I’m glad the Guardian is still alive,” Redmond said. “I’ve been working for someone else my whole life…and it’s time for me to move on and do something new.”

Press Up! San Francisco Progressive Media Center fundraiser and launch party. Fiery speeches, refreshments, music. Sept. 26, 6-9pm, El Rio, 3158 Mission, SF. Donations of $25, $50, $100, or $250 can be made at the door or at tinyurl.com/SFPMCcontribute.

Immigration detainer limits watered down

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Sup. John Avalos’ Due Process for All ordinance, legislation barring San Francisco law enforcement agencies from honoring detainer requests issued by U.S. Immigrations and Customs Enforcement (ICE) under the federal Secure Communities (S-Comm) program, faced obstacles at the Sept. 17 Board of Supervisors meeting.

But an amended version returned to the board on Sept. 24, where it was expected to be approved (after Guardian press time for this issue, so check out the SFBG.com Politics blog to see what happened).

The legislation initially had enough support for a veto-proof supermajority, but opposition has surfaced to prevent the legislation from winning approval as written, most notably from Police Chief Greg Suhr and Mayor Ed Lee, who threatened to veto the legislation.

At issue was whether to amend the legislation by including “carve-outs” — exceptions requiring law enforcement to honor ICE requests in cases where offenders are suspected of serious violent crimes, child molestation or human trafficking. Sup. Jane Kim offered amendments giving the Sheriff’s Department discretion in such cases, which she characterized as “thoughtful and limited,” but which were opposed by Avalos and Sup. David Campos.

In San Francisco, ICE detainer requests issued under S-Comm have resulted in at least 784 deportations since 2010. Avalos’ legislation seeks to extend due process to all San Franciscans by making it illegal for local law enforcement to comply with such requests.

–Reed Nelson