Local Archives — Page 4 of 294 — San Francisco Bay Guardian Archive 1966

Norquist, tech titans, and whether Burning Man is positively affecting society

Sasha Cuttler

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September 3, 2014

Norquist, tech titans, and whether Burning Man is positively affecting society

Is Burning Man really making Bay Area technology titans, right-wing ideologues, and other uber-capitalists more community-minded? Do they really come back from the desert feeling more goodwill toward their fellow humans and then push egalitarian innovations to help the masses?

That’s one of the biggest reasons that burner apologists cite in defending the festival from any criticisms, responding to the raft of recent articles critical of how Burning Man is developing, including my own, with their own pieces extolling how the festival is making the world a better place. The rhetoric gets downright creepy and cult-like at times, summarily dismissing all dissent.

Frankly, I’ve long hoped that the stated ethos of Burning Man really would seep out into the world and influence our greed-based economic and political systems. There were even moments over the last 10 years when I really believed it might be happening. But I think that potential has been lost as the party and spectacle that is Burning Man overwhelmed the stated communitarian ethos that underlies it.

Right-wing firebrand Grover Norquist attended Burning Man this year and had a lovely time, as he explained in a UK Guardian opinion piece yesterday and a New York magazine article. Those who hosted him in Black Rock City LLC-run First Camp and showed him around even told us that Norquist “gets it” and how that will help Burning Man going forward.

But there’s a deceptiveness and a hollowness to this rhetoric, by both Norquist and the burner true believers. After all, Norquist flew onto the playa and stayed in accomodations that others set up for him and cleaned up after he left, cooking his meals for him while he was there.

Yet Norquist still has the audacity to write, “The story of Burning Man is one of radical self-reliance….The demand for self-reliance at Burning Man toughens everyone up. There are few fools, and no malingerers. People give of themselves – small gifts like lip balm or tiny flashlights. I brought Cuban cigars.”

Burning Man’s stated principle of Radical Self-Reliance is the one Norquist focused in on because it reinforced his libertarian worldview and belief that selfish actions somehow provide for the common good, and he’s now using Burning Man to promote that notion, to the glee of its leaders.

“A community that comes together with a minimum of ‘rules’ demands self-reliance – that everyone clean up after themselves and help thy neighbor. Some day, I want to live 52 weeks a year in a state or city that acts like this. I want to attend a national political convention that advocates the wisdom of Burning Man,” he writes.

Will Norquist also promote “Civic Responsibility” and “Communal Effort,” also stated burner principles, to his wealthy patrons? After all, the city he enjoyed wasn’t free. Maybe he didn’t pay $380 for his ticket, but most attendees do, much like paying taxes is the price of living in civil society, despite Norquist’s fierce opposition to taxes and government.

But there are other dangerous dynamics at play on the playa that would probably make Grover’s small heart grow three sizes larger, particularly the exploitation of labor by a handful of powerful elites. After all, Black Rock City LLC and its six board members claim the full economic value of all the volunteer labor that builds the city each year, from the art to the big theme camps to the people working gate in the middle of the night, hundreds of thousands of hours of volunteer labor.

At its core, libertarianism denies the very notion of exploitation, or that our freedom is limited by the dwindling economic opportunities that are available to us and the power some have to game markets. It promotes a deregulated world in which those with economic and political power can do pretty much whatever they want — something most progressives see as a race to the bottom that exploits both human and natural resources.

It’s no surprise that Norquist is a big fan of the so-called “sharing economy,” in which companies such as Airbnb, Uber, and Lyft help commodify and monetize people’s homes and vehicles, essentially creating low-wage jobs with no benefits while being heedless of their impacts on local housing markets or established employers like hotel or taxi companies.

Tech titans have been coming to Burning Man since the beginning, and I haven’t seen any evidence in San Francisco that they’ve internalized or promoted the principles of civic responsibility, communal effort, or decommodification. Burning Man may seem like a libertarian paradise to a casual observer, but clean-up crews will be there for the rest of the month to make the “leave no trace” ideal a reality, many big theme camps will be holding fundraisers all fall to pay off their debt from this year, and it’ll be up to cops and courts to decide what justice demands for the woman tragically killed by an art car this year.

Like most libertarians, Grover wants all the benefits of government — public roads, unspoiled federal lands, police protection of person and property, and other services that make Burning Man possible — he just doesn’t think the wealthy should pay their fair share for it.

I had dinner last night with Rev. Billy Talen, the inspiring anti-corporate activist at the center of the NYC-based Church of Stop Shopping and close friend of the festival’s organizers, and he’s also bothered by the trends he’s seeing at Burning Man, and openly wondering when the volunteers (like a surly one he encountered at the gate this year while Norquist was being feted inside First Camp) are going to catch on to the game.

That’s what a lot of people are wondering these days, how long Burning Man will still remain a vibrant and interesting place as more and more people pay to come watch and appreciate the hard work of a dwindling percentage of burners willing to put their time, sweat, and energy into making Black Rock City what it is each year.

And if there really is a larger societal value to the wealthy CEOs who come to party in exclusive camps and private art cars, then I think we’re all still waiting to see what that looks like. And waiting. In the meantime, Burning Man seems to be going the way of Animal Farm, where “all animals are equal, but some animals are more equal than others,” that Orwellian distillation of a list of once-egalitarian principles.

Taking a cue from SF, California Legislature bans plastic bags and offers paid sick leave

Sasha Cuttler

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September 2, 2014

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Taking a cue from SF, California Legislature bans plastic bags and offers paid sick leave

California lawmakers took two big steps forward last week, passing a statewide plastic bag ban and a measure providing workers with three sick days a year, both issues borrowed from San Francisco. California is the second state to pass each bill, with Hawaii banning plastic bags in January of this year and Connecticut enacting a similar sick leave measure in 2012.

Gov. Jerry Brown pushed hard for the paid sick leave measure, which barely made it through both houses after losing steam following an amendment that excluded in-home health care workers. Passing the plastic bag ban was also uncertain near the end, but it passed the Assembly with a 44-29 vote and then made it through the Senate by a 22-15 count.

“It took six years of advocacy and the building of a grassroots movement to make this happen,” California Director of Clean Water Action Miriam Gordon said in a statement about the plastic bag ban. “But with 121 local ordinances already on the books across California, our Legislature finally followed the will of the people.”

Brown was similarly thrilled about the passing of the sick leave bill, calling the legislation a “historic action to help hardworking Californians…This bill guarantees that millions of workers – from Eureka to San Diego – won’t lose their jobs or pay just because they get sick.”

San Francisco voters passed a similar measure in 2006 called the Paid Sick Leave Ordinance. The law, which made it through with 61 percent of the vote in the November election, requires all employers to provide paid sick leave to employees (including part-timers) working in the city.

The state sick leave bill that passed on Saturday was a notable achievement for labor advocates, but some Democrats weren’t thrilled about the amendments that gave in-home health workers the short end of the stick. Sen. Holly Mitchell (D-Los Angeles) called it “BS” and told The Sacramento Bee, “I resent the fact that we are picking between two sets of workers.”

Lawmakers passed a few other notable measures last week, including a bill regulating groundwater and a gun-restraining measure that would give judges the power to temporarily remove firearms from those deemed dangerous or mentally unstable. The shooting incident in Isla Vista at UC Santa Barbara in May prompted the bill, while California’s extreme drought pushed the groundwater measure forward. Many believe the state is long overdue in making progress on gun control.

The firearm measure is key in preventing many of the mass shootings that have plagued the country in recent years. Assemblywoman Nancy Skinner (D-Berkeley) noted, via the Los Angeles Times, that “none of those individuals had a criminal record or a criminal background. So we need tools such as this.”

Though it also took an extreme event to stimulate the groundwater regulation bill, the new legislation figures to make serious inroads in the effort to stop a drought that is affecting more than 80 percent of the state. If Brown signs off on the bill, making California the last western state with such regulation, the state would have the ability to enforce restrictions, and local governments would be required to develop groundwater regulations.

“A critical element of addressing the water challenges facing California involves ensuring a sustainable supply of groundwater,” said Assemblyman Roger Dickinson (D-Sacramento) in a statement. “Overdrafting our groundwater leads to subsidence and contamination — consequences we cannot afford.”

He hates these cans! How helping Muni becomes hating nonprofits

Sasha Cuttler

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September 2, 2014

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He hates these cans! How helping Muni becomes hating nonprofits

While I’m reluctant to give this self-serving poverty pimp any more attention or web traffic, it’s hard to ignore the latest misleading hit piece that Randy Shaw has written on behalf of Mayor Ed Lee, going after Sup. Scott Wiener and his Muni funding measure Prop. B.

As many local media outlets have reported, the Mayor’s Office has been fuming that Wiener dared to put the measure on the ballot in response to Lee reneging on his promise to put a local vehicle license fee increase on the fall ballot to help Muni serve a growing population of residents and workers — and threatening political retaliation.

So Shaw has been using his BeyondChron website to defend the financial interests of his city-supported Tenderloin Housing Clinic and other pet projects that this nascent Tenderloin power broker has been working on, in the process providing propaganda pieces for the Mayor’s Office, which supports Shaw with money from city taxpayers.

This cozy and symbiotic relationship is never disclosed by Shaw when he writes stories that he promotes as actual journalism, a practice that we’ve repeatedly taken issue with. We also contacted Shaw for comment, something he doesn’t do when attacking the Guardian, but we got no response.

Wiener isn’t always the most progressive supervisor, but he’s been a solid and consistent supporter of Muni and modernizing the city’s transportation infrastructure, arguing correctly that San Francisco needs good public transit to function well, a point that civic groups ranging from SPUR to Livable City also regularly make.

But the only reason Shaw can see for Prop. B is that Wiener hates nonprofits: “I understand why Wiener backs Prop B. Wiener is the Board member most opposed to nonprofits. He fought to eliminate the nonprofit exemption on Transit Impact Development Fees. Wiener pushed for the proposed Vehicle License Fee to go 100 percent to transit, though it had originally been intended to be partially available for human services.”

The argument, of course, is ludicrous. In fact, it reminds me of the scene in The Jerk where a sniper aiming for Steve Martin misses and hits oil cans, causing Martin’s dim-witted character to conclude, “He hates these cans!.

No, Randy, Wiener doesn’t hate nonprofits. He supports Muni, which is also the common denominator in that list you cited. And no, Randy, the salaries of nonprofit workers aren’t the only place to find $20 million in the General Fund, as the Guardian showed during our city budget overview earlier this year.

Shaw also claims Muni funding has kept pace with population growth — which, if true, would mean it wouldn’t get any more money under Prop. B — but Shaw uses misleading data that ignores the SFMTA reorganization measure Prop. A from 2007, the raid of SFMTA funding that followed using “work orders” from city departments, Muni’s deferred maintenance backlog of more than $2 billion, and the fact that SFMTA’s budget increases lag behind other major departments (such as the Department of Public Health and the Police Department) even with this week’s 25-cent Muni fare increase.

As former Guardian Editor/Publisher Tim Redmond used to say regularly: not everything gets better when you throw more money at it, but schools and public transit do. Money translates directly into more capacity to serve students or riders, including the growing number of local workers Muni is serving on top of the increasing local population.

This makes sense to most people, whether or not they support Prop. B and giving more General Fund money to Muni, a legitimate question about which well-meaning people can have good-faith differences of opinion over. But Shaw isn’t one of those people, and to him, Wiener just hates those cans.

No place like home

Michael Redmond

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September 2, 2014

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arts@sfbg.com

THEATER Out at the Headlands Center for the Arts in Marin, just after sunset, the darkness and the silence are real presences in themselves, not just a context for something else. They’re right now pressing their respective noses against the windowpanes of the large, beautifully-worn army barrack–turned–artist studio in which Saya Woolfalk is pouring some dark red concoction from a squat glass jug.

She begs her guests not to try to translate the hokey Portuguese label on the bottle, brought back from Brazil by her husband, an anthropologist, as she hands each of us a crimson thimbleful in a plastic dentist cup. Looking like NyQuil but tasting more like some berry-based moonshine, it gives me an almost instantaneous headache but is otherwise kind of nice. Anyway, it does the trick. We’re now prepped to enter the mandala.

Standing there with me are Marc Mayer and Annie Tsang, both of the Asian Art Museum, as well as Brian Karl, the Headlands’ program director. The mandala corresponds, for now, to a tape mockup on the floor next to us. It’s a circular shape about four feet in diameter, with concentric and crisscrossing lines. At four equidistant corners outside the circle are small freestanding pieces of heavy paper representing alcoves, on the outside of which a slide projector illuminates a colorful figure in exotic garb. Behind each alcove, Woolfalk explains, a dancer will be tucked away.

Also standing around are two department store mannequins, each draped in a careful clash of fabrics and traditions: a skirt of pink-and-gold-striped glitter cloth from the Mission, a tourist version of a Chinese vest from Grant Street, a batik shoulder wrap brought back from Africa.

It’s all just the smallest hint of the Brooklyn-based artist’s elaborately extensive portfolio and practice, which blends visual design, sculpture, textiles, film, live performance, original musical soundscapes, ethnographical narratives, and invented ritual into playful, extraordinarily vivid and enveloping explorations of the limits and promise of hybrid identity.

Woolfalk’s dance-performance installation — the scale model of which was still being toyed with and adjusted when I visited her temporary studio — has been developed during a residency at Headlands under a commission from the Asian Art Museum, where it will run Thu/4 in the AAM’s capacious upper chamber in conjunction with the exhibition Enter the Mandala: Cosmic Centers and Mental Maps of Himalayan Buddhism (ongoing through Oct. 26). The piece, called ChimaTEK: Hybridity Visualization Mandala, culminates a seven-year project by Woolfalk that has received exhibitions and rapt attention around the country.

It began in No Place, which Woolfalk describes as “a utopian paradise in which hybrid identities flourish in tolerant communities with elaborate cultural rituals.” Its alternative narratives and reconfigured systems of representation took multiple forms across an integrated set of media, an environment unto itself, including a six-chapter ethnographic film documenting No Place made in collaboration with anthropologist Rachel Lears.

In the second iteration of the project, the narrative of No Place advances in time. Now its inhabitants have evolved into beings called the Empathics, who have developed a way of sharing their hybrid consciousness with others, while conducting research through their own nonprofit, the Institute of Empathy.

In this third and final stage, the Empathics have redirected their technology into a for-profit model, namely a corporation called ChimaTEK, a virtual world enterprise in which customers buy access to different Chimeric identities and consciousness through their own personalized virtual avatars. The chimera (which here refers simultaneously to the mythological she-monster made up of different body parts and to an organism with two or more genetically distinct tissues) ends up the repository and agent of corrupted utopian impulses.

As a tool for spiritual guidance, the mandala represents the universe, while helping to train the mind on essential insights and untapped potentialities. Made in collaboration with four local dancer-choreographers working in disparate ethnic traditions — with essential input from DJ Dr. Sleep (Melissa Maristuen) and a “virtual” DJ (none other than Paul D. Miller, or DJ Spooky that Subliminal Kid, who composed the original score) — ChimaTEK will be a kind of contemporary mandala, manifesting a chimeric state of being in which participants remix identities through virtual avatars in a virtual space. Fact and fiction blend so freely here that the distinctions between them might be called into question. So might the degree to which this virtual space is coextensive with the universe itself, or at least our tangled and conflicted corner of it. *

CHIMATEK: HYBRIDITY VISUALIZATION MANDALA

Thu/4, 6-9pm, free with museum admission ($5 after 5pm)

Asian Art Museum

200 Larkin, SF

www.asianart.org

This Week’s Picks: September 3 – 9, 2014

Michael Redmond

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September 2, 2014

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WEDNESDAY 3

WestWave Dance Festival

In its 23rd year, the WestWave Dance Festival, now under the auspices of SAFEhouse for the Performing Arts, has come up with a simple but ingenious idea: Let the dance communities outside San Francisco step up to the plate on their own terms. While the opening and closing programs of this “Dance Around the Bay” festival throw the spotlight on young artists working in the city, the other three invited dancers from the North, East and South Bay to join in. A choreographer familiar with his or her home turf curated each of those programs. You can expect a mix of new voices — familiar ones, but also rarely heard ones such as those of Jose Limon and Donald McKayle, courtesy of the visitors from San Jose. (Rita Felciano)

Through Sun/7, 8pm, $10-20

Z Space

450 Florida, SF

(415) 626-0453

www.zspace.org

Bear In Heaven

It’s a band from Brooklyn, it’s named after a physically powerful woodland mammal, and it broke through in the late ’00s — around the same time as every other band that fits the former two descriptors. But Bear In Heaven is further out than nearly any of its indie-rock peers, incorporating influences from the gnarliest outskirts of psychedelia and prog rock. Upon listening to the band’s debut Red Bloom Of The Boom, you’ll more likely picture naked hippies running around in terror than well-dressed hipsters walking to the cronut stand. Though band members have taken a more pop approach following their magnum opus, 2010’s excellent Beast Rest Forth Mouth, this is still one of the best bands you can smoke a joint or an American Spirit to and still feel okay. (Daniel Bromfield)

8pm, $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

THURSDAY 4

“ATA Lives!”

Gallery and screening venue Artists’ Television Access marks its 30th anniversary with “ATA Lives!”, a month of events honoring a long track record of unique, boundary-pushing, subversive programming. Tonight, the ball gets rolling with a program of works by current and past ATA staffers; tomorrow afternoon, buckle up for a 30-hour marathon curated by Other Cinema programmer and ATA co-founder Craig Baldwin, among others. The weekend closes out with a special edition of Mission Eye & Ear, a live-cinema series that facilitates collaborations between experimental filmmakers and composers. Check the website for a complete “ATA Lives!” schedule, including a Sept. 19 Baldwin double-feature. (Cheryl Eddy)

8pm, $7-10

Artists’ Television Access

992 Valencia, SF

www.atasite.org, www.othercinema.com

Eyes Wide: The Films of Stanley Kubrick

Thirteen films. That’s the total number of features Stanley Kubrick made — but though that number seems small for a career that spanned 1953 to 1999, the legendary perfectionist’s towering, astonishingly diverse filmography may be the ultimate example of “quality over quantity.” The Pacific Film Archive screens each film in chronological order, so it’s a great chance to check out lesser-screened early works (the series opens with a double-feature of 1953’s Fear and Desire and 1955’s Killer’s Kiss) as well as revisit favorites, if you can even choose one: 2001: A Space Odyssey (1968)? Dr. Strangelove (1964)? A Clockwork Orange (1971)? The Shining (1980)? All of the above? (Cheryl Eddy)

Through Oct. 31, $6.50-$9.50

Pacific Film Archive

2575 Bancroft, Berk.

www.bampfa.berkeley.edu

FRIDAY 5

The Sam Chase

Folk isn’t a genre usually associated with making audiences want to start a riot, but The Sam Chase isn’t your average folk outfit — if the first line of the band’s bio, “The Sam Chase has a voice like a nun on the lam with a mouthful of cigarettes and curse words,” didn’t tip you off already. Singer Sam Chase and his cast of five to seven backup players (on vocals, guitars, strings, horns, percussion, you name it) have been starting dance parties all over the Bay Area for the past half-decade, alternating whiskey-drinkin’ party songs with rough-around-the-edges lullabies. Equal parts sweet and salty (and just as addictive as that sounds), with fellow local fave Rin Tin Tiger as an opener, this lineup was a solid choice for the Mission Creek Oakland Music & Arts Festival’s opening night. (Emma Silvers)

With Rin Tin Tiger, TV Mike & the Scarecrowes, The Heather Jovanelli Band

8pm, free

Uptown Nightclub

1928 Telegraph, Oakl.

www.mcofest.org

SATURDAY 6

The Bruce Lee Band

Mike Park has been one of the most important figures in the Bay Area music scene since founding the legendary ska band Skankin’ Pickle in 1989. Since then, he’s been in countless bands, organized the Ska Against Racism tour, and started one of America’s most respected DIY labels in Asian Man Records. The Bruce Lee Band is an all-star outlet for Park’s musical ambitions, featuring members of several of his former bands in addition to members of MU330 and Bomb the Music Industry! They’ve only been active sporadically, releasing their self-titled debut in 1997 and following up with an EP in 2005 and this year’s EP, Community Support. The band’s upcoming Bottom of the Hill show is a can’t-miss chance to see one of the Bay Area rock scene’s true legends in action. (Bromfield)

9pm, $12

Bottom Of The Hill

1233 17th St, San Francisco

(415) 626-4455

www.bottomofthehill.com

Sugar Pie DeSanto at Hard French

What’s better than the Hard French DJs’ usual daytime soul party on the patio at El Rio? A Hard French soul party featuring a bona fide ’60s soul legend — namely, Sugar Pie DeSanto. Known for duets with Etta James and making a huge impression on audiences when she toured with Johnny Otis and James Brown in the ’50s, the 78-year-old diva is known as “Little Miss Dynamite” for her small stature and oversized charisma. She’s also the subject of a documentary that’s currently in progress, Bittersweet, which chronicles her life as one of the most successful Filipina-Americans in entertainment. Now’s your chance to see her — and boogie to her — before her name is on everyone’s lips. (Silvers)

5:30pm, $10-12

El Rio

3158 Mission, SF

(415) 622-5301

www.hardfrench.com

Drunk Dad

Portland may be known throughout the country as a place where the dream of the ’90s is alive and adorable, but Drunk Dad aims to change that perspective. Describing its style as “fuck-you-all-wave,” Drunk Dad is angry, wasted, and loud, representing Portland’s tradition of what guitarist Jose Dee calls “heavy fucking gnarly music.” Think of this band as John Belushi thundering down the frathouse stairs, smashing the well-worn acoustic guitars of anyone who dares to hang around and look sensitive in his presence. There are precedents to the band’s sound (Nirvana, The Melvins, Flipper) — but don’t make such comparisons to band members’ faces. Drunk Dad is a band that eschews nearly every hipster trend but (whether they like it or not) might find a few fans among the Portlandia crowd as well. (Bromfield)

7pm, $8

Oakland Metro

630 Third St., Oakl.

(510) 763-1146

www.oaklandmetro.org

SUNDAY 7

Dita Von Teese

Bringing back the sense of classic style and glamour of the golden days of Hollywood and meshing it with the tantalizing teasing of the old-time burlesque circuit, Dita Von Teese has been at the forefront of reviving a once nearly lost art form for two decades now. With a seductive and sexy nod to the past, modern pin-up and burlesque queen Von Teese returns to the city this week with the final local tour dates of her Burlesque: Strip, Strip, Hooray! show, a live revue featuring not only her own titillating talents, but a host of other performers as well. (Sean McCourt)

Through Mon/8

7:30pm, $45

The Fillmore

1805 Geary, SF

(415) 346-3000

www.thefillmore.com

Autumn Moon Festival

The Moon Festival, a holiday celebrated for more than 1,000 years in some Asian countries, is a time for reflection about the mythology of the Moon Goddess, Chang O, who is thought to regulate fertility, water supply, and other necessities for a successful autumn harvest. This two-day festival, now in its 24th year, is organized annually by the SF Chinatown Merchants Association, and features Taiko drumming, lion dancing, martial arts, an open-air street bazaar, traditional and contemporary Chinese music, and more. New this year: A dog costume contest, at 2:30pm today. We’re there. (Silvers) Begins Sat/6

11am – 5pm both days, free

Chinatown, SF

www.moonfestival.org

MONDAY 8

The Rentals

Despite being best known as a Weezer side project (singer Matt Sharp was the early-era bassist for indie titans), The Rentals have a quietly devoted — and large — fan base of their own, who’ve been eating up sweet melodies and goofy Moog-heavy tendencies since the band re-formed in 2005. After a slew of well-received EPs, this year’s Lost in Alphaville marks the band’s first full-length since 1999, and it basically overflows with guest stars — among them, Black Keys’ drummer Patrick Carney and Lucius’ Jess Wolfe and Holly Laessig. One should expect to see a slew of diehards at this show, for good reason. (Silvers)

With Ozma

8pm, $20

Slim’s 333 11th St., SF

www.slimspresents.com

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Rep Clock: September 3 – 9, 2014

Michael Redmond

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September 2, 2014

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Schedules are for Wed/3-Tue/9 except where noted. Director and year are given when available. Double features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $7-10. “OpenScreening,” work by ATA members past and present, Thu, 8. “ATA’s 30-Hour 30th Anniversary Marathon Screening,” works from ATA’s history of screening independent, underground, and experimental film and video, Fri, 1 through Sat, 7. Flatlands (Webber, 1985), with ATA co-founder Marshall Weber in person, Fri, 8.

BALBOA 3630 Balboa, SF; cinemasf.com/balboa. $10. “Thursday Night Rock Docs:” The Zen of Bennett (Moon, 2012), Thu, 7:30.

BAY MODEL 2100 Bridgeway, Sausalito; www.tiburonfilmfestival.com. Free. The Tinaja Trail (Newell, 2014), Tue, 6.

“BERNAL HEIGHTS OUTDOOR CINEMA” Various venues, SF; www.bhoutdoorcine.org. Free. Screenings of works by local filmmakers at unconventional Bernal Heights venues (including outdoors in Precita Park), Thu-Sat.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •Life Itself (James, 2014), Wed, 7, and Harry Dean Stanton: Partly Fiction (Huber, 2012), Wed, 9:15. •Starman (Carpenter, 1984), Fri, 7, and Under the Skin (Glazer, 2013), Fri, 9:10. Frozen (Buck and Lee, 2013), presented sing-along style, Sat-Sun, 1. •Sweet Charity (Fosse, 1969), Sat, 6:20, and All That Jazz (Fosse, 1979), Sat, 4, 9:15. “Remembering Robin Williams:” •Good Will Hunting (Van Sant, 1997), Sun, 7, and Dead Poets Society (Weir, 1989), Sun, 4:40, 9:20.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $10. “Midnight Movies:” Pulp Fiction (Tarantino, 1994), Fri-Sat, midnight.

COURTHOUSE SQUARE 2200 Broadway, Redwood City; www.redwoodcity.org. Free. Mr. Peabody and Sherman (Minkoff, 2014), Thu, 8:45.

DELANCEY STREET SCREENING ROOM 600 Embarcadero, SF; www.onlifesterms.org. $10. On Life’s Terms: Mothers in Recovery (Ganz, 2014), Thu, 6:30. Screening followed by a panel discussion with film subjects.

EXPLORATORIUM Pier 15, SF; www.exploratorium.edu. Free with museum admission ($19-25). “Saturday Cinema:” The Mascot (Starewicz, 1934), Sat, 1, 2, 3.

GOETHE-INSTITUT SF 530 Bush, SF; www.goethe.de/ins/us/saf/enindex.htm. $5 suggested donation. “100 Years After WWI:” The Woman and the Stranger (Simon, 1985), Wed, 6:30.

JACK LONDON FERRY LAWN Clay and Water, Oakl; www.jacklondonsquare.com. Free. “Sing-along Cinema:” Chicago (Marshall, 2002), Thu, sundown.

MECHANICS’ INSTITUTE 57 Post, SF; milibrary.org/events. $10. “CinemaLit Film Series: Critics’ Choice, Classic and Quirky Americana:” Melvin and Howard (Demme, 1980), Fri, 6.

MISSION CULTURAL CENTER FOR LATINO ARTS 2868 Mission, SF; www.connectedbycoffee.com. $10 suggested donation. Connected by Coffee (Dennis and Dennis, 2014), Sat, 4, 7. With music, food, art, and coffee samplings between screenings. Proceeds benefit Cooperative Las Marias 93 in El Salvador.

NEW PARKWAY 474 24th St, Oakl; www.thenewparkway.com. Free. “First Friday Shorts,” works by the Bay Area Video Coalition, Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alternative Visions:” “Animation: Laura Heit” (1997-2011), Wed, 7. “Eyes Wide: The Films of Stanley Kubrick:” •Fear and Desire (1953) and Killer’s Kiss (1955), Thu, 7; Paths of Glory (1957), Sat, 6:30; The Killing (1956), Sat, 8:20. Ai Weiwei: The Fake Case (Johnsen, 2013), Fri, 7. “James Dean, Restored Classics from Warner Bros.:” East of Eden (Kazan, 1955), Fri, 8:50.

RED POPPY ART HOUSE 2698 Folsom, SF; www.redpoppyarthouse.org. $10-20. La Salsa Cubana (Johnson and Streng, 2011), Thu, 4. With director Eric Joseph Johnson in person, and a salsa-dance lesson and party to follow.

REVOLUTION BOOKS 2425 Channing, Berk; www.revolutionbooks.org. $5-25 suggested donation. Freedom Summer (Nelson, 2014), Thu, 7. With Freedom Summer volunteer and film subject Linda Wetmore Halpern in person.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. Jamie Marks is Dead (Smith, 2014), Wed-Thu, 7, 9. Snowpiercer (Bong, 2013), Wed, 9:15. “Synesthesia Film Festival: Screening #6,” short films, Wed, 7. Canyon Cinema Foundation and SF Cinematheque present: Big Joy: The Adventures of James Broughton (Silha, Slade, and Logsdon, 2011), Thu, 7. With an introduction by performance artist Jason Jenn. Rich Hill (Tragos and Palermo, 2014), Thu, 9:30. No No: A Dockumentary (Radice, 2014), Sept 5-11, 7, 9:15. Trailer Park Boys: Don’t Legalize It (Clattenburg, 2014), Fri-Sat, 11:20.

SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-$10.75. The Trip to Italy (Winterbottom, 2014), Wed-Thu, call for times. The Notebook (Szász, 2013), Sept 5-11, call for times. “Alec Guinness at 100:” The Bridge on the River Kwai (Lean, 1957), Sun, 3, 7. *

Theater Listings: September 3 – 9, 2014

Michael Redmond

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September 2, 2014

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

THEATER

OPENING

Cock New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Fri/5-Sat/6 and Sept 10-12, 8pm; Sun/7, 2pm. Opens Sept 13, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Oct 12. New Conservatory Theatre Center performs Michael Bartlett’s comedy about a man who meets the woman of his dreams — while on a break from dating his boyfriend.

The Haze ACT Costume Shop, 1117 Market, SF; http://bit.ly/thehazeplayACT. $20. Opens Thu/4, 7pm. Runs Thu, 7pm; Fri-Sat, 8pm. Through Sept 27. Heather Marlowe performs her solo show, a sharp-witted, autobiographical play about recovering from rape — and the way rape cases are mishandled by the justice system.

King Fool Various locations TBA to reservation holders; www.weplayers.org. $30-50. Opens Fri/5, time TBA. Runs Fri-Sun, times TBA. Through Sept 28. We Players presents a new, intimate, site-specific work inspired by King Lear.

LongShotz: The Things That Separate Us Tides Theatre, 533 Sutter, Second Flr, SF; http://amios.wordpress.com. $25. Program B opens Wed/3, 8pm. Program A runs Sept 10 and 16, 8pm; Program B runs Sept 9 and 17 at 8pm. Amios presents two separate programs of three 30-minute plays, each written by a different author. Each play is inspired by the Radiohead lyric, “Just ’cause you feel it doesn’t mean it’s there.”

San Francisco Fringe Festival Exit Theatreplex, 156 Eddy, SF; www.sffringe.org. $10 or less at the door; $12.99 or less online (passes, $45-75). Opens Fri/5, 7pm. Runs Sept 5-20 (no shows Mon/8 or Sept 15). Unique, daring indie theater (murder mysteries! Tech tales! Dating dramas! Clowns!), with 35 shows and 150 performances over 14 days.

BAY AREA

An Audience with Meow Meow Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Previews Fri/5-Sat/6, Tue/9, and Sept 11, 8pm; Sun/7 and Sept 10, 7pm. Opens Sept 12, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm but no matinee Sept 20; also Sept 19 and Oct 16, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 19. British singer-comedian Meow Meow world-premieres her new show at Berkeley Rep, under the direction of Kneehigh’s Emma Rice.

Flower Drum Song Woodminster Amphitheater, Joaquin Miller Park, 3300 Joaquin Miller, Oakl; www.woodminster.com. $18-59. Previews Thu/4, 8pm. Opens Fri/5, 8pm. Runs Thu and Sun, 7pm; Fri-Sat, 8pm. Through Sept 14. Woodminster Summer Musicals performs the “new” version of the classic Rodgers and Hammerstein musical, with a fresh script by Tony-winning playwright David Henry Hwang.

The New Electric Ballroom Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Previews Wed/3-Thu/4, 7pm; Fri/5, 8pm. Opens Sat/6, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (Oct 5, show at 2pm). Through Oct 5. Shotgun Players perform Enda Walsh’s poetic nightmare about three sisters who are obsessed with their memories.

Year of the Rooster La Val’s Subterranean, 1834 Euclid, Berk; http://impacttheatre.com. $10-25. Previews Thu/4-Fri/5, 8pm. Opens Sat/6, 8pm. Runs Thu-Sat, 8pm; Sun, 7pm. Through Oct 12. Impact Theatre performs Eric Dufault’s comedy, told from the point of view of a rooster that enters cockfights.

ONGOING

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

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

Into the Woods San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-120. Wed/3-Thu/4, 7pm; Fri/5-Sat/6, 8pm (also Sat/6, 3pm). SF Playhouse performs Stephen Sondheim’s fractured fairy-tale musical.

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

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

The Taming of the Shrew This week: Presidio, Marin Post Parade Grounds, between Graham and Keyes, SF; www.sfshakes.org. Free. Sat-Sun and Mon/1, 2pm. At this location through Sept 14; continues through Sept 21 at various Bay Area venues. Free Shakespeare in the Park presents this take on the Bard’s barb-filled romance.

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

BAY AREA

Berlin to Broadway with Kurt Weill Masquers Playhouse, 105 Park, Point Richmond; www.masquers.org. $22. Fri, 8pm; Sat, 7pm; Sept 7 and 14, 2pm. Through Sept 20. Masquers Playhouse performs a revue celebrating the life and work of Kurt Weill.

Cops and Robbers Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-100. Fri, 8pm; Sat, 8:30pm. Through Sept 13. Hip-hop artist and law enforcement officer Jinho “The Piper” Ferreira performs his 17-character solo show.

Fetch Clay, Make Man Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $35-58. Wed/3, 7:30pm; Thu/4-Sat/6, 8pm; Sun/7, 2 and 7pm. Marin Theatre Company performs the West Coast premiere of Will Power’s historical drama.

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

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

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

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

Moonlight and Magnolias Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $10-30. Thu/4-Sat/6, 8pm; Sun/7, 2pm. Dragon Productions presents Ron Hutchinson’s behind-the-scenes drama about the filming of Gone With the Wind.

O Best Beloved This week: Rotary Park, 1490 Don, Santa Clara; www.obestbeloved.org. Sat/6, 2pm. Free (donations accepted). Also Sun/7, 2pm, East Avenue Park, 3221 East, Hayward. Through Sept 13 at various NorCal venues. Idiot String’s Joan Howard and Rebecca Longworth bring their SF Fringe Festival hit, an adaptation of Rudyard Kipling’s Just-So Stories, to local public spaces aboard a mobile stage.

Penthesilea — Queen of the Amazons John Hinkel Park, 41 Somerset, Berk; www.aeofberkeley.org. Free. Sat/6-Sun/7, 4pm. Inferno Theatre and Actors Ensemble of Berkeley perform Giulio Cesare Perrone’s adaptation of Heinrich Von Kleist’s Amazonian action fantasy.

Rapture, Blister, Burn Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-50. Opens Thu/4, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 28. Aurora Theatre Company opens its 23rd season with Gina Gionfriddo’s drama about three generations of women “struggling with feminism’s foibles.”

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

Semi-Famous: Hollywood Hell Tales from the Middle Marsh Berkeley Main Stage, 2120 Allston, Berk; www.themarsh.org. $20-100. Sat/6, 5pm; Sun/7, 7pm. Don Reed’s new solo show shares tales from his career in entertainment.

The Tempest Old Mill Park Amphitheatre, behind the Mill Valley Public Library, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat-Sun, 4pm. Through Sept 14. Curtain Theatre returns with the Bard’s magical romance for its 14th outdoor performance.

Water By the Spoonful Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-74. Tue-Wed, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 14. TheatreWorks performs Quiara Alegría Hudes’ Pulitzer Prize-winning drama about strangers who meet in an online chat room.

Wonder of the World Douglas Morrisson Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-32. Fri-Sat and Sept 18, 8pm (also Sept 13, 2pm); Sun, 2pm. Through Sept 21. Douglas Morrison Theatre opens its 35th season with David Lindsay-Abaire’s comedy about self-fulfillment.

PERFORMANCE/DANCE

“BATS Summer Improv Festival” Bayfront Theater, B350 Fort Mason, SF; www.improv.org. Through Sept 20. $20. This week: “Pulp Playhouse,” Fri/5-Sat/6, 8pm.

“Best Male Crooner Contest” Martuni’s, 4 Valencia, SF; (415) 241-0205. Sun/7, 7pm. $7. Thing you have what it takes? Bring sheet music to enter the competition, with judges Russ Lorenson and hosts Katya Smirnoff-Skyy and Joe Wicht.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/6, Sept 13, 21, 28, Oct 4, 11, 18, 26, 6:30pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Confide in Me” Mission Cultural Center for Latino Arts, 2868 Mission, SF; www.missionculturalcenter.org. Sat/6, 7:30pm. $5-10. Nicky’s LGBT Youth Theater presents this play about teenagers struggling to come to terms with their queer identities.

“Constants and Variables” Dance Mission Theater, 3316 24th St, SF; variables2014.eventbrite.com. Fri/5-Sat/6, 8pm; Sun/7, 7pm. $20. An eclectic evening of dance with Bay Area choreographers Slater Penney, Here Now Dance Collective, Mo Miner, Sarah Keeney, and more, plus special guests.

“Faux Queen Pageant 2014: Fashion Faux-ward!” SOMArts, 934 Brannan, SF; www.somarts.org. Sat/6, 10pm. $25-35. “The original pageant for drag queens trapped in women’s bodies” — kind of says it all.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: Jason Brock, Wed/3, 7pm, $15; Pamela Rose, Sun/7, 7pm, $15.

“Kathy Mata Ballet Autumn Showcase” City College of SF’s Wellness Center, Third Flr, Ocean and Howth, SF; www.kathymataballet.org. Sat/6, 7:30pm. $15-30. Classical and contemporary ballet, plus work by guest artists Antoine Hunter, Frederick Gaudette, and others.

“Kingdom of Not” Emerald Tablet, 80 Fresno, SF; www.kingdomofnot.com. Sat/6, 8pm. $5-10. “Music, monologues, and Emergency Dispatches” with Andrew Goldfarb and Dan Carbone.

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

“Misery Index Comedy” Rite Spot, 2099 Folsom, SF; www.miseryindexcomedy.com. Mon/8, 9pm. Free. Trevor Hill hosts stand-up with Kevin Munroe, Ronn Vigh, Irene Tu, Matt Gubser, Allison Mick, and Griffin Daley.

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

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

“Room in a Pinhole” Joe Goode Annex, 401 Alabama, SF; www.room-in-a-pinhole.eventbrite.com. Fri/5-Sat/6, 8pm. $15-20. Multi-disciplinary dance performance by Marina Fukushima and Olivia Ting.

“Rotunda Dance Series: Garrett + Moulton Productions” SF City Hall, 1 Carlton B. Goodlett, SF; www.garrettmoulton.org. Fri/5, noon. Free. Performing excerpts from The Luminous Edge under the dome of City Hall.

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

“Searching for Diogenes” Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Wed/3, noon-6pm. Free. Act three in Whitney Lynn’s three-part performance weaving together the life, myth, and legacy of Greek philosopher Diogenes of Sinope.

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

“West Wave Dance Festival: Dancing Around the Bay” Z Space, 450 Florida, SF; www.zspace.org. Wed/3-Sat/7, 8pm. $10-20. SAFEhouse for the Performing Arts presents its 23rd annual festival, with choreography by SF and Bay Area artists. Participants include Leyya Mona Tawil (Dance Elixir), Stacey Printz (Printz Dance Project), Alyce Finwall, Christy Funsch, and others.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Through Oct 26. Free. This week: Valerie Troutt and MoonCandy, Thu/4, 12:30pm; RAWdance, Fri/5, 7pm and Sat/6, 1pm; DakhaBrakha and Kitka, Sun/7, 1pm.

BAY AREA

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

Film Listings: September 3 – 9, 2014

Michael Redmond

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September 2, 2014

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. Due to the Labor Day holiday, theater information was incomplete at presstime.

OPENING

The Identical I love sinking my incisors into a meaty Elvis Presley fantasy as much as the next rock ‘n’ roller, but the collision of semitransparent ulterior motives and agendas going down in this off-key independent ain’t nothing but distracting. What if the Pelvis’s twin brother had lived? What if an earnest impersonator turned out to be something more than a great pretender? How does Christianity stand alongside Zionism — or the power of the King beside the potency of a pathetic wig? Here, Ryan Wade (Blake Rayne, aka Elvis impersonator Ryan Pelton) has a fire burning within for proto-rock, blues, R&B, and honkytonk — he’s just not cut out to follow in the footsteps of his passionate preacher dad Reece (Ray Liotta). Instead, help from his drummer friend Dino (Seth Green) and encouragement from his dream-girl-turned-perfect-wife Jenny (Erin Cottrell) leads the earnest Ryan to enter a tribute contest dedicated to the late-period-Elvis-esque Drexel “The Dream” Hemsley (also played by Rayne). Is it a coincidence that Ryan so closely looks and sounds like Drexel? Despite the good faith acting chops brought to the enterprise by Liotta, Ashley Judd, and Joe Pantoliano, the effort is largely wasted, thanks to a flabby script by pop fantasist Howard Klausner, stale music-biz play-by-plays by first-time director Dustin Marcellino, and the painfully non-period, poorly written music and off-point production. When the ’60s-era “Dream” — not to be confused with The-Dream — croons a tune that’s closer in style to ’80s Lionel Richie than “Can’t Help Falling in Love,” rock’s true believers will be scratching their noggins in disbelief, wondering why anyone would even bother making a Cross and the Switchblade version of the Elvis myth. (1:47) (Chun)

Innocence A teenage girl realizes all is not well at her new boarding school, because vampires. (1:36)

The Last of Robin Hood See “Flynn and Out.” (1:30) Embarcadero.

A Letter to Momo Morbid obsessions — and the ghouls and goblins of Japanese ghost stories — are rarely as sweet as they are in A Letter to Momo, the second hand-drawn animated film directed by Hiroyuki Okiura (1999’s Jin-Roh: The Wolf Brigade). Shy tween Momo is tagging along on her mother’s journey home to an island on Japan’s Inland Sea, but even that remote, beauteous locale can’t dissipate Momo’s sorrow and guilt about the death of her father, who she fought with just before he passed. She doesn’t realize that she’s being followed as well — by three water droplets or spirits that assume the grotesque forms of an Edo-era ghostly manga. Only Momo can see and hear these mischievous, forever-hungry visitors, who put the “gobble” in “goblin,” steal pudding and produce, and are likely the only guardians in the galaxy weaponized with cannon-blast flatulence. The spirits’ goofy shenanigans, rather than the neighborhood kids’ diving adventures, succeed in distracting Momo from her last message from her father — an unfinished letter with simply the words “Dear Momo” — and her own neglect. Layering his tender-hearted story with creepy-crawlies, scatological humor, and a palpable humanity, Okiura turns what could have been a sentimental journey into something more sprawling, freakier, and friendlier than one would ordinarily find on a hometown visit — or a feature-length anime exploring grief. (2:00) Opera Plaza, Shattuck. (Chun)

No No: A Dockumentary See “High Fly.” (1:40) Roxie.

The Notebook With her husband (Ulrich Matthes) off at the front and bombs raining down on Budapest in mid-1944, a young mother (Gyöngyvér Bognár) takes the desperate step of depositing twin sons (András and László Gyémánt) on the isolated rural doorstep of their grandmother (Piroska Molnár), in the hopes that they will have a better chance of surviving the war. It’s a desperate move because mother and daughter haven’t communicated in 20 years (it’s hinted the elder might’ve fatally poisoned the younger’s father), and this corpulent harridan is so mean that fearful villagers call her “the witch.” She calls the approximately 10-year-old boys “bastards” (we never do find out their actual names) and schools them into a brutal daily existence of beatings and hard farm labor that they take to with surprising, masochistic dedication. They even embark on their own ruthless program of “training” the body (to withstand pain and hunger) as well as the soul (to be pitilessly unsentimental), so they might survive in a foreign environ of extreme privation and near-universal hostility. This adaptation of late expat writer Agota Kristof’s classic 1986 novel would be an unwatchable catalog of horrors — has any movie featured so much vivid violence toward children? — if not handled with consummate skill by veteran Hungarian stage and film director János Szász. He balances the tale’s grotesque, cruel, ironic, historical, and allegorical qualities in imaginative cinematic terms that are often aesthetically beautiful without softening the novel’s bitter heart one whit. (1:44) Embarcadero, Shattuck, Smith Rafael. (Harvey)

ONGOING

As Above, So Below (1:40)

Begin Again Begin Again does indeed resemble writer-director John Carney’s Once (2007): It’s another musical tale of a romantically-challenged artist whose life is changed by a chance encounter. One miserable night, very recent dump-ee Greta (Keira Knightley) takes the stage at an open mic night, crooning a song she’s just written about jumping in front of a subway train. (Knightley does her own singing, but careful camerawork ensures we never get a good look at her guitar skills.) Dan (Mark Ruffalo), a down-on-his-luck music-biz professional whose career status is nearly as dismal as his personal life, is drunkenly enthralled by her performance. Clearly, there’s nothing for these two depressed souls to do but record an album together on the streets of NYC; for her, it’s a way to get even with her cheatin’ ex (Adam Levine, playing a rock star not unlike … Adam Levine); for him, it offers hope for creative rebirth. Carney’s point of view is abundantly clear: tailoring one’s music to please the basic-bitch demographic is bad; while penning personally meaningful tunes and recording them on one’s own terms is good … even if those tunes happen to be forgettable folk-pop. Fortunately, Begin Again fares better with its explorations of complicated relationships. Nobody does rumpled and wounded better than Ruffalo, and Knightley is surprisingly likable as a hipster scorned, determined to figure out her next move even as her world crumbles around her. (1:45) (Eddy)

Boyhood Believe the hype: Richard Linklater’s Boyhood is one of the best films of the year. It’d be a towering cinematic accomplishment in any year. By now, you’ve heard the set-up, which borrows elements from Linklater’s Before films, as well as his coming-of-age dramas (1993’s Dazed and Confused in particular). He filmed his cast — including titular youth Ellar Coltrane, Lorelai Linklater as his older sister, and Patricia Arquette and Ethan Hawke as his divorced parents, on and off over 12 years — with scenes touching on moments both monumental (high-tension moments with ugly stepfathers) and microscopic (the creation of a perfect campfire s’more). The years flow by, signaled not by any obvious gestures like on-screen text, but by changing hairstyles, pop culture references, and evolving video-game consoles. Watching Coltrane’s Mason grow from arrowhead-obsessed tyke to thoughtful college freshman is a rare and remarkable pleasure; among the more experienced actors, Arquette is particularly moving as a fiercely loving single mom determined to advance in her career despite continual, mountain-sized roadblocks in her personal life. (2:40) (Eddy)

Calvary John Michael McDonagh made a splashy cinematic entree both writing and directing 2011’s acerbic The Guard, which starred Brendan Gleeson as a willfully perverse small-town cop. Filmmaker and actor are back with Calvary, a film just as good, in which Gleeson’s priest is the discreetly gruff moral center of a coastal Irish hamlet that surely would have none otherwise. His parishioners are all skeptics, heretics, nonbelievers, and blatant sinners — cast members include Chris O’Dowd, Aidan Gillen, and Brendan’s real-life son Domnhall — who take particular pleasure in ridiculing the uprightness of this one man no one has a legitimate gripe against, save resentment. As if all this weren’t enough, at Calvary‘s start, an unseen confessor tells James he was abused for years by a (now-dead) Catholic priest, and as recompense will kill his current, admittedly blameless confessor in a week’s time. This set-up would appear entirely, absurdly skewed if not for the gravitational center Gleeson provides; he single-handedly provides the sincere if faint hope of redemption in a scenario that otherwise provides every possible indication of damnation for all. Calvary centrally addresses the question of faith while ultimately dodging the answer. I’d appreciate McDonagh’s ambivalence more if he weren’t quite so pleased about it. He’s got extraordinary taste, no doubt — from its editorial pace to its costume and soundtrack choices, this movie is curated within an inch of too-much-ness. But beyond his understandable disillusionment with the Catholic Church’s crimes, does he truly care about morality, or is it just an authorial chew-toy? (1:45) (Harvey)

Chef Not to take anything away from the superhero crew, but Chef feels like the closest thing to a labor of love from writer, director, and star Jon Favreau in many a day. As a director, he may have been making doughnuts — fun-filled and teeming with CGI eye candy, but doughnuts nevertheless — when it came to effects-driven blockbusters like 2008’s Iron Man, but this well-meaning play for the heart, by way of the stomach, shows you where Favreau’s head is really at. Chef revolves around Carl Casper (Favreau), a onetime food star, now reduced to serving up predictable crowd-pleasers at the behest of his restaurant’s overbearing owner (Dustin Huffman). It takes the barbs of an influential critic (Oliver Platt) — and an ensuing Twitter war — to set Carl off and send him away on his own, at the coaxing of his glam ex Inez (Sofia Vergara). Hooked up with a dilapidated food truck and former kitchen staffer Martin (John Leguizamo), and aided by ably Tweeting son Percy (Emjay Anthony), Carl ties his dreams — and lost passion — to the classic Cuban sandwich. The ensuing road trip from Miami to LA, and Carl’s journey toward self and a renewed relationship with his son, is a fun (if, in the end, a bit too speedily sketched) vault through the joys of eating your way through America’s new culinary heartland. Amid the volley of sign-of-the-times social-media swinging and cameos by the uncostumed Robert Downey Jr., Scarlett Johansson, and the like, Favreau’s main dish is that a family that eats, cooks, and runs a business together, stays together — child labor laws or no. (1:55) (Chun)

Dawn of the Planet of the Apes As usual, a heady hybrid of anticipation and dread accompanies all Planet of Apes installments: you brace yourself for the abused, righteously rebellious apes; the apocalyptic mise-en-scène laden with symbolism; and more overt messaging concerning animal testing, civil rights, and gun control. But why worry? In line with 2011’s Rise of the Planet of the Apes, the PG-13 high-fives go to new Apes director Matt Reeves (2008’s Cloverfield) for sparing us animal kills, gore, and graphic violence, despite its Dawn of the Dead-evoking title. Really, this Dawn is all about the bitterly fought beginnings of a civilization among the primates north of the Golden Gate Bridge in Muir Woods, complete with community building, social structure, and alas, a burgeoning war with the humanoids amid vaguely familiar SF ruins, setting off an epic showdown that challenges not only the oft-repeated commandment “ape shall not kill ape” but takes advantage of our anthropomorphized pals’ ability to swing with the C4 explosions. The viral drug ALZ 113 that led to super-intelligent primates like chimp hero Caesar (motion-captured Andy Serkis) has decimated the human population, leaving the field wide open for enterprising and vengeful creatures like scarred lab survivor Koba (motion-captured Toby Kebbell). Neither quite trusts the band of desperate human survivors — including friendly Jason Clarke, nurturing Keri Russell, and token asshole Kirk Acevedo — that ventures into the apes’ woods to harness the power of nature, namely a dam, to electrify their SF compound. You know what side of the evolutionary span we’re on when the humans seem much more interchangeable than the chimps, and the movie can barely wait to end on its contemporary version of a Touch of Evil (1958) crane shot, as it zooms to an extreme close-up of a certain chimp’s carefully crafted eyes. (2:10) (Chun)

The Expendables 3 Patrick Hughes — the guy tapped to helm the remake of 2011’s The Raid — directs a cast of thousands (more or less) in this third installment of Sylvester Stallone’s retro action franchise. By now, the Expendables movies have their formula down, not that it was particularly original to begin with, and all the marks are duly hit in part three: sinister bad guy (Mel Gibson — a solid choice, since who doesn’t love to hate him?) angers mercenary Barney (Stallone) and his team of graying, gun-wielding, shit-talking badasses (Jason Statham, Dolph Lundgren, Randy Couture, and Terry Crews). Revenge is sought, bullets fly, buildings explode, a government operative sticks his nose in (here, it’s Harrison Ford), and Arnold Schwarzenegger shows up to save the day. Fortunately, Expendables business as usual also happens to be stupidly enjoyable, especially with the addition of a just-out-of-prison (onscreen and off) Wesley Snipes. There are also fun roles for Antonio Banderas, Kelsey Grammar, and Robert Davi, but the crew’s next-generation recruits (rebel Kellen Lutz, hacker Glen Powell, weapons master Victor Ortiz, and ladybro Ronda Rousey) seem rather unnecessary. Isn’t the point of these movies to remind us that old guys still rule? (2:07) (Eddy)

Frank Who doesn’t want to be a musical savant, visually riveting, naturally gifted, freed from convention, and liberated of linear thought? The exception might be the doll-headed, damaged namesake of this comedy loosely inspired by the life of late English musician and comedian Frank Sidebottom (real name: Chris Sievey), and real-life Sidebottom sideguy Jon Ronson, who co-wrote the screenplay. And if this loving, very funny, bromantic take on the so-called creative process of rock seems a bit forced at times, that’s only because the movie is so clearly filtered through the archetypal wannabe, made likable by Domhnall Gleeson. His office worker Jon is struggling to write songs when he stumbles across a band, Soronprfbs, after watching their keyboard player attempt to drown himself at the beach. Manager Don (Scoot McNairy) taps the bystander to contribute to the chaos happening onstage, then drags him off for the making of the album. Mysterious leader Frank (Michael Fassbender), who never takes off his massive, faux-happy head, finds inspiration in threads protruding from upholstery. As Jon’s nest egg gets sucked into the recording budget and theremin player Clara (Maggie Gyllenhaal) rages against the interloper, he posts the band’s, er, artistry to YouTube, obtaining the group a coveted gig at South by Southwest. But who really wants this shot at fame? The sideman with a will to power, or the damaged true talent? Director Lenny Abrahamson and Ronson wisely place Frank squarely in the viral video/GIF/Vine-poisoned multiplatform miasma of today, put across all the more powerfully by Gleeson and particularly Fassbender, who reveals a fine singing voice. While cleverly referencing outsider artists big and small by way of right-on original songs by Stephen Rennicks, Frank asks vital questions about motivation and art-making in an era when it seems like everyone is getting their 15 minutes of fame — and we’re getting increasingly weary of eyeballing it and filtering the wheat from the gone-in-a-nanosecond chaff. Some make music because they want to be stars, while others, Frank says, do it because they have little other choice. (1:34) (Chun)

Get On Up Say it loud: you want to get on up on this biopic about the rich, complicated life of James Brown, a musical innovator who straddled the worlds of R&B, soul, rock ‘n’ roll, funk, hip-hop, and beyond. At first glance it seems well furnished, with a cast that includes Chadwick Boseman (last year’s 42), True Blood‘s Nelsan Ellis, The Walking Dead‘s Lennie James, Dan Aykroyd, and turns by Viola Davis and Octavia Spencer (last united in director Tate Taylor’s 2011 The Help). There’s also a slew of musician cameos (Jill Scott, Aloe Blacc), and even some personally invested oversight by co-producer Mick Jagger — not to mention the music and some vividly recreated live performances that impart some of the Godfather of Soul’s undeniable power and influence. Taylor strives to get it all in, including Brown’s childhood years of poverty and hustle; his meeting with longtime friend and collaborator Bobby Byrd (Ellis); his struggles with the law as well as disgruntled Famous Flames and band members like Maceo Parker (Craig Robinson); and his political statements, wife beating, gun toting, coke smoking, and generally exploding ego. If fitting all that into a little over two hours sounds like a task that would make a ex-Flame break a sweat, it is. And it feels even more effortful when Taylor mixes in scrambled chronology and erratic instances when Boseman’s Brown breaks the fourth wall (engaging moments that contrast with the lead’s at times glazed-eye, ungrounded readings). After taking in this flow-killing editing mishmash, you wish Taylor had settled into the groove of a straightforward narrative, à la 2004’s Ray, rather than leaping around as if directing a nouvelle vague effort on PCP. Lord knows the man’s life — not to mention the tempestuous bromance between Brown and Byrd — was fascinating enough to carry us through. Instead, we’re reduced to contemplating the blank looks and bad wigs that turn the “It’s a Man’s Man’s Man’s World” performer into a kind of Golden Girl of Funk. (2:18) (Chun)

The Giver Lois Lowry’s classic YA novel gets a veteran helmer for its big-screen adaptation, but Philip Noyce’s ability to attract top adult talent (Meryl Streep, Jeff Bridges) can’t outweigh his heavy-handed interpretation of what was never a subtle work to begin with. In a vaguely post-apocalyptic society so regulated and dulled that nobody has emotions or empathy, a young man named Jonas (Maleficent‘s Brenton Thwaites, bumped up in age from the book’s 11-year-old) is tasked with becoming the “receiver of memories.” Basically this means that he gets to hang out with Bridges’ character and learn things about the world and human history in the form of Koyaanisqatsi-meets-National Geographic montages (music — it’s a thing! Also: war is hell, etc.) This is life-changing stuff, but part of the deal is that he must never, ever tell anyone else about it, at least until he’s as grizzled as Bridges and has his own successor in need of a thorough mind-blowing. Of course, he immediately loops in pretty BFF Fiona (Odeya Rush), who he’s been seeing in a new light since catching wind of a concept called “love.” Soon, his awakening draws the ire of his mother-esque guardian (Katie Holmes), as well as the community’s leader (Streep). If you’re looking for suspense, or any curve balls (duuuude … once Jonas’ mind starts expanding, he starts seeing the black-and-white world in color!), best backtrack to one of Noyce’s 1990s thrillers (1992’s Patriot Games, perhaps). About the only surprise in The Giver is that Taylor Swift’s much-hyped role is smaller than expected, and not nearly as distracting. (1:40) (Eddy)

Guardians of the Galaxy The trailer that nearly broke the internet didn’t lie: Guardians of the Galaxy is cheeky, hilarious, eye-popping fun. Its plot may be a predictable anti-hero’s journey, but the saga of Peter “Star-Lord” Quill (Chris Pratt), half-Earthling, half maybe-alien, as he transforms from scavenging scoundrel to rescuer-of-the-universe is so enjoyable nobody seeking a good time at the movies will care. Helping Quill in his battle against baddie Ronan (Lee Pace) are slinky, green-skinned Gamora (Zoe Saldana); rascally raccoon Rocket (voiced by Bradley Cooper); muscle-bound dim bulb Drax (former pro wrestler Dave Bautista); and a tree-like creature named Groot (voiced by Vin Diesel — his best performance in years, if ever, despite the fact that the only words the character ever utters are “I am Groot.”) Director and co-writer James Gunn (2010’s Super), working from a cult comic from the prolific house of Marvel, does a stellar job balancing action and goofiness, with plenty of unexpected touches along the way, including the best use of 1970s soft-rock since Reservoir Dogs (1992) and Cherish (2002). (2:02) (Eddy)

The Hundred-Foot Journey Don’t watch Lasse Hallström’s latest film on an empty stomach. Under the film’s rich layers of mouthwatering food closeups and stunning shots of France (which, admittedly, occasionally threaten to steal the show), The Hundred-Foot Journey is a simple feel-good movie, akin to your favorite comfort food. The Kadam family spices up the South of France when they open an Indian restaurant just 100 feet away from a formidable competitor: a ritzy place owned by Madame Mallory (Helen Mirran). Papa (Om Puri) and eldest son Hassan (Manish Dayal) don’t back down when the heat gets turned up. It’s easy to get caught up in Hassan’s optimism, so the film is predictable (even managing to sprinkle a bit of romance in), but not cheesy. The score is the final icing on the cake, but it’s impossible to expect anything less from Slumdog Millionaire (2008) composer A.R. Rahman. (2:02) (Amy Char)

If I Stay Place If I Stay alongside The Fault in Our Stars, and wonder: Is the time right to begin to define the tweepie, or teenage weepie? If I Stay speaks to the emo girl snifflers and intimate tween dystopians in the crowd, though it’s not compelling enough to make them forget to check their texts mid-movie. Excruciatingly shy cello prodigy Mia (Chloë Grace Moretz) is the oddball in her happy rocked-out family (mom and dad are Mireille Enos and Joshua Leonard). Her underlying, relatable dilemma: Should she should reach for her Juilliard dreams or stick close to her Portland, Ore., home to be with her own budding rock star boyfriend Adam (Jamie Blackley, he of the dilated wooden gaze)? But fate intervenes, as a head-on car accident slams Mia into a coma and into an out-of-body battle over deeper questions concerning survival, identity, or simply, as her punk drummer dad might quip, should she stay or should she go? Further, how to depict this without reducing Mia’s out-of-body spirit to Alice in Flashbackland, sprinting comically through hospital halls? One would think she’d run into a stray family member or two on their way to the light, but alas, If I Stay never rises to the occasion — or imaginative possibilities — and its multiple flashbacks and disembodied interludes add an ungrounded, talky sheen to the overall earnestness. Perhaps unfairly, the efforts by documentarian R.J. Cutler, working with Gayle Foreman’s popular YA novel, pale in comparison to, say, the far more psychedelic Enter the Void (2009), with its traumatic crash crash, shattered family, and wandering protagonist. Unlike that film, however, there’s never any question where If I Stay‘s heart lies: In the all-too-familiar construct of suburban America, rather than an ecstatic afterworld. (1:47) (Chun)

Into the Storm This disaster movie can’t be discussed without bringing up 1996’s Twister, probably the biggest cinematic showplace for tornadoes since 1939’s The Wizard of Oz. And while Into the Storm spectacularly improves upon Twister‘s special effects and makes timely references to climate change’s fiercest consequences — the 2011 Joplin outbreak gets a nod in dialogue and via the inclusion of a scary high-school graduation scene — it’s also a far more shallow exercise. Twister was silly, but its ragtag storm chasers (including a then-unknown Philip Seymour Hoffman) were likable; Cary Elwes’ bad-guy meteorologist was fun to jeer; and the broken-marriage tension between Helen Hunt (pre-Oscar) and Bill Paxton (endearingly wooden) had at least a few script pages’ worth of depth. No such luck in Into the Storm, in which every character seems to have been crafted based on his or her ability to perpetuate Into the Storm‘s “found-footage” aesthetic, be they filmmakers, tech-obsessed teens, or comic-relief adrenaline junkies dreaming of YouTube stardom. Sarah Wayne Callies (Walking Dead) does her best to bring gravitas as the scientist member of a documentary crew led by a tank-driving tornado hunter (Veep‘s Matt Walsh) — and Richard “Thorin Oakenshield” Armitage tries on an American accent to play the tough-love dad of two high-school boys — but no human here has as much charisma as those CG funnels. (1:29) (Eddy)

Island of Lemurs: Madagascar (:40)

Jamie Marks Is Dead When the titular bullied teen (Noah Silver) is found dead — whether by suicide or foul play is unclear — those most affected turn out to be two schoolmates who were barely aware of him, or each other, while he was alive. Gracie (Morgan Saylor) discovered the corpse under a river bridge on the fringe of their small upstate NY town; track star Adam (Cameron Monaghan) witnessed teammates cruelly abusing the misfit boy but did nothing to stop it. When the two cross paths, Gracie reveals that she’s seen Jamie — pale, naked, shivering, as if stuck in his last moments of life — lurking in the woods outside her home. Frightened, she urges Adam not to engage with the ghost. But in his guilt, he does, striking up a curious friendship with this specter who’s “come back” for purposes murky at best. Adapted from a novel by Christopher Barzak, this couldn’t be more different from director Carter Smith’s 2008 gore-horror hit The Ruins, being cryptic supernatural drama that aims less for scares than eerie poignancy. (The one scary element is Madisen Beaty as a malevolent second ghost.) It’s eerie, all right, with wintry atmospherics that intrigue until it’s clear the story is going to remain rather vague. The poignancy never quite comes across (save perhaps in a subplot with Liv Tyler as Adam’s mother, who copes haplessly with a serious accident) because while well-acted, the characters are poorly developed, and the precise point remains elusive. This is an aesthetically striking mood piece, but will frustrate those looking for conventional horror content, and it’s never quite enigmatically fascinating enough to leap past various potholes of conceptual and plot logic. (1:40) Roxie. (Harvey)

Kundo: Age of the Rampant Brutal violence and some mightily clever outlaw fighting tactics highlight this spaghetti western-influenced revenge drama, set during Korea’s Joseon dynasty, circa the late 1850s. Corruption reigns, with government officials easily bought by the era’s version of one-percenters — leaving the majority of the population to struggle and starve. A long, complicated back story unites the two leads, one being Jo Yoon (Kang Dong-won), the power-mad, illegitimate son of the countryside’s richest man, who channels his Game of Thrones-style angst about being a bastard into becoming the deadliest sword-wielder around. The other is Dolmuchi (Ha Jung-woo), a dirt-poor butcher who backs out of one of Jo’s cruel schemes, sees his family slaughtered, and is quickly adopted by the region’s scrappy, ruthless, Robin Hood-esque bandit clan. These two angry mofos are set up early for a last-act clash, but director Yoon Jong-bin — helmer of excellent 2012 crime drama Nameless Gangster, a similarly intricate tale of simmering grudges and vulgar displays of power in 1980s Busan — takes the long road getting to the inevitable showdown, raising the stakes ever higher, fleshing out secondary characters, and papering over story gaps with narration when needed. Still, with its charismatic performances and Morricone-esque score, this is a rousing epic, and taken with Gangster (which also stars Ha), it firmly establishes Yoon as a director worthy of further notice. (1:40) (Eddy)

Life of Crime Maintaining the novel’s original time and place, this retro caper flick is a faithful adaptation of Elmore Leonard’s jaunty 1978 The Switch. John Hawkes and Yasiin Bey (aka Mos Def) play genial petty criminals who hit on the bright idea of blackmailing a successful suburban Detroit businessman (Tim Robbins) they know has secretly pocketed away some ill-gained assets in the Bahamas — and they’ll kidnap his wife (Jennifer Aniston) for additional leverage. Little do they realize their spectacularly scumbaggy target sees a golden opportunity in their idle threats to murder Mrs. Scumbag; he’s tired of her, he’s already got a younger mistress (Isla Fisher), and figures this scenario would relieve him of alimony at the very least. With Mark Boone Jr. and Will Forte providing additional flavor as two more colorfully icky characters, Life of Crime is droll, astute, and funny as it cleverly delivers comeuppance where due. While much less flashy or sprawly than last year’s American Hustle, Daniel Schecter’s trades in equally tacky late-1970s fashions and vibes. It’s also, in its more modest way, just as satisfying a narrative. And in a movie full of good actors, the surprisingly scene-stealingest is Aniston, who underplays her unhappy trophy hausfrau to seriocomic perfection. (1:34) (Harvey)

Love is Strange Ben (John Lithgow) and George (Alfred Molina) have been together four decades, so it’s a big celebration for their extended family of friends and relations when they finally, legally get hitched. But news of the marriage reaches the archdiocese in charge of the Catholic high school where George teaches music, and while he’s hardly been in the closet at work or anywhere else, this supposed gesture of public defiance against church doctrine gets the beloved instructor fired. With Ben a not-particularly-successful painter, and George now looking for a new job, the couple can now no longer afford to pay the mortgage on the Manhattan co-op apartment they’ve lived in for 20 years (but only owned for five). Finding an affordable new place is near-impossible. So the pair find themselves split up, forced to crash under different roofs and awkward circumstances. Ben moves in with his workaholic nephew (Darren Burrows), unwittingly heightening tensions with his author wife (Marisa Tomei) and especially their moody teenage son (Charlie Tahan), who deeply resents having to share his bedroom. George lands on the couch of a younger gay couple, two cops (Cheyenne Jackson, Manny Perez) who are very nice but have an active social life that robs him of privacy and sleep. This latest from ever-more-excellent Ira Sachs (2012’s Keep the Lights On), its near-flawless screenplay co-written with Mauricio Zacharias, is a widely relatable drama about precisely observed human nature and increasingly inhumane economic realities. It’s also easily one of the best US films 2014 is likely to offer. Might as well start filling out your Oscar ballots, because this movie is definitely going to be a contender. (1:38) (Harvey)

Lucy Eurotrash auteur Luc Besson’s latest is a mostly fun action fantasy about a party girl (Scarlett Johansson) who runs afoul of gangsters in Taipei and ends up with a leaking packet of futuristic drugs sewn into her shapely stomach. Side effects include super strength and supernatural intelligence — insert pseudo-science mumbo-jumbo about tapping into 100 percent of one’s woefully underused brainpower, etc. etc. — which leads to some satisfying scenes in which Johansson’s Lucy flattens a hallway of cops with a single gesture, or filters through every phone conversation in the Paris metro area to find the one guy she needs to eavesdrop on. She’s also able to beam herself into electronic devices, a nifty trick that convinces kindly scientist Morgan Freeman to help download her magnificently advanced intelligence into a kind of living computer (shades of 2013’s Her and Under the Skin, except this time ScarJo’s wearing a really great dress). South Korean weirdo/superstar Choi Min-sik (2003’s Oldboy; 2010’s I Saw the Devil) is an inspired choice to play the vengeful kingpin intent on tracking down his runaway mule, and Besson adds some arty flair via nature-show footage and Cosmos-esque clips from beyond the infinite — though the film’s Big Ideas wobble precariously amid its other, mostly silly elements. (1:29) (Eddy)

Magic in the Moonlight Woody Allen’s latest — after last year’s vodka-drenched Cate Blanchett showcase Blue Jasmine — offers a return to period romance á la 2011 smash Midnight in Paris. Instead of Owen Wilson time-traveling through the artsy 1920s, we get winsome 1920s clairvoyant Sophie (Emma Stone, 25 years old) falling for the skeptic who’s sent to debunk her, played by Colin Firth (who’s 53). Firth’s performance is easily the best part of Magic in the Moonlight; his Stanley Crawford is a theatrical conjurer famed for his yellowface act, in which he solemnly makes elephants disappear. Off-stage, he’s a self-proclaimed genius regarded by most who meet him as a pompous jerkface. When he’s summoned to the South of France to help a longtime friend and fellow magician (Simon McBurney) prove that Sophie — from humble origins, she’s grown fond of high-society living — is hoodwinking the fancy American family that’s taken her in, nothing unfolds as he expects. The whole exercise is lighter than meringue; it’d be passable as lesser Allen except for that obvious, comically huge age gap between the leads. He knows we disapprove, and he does not care. Are you trolling us, Woody? (1:40) (Eddy)

A Most Wanted Man Director Anton Corbijn’s film may not be the greatest John le Carré adaptation in recent years (see: 2011’s Tinker Tailor Soldier Spy), but it’s still a solid thriller, anchored by Philip Seymour Hoffman’s turn as Günther Bachmann, the once-bitten-but-not-yet-shy head of an top-secret branch of Germany’s FBI/CIA equivalent. Its task: spying on Hamburg’s Islamic groups, where the 9/11 attacks were planned, though the enemies that Bachmann faces come mostly from within the greater intelligence community, including his superiors. Never before has the phrase “the Americans have taken an interest” been so chilling, especially to a guy who is just trying to do his job, if only everyone else (including Robin Wright as one of those meddling Americans) would keep their sticky mitts off his delicately planned surveillance operations. There’s a forward-moving plot, of course, about a Chechen-Russian illegal immigrant with a huge inheritance who might be a terrorist (Rachel McAdams plays his human-rights lawyer), but could also serve a greater purpose by helping bring down an even bigger target. And while A Most Wanted Man‘s twists and turns, involving Willem Dafoe as a banker who becomes a reluctant player in Bachmann’s scheme, are suspenseful, Hoffman’s portrayal of a man trapped in a constant maze of frustration — good intentions cut off at every turn, dumping booze into his morning coffee, breaking up a bar fight, ruefully admitting “I am a cave dweller,” visibly haunted by past errors — is the total package, a worthy final entry in a career that ended way too early. (2:02) (Eddy)

November Man Get typecast much, Pierce Brosnan? Since stepping into the polished footwear of Remington Steel and then James Bond, the actor has exuded such a consistently tidy, civilized bonhomie that it’s tough to believe there’s a seriously unhinged, deadly weapon of a psychopath within, ready to thrash Eurotrash sketch artists at the faintest threat to his offspring, à la Liam Neeson. So look at November Man as a refreshing, if imperfect, departure for Brosnan, who plays a hard-drinking bad man of sorts, who finds himself on the wrong side of former cohorts in the CIA as the bodies pile in slow motion. It wasn’t always so for Peter Devereaux (Brosnan) as we open on the scene of a possible assassination; his sniper partner-in-training Mason (Luke Bracey) is impulsively headstrong and accidentally shoots a child, and Devereaux schools him, hard. Years later, the latter has retired to Lausanne when old boss Hanley (Bill Smitrovich) drags him back in, dangling an old flame who wants to be pulled out of her dangerous role spying on Russian presidential candidate Federov (Lazar Ristovski). Out of a collision with old pupil Mason comes the name of a Chechen mystery woman who could be Federov’s undoing — and only social worker Alice (Olga Kurylenko) has any idea where she might be. Director Roger Donaldson (2008’s The Bank Job) spins November Man‘s twisted tale with a speed that will appeal to those with short attention spans — and an admiration for digital-age whistleblowers, though the brisk clip leaves one with more than a few questions concerning too swiftly dropped characters and story lines. Perhaps a December Man is needed to provide answers. (1:48) (Chun)

Obvious Child We first encounter the protagonist of writer-director Gillian Robespierre’s funny, original film — a Brooklyn-dwelling twentysomething named Donna (Jenny Slate), who works at a lefty secondhand bookstore and makes regular (if unpaid) appearances at a local comedy night — onstage mining such underdiscussed topics as the effects of vaginal discharge on your garden-variety pair of underwear. This proves a natural segue to other hefty nuggets of embarrassment gold concerning her love life, to the dismay of boyfriend Ryan (Paul Briganti), auditing from the back of the club. He pretty much deserves it, however, for what he’s about to do, which is break up with her in a nasty, well-populated unisex bathroom, taking time to repeatedly glance at the texts coming through on his phone from Donna’s good friend, with whom he’s sleeping. So when Donna, mid-drowning of sorrows, meets a nice-looking fellow named Max (Jake Lacy) at the bar, his post-fraternity-presidency aesthetic seems unlikely to deter her from a one-night stand. The ensuing trashed make-out dance-off in Max’s apartment to the Paul Simon song of the title is both comic and adorable. The fractured recap of the evening’s condom-free horizontal events that occurs inside Donna’s brain three weeks later, as she hunkers down with her best friend, Nellie (Gaby Hoffmann), in the bookstore’s bathroom after peeing on a stick, is equally hilarious — and unwanted-pregnancy jokes aren’t that easy to pull off. Robespierre’s treatment of this extended windup and of Donna’s decision to have an abortion is a witty, warmhearted retort to 2007’s Knocked Up, a couple generations’ worth of Hollywood rom-com writers, and an entertainment industry that continues to perform its sweaty contortions of storytelling in the gutless cause of avoiding the A-word. (1:15) (Rapoport)

The One I Love Sophie (Elisabeth Moss) and Ethan (Mark Duplass) have hit a speed bump in their relationship — they don’t have fun together like they used to, and even direct attempts to replicate that past magic fall completely flat. Ergo they take the advice of a couples counselor (Ted Danson) and book a weekend at a country getaway he swears has done “wonders” for all his previous clients in relationship trouble. Things get off to a pleasant enough start, but the duo’s delight at recapturing their old mojo becomes complicated when they realize … well, it’s best to know as little as possible going into The One I Love, a first feature for director Charlie McDowell and scenarist Justin Lader that approaches a fantastical narrative idea with a poker face and considerable ingenuity. Duplass and (especially) Moss are terrific in roles that eventually require some very complicated (and subtle) nuances. (1:31) (Harvey)

Rich Hill Documentarians Andrew Droz Palermo and Tracy Droz Tragos’ exquisite Sundance Grand Jury Prize winner Rich Hill spends some months in the company of three boys living in particularly problematic circumstances in the depressed titular Missouri small town. The future doesn’t look bright, but then their present is already pretty bleak. Harley is a rather thick teen with serious anger-management issues who’s fallen into the weary care of his grandmother. His mother is in prison. When we learn why, it explains a great deal about why he always teeters on the edge of violent rage. The younger Appachey, barely adolescent but already dropping f-bombs like a cranky Teamster, lives in chaotic near-squalor with his mother and junior siblings. And you can tell the filmmakers’ favorite is Andrew; the adorable 14-year-old is an oasis of faith and positivity despite the shitstorm of bad luck life’s already dealt him. “We’re not trash, we’re good people,” he says at one point, though one imagines his hapless, transient family might be regarded as the former by some of Rich Hill’s more respectable 1,393 citizens. Later he rationalizes continued dire straits by musing, “God must be busy with everyone else,” a statement of dogged hope rather than bitterness. Rich Hill is more beautifully crafted, notably in the realm of Palermo’s gorgeous cinematography and Nathan Halpern’s musical scoring, than documentaries are supposed to be these days. The lyricism never seems forced, however. This is a movie about young American lives orphaned by globalization and trickle-up, among other factors — the kinds of small-town heartland existence they were born into has already been written off as unprofitable. (1:31) Roxie. (Harvey)

Sin City: A Dame To Kill For (1:38)

Snowpiercer Eighteen years after an attempt to reverse global warming has gone wildly awry — freezing all life into extinction — the only known survivors are on a one-of-a-kind perpetual-motion train that circles the Earth annually, has its own self-contained ecosystem, and can smash through whatever ice buildup has blocked its tracks since the last go-round. It’s also a microcosm of civilization’s worst class-economic-racial patterns over history, with the much-abused “tail” passengers living in squalor under the thumb of brutal military police. Unseen at the train’s front is its mysterious inventor, Wilford, whose minions enforce “Eternal Order Prescribed by the Sacred Engine.” Curtis (Chris Evans) is default leader of the proletariat’s latest revolt, in which they attempt to force their way forward though the prison section (where they free Song Kang-ho and Go Ah-sung as the train’s original lock designer and his psychic daughter) on to the wonders of the first class compartments, and beyond. This first (mostly) English-language feature by South Korean Bong Joon-ho (2006’s The Host, 2009’s Mother), based on a 1982 French graphic novel, starts out as a sort of locomotive, claustrophobic Mad Max (1979) variation. But it gets wilder and more satirical as it goes along, goosed by Tilda Swinton’s grotesquely comic Minister Mason, and Alison Pill as a teacher propagandist in a particularly hilarious set piece. In case the metaphor hasn’t already hit you on the head, one character explains “The train is the world, we the humanity.” But Snowpiercer‘s sociopolitical critique is as effective as it is blunt, because Bong handles everything here — visceral action, absurdist humor, narrative left-turns, neatly etched character archetypes, et al. — with style, confidence, and wit. Some of the FX may not be quite as seamless as it would have been in a $200 million Hollywood studio production, and fanboys will no doubt nitpick like nitwits at various “credibility gaps.” (As if this movie ever asks to be taken literally.) But by current, or any, sci-fi action blockbuster standards, this is a giddily unpredictable, risk-taking joy. (2:07) Roxie. (Harvey)

A Summer’s Tale This 1996 entry in Eric Rohmer’s “Tales of the Four Seasons” quartet somehow never got a US theatrical release until now. Killing time in a seaside resort town before starting his first post-university engineering job — though his real love is composing songs — Gaspard (Melvil Poupaud) pines for a girl he barely met before she left without giving him her contact info. He’s befriended by Margot (Amanda Langlet), an ethnomusicologist working the summer at an aunt’s restaurant, but despite her amiability (and availability) he clings to hopes that the elusive Lena will turn up. Nonetheless, he lets himself get sidetracked by aggressive Solene (Gwenaelle Simon), whose entire family seems to be musical. His indecision, and the exasperatingly changeable desires of these young women, make for too many options that are sure to cancel each other out. Rohmer’s typically low-key near-farce of romantic dead ends is a pleasant discovery for fans, but as hapless Gaspard’s travails ramble on toward two hours, it becomes one of this late French great’s lesser works. (1:54) (Harvey)

Teenage Mutant Ninja Turtles Years from now, film scholars will look back at these creatively bankrupt (if box office-rich) times and blame Michael Bay for many evils, including a garish Transformers series that won’t die. He also produces this theatrical reboot of a kiddie action series (currently enjoying a TV cartoon renaissance on Nickelodeon) that probably should’ve been left in the sewer after 2007’s TMNT — star Chris Evans thanks you for forgetting that even existed — or, even better, after revealing the secret of the ooze in the 1990s. But Teenage Mutant Ninja Turtles is here to stomp all over nostalgic goodwill, not to mention take advantage of CG advancements that render its heroes as “real” as pumped-up reptiles with weapons can be, with a 3D coating that does allegedly human but suspiciously plastic co-star Megan Fox no favors. If you can get past that eeriness, you won’t be rewarded for your efforts; the jokes are either unfunny or pointless (are we really still referencing the Lost finale?), and the plot is so insultingly predictable William Fichtner’s character might as well be named “Sinister Rich Guy.” May also contain: fart jokes, butt jokes, pizza. (2:00) (Eddy)

To Be Takei The erstwhile and forever Mr. Sulu’s surprisingly high public profile these days no doubt sparked this documentary portrait by SF’s own Jennifer Kroot (2009’s It Came From Kuchar). But she gives it dramatic heft by highlighting the subject’s formative years in World War II Japanese-American internment camps, and finds plenty of verite humor in the everyday byplay between fairly recently “out” gay celebrity George and his longtime life and business partner Brad Altman — the detail-oriented, pessimistic worrywart to his eternally upbeat (if sometimes tactlessly critical) star personality. We get glimpses of them in the fan nerdsphere, on The Howard Stern Show, at Takei’s frequent speaking engagements (on internment and gay rights), and in his latter-day acting career both as perpetual TV guest and a performer in a hopefully Broadway-bound new musical (about internment). Then of course there’s the Star Trek universe, with all surviving major participants heard from, including ebullient Nichelle Nichols, sad-sack Walter Koenig, thoughtfully distanced Leonard Nimoy, and natch, the Shat (who acts like a total asshat, dismissing Takei as somebody he sorta kinda knew professionally 50 years ago.) We also hear from younger Asian American actors who view the subject as a role model, even if some of his actual roles weren’t so trailblazing (like a couple “funny Chinaman” parts in Jerry Lewis movies, and in John Wayne’s 1968 pro-Vietnam War film The Green Berets). Even if you’ve tired of Takei’s ubiquity online and onscreen, this campy but fond tribute is great fun. (1:30) (Harvey)

The Trip to Italy Steve Coogan and Rob Brydon return as “Steve Coogan” and “Rob Brydon” in this sequel to Michael Winterbottom’s 2010 The Trip. Like its predecessor, the premise — a road trip for the purpose of a restaurant-reviewing gig — provides a loose framework upon which these two actor-comedians, portraying exaggerated, fictionalized versions of themselves, hang their easy banter and occasional deeper conversations. The midlife crisis themes are still apparent (Brydon meets a comely expat who tempts him into cheating on his wife, with whom he has a small child; Coogan feels regret over his distant relationship with his teenage son), which tie into career anxieties for both men; references to classic literature also hold over from the first film. Most importantly, also like the first film, The Trip to Italy — blessed with all the gorgeous food and coastal landscapes the change of scenery suggests — is a riot. The impressions (lots of Godfather this time around) flow fast and furiously; while there’s nothing that can top the first film’s Michael Caine battle, it’s still a pleasure watching Brydon “converse” with a historical relic at Pompeii, or the duo’s joyous invocation of The Bounty (1984) during a brief boat journey. (1:55) Smith Rafael. (Eddy)

When the Game Stands Tall (1:55) *

Events: September 3 – 9, 2014

Michael Redmond

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September 2, 2014

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

WEDNESDAY 3

“99 Poems for the 99 Percent” Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. Contributors read from a new collection that represents “the real America.” Poets include Dean Rader, Gillian Conoley, Barbara Berman, Keith Ekiss, Julie Bruck, and Hiya Swanhuyser.

THURSDAY 4

Rose Caraway Good Vibrations, 1620 Polk, SF; (415) 345-0400. 6:30pm, free. “Everyone’s favorite lusty librarian” reads from The Sexy Librarian’s Big Book of Erotica, with help from Lily K. Cho, Malin James, and Jade A. Waters.

Vikram Chandra City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. The author discusses Geek Sublime: The Beauty of Code. The Code of Beauty.

Hollye Jacobs Book Passage, 1 Ferry Bldg, SF; www.bookpassage.com. 6pm, free. The author, a nurse and social worker turned patient, discusses The Silver Lining: A Supportive and Insightful Guide to Breast Cancer.

“Night of the Livermore Dead: A Zombie Pub Crawl” Bothwell Arts Center’s Downtown Art Studios, 62 South L St, Livermore; http://tickets.livermoreperformingarts.org. 6-10:30pm, $20. First, get transformed into a shuffling member of the undead, then enjoy drink specials and deals as you lurch through downtown Livermore. The crawl ends at the Bankhead Theater with a “Thriller” flashmob, followed by a screening of Night of the Living Dead (1968).

FRIDAY 5

“Art Break Day” Justin Herman Plaza, 1 Market, SF; www.artbreakday.com. 9am-5pm, free. Check website for locations in Berkeley, Novato, Oakland, San Rafael, and other locations. Art supplies are provided at this free community art-making event.

SATURDAY 6

Autumn Moon Festival Chinatown, SF; www.moonfestival.org. Grand opening ceremony and parade, today, 11am. Festival, 11am-5pm, through Sun/7 (dog costume contest Sun/7, 2:30pm). Free. Cultural performances, an open-air street bazaar, lion dancing, and (new this year!) a dog costume contest highlight this 24th annual celebration of the Asian holiday.

Friends of Duboce Park Tag Sale Duboce between Steiner and Scott, SF; http://friendsofdubocepark.org. 9am-2pm. Community tag sale, with proceeds going toward making improvements to Duboce Park. Check out the website for donation information.

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn, Mtn View; www.miramarevents.com. 10am-6pm, free. Through Sun/7. With works by over 600 professional craftspeople and artists, plus live music, home and garden exhibits, a young-performers stage, a climbing wall, food and wine, and more.

“Projecting SOMA: Youth and Elders’ VOICES” Sixth St and Market, SF; www.ybca.org. 7pm, free. Also Sept 13, 20, and 27. YBCA in Community, South of Market Community Action Network, and Veterans Equity Center present large-scale, text-based video projections sharing messages and stories from the Filipino community.

SF Mountain Bike Festival McLaren Park, Jerry Garcia Amphitheater, 20 John F. Shelley, SF; sfurbanriders.org/wordpress/sf-mtb-festival. 9am-5pm, free. Register in advance to compete — or just show up to spectate or test your skills in any of the non-competitive categories. Events include a short-track challenge, a 10-mile urban adventure ride, a cargo bike hill climb, a bike skills challenge for youth and families, and more, plus a box jump demo and a bike raffle.

“Yoga for Change” Grace Cathedral, 1100 California, SF; www.yogaforchangesf.org. 9:30am-noon, $15 and up. Help raise funds for the Community Preschool at this yoga event with live music. All levels and abilities welcome.

SUNDAY 7

Haight Street Music and Merchants Street Festival Haight between Masonic and Stanyan, SF; hsmmsf@gmail.com. Noon-6pm, free. Yep, it’s another street fair on Haight — but this brand-new event has a highly local focus, since it’s sponsored by local merchants. Expect three stages of music, kids’ activities, a skate ramp, and more.

“Home [away from] Home” Eastshore Park, Lake Merritt, MacArthur at Grand, Oakl; www.ybca.org. 10am-8pm, free. Through Sept 11. Experimental art installation highlighting artists in the Ethiopian and Eritrean communities of the Bay Area.

“Seventeen Generations Why” Modern Times Bookstore Collective, 2919 24th St, SF; www.mtbs.com. 5pm, $20 and up. Rebecca Solnit brings together nine decades of San Franciscans (from a woman in her 80s to a seven-year-old) for this “variety show in celebration of Modern Times Bookstore’s last four decades and in support of its next four or so.”

MONDAY 8

Rowen Jacobsen Jewish Community Center of San Francisco, 3200 California, SF; www.jccsf.org/ 7pm, $15. The James Beard award winner discusses Apples of Uncommon Character. Author event held in conjunction with the JCCSF’s “Apple-Palooza” (5pm), a celebration of all things apple and harvest.

TUESDAY 9

Daisy Hernández Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author reads from her coming-of-age memoir, A Cup of Water Under My Bed. *

Alerts: September 3 – 9, 2014

Michael Redmond

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September 2, 2014

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WEDNESDAY 3

Panel: Agriculture and Journalism

SF Commonwealth Club, 595 Market, SF. tinyurl.com/agriculturebeat. 6pm, $20 nonmembers, $8 members, $7 students. Cutbacks in reporting staff have decreased the amount of agriculture related journalism, yet in today’s foodie world, there is a growing demand for new information about where consumer’s food is coming from. Join Tara Duggan of the SF Chronicle, Naomi Starkman of Civil Eats, Andy Wright of Modern Farmer, and Sasha Khokha of KQED to discuss journalism’s changed and changing relationship with agriculture. Bi-Rite Catering will provide food for the event.

THURSDAY 4

Public Forum: Police Tasers in Berkeley

1939 Addison, Berk. coalitionfortaserfreeberkeley.org. 7-10pm, free. Is the militarization of the police force unnecessary? The Berkeley police force is asking for Tasers, but the City Council is hesitant. Discuss the issue with panelists such as Aram James, activist and former Palo Alto Public Defender; Barbara Ann White, Berkeley NAACP vice president and community mental health professional; James Chanin, founding member of the Police Review Commission and civil rights lawyer; and Jeremy Miller, program director of the Idriss Stelley Foundation and co-organizer of the successful campaign to stop San Francisco from getting Tasers. The Coalition for a Taser Free Berkeley is sponsoring the forum.

SATURDAY 6

Police Violence Teach-In

Starry Plough Pub, 3101 Shattuck, Berk. 510-465-9414. 2-4:30pm, free. In light of the recent Ferguson and St. Louis events, join speakers Anita Wills, Chris Kinder, and Carol Denney to learn about police violence and political protest in America, and how Ferguson relates to the Bay Area. The event is put on by the Alameda Peace and Freedom Party.

Film & Fundraiser: Connected By Coffee

2868 Mission, SF. tinyurl.com/connectedbycoffee. 4pm, $10 suggested donation. Coffee is important to a large percentage of the SF population. However, many coffee farms are threatened by leaf rust fungus. All donations will go to Cooperative Las Marias 93 in El Salvador — a cooperative farm that lost 80 percent of its crop to the fungus, and has been unable to export coffee since. There will be a Q&A with local coffee roasters from the Ubuntu Coffee Cooperative, and coffee samples at intermission. The documentary — Connected By Coffee — looks into the multibillion dollar industry of coffee.

Tom’s legacy

Michael Redmond

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September 2, 2014

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steve@sfbg.com

At a moment when San Francisco politics has slid toward the slippery center — when one-time progressives align with business elites, the political rhetoric seems hollow, and the vaunted value of “civility” in City Hall increasingly looks more like a deceptive power grab by the Mayor’s Office — it feels so refreshing to talk with Tom Ammiano.

For one thing, he’s hilarious, always quick with quips that are not only funny, but often funny in insightful ways that distill complex issues down to their essence, delivered with his distinctive nasally honk and lightning timing. Ammiano developed as a stand-up comedian and political leader simultaneously, and the two professional sides feed off each other, alternatively manifesting in disarming mirth or penetrating bite.

But his humor isn’t the main reason why Ammiano — a 72-year-old state legislator, two-time mayoral candidate, and former supervisor and school board member — has become such a beloved figure on the left of state and local politics, or why so many progressives are sad to see him leaving the California Assembly and elected office this year for the first time since 1990.

No, perhaps the biggest reason why public esteem for Ammiano has been strong and rising — particularly among progressives, but also among those of all ideological stripes who decry the closed-door dealmaking that dominates City Hall and the State Capitol these days — is his political integrity and courage. Everyone knows where Tom Ammiano will stand on almost any issue: with the powerless over the powerful.

“Don’t make it about yourself, make it about what you believe in,” Ammiano told us, describing his approach to politics and his advice to up-and-coming politicians.

Ammiano’s positions derive from his progressive political values, which were informed by his working class upbringing, first-hand observations of the limits of American militarism, publicly coming out as a gay teacher at time when that was a risky decision, standing with immigrants and women at important political moments, and steadily enduring well-funded attacks as he created some of San Francisco’s most defining and enduring political reforms, from domestic partner benefits and key political reforms to universal health care.

“He has been able to remain true to his values and principles of the progressive movement while making significant legislative accomplishments happen on a number of fronts,” Sup. David Campos, who replaced Ammiano on the Board of Supervisors and is now his chosen successor in the California Assembly, told the Guardian. “I don’t know that we’ve fully understood the scope of his influence. He has influenced the city more than most San Francisco mayors have.”

So, as we enter the traditional start of fall election season — with its strangely uncontested supervisorial races and only a few significant ballot measures, thanks to insider political manipulations — the Guardian spent some time with Ammiano in San Francisco and in Sacramento, talking about his life and legacy and what can be done to revive the city’s progressive spirit.

LIFE OF THE CAPITOL

Aug. 20 was a pretty typical day in the State Capitol, perhaps a bit more relaxed than usual given that most of the agenda was concurrence votes by the full Senate and Assembly on bills they had already approved once before being amended by the other house.

Still, lobbyists packed the hall outside the Assembly Chambers, hoping to exert some last minute influence before the legislative session ended (most don’t bother with Ammiano, whose name is on a short list, posted in the hall by the Assembly Sergeant-at-Arms, of legislators who don’t accept business cards from lobbyists).

One of the bills up for approval that day was Ammiano’s Assembly Bill 2344, the Modern Family Act, which in many ways signals how far California has come since the mid-’70s, when Ammiano was an openly gay schoolteacher and progressive political activist working with then-Sup. Harvey Milk to defeat the homophobic Briggs Initiative.

The Modern Family Act updates and clarifies the laws governing same-sex married couples and domestic partners who adopt children or use surrogates, standardizing the rights and responsibilities of all parties involved. “With a few simple changes, we can help families thrive without needless legal battles or expensive court actions,” Ammiano said in a press statement publicizing the bill.

Ammiano arrived in his office around 10am, an hour before the session began, carrying a large plaque commending him for his legislative service, given to outgoing legislators during a breakfast program. “Something else I don’t need,” Ammiano said, setting the plaque down on a table in his wood-paneled office. “I wonder if there’s a black market for this shit.”

Before going over the day’s legislative agenda, Ammiano chatted with his Press Secretary Carlos Alcala about an editorial in that morning’s San Francisco Chronicle, “Abuse of disabled-parking program demands legislators act,” which criticized Ammiano for seeking minor changes in a city plan to start charging for disabled placards before he would sponsor legislation to implement it. The editorial even snidely linked Ammiano to disgraced Sen. Leland Yee, who is suspended and has nothing to do with the issue.

“I’ve had these tussles with the Chronicle from day one. They just want people to be angry with me,” Ammiano told us. “You stand up for anything progressive and they treat you like a piñata.”

He thought the criticism was ridiculous — telling Alcala, “If we do a response letter, using the words puerile and immature would be good” — and that it has as much to do with denigrating Ammiano, and thus Campos and other progressives, as the issue at hand.

“Anything that gets people mad at me hurts him,” Ammiano told us.

But it’s awfully hard to be mad at Tom Ammiano. Even those on the opposite side of the political fence from him and who clash with him on the issues or who have been subjected to his caustic barbs grudgingly admit a respect and admiration for Ammiano, even Lt. Gov. Gavin Newsom, who told the Guardian as much when we ran into him on the streets of Sacramento later that day.

Ammiano says he rarely gets rattled by his critics, or even the handful of death threats that he’s received over the years, including the one that led the San Francisco Police Department to place a protective detail on him during the 1999 mayor’s race.

“You are buoyed by what you do, and that compensates for other feelings you have,” Ammiano said of safety concerns.

Finally ready to prepare for the day’s business, he shouts for his aides in the other room (“the New York intercom,” he quips). The first question is whether he’s going to support a bill sponsored by PG&E’s union to increase incentives for geothermal projects in the state, a jobs bill that most environmental groups opposed.

“That is a terrible bill, it’s total shit, and I’m not going to support it,” Ammiano tells his aide. “It’s a scam.”

As Ammiano continued to prepare for the day’s session, we headed down to the Assembly floor to get ready to cover the action, escorted by Alcala. We asked what he planned to do after Ammiano leaves Sacramento, and Alcala told us that he’ll look at working for another legislator, “but there would probably be a lot more compromises.”

SPARKING CHANGE

Compromises are part of politics, but Ammiano has shown that the best legislative deals come without compromising one’s political principles. Indeed, some of his most significant accomplishments have involved sticking to his guns and quietly waiting out his critics.

For all the brassy charm of this big personality — who else could publicly confront then-Gov. Arnold Schwarzenegger at a Democratic Party fundraiser in 2009 and tell him to “kiss my gay ass!” — Ammiano has usually done the work in a way that wasn’t showy or self-centered.

By championing the reinstatement of district supervisorial elections and waging an improbable but electrifying write-in campaign for mayor in 1999 (finishing second before losing to incumbent Willie Brown in the runoff election), Ammiano set the stage for progressives to finally win control of the Board of Supervisors in 2000 and keep it for the next eight years, forming an effective counterbalance to Gavin Newsom’s pro-business mayoralty.

“I just did it through intuition,” Ammiano said of his 1999 mayoral run, when he jumped into the race just two weeks before election day. “There was a lot of electricity.”

After he made the runoff, Brown and his allies worked aggressively to keep power, leaning on potential Ammiano supporters, calling on then-President Bill Clinton to campaign for Brown, and even having Jesse Jackson call Ammiano late one night asking him to drop out.

“That’s when we realized Willie really felt threatened by us,” Ammiano said, a fear that was well-founded given that Ammiano’s loss in the runoff election led directly into a slate of progressives elected to the Board of Supervisors the next year. “It was a pyrrhic victory for him because then the board changed.”

But Ammiano didn’t seize the spotlight in those heady years that followed, which often shone on the younger political upstarts in the progressive movement — particularly Chris Daly, Matt Gonzalez, and Aaron Peskin — who were more willing to aggressively wage rhetorical war against Newsom and his downtown constituents.

By the time the 2003 mayor’s race came, Ammiano’s mayoral campaign became eclipsed by Gonzalez jumping into the race at the last minute, a Green Party candidate whose outsider credentials contrasted sharply with Newsom’s insider inevitability, coming within 5 percentage points of winning.

“I just bounced back and we did a lot of good shit after that,” Ammiano said, noting how district elections were conducive to his approach to politics. “It helped the way I wanted to govern, with the focus on the neighborhoods instead of the boys downtown.”

Perhaps Ammiano’s greatest legislative victory as a supervisor was his Health Care Security Ordinance, which required employers in San Francisco to provide health coverage for their employees and created the Healthy San Francisco program to help deliver affordable care to all San Franciscans.

The business community went ballistic when Ammiano proposed the measure in 2006, waging an aggressive lobbying and legal campaign to thwart the ordinance. But Ammiano just quietly took the heat, refused to compromise, and steadily lined up support from labor, public health officials, and other groups that were key to its passage.

“Maybe the early days of being a pinata inured me,” Ammiano said of his ability to withstand the onslaught from the business community for so long, recalling that in his 1999 school board race, “I really became a pinata. I got it in the morning from the Chronicle and in the afternoon from the Examiner.”

Ammiano kept Newsom apprised of his intentions and resolve, resisting entreaties to water down the legislation. “I kept talking to him and I told him I was going to do it,” Ammiano said. “Eventually, we got a 11 to zip vote and Newsom couldn’t do anything about it. That was a great journey.”

In the end, Newsom not only supported the measure, but he tried to claim Ammiano’s victory as his own, citing the vague promise he had made in his 2007 State of the City speech to try to provide universal health care in the city and his willingness to fund the program in his 2007-08 budget.

But Ammiano was happy with the policy victory and didn’t quibble publicly with Newsom about credit. “I picked my battles,” Ammiano said, contrasting his approach to Newsom with that of his more fiery progressive colleagues. “I tried to go after him on policy, not personality.”

Ammiano isn’t happy with the political turn that San Francisco has taken since he headed to Sacramento, with the pro-business, fiscally conservative faction of the city controlling the Mayor’s Office and exerting a big influence on the Board of Supervisors. But San Francisco’s elder statesman takes the long view. “Today, the board has a moderate trajectory that can be annoying, but I think it’s temporary,” Ammiano said. “These things are cyclical.”

He acknowledges that things can seem to a little bleak to progressives right now: “They’re feeling somewhat marginalized, but I don’t think it’s going to stay that way.”

FLOOR SHOW

Back on the Assembly floor, Ammiano was working the room, hamming it up with legislative colleagues and being the first of many legislators to rub elbows and get photos taken with visiting celebrities Carl Weathers, Daniel Stern, and Ron Perlman, who were there to support film-credit legislation

“Ron Perlman, wow, Sons of Anarchy,” Ammiano told us afterward, relating his conversation with Perlman. “I said, ‘They killed you, but you live on Netflix.’ I told him I was big fan. Even the progressives come here for the tax breaks.”

When Little Hoover Commission Chair Pedro Nava, who used to represent Santa Barbara in the Assembly, stopped to pose with Ammiano for the Guardian’s photographer, the famously liberal Ammiano quipped, “You’ll get him in trouble in Santa Barbara. Drill, baby, drill!”

Ammiano chairs the Assembly Public Safety Committee, where he has successfully pushed prison reform legislation and helped derail the worst tough-on-crime bills pushed by conservatives. “We have a lot of fun, and we get a chance to talk about all these bills that come before us,” Bob Wieckowski (D-Fremont), who chairs the Judiciary Committee, told the Guardian when asked about Ammiano. “You can see how these bad bills get less bad.”

Ammiano gave a short speech when his Modern Family Act came up for a vote, noting that it “simplifies the law around these procedures,” before the Assembly voted 57-2 to send it to the governor’s desk, where he has until Sept. 30 to act on it. “I think he’ll sign it,” Ammiano told the Guardian, “even though it’s about reproduction and naughty bits.”

“He’s a hoot,” Assemblymember Reggie Jones-Sawyer (D-Los Angeles) said of Ammiano, whose desk is right behind his own. Jones-Sawyer said that he’d love to see Ammiano run for mayor of San Francisco, “but he’s waiting for a groundswell of support. Hopefully the progressives come together.”

Jones-Sawyer said Ammiano plays an important role as the conscience of a Legislature that too often caters to established interests.

“There’s liberal, progressive, socialist, communist, and then there’s Tom,” Jones said. “As far left as you can go, there’s Tom, and that’s what we’re going to miss.”

Yet despite that strong progressive reputation, Ammiano has also been an amazingly effective legislator (something that might surprise those supporting the campaign of David Chiu, which has repeatedly claimed that ideological progressives like Ammiano and Campos can’t “get things done” in Sacramento).

Last year, Ammiano got 13 bills through the Legislature — including three hugely controversial ones: the TRUST Act, which curbs local cooperation with federal immigration holds; the Domestic Workers Bill of Rights; and a bill protecting transgender student rights in schools, which was savaged by conservative religious groups — all of which were signed into law by Gov. Jerry Brown.

“A lot of it is personal relationships, some is timing, and some is just sticking to it,” Ammiano said of effectiveness.

Some of his legislative accomplishments have required multiyear efforts, such as the Domestic Workers Bill of Rights, which was vetoed in 2012 before being signed into law last year with only a few significant changes (see “Do we care?” 3/26/13).

“Tom Ammiano was so incredible to work with,” Katie Joaquin, campaign coordinator for the California Domestic Workers Coalition, for whom the bill had long been a top priority, told the Guardian.

The large grassroots coalition backing the bill insisted on being a part of the decision-making as it evolved, which is not always easy to do in the fast-paced Capitol. But Joaquin said Ammiano’s history of working with grassroots activists made him the perfect fit for the consensus-based coalition.

“That’s difficult to do in the legislative process, and working with Tom and his office made that possible,” Joaquin told us. “He wanted to make sure we had active participation in the field from a variety of people who were affected by this.”

When the bill was vetoed by Gov. Brown, who cited paternalistic concerns that better pay and working conditions could translate into fewer jobs for immigrant women who serve as domestic workers, Joaquin said Ammiano was as disappointed as the activists, but he didn’t give up.

“It was really hard. I genuinely felt Tom’s frustration. He was going through the same emotions we were, and it was great that he wanted to go through that with us again,” Joaquin told us. “Sometimes, your allies can get fatigued with the long struggles, but Tom maintained his resolve and kept us going.”

And after it was over, Ammiano even organized the victory party for the coalition and celebrated the key role that activists and their organizing played in making California only the second state in the nation (after New York) to extend basic wage, hour, and working condition protections to nannies, maids, and other domestic workers excluded under federal law.

“He has a great sense of style,” Joaquin said of Ammiano, “and that emanates in how he carries himself.”

COMING OUT

Ammiano came to San Francisco in 1964, obtaining a master’s degree in special education from San Francisco State University and then going on to teach at Hawthorne Elementary (now known as Cesar Chavez Elementary). He quickly gained an appreciation for the complex array of issues facing the city, which would inform the evolution of his progressive worldview.

“In teaching itself, there were a lot of social justice issues,” Ammiano said. For example, most native Spanish-speakers at the time were simply dumped into special education classes because there wasn’t yet bilingual education in San Francisco schools. “So I turned to the community for help.”

The relationships that he developed in the immigrant community would later help as he worked on declaring San Francisco a sanctuary city as waves of Central American immigrants fled to California to escape US-sponsored proxy wars.

Growing up a Catholic working class kid in New Jersey, Ammiano was no hippie. But he was struck by the brewing war in Vietnam strongly enough that he volunteered to teach there through a Quaker program, International Volunteer Service, working in Saigon from 1966-68 and coming back with a strong aversion to US militarism.

“I came back from Vietnam a whole new person,” he told us. “I had a lot of political awakenings.”

He then worked with veterans injured during the war and began to gravitate toward leftist political groups in San Francisco, but he found that many still weren’t comfortable with his open homosexuality, an identity that he never sought to cover up or apologize for.

“I knew I was gay in utero,” Ammiano said. “I said you have to be comfortable with me being a gay, and it wasn’t easy for some. The left wasn’t that accepting.”

But that began to change in the early ’70s as labor and progressives started to find common cause with the LGBT community, mostly through organizations such as Bay Area Gay Liberation and the Gay Teachers Coalition, a group that Ammiano formed with Hank Wilson and Ron Lanza after Ammiano publicly came out as a gay teacher in 1975.

“He was the first public school teacher to acknowledge that he was a gay man, which was not as easy as it sounds in those days,” former Mayor Art Agnos told us, crediting Ammiano with helping make support for gay rights the default political position that it became in San Francisco.

San Francisco Unified School District still wasn’t supportive of gay teachers, Ammiano said, “So I ran for school board right after the assassinations [of Mayor George Moscone and Sup. Harvey Milk in 1978] and got my ass kicked.”

Shortly thereafter, Ammiano decided to get into stand-up comedy, encouraged by friends and allies who loved his sense of humor. Meanwhile, Ammiano was pushing for SFUSD to name a school after Milk, as it immediately did for Moscone, a quest that dragged on for seven years and which was a central plank in his unsuccessful 1988 run for the school board.

But Ammiano was developing as a public figure, buoyed by his stand-up performances (which he said Chronicle reporters would sometimes attend to gather off-color quotes to use against him in elections) and increased support from the maturing progressive and queer communities.

So when he ran again for school board in 1990, he finished in first place as part of the so-called “lavender sweep,” with LGBT candidates elected to judgeships and lesbians Carole Migden and Roberta Achtenberg elected to the Board of Supervisors.

On the school board, Ammiano helped bring SFUSD into the modern age, including spearheading programs dealing with AIDS education, support for gay students, distribution of condoms in the schools, and limiting recruiting in schools by the homophobic Boy Scouts of America.

“I found out we were paying them to recruit in the schools, but I can’t recruit?” Ammiano said, referencing the oft-raised concern at the time that gay teachers would recruit impressionable young people into homosexuality.

As his first term on the school board ended, a growing community of supporters urged Ammiano to run for the Board of Supervisors, then still a citywide election, and he was elected despite dealing with a devastating personal loss at the time.

“My partner died five days before the election,” Ammiano said as we talked at the bar in Soluna, tearing up at the memory and raising a toast with his gin-and-tonic to his late partner, Tim Curbo, who succumbed to a long struggle with AIDS.

Ammiano poured himself into his work as a supervisor, allied on the left at various points in the mid-late ’90s with Sups. Sue Bierman, Terrence Hallinan, Leland Yee, Mabel Teng, Angelo Alioto, and Carole Migden against the wily and all-powerful then-Mayor Brown, who Ammiano said “manipulated everything.”

But Ammiano gradually began to chip away at that power, often by turning directly to the people and using ballot measures to accomplish reforms such as laws regulating political consultants and campaign contributions and the reinstatement of district supervisorial elections, which decentralized power in the city.

“People frequently say about politicians, when they want to say something favorable, that they never forgot where they came from,” Agnos told us. “With Tom, he never forgot where he came from, and more importantly, he never forgot who he was…He was an authentic and a proud gay man, as proud as Harvey Milk ever was.”

And from that strong foundation of knowing himself, where he came from, and what he believed, Ammiano maintained the courage to stand on his convictions.

“It’s not just political integrity, it’s a reflection of the man himself,” Agnos said, praising Ammiano’s ability to always remain true to himself and let his politics flow from that. “A lot of politicians don’t have the courage, personal or political, to do that.”

WHAT’S NEXT

Ammiano’s legacy has been clearly established, even if it’s not always appreciated in a city enamored of the shiny and new, from recent arrivals who seem incurious about the city’s political history to the wave of neoliberal politicians who now hold sway in City Hall.

“Tom has carried on the legacy of Harvey Milk of being the movement progressive standard bearer. He has, more than anyone else, moved forward progressive politics in San Francisco in a way that goes beyond him as an individual,” Campos said, citing the return of district elections and his mentoring of young activists as examples. “He brought a number of people into politics that have been impactful in their own right.”

Campos is one of those individuals, endorsed by Ammiano to fill his District 9 seat on the Board of Supervisors from among a competitive field of established progressive candidates. Ammiano says he made the right choice.

“I have been supportive of him as a legislator and I think he’s doing the right things,” Ammiano said of Campos, adding an appreciation for the facts that he’s gay, an immigrant, and a solid progressive. “He’s a three-fer.”

Ammiano said that Campos has been a standout on the Board of Supervisors in recent years, diligently working to protect workers, tenants, and immigrants with successful efforts to increase tenant relocation fees after an eviction and an attempt to close the loophole that allows restaurants to pocket money they’re required to spend on employee health care, which was sabotaged by Chiu and Mayor Lee.

“I like his work ethic. He comes across as mild-mannered, but he’s a tiger,” Ammiano said of Campos. “If you like me, vote for David.”

But what about Ammiano’s own political future?

Ammiano said he’s been too busy lately to really think about what’s next for him (except romantically: Ammiano recently announced his wedding engagement to Carolis Deal, a longtime friend and lover). Ammiano is talking with universities and speakers bureaus about future gigs and he’s thinking about writing a book or doing a one-man show.

“Once I get that settled, I’ll look at the mayor’s race and [Sen. Mark] Leno’s seat,” Ammiano said, holding out hope that his political career will continue.

Ammiano said the city is desperately in need of some strong political leadership right now, something that he isn’t seeing from Mayor Lee, who has mostly been carrying out the agenda of the business leaders, developers, and power brokers who engineered his mayoral appointment in 2011.

“Basically, he’s an administrator and I don’t think he’ll ever be anything but that,” Ammiano said. “We are so fucking ready for a progressive mayor.”

If Ammiano were to become mayor — which seems like a longshot at this point — he says that he would use that position to decentralize power in San Francisco, letting the people and their representatives on the Board of Supervisors have a greater say in the direction of the city and making governance decisions more transparent.

“I don’t believe in a strong mayor [form of government],” Ammiano said. “If I was mayor, all the commission appointments would be shared.”

But before he would decide to run for mayor, Ammiano says that he would need to see a strong groundswell of public support for the values and ideals that he’s represented over nearly a half-century of public life in San Francisco.

“I don’t want to run to be a challenger,” Ammiano said. “I’d want to run to be mayor.”

Ranks of opposition to 16th and Mission development grow as Plaza 16 pushes forward

Erica Hanna

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August 29, 2014

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Ranks of opposition to 16th and Mission development grow as Plaza 16 pushes forward

In the sea of nonprofit leaders, career organizers, and rabblerousers, one old man put the Mission’s struggle into context, last night [Thu/28]. It was a majority Latino district even as recently as the ’90s, he told the crowd gathered in St. John’s Episcopal Church last night. But now: “Here in the Mission, I can count the Latinos on my hands.”

The stakes are high as the Plaza 16 coalition raised its concerns about a proposed housing project that would tower over the BART plaza at 16th and Mission last night, with representatives from nonprofits and other organizations around the city gathering to seek more community support for the struggle.

The 10-story residential behemoth proposed by Maximus Real Estate Partners is hotly contested. Organizers of Plaza 16 (so named for the plaza across from the development at 16th and Mission), say the development has only 42 proposed affordable housing units which would be built on site, and those aren’t even a sure thing. The rent for the rest of the building’s units range between $3,500 to $5,000 a month. Gabriel Medina, policy manager of the Mission Economic Development Agency, stated the obvious: That’s a price most current Mission residents can’t afford.

“Does that sound like units for the Mission community?” Medina asked the crowd. “No!” they shouted in reply.

Of course, the development isn’t meant for Mission residents, but for the incoming wave of upper middle class workers who can afford $42,000 a year in rent. But that sticker shock is only part of the problem.

Many supply-side housing development advocates argue San Francisco needs to build, build, build in order to offer enough housing supply to bring rental prices down (a theory many progressives disagree with). But last night, the focus was on exactly what type of construction the city is encouraging, and how that will hurt the Mission in the short term.

“I was born and raised here on 16th and Mission,” Elsa Ramos, 23, told the crowd, microphone in hand. “There’s no way for us to have another space. We’re a family of nine now, I just saw the birth of my first niece.”

Ramos is worried the Maximus development would drive up the price of her family’s unit, or lead to their eviction. When speaking with the Guardian, Ramos said her father has diabetes, and depends on city services for his healthcare. Her siblings all depend on city aid as well. Ramos’ fears were echoed by representatives of the nonprofits present, but scaled to the entire neighborhood.

“If everyone is evicted, we’re going to lose our client base,” Maria Zamudio, an organizer from Causa Justa/Just Cause, told the crowd. “We will not have clients to provide safety nets for. There will be no communities of color.”

Some of the nonprofit representatives present expressed concern with Plaza 16’s plan. “You can’t just show them you’re opposed,” one man said. “You have to show them your vision.”

Plaza 16 representatives said they want to see the Maximus project abandoned entirely. Some executives from Maximus were involved with predatory lending schemes, they allege. They also allege Maximus executives were partly responsible for the Parkmerced debacle, where many rent-controlled units were seemingly lost, the subject of a controversial court case. Maximus representatives didn’t return a Guardian call for comment.

Though there was some dissent, ultimately the nonprofits gathered expressed unified support. The spectre of forcing longtime local residents into suburban ghettos lingered over the discussion.

“Ferguson is [an example of] suburbanized poverty and segregation,” Medina told the Guardian. It’s one thing living in a low-income community in a city, he said, where nonprofits can lend aid like tutoring, shelters, free food or legal services. But like Ferguson, the suburban ghettos of the Bay Area often lack those safety nets, he said.

It seems the nonprofits present got the point, as over 15 new organizations joined the Plaza 16 coalition last night.

Midway through the meeting, Zamudio handed out cards to each of the nonprofit representatives present. A red card meant the organization would now support the fight against Maximus, an orange card would signify a need to stay neutral, a green card meant Maximus support, and a yellow card would signal an undecided vote.

When asked who was in support of the coalition, a sea of hands with red cards raised up high.

“They say it’s a gold rush. This isn’t a gold rush,” Carlos Gutierrez from HOMEY told the crowd. “This is where people live, these are people’s homes.”

A show a day: Your fall music calendar

Steven T. Jones

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August 28, 2014

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What’s going on in Bay Area music these next three months? Glad you asked.

Like a daily multivitamin wards off the sniffles, getting the SFBG’s official recommended dose of live shows is crucial to maintaining optimal mental health, fun levels, and skin tone, especially as the days get shorter and the weather turns ever-so-slightly cooler.

Here’s your musical agenda from Labor Day through Thanksgiving, with highlights from our favorite fall festivals (see this week’s issue for lots more).

Aug. 28 Black Cobra Vipers with French Cassettes The Chapel, SF. www.thechapelsf.com

Aug. 29 Blind Willies Viracocha, SF. www.viracochasf.com

Aug. 30 Mistah F.A.B. Slim’s, SF. www.slimspresents.com

Aug. 31 LIVE 105’s Punk Rock Picnic with The Offspring, Bad Religion, Pennywise, and more. Are you a late-thirties/early-forties punk rock guy or gal who can’t agree on much of anything with your 13-year-old these days? Doesn’t get much better than this lineup. Bonus points for screaming along to all the swearing on The Offspring’s “Bad Habit.” Shoreline Amphitheatre, Mountain View. www.theshorelineamphitheatre.com

Sept. 1 Hiero Day. Souls of Mischief, Del, and the rest of the guys have promised some pretty big guest stars at this week’s fest, but even without ’em — a free block party with beer from Linden Street Brewery and music from some of the Bay Area’s best underground rappers? Guests, schmests. Downtown Oakland, www.hieroday.com

Sept. 2 Ghost & Gale Brick and Mortar, SF. www.brickandmortarmusic.com

Sept. 3 Joey Cape Thee Parkside, SF. www.theeparkside.com

Sept. 4 Carletta Sue Kay Hemlock Tavern, SF. www.hemlocktavern.com

Sept. 4-13 Mission Creek Oakland Music & Arts Festival. With a range of heavy hitters — from B. Hamilton and Bill Baird to Whiskerman — this is a showcase of the fertile ground that is Oakland’s indie rock scene right now, most with door prices you’re not likely to see from these bands again. Venues throughout Oakland,www.mcofest.org.

Sept. 5 Sam Chase with Rin Tin Tiger Uptown, Oakl. www.uptownnightclub.com

Sept. 6 Bart Davenport, Foxtails Brigade, more Block Party, downtown Oakland, www.mcofest.org

Sept. 7 Coheed and Cambria, Fox Theater, Oakl. www.thefoxoakland.com

Sept. 8 The Rentals Slim’s, SF. www.slimspresents.com

Sept. 9 Wild Eyes Knockout, SF. www.theknockoutsf.com

Sept. 10 Kyrsten Bean New Parish, Oakl., www.thenewparish.com

Sept. 11 Sonny & The Sunsets Eagle Tavern, SF. www.sf-eagle.com

Sept. 11-14 Downtown Berkeley MusicFest. A range of bluesy, folky, dancey bands from all over the Bay — especially recommended: the First Person Singular presentation of Beck’s Song Reader Sept. 11 and The Parmesans at Jupiter Sept. 14. Venues all over Berkeley, www.downtownberkeleymusicfest.org

Sept. 12-14, 15th Annual Electronic Music Festival Brava Theater Center, SF. www.sfemf.org

Sept. 13 The Breeders Fillmore, SF. www.thefillmore.com

Sept. 13-14 Forever Never Land, “California’s only 21+ music festival,” Avila Beach Golf Resort, www.foreverneverland.us

Sept. 15 Vulfpeck Brick and Mortar, SF. www.brickandmortar.com

Sept. 16 Lil Dicky Independent, SF. www.theindependentsf.com

Sept. 17 Anais Mitchell The Chapel, SF. www.thechapelsf.com

Sept. 18 Silent Comedy and Strange Vine Bottom of the Hill, SF. www.bottomofthehill.com

Sept. 19 Blake Mills, The Chapel, SF. www.thechapelsf.com

Sept. 20 Old Crow Medicine Show The Masonic, SF. www.masonicauditorium.com

Sept. 20-21 Berkeley World Music Festival All over Berkeley, www.berkeleyworldmusic.org

Sept. 20-21 Russian River Jazz & Blues Festival, with Larry Graham & Graham Central Station, more. www.russianriverfestivals.com

Sept. 21 Oakland Music Festival with The Coup, Kev Choice, more Downtown Oakland, www.oaklandmusicfestival.com.

Sept. 22 La Roux Fox Theater, Oakl. www.thefoxoakland.com

Sept. 23 Cello Joe The Chapel Bar, SF. www.thechapelsf.com

Sept. 24 Skeletonwitch, Black Anvil DNA Lounge, SF. www.dnalounge.com

Sept. 25-28 Philip Glass’ Days and Nights Festival Henry Miller Memorial Library, Big Sur; Sunset Cultural Center, Carmel-by-the-Sea, www.daysandnightsfestival.com

Sept. 26 Bob Mould Fillmore, SF. www.thefillmore.com

Sept. 27 Wu-Tang Clan Warfield, SF. www.thewarfieldtheatre.com

Sept. 27 Redwood City Sala Festival Courthouse Square, Redwood City, www.redwoodcity.org

Sept. 28 Sam Smith Fox Theater, Oakl. www.thefoxoakland.com

Sept. 29 Motown on Mondays Legionnaire Saloon, Oakl. www.legionnairesaloon.com

Sept. 30 Pixies The Masonic, SF. www.masonicauditorium.com

Oct. 1 Rhymesayers presents Brother Ali, Bambu Bottom of the Hill, SF. www.bottomofthehill.com

Oct. 2 Lorde Greek Theatre, Berk. www.thegreektheatreberkeley.com

Oct. 3-5 Berkeley Hawaiian Music Festival Freight and Salvage, Berkl. www.thefreight.org.

Oct. 3-5 Hardly Strictly Bluegrass Festival, Golden Gate Park, SF. www.hardlystrictlybluegrass.com

Oct 3-5 TBD Festival. Emerging Bay Area acts like 8th Grader mingle with the big kids (Blondie, Moby, Danny Brown, Kurt Vile) at this seventh annual celebration of “music, art, design, and food.” A low-key vibe and great chance to see some huge acts in a seemingly unlikely location. Riverfront, West Sacramento. www.tbdfest.com.

Oct. 4 Cibo Matto The Chapel, SF. www.thechapelsf.com

Oct. 5 Bombay Bicycle Club Warfield, SF. www.thewarfieldtheatre.com

Oct. 6 The War on Drugs with Cass McCombs Fillmore, SF. www.thefillmore.com

Oct. 7 Thurston Moore Great American Music Hall, SF. www.slimspresents.com

Oct. 8 The King Khan & BBQ Show Great American Music Hall, SF. www.slimspresents.com

Oct. 9 Imelda May Fillmore, SF. www.thefillmore.com

Oct. 10 Too Short Shoreline Amphitheatre, Mountain View. www.shorelineamphitheatre.com

Oct. 11 Pomplamoose Fillmore, SF. www.thefillmore.com

Oct. 12 Jack Beats Mezzanine, SF. www.mezzaninesf.com

Oct. 13 Mutual Benefit Independent, www.theindependentsf.com

Oct. 14-15 Culture Collide. This new-to-the-Bay-Area party has been rocking LA for the past few years, but it seems to have taken on an appropriately Mission-esque flavor for its first Mission takeover: Local kids like Grmln alongside national acts like Cloud Nothings and Clap Your Hands Say Yeah alongside a whole host of buzzy Korean, Australian, and UK bands? Yeah, we’re there. Up and down Valencia in the Mission, with multiple stages including the Elbo Room. www.culturecollide.com

Oct. 15 Of Montreal Great American Music Hall, SF. www.slimspresents.com

Oct. 16 Russian Red Independent, SF. www.theindependentsf.com

Oct. 17 Pup Brick and Mortar Music Hall, www.brickandmortarmusichall.com

Oct. 18-19 Treasure Island Music Festival, with Outkast, Massive Attack, more Treasure Island. www.treasureislandfestival.com

Oct. 20 Kimbra Independent, SF. www.theindependentsf.com

Oct. 21 Melvins Great American Music Hall, SF. www.slimspresents.com

Oct. 22 Kat Edmonson Great American Music Hall, SF. www.slimspresents.com

Oct. 23 The Blank Tapes Brick and Mortar Music Hall, www.brickandmortarmusichall.com

Oct. 24 Foxygen Fillmore, SF. www.thefillmore.com

Oct. 25 Titan Ups and Carletta Sue Kay DNA Lounge, SF. www.dnalounge.com

Oct. 26 Bridget Everett Independent, SF. www.theindependentsf.com

Oct. 27 Warpaint Regency Ballroom, SF. ww.theregencyballroom.com

Oct. 28 Broken Bells The Masonic, SF. www.masonicauditorium.com

Oct. 29 King Tuff Great American Music Hall, SF. www. slimspresents.com

Oct. 30 Tycho Fox Theater, Oakl. www.thefoxoakland.com

Oct. 31 LIVE 105’s Spookfest with Chromeo, Alesso, more Oracle Arena, Oakl., www.live105.cbslocal.com

Nov. 1 Stone Foxes with Strange Vine The Chapel, SF. www.thechapelsf.com

Nov. 2 Citizen Cope Catalyst, Santa Cruz. www.catalystclub.com

Nov. 3 The Black Keys Oracle Arena, Oakl., www.coliseum.com

Nov. 4 Frankie Rose with Cold Beat Bottom of the Hill, SF. www.bottomofthehill.com

Nov. 5 Finch, Maps & Atlases Slim’s, SF. www.slimspresents.com

Nov. 6 Bleachers Independent, SF. www.theindependent.sf.com

Nov. 7 Slowdive Warfield, SF. www.thewarfieldtheatre.com

Nov. 8 Shovels & Rope Fillmore, SF. www.thefillmore.com

Nov. 9 Mirah Independent, SF. www.theindependentsf.com

Nov. 10 Psychedelic Furs, Lemonheads Fillmore, SF. www.thefillmore.com

Nov. 11 Mac DeMarco Fillmore, SF. www.thefillmore.com

Nov. 12 Shakey Graves Independent, SF. www.theindependentsf.com

Nov. 13 Generationals The Chapel, SF. www.thechapelsf.com

Nov. 14 Deltron 3030 Catalyst, Santa Cruz. www.catalystclub.com

Nov. 15 J. Mascis Independent, SF. www.theindependentsf.com

Nov. 16 Hot Water Music Slim’s, SF. www.slimspresents.com

Nov. 17 Culture Club Fox Theater, Oakl. www.thefoxoakland.com

Nov. 18 The 1975 The Masonic, SF. www.masonicauditorium.com

Nov. 19 Har Mar Superstar Bottom of the Hill, SF. www.bottomofthehill.com

Nov. 20 Minus the Bear Slim’s, SF. www.slimspresents.com

Nov. 21 Seu Jorge Bimbo’s 365 Club, SF. www.bimbos365club.com

Nov. 22 Peanut Butter Wolf Brick and Mortar Music Hall, www.brickandmortarmusichall.com

Nov. 23 Lucero Slim’s, SF. www.slimspresents.com

A master of observation: chatting with author Sean Wilsey

Sue Vaughan

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August 27, 2014

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A master of observation: chatting with author Sean Wilsey

“We used to call this Café High,” author Sean Wilsey says of Café International, our meeting spot, before letting out a hearty chortle. By “we” he means his late-80s classmates at the Urban School, the private prep school 10 blocks or so from the Haight and Fillmore coffee shop. By “high” I assume he’s alluding to marijuana in some form or another, but I’m too intrigued by Wilsey’s instant openness and nostalgia to probe. Despite four other high schools (he never graduated), myriad other cities (he doesn’t come back to San Francisco very often anymore), and 25 or so intervening years (he’s pushing 45), Wilsey still grasps the vibe of his native hood with the exactitude of a lifelong resident.

“A lot of places used to look like this …Café High only stands out now because it’s a relic.” The joint, which plays reggae tunes, has scuffed floors, and whose waiters delivered a gorgeous mango smoothie to Wilsey, is no longer the stereotypical SF hangout spot. Instead, the boutique and artisanal bars and coffee houses of the tech boom are the preferred haunts for most interviews and meetings of the literati. As he discussed his own evolution on gentrification, his wide and incisive eyes, usually full of exuberant twinkle, squinted in judgment. “When it first started happening, I said, ‘Shit, yeah!’” But then it loses its edge of interestingness,” Wilsey says. “The Haight used to feel totally wild and nuts. Now I wouldn’t think twice about bringing my grandmother here at any hour of the day.”

Wilsey’s ability to instantly contextualize San Francisco’s commercial shifts despite his absence is testament to the depth of his analytical mind. The writer has managed to become a magazine mainstay, wildly successful memoirist, and, most recently, author of the McSweeney’s essay collection More Curious, because of this uncanny observational ability. He’s had a prolific and varied career and is only picking up steam. Yet, like the stories of many artists, Wilsey’s journey is one built more on compulsion than pure bliss, calling than serendipity.

Given his background as the son of San Francisco socialites Al Wilsey and Pat Montandan, Wilsey is astonishingly self-made. “I have endured a certain amount of ridiculous preconception, especially in this town, out of the fact that I have a family that casts a shadow here,” he explains. “But I don’t feel like I have anything to do with it.” Despite his feelings of distance from his family’s legacy, Wilsey appears anything but bitter — he talks of his parents with a smile. Instead, he simply seems to have fought to find his own road.

After his tumultuous and often delinquent high school journey, he began honing his writing and eventually moved to New York City with the express desire to get a job at the New Yorker. “I said, ‘I’m not leaving until it happens.’ There was a lot of determination,” he says. Wilsey sent his portfolio to the New School, got in, and happened to find a professor who worked at the New Yorker. Wilsey had been at Newsweek organizing responses to letters, but eventually, after a year of calling the head of the messenger room, finagled a job as an in-house deliveryman at his dream publication.

“It had to be one of the favorite jobs that I ever had, because they would literally be like, ‘run this down to Norman Mailer’.” Despite the high-profile deliveries, Wilsey’s life was scrappily exhilarating as opposed to glamorous. He lived on a ferryboat that had docked at Pier 25, did restoration work in exchange for habitation, and got by on the $18,000 messenger salary.

I couldn’t help but think that the author’s early years in the industry were ripe for some sort of further artistic exploration, so it wasn’t surprising when Wilsey revealed that he is working on a new memoir that will incorporate his New York years. Our conversation began to transition from the biographical to the philosophical as we discussed his initial trepidation at the endeavor. “Until recently I’ve felt kind of intimidated about writing about New York, most notably because my editor — I love her, but she’s a badass — said, ‘Oh, you think you can write about New York?’”

While Wilsey delivered the quote with a hilariously sassy tone, he was clearly serious about the pressures of self-criticality and perfectionism in the writing world. He told me a bit about the plight of legendary New Yorker writer Joseph Mitchell, whom he got to meet while at the magazine and talked extensively about in the introduction to More Curious. At the height of his powers in 1964, Mitchell stopped writing and, until his death in 1996, still came to the New Yorker almost every day without ever publishing anything significant.

Relative mystery still exists about what exactly happened in Mitchell’s mind that led to his silence. Wilsey, however, has gleaned ideas from the memoirs of one of the writer’s secretaries. “They had these flirtatious lunch dates — she was a very good-looking woman — and eventually Mitchell would tell her about what he was working on and how hard it was.” The empathy that Wilsey felt for Mitchell was palpable in his voice as he recounted his literary idol’s struggles. “He tried to bring every piece he wrote to the next level and it became harder and harder for him to do it …a bit of it has come out and its not as amazing … there’s a kind of mania in it.”

Wilsey’s candor is so without pretense that I found it difficult to maintain a critical eye while we discussed. As he told the Mitchell story, I remembered to take in his appearance — a blue messenger cap (which appeared so poetic given his “in” at the New Yorker), a button-down, jeans. His dress and light, baritone voice both evoked a lasting youth — while he spoke with authority and maturity, his vigor and presence quelled all supposes that he is approaching some sort of Mitchell moment.

Wilsey battles the pitfalls of self-doubt through several writing strategies. While he was immensely appreciative of my review of More Curious, he called me out for suggesting that his immaculate fact checking was “of the Wikipedia age.” “I over-research to an incredible degree, but I actually try to avoid web research altogether.” The personalized investigative process, much of which he chronicles within his pieces, seemingly keeps Wilsey focused. The compressed timing of magazine writing also appears to help the writer keep energized in his detective work and retain perspective about the inevitable imperfection of his articles. “When you have an editor and a deadline it’s harder to get caught up in the potential craziness of working in a vacuum,” he says.

Wilsey also generates genuine interest in all of the subjects that he takes on and manages to imbue them with a philosophical depth that usually isn’t instantly obvious. While we discussed “Some of Them Can Read,” his frightening treatise on New York’s rat population, Wilsey recounted a surreal piece of information that, while not making it into the essay, buoyed its thesis. “Some explorers in South America entered a crater that no one had ever entered before. They found these huge dog-like rats, but they were like, pure love, extremely friendly, and vegetarian.” Using the rats as the uncorrupted variable against their more vicious and conniving New York equivalents, Wilsey came to a startlingly deep conclusion about the beasts. “Rats are reflections of us. They are our alter egos.”

While Wilsey can’t help but uncover facts and endlessly theorize about rats, NASA, World Cup soccer, and the other facets of contemporary society that he explores, he doesn’t necessarily want to. “You have to be called to do this thing. This is what I do. Otherwise it’s very lonely and frustrating to have a literary view of the world and not be able to set it down and stop analyzing.” The moxy that Wilsey showed in climbing the literary ladder and the attention he pays his focuses is not as much a desire so much as a necessity.

After discussing his powerful impulse to write for several minutes, Wilsey grabbed the copy of More Curious that I’d brought with me and flipped to its centerpiece, “Travels With Death.”

“I never wanted to write [this as] the main essay, but this dude we met went on this insane monologue.” The dude in question, an eccentric San Antonian interested in the architectural work of Wilsey’s traveling companion, the architect Michael Meredith, presented the duo with a multi-hour tirade about Texas history. Wilsey read his response to the surreal scene out loud: “It put me on alert. I started expecting I’d have to write about all of this, and there’s no surer impediment to a good time than knowing you have to write about it.”

Marfa, Texas, an artist enclave of around 2,000 people where Wilsey lives much of the time, offers the writer shelter from the emotional burden of his constant analysis. “Marfa, though overwhelming in its natural grandeur, allows me to step outside of my mind and just chill, and that’s almost a subversive act for me.” While Wilsey’s first and last essays in his collection focus on Marfa, he doesn’t feel the same internal expectation to chronicle its happenings.

That hasn’t stopped him from receiving a fair amount of derision in the local press. He explains a particularly damning piece: “It basically said, ‘Why does he get to write the book that is going to in some way define or advance the conversation about what this place gets to be?’” Thus, even when Wilsey manages to turn off his internal self-judgment in Marfa, his neighbors sometimes manage to pick up the slack. Despite the stress, however, Wilsey is still in love with the locale. “That’s not the Marfa that I know. Marfa can be edgy, but usually very kind.”

As we left Café High and walked up Haight Street to his reading at the Booksmith, I couldn’t help but think that Wilsey is like his home — full of sharp and often biting insight, but immensely generous and restrained, lacking almost entirely in cruelty. As he regaled me with stories of ’80s quasi-brothels on Haight that were frequented by Urban students and sighed at the sight of another steel-tinged bar with stylist mixologists, I could tell that the mania of Wilsey’s life and mind were all worth it — he’s doing what he has to do.

Check out David Kurlander’s review of Sean Wilsey’s More Curious here.

A show a day: Your fall music calendar

Steven T. Jones

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August 27, 2014

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FALL ARTS What’s going on in Bay Area music these next three months? Glad you asked.

Here’s your musical agenda from Labor Day through Thanksgiving, with highlights from our favorite fall festivals.

Aug. 27 Terry Malts Brick and Mortar, SF. www.brickand-mortarmusic.com

Aug. 28 Black Cobra Vipers with French Cassettes The Chapel, SF. www.thechapelsf.com

Aug. 29 Blind Willies Viracocha, SF. www.viracochasf.com

Aug. 30 Mistah F.A.B. Slim’s, SF. www.slimspresents.com

Aug. 31 LIVE 105’s Punk Rock Picnic with The Offspring, Bad Religion, Pennywise, and more. Are you a late-thirties/early-forties punk rock guy or gal who can’t agree on much of anything with your 13-year-old these days? Doesn’t get much better than this lineup. Bonus points for screaming along to all the swearing on The Offspring’s “Bad Habit.” Shoreline Amphitheatre, Mountain View. www.theshorelineamphitheatre.com

Sept. 1 Hiero Day. Souls of Mischief, Del, and the rest of the guys have promised some pretty big guest stars at this week’s fest, but even without ’em — a free block party with beer from Linden Street Brewery and music from some of the Bay Area’s best underground rappers? Guests, schmests. Downtown Oakland, www.hieroday.com

Sept. 2 Ghost & Gale Brick and Mortar, SF. www.brickandmortarmusic.com

Sept. 3 Joey Cape Thee Parkside, SF. www.theeparkside.com

Sept. 4 Carletta Sue Kay Hemlock Tavern, SF. www.hemlocktavern.com

Sept. 4-13 Mission Creek Oakland Music & Arts Festival. With a range of heavy hitters — from B. Hamilton and Bill Baird to Whiskerman — this is a showcase of the fertile ground that is Oakland’s indie rock scene right now, most with door prices you’re not likely to see from these bands again. Venues throughout Oakland, www.mcofest.org.

Sept. 5 Sam Chase with Rin Tin Tiger Uptown, Oakl. www.uptownnightclub.com

Sept. 6 Bart Davenport, Foxtails Brigade, more Block Party, downtown Oakland, www.mcofest.org

Sept. 7 Coheed and Cambria, Fox Theater, Oakl. www.thefoxoakland.com

Sept. 8 The Rentals Slim’s, SF. www.slimspresents.com

Sept. 9 Wild Eyes Knockout, SF. www.theknockoutsf.com

Sept. 10 Kyrsten Bean New Parish, Oakl., www.thenewparish.com

Sept. 11 Sonny & The Sunsets Eagle Tavern, SF. www.sf-eagle.com

Sept. 11-14 Downtown Berkeley MusicFest. A range of bluesy, folky, dancey bands from all over the Bay — especially recommended: the First Person Singular presentation of Beck’s Song Reader Sept. 11 and The Parmesans at Jupiter Sept. 14. Venues all over Berkeley, www.downtownberkeleymusicfest.org

Sept. 12-14, 15th Annual Electronic Music Festival Brava Theater Center, SF. www.sfemf.org

Sept. 13 The Breeders Fillmore, SF. www.thefillmore.com

Sept. 13-14 Forever Never Land, “California’s only 21+ music festival,” Avila Beach Golf Resort, www.foreverneverland.us

Sept. 15 Vulfpeck Brick and Mortar, SF. www.brickandmortar.com

Sept. 16 Lil Dicky Independent, SF. www.theindependentsf.com

Sept. 17 Anais Mitchell The Chapel, SF. www.thechapelsf.com

Sept. 18 Silent Comedy and Strange Vine Bottom of the Hill, SF. www.bottomofthehill.com

Sept. 19 Blake Mills, The Chapel, SF. www.thechapelsf.com

Sept. 20 Old Crow Medicine Show The Masonic, SF. www.masonicauditorium.com

Sept. 20-21 Berkeley World Music Festival All over Berkeley, www.berkeleyworldmusic.org

Sept. 20-21 Russian River Jazz & Blues Festival, with Larry Graham & Graham Central Station, more. www.russianriverfestivals.com

Sept. 21 Oakland Music Festival with The Coup, Kev Choice, more Downtown Oakland, www.oaklandmusicfestival.com.

Sept. 22 La Roux Fox Theater, Oakl. www.thefoxoakland.com

Sept. 23 Cello Joe The Chapel Bar, SF. www.thechapelsf.com

Sept. 24 Skeletonwitch, Black Anvil DNA Lounge, SF. www.dnalounge.com

Sept. 25-28 Philip Glass’ Days and Nights Festival Henry Miller Memorial Library, Big Sur; Sunset Cultural Center, Carmel-by-the-Sea, www.daysandnightsfestival.com

Sept. 26 Bob Mould Fillmore, SF. www.thefillmore.com

Sept. 27 Wu-Tang Clan Warfield, SF. www.thewarfieldtheatre.com

Sept. 27 Redwood City Sala Festival Courthouse Square, Redwood City, www.redwoodcity.org

Sept. 28 Sam Smith Fox Theater, Oakl. www.thefoxoakland.com

Sept. 29 Motown on Mondays Legionnaire Saloon, Oakl. www.legionnairesaloon.com

Sept. 30 Pixies The Masonic, SF. www.masonicauditorium.com

Oct. 1 Rhymesayers presents Brother Ali, Bambu Bottom of the Hill, SF. www.bottomofthehill.com

Oct. 2 Lorde Greek Theatre, Berk. www.thegreektheatreberkeley.com

Oct. 3-5 Berkeley Hawaiian Music Festival Freight and Salvage, Berkl. www.thefreight.org.

Oct. 3-5 Hardly Strictly Bluegrass Festival, Golden Gate Park, SF. www.hardlystrictlybluegrass.com

Oct 3-5 TBD Festival, Riverfront, West Sacramento. Emerging Bay Area acts like 8th Grader mingle with the big kids (Blondie, Moby, Danny Brown, Kurt Vile) at this seventh annual celebration of “music, art, design, and food.” A low-key vibe and great chance to see some huge acts in a seemingly unlikely location. www.tbdfest.com.

Oct. 4 Cibo Matto The Chapel, SF. www.thechapelsf.com

Oct. 5 Bombay Bicycle Club Warfield, SF. www.thewarfieldtheatre.com

Oct. 6 The War on Drugs with Cass McCombs Fillmore, SF. www.thefillmore.com

Oct. 7 Thurston Moore Great American Music Hall, SF. www.slimspresents.com

Oct. 8 The King Khan & BBQ Show Great American Music Hall, SF. www.slimspresents.com

Oct. 9 Imelda May Fillmore, SF. www.thefillmore.com

Oct. 10 Too Short Shoreline Amphitheatre, Mountain View. www.shorelineamphitheatre.com

Oct. 11 Pomplamoose Fillmore, SF. www.thefillmore.com

Oct. 12 Jack Beats Mezzanine, SF. www.mezzaninesf.com

Oct. 13 Mutual Benefit Independent, www.theindependentsf.com

Oct. 14-15 Culture Collide. This new-to-the-Bay-Area party has been rocking LA for the past few years, but it seems to have taken on an appropriately Mission-esque flavor for its first Mission takeover: Local kids like Grmln alongside national acts like Cloud Nothings and Clap Your Hands Say Yeah alongside a whole host of buzzy Korean, Australian, and UK bands? Yeah, we’re there. Up and down Valencia in the Mission, with multiple stages including the Elbo Room. www.culturecollide.com

Oct. 15 Of Montreal Great American Music Hall, SF. www.slimspresents.com

Oct. 16 Russian Red Independent, SF. www.theindependentsf.com

Oct. 17 Pup Brick and Mortar Music Hall, www.brickandmortarmusichall.com

Oct. 18-19 Treasure Island Music Festival

Oct. 20 Kimbra Independent, SF. www.theindependentsf.com

Oct. 21 Melvins Great American Music Hall, SF. www.slimspresents.com

Oct. 22 Kat Edmonson Great American Music Hall, SF. www.slimspresents.com

Oct. 23 The Blank Tapes Brick and Mortar Music Hall, www.brickandmortarmusichall.com

Oct. 24 Foxygen Fillmore, SF. www.thefillmore.com

Oct. 25 Titan Ups and Carletta Sue Kay DNA Lounge, SF. www.dnalounge.com

Oct. 26 Bridget Everett Independent, SF. www.theindependentsf.com

Oct. 27 Warpaint Regency Ballroom, SF. ww.theregencyballroom.com

Oct. 28 Broken Bells The Masonic, SF. www.masonicauditorium.com

Oct. 29 King Tuff Great American Music Hall, SF. www. slimspresents.com

Oct. 30 Tycho Fox Theater, Oakl. www.thefoxoakland.com

Oct. 31 LIVE 105’s Spookfest with Chromeo, Alesso, more Oracle Arena, Oakl., www.live105.cbslocal.com

Nov. 1 Stone Foxes with Strange Vine The Chapel, SF. www.thechapelsf.com

Nov. 2 Citizen Cope Catalyst, Santa Cruz. www.catalystclub.com

Nov. 3 The Black Keys Oracle Arena, Oakl., www.coliseum.com

Nov. 4 Frankie Rose with Cold Beat Bottom of the Hill, SF. www.bottomofthehill.com

Nov. 5 Finch, Maps & Atlases Slim’s, SF. www.slimspresents.com

Nov. 6 Bleachers Independent, SF. www.theindependent.sf.com

Nov. 7 Slowdive Warfield, SF. www.thewarfieldtheatre.com

Nov. 8 Shovels & Rope Fillmore, SF. www.thefillmore.com

Nov. 9 Mirah Independent, SF. www.theindependentsf.com

Nov. 10 Psychedelic Furs, Lemonheads Fillmore, SF. www.thefillmore.com

Nov. 11 Mac DeMarco Fillmore, SF. www.thefillmore.com

Nov. 12 Shakey Graves Independent, SF. www.theindependentsf.com

Nov. 13 Generationals The Chapel, SF. www.thechapelsf.com

Nov. 14 Deltron 3030 Catalyst, Santa Cruz. www.catalystclub.com

Nov. 15 J. Mascis Independent, SF. www.theindependentsf.com

Nov. 16 Hot Water Music Slim’s, SF. www.slimspresents.com

Nov. 17 Culture Club Fox Theater, Oakl. www.thefoxoakland.com

Nov. 18 The 1975 The Masonic, SF. www.masonicauditorium.com

Nov. 19 Har Mar Superstar Bottom of the Hill, SF. www.bottomofthehill.com

Nov. 20 Minus the Bear Slim’s, SF. www.slimspresents.com

Nov. 21 Seu Jorge Bimbo’s 365 Club, SF. www.bimbos365club.com

Nov. 22 Peanut Butter Wolf Brick and Mortar Music Hall, www.brickandmortarmusichall.com

Nov. 23 Lucero Slim’s, SF. www.slimspresents.com

Fall fairs and festivals

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August 26, 2014

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Aug. 30

Pilgrim Soul Forge Harvest Fair Pilgrim Soul Forge, 101 West Tower, Alameda; www.grantsforge.com. Noon-6pm, free. Possibly the only fall fair in the Bay Area to offer blacksmithing demonstrations alongside the usual suspects: food trucks, craft vendors, and live music.

Savor Filipino Justin Herman Plaza, Embarcadero at Market, SF; www.savorfilipino.com. 10am-6pm, free (most workshops $15). Try the best in Filipino cuisine at this gathering of chefs and authors, with a huge menu of tasty eats (check it out online) and workshops on vegan Filipino cooking, modern Filipino desserts, and other tasty topics. Plus: live music and traditional dance performances, and a “Dance That Lumpia Off” audience-participation activity.

Aug. 30-31

Millbrae Art and Wine Festival 400 Broadway, Millbrae; www.miramarevents.com. 10am-5pm, free. Downtown Millbrae’s annual Mardi Gras-style celebration, with live music, a juried art show, a classic car show, carnival-style rides, and tons of specialty food and drink vendors.

San Francisco Zine Fest SF County Fair Building, 1199 Ninth Ave, SF; www.sfzinefest.org. Aug 30, 11am-5pm; Aug 31, 11am-4pm. Free. Support indie writers, artists, and creators at this annual event, with exhibitions, workshops, book signings, and more. Special guests include Ryan Sands (publishing company Youth in Decline), Tomas Moniz (RAD DAD zine), and illustrator and cartoonist Hellen Jo.

Aug. 30-31

SF Bay Brazilian Day and Lavagem Festival Casa de Cultura, 1901 San Pablo, Berk; www.brasarte.com. 11am-7pm, free. Celebrate Brazilian Independence Day with a lavagem (blessing) calling for world peace, plus Brazilian music, food, a “Caipirinha lounge,” and more.

Aug. 31

Oakland Pride Uptown Oakl; www.oaklandpride.org. Parade starts at 10:30am, Broadway and 14th St; festival, 11am-7pm, Broadway at 20th Sts. Parade free; festival $5-10. It’s the very first year for the Oakland Pride Parade, while Sheila E headlines the fifth annual festival, billed as the second-largest pride event in NorCal.

Sept. 6

SF Mountain Bike Festival McLaren Park, Jerry Garcia Amphitheater, 20 John F. Shelley, SF; sfurbanriders.org/wordpress/sf-mtb-festival. 9am-5pm, free. Register in advance to compete — or just show up to spectate or test your skills in any of the non-competitive categories. Events include a short-track challenge, a 10-mile urban adventure ride, a cargo bike hill climb, a bike skills challenge for youth and families, and more, plus a box jump demo and a bike raffle.

Sept. 6-7

Autumn Moon Festival Chinatown, SF; www.moonfestival.org. Grand opening ceremony and parade, Sept 6, 11am; festival, 11am-5pm (dog costume contest, Sept 7, 2:30pm). Free. Cultural performances, an open-air street bazaar, lion dancing, and (new this year!) a dog costume contest highlight this 24th annual celebration of the Asian holiday.

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn, Mtn View; www.miramarevents.com. 10am-6pm, free. With works by over 600 professional craftspeople and artists, plus live music, home and garden exhibits, a young-performers stage, a climbing wall, food and wine, and more.

Sept. 7

Haight Street Music and Merchants Street Festival Haight between Masonic and Stanyan, SF; hsmmsf@gmail.com. Noon-6pm, free. Yep, it’s another street fair on Haight — but this brand-new event has a highly local focus, since it’s sponsored by local merchants. Expect three stages of music, kids’ activities, a skate ramp, and more.

Sept. 13

Sea Music Festival San Francisco Maritime National Historic Park, Hyde Street Pier, SF; www.nps.gov/safr/planyourvisit/seamusicfestival2014.htm. 9am-5pm; evening chantey sing, 7:30-9:30pm. Outdoor performances free; admission to historic ships $5 (15 and under with adult supervision, free). Learn about maritime history through music at this all-day fest of traditional and contemporary songs, instrumentals, and dances. The Sea Music Concert Series continues aboard the Balclutha Sept 20, Oct 25, and Nov 25 ($12-14 or a season ticket, $36).

Sept. 13-14

Ghirardelli Chocolate Festival Ghirardelli Square, 900 North Point, SF; ghirardelli.com/chocolatefestival. Noon-5pm, $20-40. Help raise money for Project Open Hand and satisfy your sweet tooth at this 19th annual dessert and wine fiesta. In addition to offering samples of gourmet goodies from over 50 vendors , Ghirardelli hosts chef demos, a silent auction, a “Chocolate School” (learn about the chocolate-making process!), and the ever-popular hands-free sundae-eating contest.

Sept. 14

Comedy Day Sharon Meadow, Golden Gate Park, SF; www.comedyday.com. Noon-5pm, free. This year’s incarnation of the free, all-day comedy festival is dedicated to the memory of supporter (and frequent unannounced performer) Robin Williams.

Sunday Streets: Western Addition Fillmore between Geary and Fulton; Fulton between Fillmore and Baker, SF; www.sundaystreetssf.com. 11am-4pm, free. What traffic? Explore the neighborhood (including Alamo Square) on foot or bike.

Sept. 19-21

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

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

Sept. 20-21

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

Sept. 21

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

Sept. 27

Bay Area Record Fair Thee Parkside, 1600 17th St, SF; www.theeparkside.com. 11am, $5 early entry (free after noon). Vinyl junkies, take note: over 30 Bay Area indie labels participate at this semi-regular event, which also boasts live music, DJs, raffles, and more.

San Mateo Bacon and Brew Festival Central Park, Fifth Ave and El Camino Real, San Mateo; www.sanmateochamber.org/bbf. 11am-5pm, $15. This fest breaks it down to the essentials. Admission gets you a free beer (or soft drink), while food vendors favor you-know-which crispy pork product.

SuperHero Street Fair 1700 Indiana, SF; www.superherosf.com. 1-11pm, $10. Seven stages and 13 “sound camps” provide the beats for this fifth annual festival celebrating heroes, villains, sidekicks, and everything in between. It goes without saying that costumes are highly encouraged.

Sept. 28

“A Day on the Water 2” Cesar Chavez Park, 11 Spinnaker, Berk; (510) 677-9425. Noon-7pm, free. Outdoor fair and music festival with Manzo Rally, Afrofunk Experience, Crosscut, and more.

Sunday Streets: Excelsior Mission between Theresa/Avalon and Geneva, SF; www.sundaystreetssf.com. 11am-4pm, free. Hit the street at this edition of Sunday Streets, which coincides with the sixth annual Tricycle Music Fest at the Excelsior Branch Library (sfpl.org/tricycle for more info).

Oct. 4

“Oaktoberfest” Fruitvale at MacArthur, Oakl; www.oaktoberfest.org. 11am-6pm, free. Family-friendly craft beer festival, with over 30 participating local breweries, a Bavarian big band and dancers, German food vendors, and more.

Oct. 4-5

Alternative Press Expo Fort Mason Center, Festival Pavilion, 2 Marina, SF; comic-con.org/ape. Check website for updates regarding times and badge prices. APE is back to celebrate alternative and small-press comics in a new venue, with a guest list that includes Bob Fingerman, Faith Erin Hicks, Ed Piskor, Paul Pope, Jason Shiga, and many more.

Oct. 5

Castro Street Fair, Castro at Market, SF; www.castrostreetfair.org. 11am-6pm, free (donate at the gate to get $1 off at fair beverage booths). Five different entertainment areas (including a main stage, a “legends” stage, and “Barnaby’s World of Wonderment”) highlight this annual event, which was founded by Harvey Milk in 1974. Performers were TBD at press time, so check the website closer to the event for updates.

Oct. 9

Union Street Wine Walk Union between Gough and Steiner, SF; www.sresproductions.com. 4-8pm, free (sampling tickets, $25). Restaurants and merchants offer wine tasting and small bites at this fifth annual neighborhood event.

Oct. 10-18

Litquake Various venues, SF; www.litquake.org. San Francisco’s annual literary festival turns 15 this year, with a week full of live readings, performances, panels, and multimedia events, including tributes to Octavio Paz and Gabriel Garcia Marquez. The Barbary Coast Award will be presented to Dave Eggers and Vendela Vida and their many projects, including 826 Valencia and McSweeney’s.

Oct. 11

Woodside Day of the Horse Woodside Town Hall, 2955 Woodside, Woodside; www.whoa94062.org. 10am-2:30pm, free (progressive trail ride, $40). The Woodside-area Horse Owners Association (WHOA) celebrates Year of the Horse with stagecoach rides, live music, a petting zoo, and more, plus an organized trail ride for experienced riders and their horses to raise money for the organization’s charitable community projects.

Oct. 11-12

World Vegetarian Festival SF County Fair Building, 1199 Ninth Ave, SF; www.worldvegfestival.com. 10:30am-8:45pm, free. The SF Vegetarian Society’s annual event features cooking demos, exhibitors, speakers, an eco-fashion show, entertainment, and samples galore.

Oct. 12

Italian Heritage Parade Begins at Jefferson and Stockton, proceeds on Columbus, and ends in Washington Square, SF; www.sfcolumbusday.org. 12:30pm, free. Established in 1868, this North Beach tradition features handmade floats, a costumed Christopher Columbus and Queen Isabella, Italian music, a Ferrari display, and more.

Oct. 13

World Championship Pumpkin Weigh-Off IDES Grounds, 735 Main Street, Half Moon Bay; weighoff.miramarevents.com. 7-11am, free. Who will reign supreme at this 41st annual battle of the bulge, dubbed the “Superbowl of Weigh-Offs”? Last year’s champ tipped the scales at 1,985 pounds — that’s a lotta pie!

Oct. 18

Noe Valley Harvest Festival 24th St between Sanchez and Church, SF; www.noevalleyharvestfestival.com. 10am-5pm, free. This 10th annual shindig aims to help you get a jump on holiday shopping, with over 50 local artisans showing their creations. Also: two stages of music, costume contests for dogs and kids, a dunk tank, a pumpkin patch, and more.

Potrero Hill Festival 20th St between Wisconsin and Missouri, SF; www.potrerofestival.com. 11am-4pm, free. Now in its 25th year, this neighborhood block party features local food and entertainment — including a kick-off Cajun-style brunch ($5-12) with Dixieland jazz — plus pony rides and a bouncy house for kids.

Oct. 18-19

Half Moon Bay Art and Pumpkin Festival Main between Mill and Spruce, Half Moon Bay; www.miramarevents.com. 9am-5pm, free. They don’t call Half Moon Bay the World Pumpkin Capital for nothing — the coastal town represents at its 44th annual gourd-tastic throwdown with three stages of music, the Great Pumpkin Parade (Oct 18 at noon), a haunted house attraction, expert Jack O’ Lantern carving, and food and drinks galore (pumpkin beer, anyone?)

Oct. 19

Sunday Streets: Mission 18th St between Guerrero and Harrison and Valencia between 25th and Duboce, SF; www.sundaystreetssf.com. 11am-4pm, free. Sunday Streets returns to the Mission! Check the website after Oct. 3 for updates on planned activities.

Oct. 25

San Francisco’s Wharf Fest Fisherman’s Wharf, SF; www.sresproductions.com. 11am-6pm, free. Celebrate SF’s waterfront history at this event, with a chowder competition, chef demos, ship tours, street performers, fireworks, and more.

Nov. 2

San Francisco Day of the Dead Procession and Festival of Altars Festival, Garfield Park, 26th St and Harrison, SF; www.dayofthedeadsf.org. 6-11pm, free. Procession begins at 22nd St and Bryant, SF; www.dayofthedeadsf.org. 7pm, free. Add a personal altar for a loved one who has passed away to the display at Garfield Park (candles must be in glass containers; no open flames allowed), and bring canned food to donate to St. Anthony’s Foundation, in honor of the altar memorializing the deaths of homeless people in SF. The procession, led by Rescue Culture Collective, circles the Mission accompanied by traditional Aztec dancers.

Nov. 14-16

Green Festival Fort Mason Center, 2 Marina, SF; www.greenfestivals.org/sf. Nov 14, noon-6pm; Nov 15-16, 10am-6pm. $15-30. Learn how to “work green, play green, and live green” at this expo, an ode to health and sustainability. Featured events include vegan and vegetarian cooking demos, inspirational speakers, and a marketplace with more than 250 eco-friendly businesses. *

Visual reaction

Michael Redmond

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August 26, 2014

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arts@sfbg.com

FALL ARTS From retrospectives and installations tied to big names, to smaller but no less arresting gallery exhibitions, this fall’s visual art offerings will have a lot to say about political bodies, politicized bodies, and the body politic. It’s heartening that the “blockbuster” shows listed here by and large focus on artists whose work doesn’t shy away from politics or political activism. After a summer in which there was a palpable uptick in public conversations about the US’s role in humanitarian injustices — both home and abroad — I hope the following exhibitions encourage people to keep talking.

“Keith Haring: The Political Line”

de Young Museum, Nov. 8, 2014–Feb. 16, 2015

The posthumous ubiquity of Keith Haring’s art (on coffee mugs, T-shirts, postcards) has overshadowed the fact that he made work that was as committedly political as it was populist. His stances on antinuclear proliferation, apartheid, and the survival of sexual communities in the face of the AIDS epidemic were as clear as his trademark figures. This first major West Coast Haring show in over two decades is more importantly the first to explicitly focus on the political dimension of his work. https://deyoung.famsf.org

“@Large: Ai Weiwei on Alcatraz Island”

Sept. 27, 2014-April 26, 2015

The Chinese dissident artist’s installation on Alcatraz via the FOR-SITE Foundation has been greeted with equal parts hype and skepticism. Working remotely from his studio with a team that includes collaborators from Amnesty International and Human Rights Watch, Ai has created new sculpture, sound, and mixed media works for four locations on the former federal penitentiary grounds (three of which are usually off-limits to the public). How these pieces will put the artist’s own experiences of detainment and censorship in conversation with the site’s history of discipline and insurrection remains to be seen. Here’s to hoping for as much heat as there is light. www.for-site.org/project/ai-weiwei-alcatraz

“American Wonder: Folk Art from the Collection”

Berkeley Art Museum and Pacific Film Archive, Oct. 1-Dec. 21

John Zurier/MATRIX 255

Sept. 12-Dec. 21

On paper, “early American folk art” as the subject for an exhibition might sound dry as toast. But a lot happened between the signing of the Declaration of Independence in 1776 to the onset of the Civil War in 1861, the period during which the portraits, landscapes, commemorative mourning pictures, weather vanes, and decorative sculptures assembled here (and all from the BAM/PFA collection) were made. These artifacts of national self-fashioning reflect that history but also the quotidian aspects of daily life which often get left out of its telling. Also on view will be local Zurier’s first solo show at the museum, which features luminous, abstract paintings and watercolors inspired by his time in Iceland. www.bampfa.berkeley.edu

“Nicolas Lobo: D.O.W.”

Gallery Wendi Norris, Sept. 4-Nov. 1

Transforming chemical elements into contemplative sculptural pieces is the MO of interdisciplinary artist Lobo for his first San Francisco solo show. Previously working with sound in varying capacities, he has now turned to food science, isolating the chemical substrates of consumer goods such as doughnut frosting and cough syrup, and incorporating them into napalm and Play-Doh structures that resemble day-glo colored Song dynasty scholar stones. Toxicity never looked so enticing. www.gallerywendinorris.com

Kota Ezawa

Haines Gallery, Nov. 6-Dec. 20

Throughout his career, Kota Ezawa has rendered iconic images as disparate as Patty Hearst and the SLA robbing the Hibernia Bank and Nan Goldin photographs in a clean, simple style reminiscent of cartoons. The result is at once highly personal and aesthetically flattening, locating Cartier-Bresson’s “decisive moment” outside of the event photographed and in the photograph’s broader circulation across time. This collection of new work should provide another chapter in his ever-evolving history of the medium. www.hainesgallery.com

“Songs and Sorrows: Días de los Muertos 20th Anniversary”

Oakland Museum of California, Oct. 8, 2014-Jan. 4, 2015

While the popularity of the Mission’s annual Días de los Muertos celebration grows in tandem with the dislocation of the community that originated it, Oakland Museum of California’s 20th anniversary celebration grounds the holiday in some much-needed historical perspective, while showcasing Latino and Latina artists who continue to innovate on the traditions and aesthetics the celebration has inspired. www.museumca.org

“Something Completely Different”

City Limits, Aug. 30-Sept. 13

You have to act fast on this one. If you want to see something completely new, head to this group show at one of Oakland’s strongest exhibition spaces. For this salon-style collection, each of the 60 participating artists was asked to go outside his or her comfort zone to create a piece that was truly new. The opening reception Sept. 5 doubles as a gallery fundraiser, so now is you chance to pick up something by one of the Bay Area’s best and brightest. http://citylimitsgallery.com *

Curtain up

Michael Redmond

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August 26, 2014

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arts@sfbg.com

FALL ARTS

The Old Woman Robert Wilson, Mikhail Baryshnikov, Willem Dafoe — None of these guys are ever to be missed, but all three together are worthy of queuing up overnight to see. There’ll be camping out onstage too, as Wilson directs Baryshnikov and Dafoe (playing several characters between them) in an outrageous piece of high-art drag, based on the short story by the formidable Russian absurdist Daniil Kharms. Nov. 21–23, Zellerbach Hall, Berk; www.calperformances.org

Cock As relationship plays go this is a prickly one. But British playwright Michael Bartlett scored big with this 2009 drama, in which a gay man falls for a woman and into a sexual identity crisis that takes the form of a merciless cockfighting pit. Sept. 5–Oct. 12, New Conservatory Theatre Center, SF; www.nctcsf.org

New Electric Ballroom Enda Walsh is not a household name, and Enda is not a typo. Nevertheless this is Ireland’s, maybe the world’s, most brilliant contemporary playwright — at least it sure seemed that way when Druid Theatre rolled into town in 2009 with Walsh’s tragic-comic Escher-drawing of a play, The Walworth Farce. Some of us have been waiting for more from that weird, dark, deeply funny mind ever since. Sept. 3–Oct. 5, Shotgun Players at Ashby Stage, Berk; www.shotgunplayers.org

The Totalitarians This grim and grimacing take on the current state of political discourse in the cornhusker state of Nebraska comes to Z Space as a newly commissioned comedy from the steely and hysterical pen of playwright-in-residence Peter Sinn Nachtrieb, who also penned Boom, T.I.C. (Trenchcoat in Common), and Hunter Gatherers. Nov. 19–Dec. 14, Z Space, SF; www.zspace.org

An Audience with Meow Meow Hypnotically charming, quixotic, and unflappably zany British cabaret sensation Meow Meow (aka Melissa Madden Gray) takes a rare Bay Area bow-bow in this new show adapted and directed by Kneehigh’s Emma Rice. Sept. 5–Oct. 19, Berkeley Rep, Berk; www.berkeleyrep.org

San Francisco Fringe Festival Indie theater at its shaggiest and most low-to-the-ground, the lottery-based, anything-and-everything Fringe offers 150 performances over 16 days at 50 minutes and 10 bucks per, which, if you do the math, equals fast, cheap, and out of control. Sept. 5–20, EXIT Theatreplex, SF; www.sffringe.org

Die! Mommie, Die! Charles Busch made a play, then a movie, then a play about shameless obsession, not least his own. J. Conrad Frank (creator of alter ego Katya Smirnoff-Skyy) steps into the unforgiving shoes of a title character originated by Busch, namely fallen 1960s pop singer Angela Arden — a cunning mash-up of Hollywood’s grand, ax-wielding tradition of good-women-gone-bad. Oct. 3–Nov. 2, New Conservatory Theatre Center, SF; www.nctcsf.org

San Francisco Improv Festival Ten years old and still acting like it, the SF Improv Festival celebrates its milestone with an array of local talent headed up by special guests Tim Meadows (Saturday Night Live), Scott Adsit (30 Rock), and Ron West (Whose Line Is It Anyway?). Sept. 10–20, Eureka Theatre, SF; www.sfimprovfestival.com

Britten: Curlew River Subtitled A Parable for Church Performance (Op. 71), Benjamin Britten’s 1964 church parable is based on a 15th-century Japanese Noh play with a libretto by South African and British author William Plomer. A major turning point for Britten’s later style, Curlew River plumbs themes of suffering and redemption in the story of a bereft mother told by four characters in the Noh tradition. British tenor Ian Bostridge stars in this new, enveloping, and highly praised multimedia staging co-presented by London’s Barbican Centre and Cal Performances. Nov. 14–15, Zellerbach Hall, Berk; www.calperformances.org

Superheroes A journalist investigating the history of the crack-cocaine epidemic follows a maze of shady associations to reach a startling conclusion in this new play written and directed by Campo Santo’s Sean San José and inspired by the late Gary Webb’s maverick work on the links between the CIA and Central American drug traffickers. Nov. 14–Dec. 14, Cutting Ball Theater, SF; www.cuttingball.com *

Theater Listings: August 27 – September 2, 2014

Michael Redmond

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August 26, 2014

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

THEATER

OPENING

Funny Girl Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-42. Opens Thu/28, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Sept 21. Hillbarn Theatre performs the classic romantic musical comedy, with music by Jule Styne, lyrics by Bob Merrill, and book by Isobel Lennart.

The Last Days of Judas Iscariot Flight Deck, 1540 Broadway, Oakl; brownpapertickets.com/event/780550. $15-25. Opens Thu/28, 8pm. Runs Thu-Sat, 8pm; Sun, 7pm. Through Sept 21. Stephen Adly Guirgis’ courtroom drama takes on the fate of the New Testament turncoat.

Life Could Be a Dream Center REPertory Company, Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.centerrep.org. $37-66. Previews Fri/29-Sat/30, 8pm; Sun/31, 2pm. Opens Tue/2, 7:30pm. Runs Wed, 7:30pm; Thu-Sat, 8pm (also Sept 20 and 27, 2:30pm); Sun, 2:30pm. Through Oct 5. CenterREPertory Company performs Roger Bean’s doo-wop musical.

Rapture, Blister, Burn Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-50. Previews Fri/29-Sat/30, 8pm; Sun/31, 2pm; Tue/2, 7pm. Opens Sept 4, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 28. Aurora Theatre Company opens its 23rd season with Gina Gionfriddo’s drama about three generations of women “struggling with feminism’s foibles.”

Wonder of the World Douglas Morrisson Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-32. Previews Thu/28, 8pm. Runs Fri-Sat and Sept 18, 8pm (also Sept 13, 2pm); Sun, 2pm. Through Sept 21. Douglas Morrison Theatre opens its 35th season with David Lindsay-Abaire’s comedy about self-fulfillment.

ONGOING

Buyer & Cellar Curran Theatre, 445 Geary, SF; www.shnsf.com. $80-100. Wed/27-Sun/31, 7:30pm (also Sat/30-Sun/31, 2pm). One ordinary gay man, one unusual mall, and one iconic (slightly terrifying) customer are the three simple ingredients that made a delectable offering of Jonathan Tolins’ Off-Broadway hit comedy. Now on the road, Buyer & Cellar comes to town with its one-man cast and original star, Michael Urie (of comedy series Ugly Betty), as Alex More, a young actor who lands a day job as the sole attendant in Barbra Streisand’s custom-made private basement shopping mall. What sounds like a made-to-order gay fantasy only intrigues Alex, who is less prone to Barbra idolatry than his live-in boyfriend, who discourses on the nitty-gritty of Streisand trivia with sociological rigor. Meanwhile, the diva herself (channeled with half-kittenish, half-matronly eccentricity by Urie) seems to have found a new object for her collection. Director Stephen Brackett’s staging is as elegantly spare and sharp as an old-fashioned straight razor, which suits the cutting humor of this ultimately warm-blooded dissection of celebrity and self. But more than anything it serves Urie who, wily shopkeeper that he is, needs no fancy sets or costumes to sell us the premise and every seemingly tossed off line with dazzling comic precision and unflagging charm. (Avila)

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Thu-Fri, 8pm; Sat, 8:30pm (starting Sept 6, Sat shows at 5); Sun, 2pm. Extended through Oct 4. The latest solo show from celebrated writer-performer Dan Hoyle (Tings Dey Happen, The Real Americans) winds a more random course than usual across the country and abroad but then that’s the idea — or at least Hoyle warns us, right after an opening encounter with a touchy young white supremacist, that the trip he’s taking us on is a subtle one. Displaying again his exceptional gifts as a writer and protean performer, Hoyle deftly embodies a set of real-life encounters as a means of exploring the primacy and predicament of face-to-face communication in the age of Facebook. With the help of director Charlie Varon (who co-developed the piece with Hoyle and Maureen Towey), this comes across in an entertaining and swift-flowing 75-minute act that includes a witty rap about “phone zombies” and a Dylan-esque screed at a digital detox center. But the purported subject of connection, or lack there of, in our gadget-bound and atomized society is neither very original nor very deeply explored — nor is it necessarily very provocative in a theater, before an audience already primed for the live encounter. Far more interesting and central here is Hoyle’s relationship with his old college buddy Pratim, an Indian American in post-9/11 America whose words are filled with laid-back wisdom and wry humor. Also intriguing is the passing glimpse of early family life in the Hoyle household with Dan’s celebrated artist father, and working-class socialist, Geoff Hoyle. These relationships, rather than the sketches of strangers (albeit very graceful ones), seem the worthier subjects to mine for truth and meaning. Indeed, there’s a line spoken by Pratim that could sum up the essence of Hoyle’s particular art: “It’s so much better,” he says, “when you find yourself in other people than when you just find yourself.” Hoyle’s real frontier could end up being much more personal terrain, much closer to home. (Avila)

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

From Red to Black ACT Costume Shop, 1119 Market, SF; www.sfplayhouse.org. $7.50-20. Wed/27-Thu/28, 7pm; Fri/29-Sat/30, 8pm. San Francisco Playhouse performs Rhett Rossi’s detective drama as part of its Sandbox Series.

Into the Woods San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-120. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun, 2pm. Through Sept 6. SF Playhouse performs Stephen Sondheim’s fractured fairy-tale musical.

Millicent Scowlworthy Thick House Theatre, 1695 18th St, SF; www.99stockproductions.org. $20. Thu/28-Sat/30, 8pm. 99 Stock Productions presents Rob Handel’s spooky tale that cautions against burying tragic events in the past.

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

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

O Best Beloved This week: Glen Canyon Park, 70 Elk, SF; www.obestbeloved.org. Sun/31, 2pm. Free (donations accepted). Through Sept 13 at various NorCal venues. Idiot String’s Joan Howard and Rebecca Longworth bring their SF Fringe Festival hit, an adaptation of Rudyard Kipling’s Just-So Stories, to local public spaces aboard a mobile stage.

Pleiades Phoenix Theatre, 414 Mason, Sixth Flr, SF; http://pleiadessf.wordpress.com. $20-25. Thu/28-Sat/30, 8pm. Marissa Skudlarek’s world premiere reimagines the Greek myth of the seven Pleiades sisters as a story about Baby Boomers in their youth.

The Ripple Effect Troupe Studio Space, 855 Treat, SF; www.sfmt.org. Free (suggested donation for this show, $20. RSVPs required as seating as limited). Also Sat/30, 2pm, free (donations accepted), Peacock Meadow, Golden Gate Park, SF; and Sun/31-Mon/1, 2pm, free (donations accepted), Dolores Park, 19th St and Dolores, SF. The veteran San Francisco Mime Troupe stays current by skewering San Francisco’s ever-dividing economy; think rising rents, tech-bus protests, and (natch) Glassholes.

The Taming of the Shrew This week: Presidio, Marin Post Parade Grounds, between Graham and Keyes, SF; www.sfshakes.org. Free. Sat-Sun and Mon/1, 2pm. Continues through Sept 21 at various Bay Area venues. Free Shakespeare in the Park presents this take on the Bard’s barb-filled romance.

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

BAY AREA

Berlin to Broadway with Kurt Weill Masquers Playhouse, 105 Park, Point Richmond; www.masquers.org. $22. Fri, 8pm; Sat, 7pm; Sun/31, Sept 7, and 14, 2pm. Through Sept 20. Masquers Playhouse performs a revue celebrating the life and work of Kurt Weill.

Cops and Robbers Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-100. Fri, 8pm; Sat, 8:30pm. Through Sept 13. Hip-hop artist and law enforcement officer Jinho “The Piper” Ferreira performs his 17-character solo show.

Fetch Clay, Make Man Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $35-58. Tue-Sat, 8pm; Wed, 7:30pm; Sun, 2 and 7pm. Through Sept 7. Marin Theatre Company performs the West Coast premiere of Will Power’s historical drama.

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

Moonlight and Magnolias Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $10-30. Thu-Sat, 8pm; Sun, 2pm. Through Sept 7. Dragon Productions presents Ron Hutchinson’s behind-the-scenes drama about the filming of Gone With the Wind.

Penthesilea — Queen of the Amazons John Hinkel Park, 41 Somerset, Berk; www.aeofberkeley.org. Free. Sat-Sun and Mon/1, 4pm. Through Sept 7. Inferno Theatre and Actors Ensemble of Berkeley perform Giulio Cesare Perrone’s adaptation of Heinrich Von Kleist’s Amazonian action fantasy.

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

Semi-Famous: Hollywood Hell Tales from the Middle Marsh Berkeley Main Stage, 2120 Allston, Berk; www.themarsh.org. $20-100. Sat, 5pm; Sun, 7pm. Through Sept 7. Don Reed’s new solo show shares tales from his career in entertainment.

The Tempest Old Mill Park Amphitheatre, behind the Mill Valley Public Library, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat-Sun and Mon/1, 4pm. Through Sept 14. Curtain Theatre returns with the Bard’s magical romance for its 14th outdoor performance.

Water By the Spoonful Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-74. Tue-Wed, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 14. TheatreWorks performs Quiara Alegría Hudes’ Pulitzer Prize-winning drama about strangers who meet in an online chat room.

PERFORMANCE/DANCE

“BATS Summer Improv Festival” Bayfront Theater, B350 Fort Mason, SF; www.improv.org. Through Sept 20. $20. This week: “Theatre on the Edge,” an improvised Brechtian musical, Fri/29-Sat/30, 8pm.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/30, Sept 6, 13, 21, 28, Oct 4, 11, 18, 26, 6:30pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Dash: Improv in a Flash” Un-Scripted Theater Company, 533 Sutter, Second Flr, SF; www.un-scripted.com. Sat/30, 10pm. $15. A late-night, free-form improv show with Un-Scripted Theater Company.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: “City Singers:” “Clairdee: The Melody Makers,” Wed/27, 7pm, $15.

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

“Mommy Queerest” Bindlestiff Studio, 185 Sixth St, SF; katevasco.com/mommyqueerest. Fri/29-Sat/30, 8pm. $25-40. Guerrilla Rep and Bindlestiff Studio present Kat Evasco in her solo show (co-written with John Caldon) about a closeted lesbian mother and her out lesbian daughter.

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

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

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

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

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Through Oct 26. Free. This week: Quetzal, Sun/31, 1-2:30pm.

BAY AREA

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

Film Listings: August 27 – September 2, 2014

Michael Redmond

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August 26, 2014

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

OPENING

As Above, So Below Psychological and supernatural terror overtakes a group of explorers (including Mad Men‘s Ben Feldman) who venture off the map in Paris’ catacombs. (1:40) California.

Brasslands Horn dogs, rejoice! Brassy, flashy joy mixed with a history of pain and a heaping helping of trumpets, tubas, and all manner of ex-band geeks mark this documentary on Serbia’s Guca Trumpet Festival. NYC’s Meerkat Media Collective captures all the delightful noise as more than half a million music fans converge on the valley hamlet of Guca for the annual competition, which promises fame and fortune for its winners. In honor of the 50th anniversary, a decade after NATO finally unleashed its fury on Belgrade, international combos have returned to an old country still roiling with issues, from a native Serbian band of champions whose leader promises to wipe the Roma combos “off the face of the earth,” to the groom at a wedding party who “wants to fire a gun but is afraid he’ll look like a terrorist on film,” to the Roma player who shrugs, “We’re ‘black’ musicians — they’re ‘white’ musicians.” Not to mention Zlatne Uste, the brass band of New Yorkers, said to be the first non-Serbian outfit to play the festival, who honestly own up to their outsider status and the band-camp bubble they foster. “People don’t like Americans there in general, not to mention leftie, hippie, weird Americans who have appropriated all their national music to provide this fantasy world that we live in here,” says one female band member, an anomaly in a still-male-dominated scene. Far be it from the filmmakers to shy from the heat, whether it’s a particularly incendiary quote, the bloody slaughter of a lamb at a Roma celebration, or an especially hot horn solo. (1:24) Roxie. (Chun)

Jamie Marks Is Dead When the titular bullied teen (Noah Silver) is found dead — whether by suicide or foul play is unclear — those most affected turn out to be two schoolmates who were barely aware of him, or each other, while he was alive. Gracie (Morgan Saylor) discovered the corpse under a river bridge on the fringe of their small upstate NY town; track star Adam (Cameron Monaghan) witnessed teammates cruelly abusing the misfit boy but did nothing to stop it. When the two cross paths, Gracie reveals that she’s seen Jamie — pale, naked, shivering, as if stuck in his last moments of life — lurking in the woods outside her home. Frightened, she urges Adam not to engage with the ghost. But in his guilt, he does, striking up a curious friendship with this specter who’s “come back” for purposes murky at best. Adapted from a novel by Christopher Barzak, this couldn’t be more different from director Carter Smith’s 2008 gore-horror hit The Ruins, being cryptic supernatural drama that aims less for scares than eerie poignancy. (The one scary element is Madisen Beaty as a malevolent second ghost.) It’s eerie, all right, with wintry atmospherics that intrigue until it’s clear the story is going to remain rather vague. The poignancy never quite comes across (save perhaps in a subplot with Liv Tyler as Adam’s mother, who copes haplessly with a serious accident) because while well-acted, the characters are poorly developed, and the precise point remains elusive. This is an aesthetically striking mood piece, but will frustrate those looking for conventional horror content, and it’s never quite enigmatically fascinating enough to leap past various potholes of conceptual and plot logic. (1:40) (Harvey)

Kundo: Age of the Rampant Brutal violence and some mightily clever outlaw fighting tactics highlight this spaghetti western-influenced revenge drama, set during Korea’s Joseon dynasty, circa the late 1850s. Corruption reigns, with government officials easily bought by the era’s version of one-percenters — leaving the majority of the population to struggle and starve. A long, complicated back story unites the two leads, one being Jo Yoon (Kang Dong-won), the power-mad, illegitimate son of the countryside’s richest man, who channels his Game of Thrones-style angst about being a bastard into becoming the deadliest sword-wielder around. The other is Dolmuchi (Ha Jung-woo), a dirt-poor butcher who backs out of one of Jo’s cruel schemes, sees his family slaughtered, and is quickly adopted by the region’s scrappy, ruthless, Robin Hood-esque bandit clan. These two angry mofos are set up early for a last-act clash, but director Yoon Jong-bin — helmer of excellent 2012 crime drama Nameless Gangster, a similarly intricate tale of simmering grudges and vulgar displays of power in 1980s Busan — takes the long road getting to the inevitable showdown, raising the stakes ever higher, fleshing out secondary characters, and papering over story gaps with narration when needed. Still, with its charismatic performances and Morricone-esque score, this is a rousing epic, and taken with Gangster (which also stars Ha), it firmly establishes Yoon as a director worthy of further notice. (1:40) Four Star. (Eddy)

Life of Crime Maintaining the novel’s original time and place, this retro caper flick is a faithful adaptation of Elmore Leonard’s jaunty 1978 The Switch. John Hawkes and Yasiin Bey (aka Mos Def) play genial petty criminals who hit on the bright idea of blackmailing a successful suburban Detroit businessman (Tim Robbins) they know has secretly pocketed away some ill-gained assets in the Bahamas — and they’ll kidnap his wife (Jennifer Aniston) for additional leverage. Little do they realize their spectacularly scumbaggy target sees a golden opportunity in their idle threats to murder Mrs. Scumbag; he’s tired of her, he’s already got a younger mistress (Isla Fisher), and figures this scenario would relieve him of alimony at the very least. With Mark Boone Jr. and Will Forte providing additional flavor as two more colorfully icky characters, Life of Crime is droll, astute, and funny as it cleverly delivers comeuppance where due. While much less flashy or sprawly than last year’s American Hustle, Daniel Schecter’s trades in equally tacky late-1970s fashions and vibes. It’s also, in its more modest way, just as satisfying a narrative. And in a movie full of good actors, the surprisingly scene-stealingest is Aniston, who underplays her unhappy trophy hausfrau to seriocomic perfection. (1:34) (Harvey)

Love is Strange Ben (John Lithgow) and George (Alfred Molina) have been together four decades, so it’s a big celebration for their extended family of friends and relations when they finally, legally get hitched. But news of the marriage reaches the archdiocese in charge of the Catholic high school where George teaches music, and while he’s hardly been in the closet at work or anywhere else, this supposed gesture of public defiance against church doctrine gets the beloved instructor fired. With Ben a not-particularly-successful painter, and George now looking for a new job, the couple can now no longer afford to pay the mortgage on the Manhattan co-op apartment they’ve lived in for 20 years (but only owned for five). Finding an affordable new place is near-impossible. So the pair find themselves split up, forced to crash under different roofs and awkward circumstances. Ben moves in with his workaholic nephew (Darren Burrows), unwittingly heightening tensions with his author wife (Marisa Tomei) and especially their moody teenage son (Charlie Tahan), who deeply resents having to share his bedroom. George lands on the couch of a younger gay couple, two cops (Cheyenne Jackson, Manny Perez) who are very nice but have an active social life that robs him of privacy and sleep. This latest from ever-more-excellent Ira Sachs (2012’s Keep the Lights On), its near-flawless screenplay co-written with Mauricio Zacharias, is a widely relatable drama about precisely observed human nature and increasingly inhumane economic realities. It’s also easily one of the best US films 2014 is likely to offer. Might as well start filling out your Oscar ballots, because this movie is definitely going to be a contender. (1:38) Embarcadero, Shattuck. (Harvey)

November Man Pierce Brosnan, who knows a thing or two about being a secret agent, stars as an ex-CIA operative lured out of retirement for one last mission. (1:48)

Road to Ninja: Naruto the Movie Masashi Kishimoto’s manga series goes cinematic for the ninth time in this 2012 release, which is “set in an alternate timeline of the Naruto universe.” (1:50)

A Summer’s Tale This 1996 entry in Eric Rohmer’s “Tales of the Four Seasons” quartet somehow never got a US theatrical release until now. Killing time in a seaside resort town before starting his first post-university engineering job — though his real love is composing songs — Gaspard (Melvil Poupaud) pines for a girl he barely met before she left without giving him her contact info. He’s befriended by Margot (Amanda Langlet), an ethnomusicologist working the summer at an aunt’s restaurant, but despite her amiability (and availability) he clings to hopes that the elusive Lena will turn up. Nonetheless, he lets himself get sidetracked by aggressive Solene (Gwenaelle Simon), whose entire family seems to be musical. His indecision, and the exasperatingly changeable desires of these young women, make for too many options that are sure to cancel each other out. Rohmer’s typically low-key near-farce of romantic dead ends is a pleasant discovery for fans, but as hapless Gaspard’s travails ramble on toward two hours, it becomes one of this late French great’s lesser works. (1:54) Opera Plaza, Shattuck. (Harvey)

The Trip to Italy Steve Coogan and Rob Brydon return as “Steve Coogan” and “Rob Brydon” in this sequel to Michael Winterbottom’s 2010 The Trip. Like its predecessor, the premise — a road trip for the purpose of a restaurant-reviewing gig — provides a loose framework upon which these two actor-comedians, portraying exaggerated, fictionalized versions of themselves, hang their easy banter and occasional deeper conversations. The midlife crisis themes are still apparent (Brydon meets a comely expat who tempts him into cheating on his wife, with whom he has a small child; Coogan feels regret over his distant relationship with his teenage son), which tie into career anxieties for both men; references to classic literature also hold over from the first film. Most importantly, also like the first film, The Trip to Italy — blessed with all the gorgeous food and coastal landscapes the change of scenery suggests — is a riot. The impressions (lots of Godfather this time around) flow fast and furiously; while there’s nothing that can top the first film’s Michael Caine battle, it’s still a pleasure watching Brydon “converse” with a historical relic at Pompeii, or the duo’s joyous invocation of The Bounty (1984) during a brief boat journey. (1:55) Albany, Embarcadero, Smith Rafael. (Eddy)

ONGOING

Begin Again Begin Again does indeed resemble writer-director John Carney’s Once (2007): It’s another musical tale of a romantically-challenged artist whose life is changed by a chance encounter. One miserable night, very recent dump-ee Greta (Keira Knightley) takes the stage at an open mic night, crooning a song she’s just written about jumping in front of a subway train. (Knightley does her own singing, but careful camerawork ensures we never get a good look at her guitar skills.) Dan (Mark Ruffalo), a down-on-his-luck music-biz professional whose career status is nearly as dismal as his personal life, is drunkenly enthralled by her performance. Clearly, there’s nothing for these two depressed souls to do but record an album together on the streets of NYC; for her, it’s a way to get even with her cheatin’ ex (Adam Levine, playing a rock star not unlike … Adam Levine); for him, it offers hope for creative rebirth. Carney’s point of view is abundantly clear: tailoring one’s music to please the basic-bitch demographic is bad; while penning personally meaningful tunes and recording them on one’s own terms is good … even if those tunes happen to be forgettable folk-pop. Fortunately, Begin Again fares better with its explorations of complicated relationships. Nobody does rumpled and wounded better than Ruffalo, and Knightley is surprisingly likable as a hipster scorned, determined to figure out her next move even as her world crumbles around her. (1:45) Shattuck, Vogue. (Eddy)

Boyhood Believe the hype: Richard Linklater’s Boyhood is one of the best films of the year. It’d be a towering cinematic accomplishment in any year. By now, you’ve heard the set-up, which borrows elements from Linklater’s Before films, as well as his coming-of-age dramas (1993’s Dazed and Confused in particular). He filmed his cast — including titular youth Ellar Coltrane, Lorelai Linklater as his older sister, and Patricia Arquette and Ethan Hawke as his divorced parents, on and off over 12 years — with scenes touching on moments both monumental (high-tension moments with ugly stepfathers) and microscopic (the creation of a perfect campfire s’more). The years flow by, signaled not by any obvious gestures like on-screen text, but by changing hairstyles, pop culture references, and evolving video-game consoles. Watching Coltrane’s Mason grow from arrowhead-obsessed tyke to thoughtful college freshman is a rare and remarkable pleasure; among the more experienced actors, Arquette is particularly moving as a fiercely loving single mom determined to advance in her career despite continual, mountain-sized roadblocks in her personal life. (2:40) Balboa, California, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. (Eddy)

Calvary John Michael McDonagh made a splashy cinematic entree both writing and directing 2011’s acerbic The Guard, which starred Brendan Gleeson as a willfully perverse small-town cop. Filmmaker and actor are back with Calvary, a film just as good, in which Gleeson’s priest is the discreetly gruff moral center of a coastal Irish hamlet that surely would have none otherwise. His parishioners are all skeptics, heretics, nonbelievers, and blatant sinners — cast members include Chris O’Dowd, Aidan Gillen, and Brendan’s real-life son Domnhall — who take particular pleasure in ridiculing the uprightness of this one man no one has a legitimate gripe against, save resentment. As if all this weren’t enough, at Calvary‘s start, an unseen confessor tells James he was abused for years by a (now-dead) Catholic priest, and as recompense will kill his current, admittedly blameless confessor in a week’s time. This set-up would appear entirely, absurdly skewed if not for the gravitational center Gleeson provides; he single-handedly provides the sincere if faint hope of redemption in a scenario that otherwise provides every possible indication of damnation for all. Calvary centrally addresses the question of faith while ultimately dodging the answer. I’d appreciate McDonagh’s ambivalence more if he weren’t quite so pleased about it. He’s got extraordinary taste, no doubt — from its editorial pace to its costume and soundtrack choices, this movie is curated within an inch of too-much-ness. But beyond his understandable disillusionment with the Catholic Church’s crimes, does he truly care about morality, or is it just an authorial chew-toy? (1:45) Piedmont, SF Centre, Shattuck, Sundance Kabuki. (Harvey)

Chef Not to take anything away from the superhero crew, but Chef feels like the closest thing to a labor of love from writer, director, and star Jon Favreau in many a day. As a director, he may have been making doughnuts — fun-filled and teeming with CGI eye candy, but doughnuts nevertheless — when it came to effects-driven blockbusters like 2008’s Iron Man, but this well-meaning play for the heart, by way of the stomach, shows you where Favreau’s head is really at. Chef revolves around Carl Casper (Favreau), a onetime food star, now reduced to serving up predictable crowd-pleasers at the behest of his restaurant’s overbearing owner (Dustin Huffman). It takes the barbs of an influential critic (Oliver Platt) — and an ensuing Twitter war — to set Carl off and send him away on his own, at the coaxing of his glam ex Inez (Sofia Vergara). Hooked up with a dilapidated food truck and former kitchen staffer Martin (John Leguizamo), and aided by ably Tweeting son Percy (Emjay Anthony), Carl ties his dreams — and lost passion — to the classic Cuban sandwich. The ensuing road trip from Miami to LA, and Carl’s journey toward self and a renewed relationship with his son, is a fun (if, in the end, a bit too speedily sketched) vault through the joys of eating your way through America’s new culinary heartland. Amid the volley of sign-of-the-times social-media swinging and cameos by the uncostumed Robert Downey Jr., Scarlett Johansson, and the like, Favreau’s main dish is that a family that eats, cooks, and runs a business together, stays together — child labor laws or no. (1:55) Marina, SF Centre, Vogue. (Chun)

Le Chef Before you fire up Twitter to alert Jon Favreau that he’s been ripped off, know that this French comedy came out in 2012. Also, it’s highly unlikely to garner even a quarter-teaspoon of the praise racked up by Favreau’s food-truck tale. Even the formidable presence of Jean Reno can’t save Le Chef; he plays veteran celebrity chef Lagarde, who’s about to have his professional reputation toppled by the money-hungry mogul who owns his signature restaurant. (Yuppie scum wants him to switch to uber-trendy molecular cuisine; traditionalist Legarde ain’t having it.) Enter eager apprentice Jacky (Michael Youn), whose Rain Man-like ability to recall all of Legarde’s recipes makes him a valuable secret weapon in this high-stakes gastronomical battle, which will culminate when a food critic decides whether to dock one of the stars in Legarde’s rating — thus opening a contract loophole that’ll allow his boss to kick him out of the kitchen. BYO food clichés to describe this too-lightweight yet overly hammy affair, which also folds domestic dramas (Jacky’s exasperated, heavily pregnant GF doesn’t understand his cooking dreams! Legarde’s neglected daughter might as well be named Sullen McEyeroll!) into the batter. And if you can’t figure out the ending within the first act, no dessert for you. (1:24) Opera Plaza. (Eddy)

Dawn of the Planet of the Apes As usual, a heady hybrid of anticipation and dread accompanies all Planet of Apes installments: you brace yourself for the abused, righteously rebellious apes; the apocalyptic mise-en-scène laden with symbolism; and more overt messaging concerning animal testing, civil rights, and gun control. But why worry? In line with 2011’s Rise of the Planet of the Apes, the PG-13 high-fives go to new Apes director Matt Reeves (2008’s Cloverfield) for sparing us animal kills, gore, and graphic violence, despite its Dawn of the Dead-evoking title. Really, this Dawn is all about the bitterly fought beginnings of a civilization among the primates north of the Golden Gate Bridge in Muir Woods, complete with community building, social structure, and alas, a burgeoning war with the humanoids amid vaguely familiar SF ruins, setting off an epic showdown that challenges not only the oft-repeated commandment “ape shall not kill ape” but takes advantage of our anthropomorphized pals’ ability to swing with the C4 explosions. The viral drug ALZ 113 that led to super-intelligent primates like chimp hero Caesar (motion-captured Andy Serkis) has decimated the human population, leaving the field wide open for enterprising and vengeful creatures like scarred lab survivor Koba (motion-captured Toby Kebbell). Neither quite trusts the band of desperate human survivors — including friendly Jason Clarke, nurturing Keri Russell, and token asshole Kirk Acevedo — that ventures into the apes’ woods to harness the power of nature, namely a dam, to electrify their SF compound. You know what side of the evolutionary span we’re on when the humans seem much more interchangeable than the chimps, and the movie can barely wait to end on its contemporary version of a Touch of Evil (1958) crane shot, as it zooms to an extreme close-up of a certain chimp’s carefully crafted eyes. (2:10) Metreon, 1000 Van Ness. (Chun)

The Expendables 3 Patrick Hughes — the guy tapped to helm the remake of 2011’s The Raid — directs a cast of thousands (more or less) in this third installment of Sylvester Stallone’s retro action franchise. By now, the Expendables movies have their formula down, not that it was particularly original to begin with, and all the marks are duly hit in part three: sinister bad guy (Mel Gibson — a solid choice, since who doesn’t love to hate him?) angers mercenary Barney (Stallone) and his team of graying, gun-wielding, shit-talking badasses (Jason Statham, Dolph Lundgren, Randy Couture, and Terry Crews). Revenge is sought, bullets fly, buildings explode, a government operative sticks his nose in (here, it’s Harrison Ford), and Arnold Schwarzenegger shows up to save the day. Fortunately, Expendables business as usual also happens to be stupidly enjoyable, especially with the addition of a just-out-of-prison (onscreen and off) Wesley Snipes. There are also fun roles for Antonio Banderas, Kelsey Grammar, and Robert Davi, but the crew’s next-generation recruits (rebel Kellen Lutz, hacker Glen Powell, weapons master Victor Ortiz, and ladybro Ronda Rousey) seem rather unnecessary. Isn’t the point of these movies to remind us that old guys still rule? (2:07) Metreon, 1000 Van Ness. (Eddy)

A Five Star Life Does the world need a Euro-femme counterpart to 2009’s Up in the Air? This warm look at a so-called “mystery guest”-cum-hotel inspector, who spends more time working in transit than in her own home (where she’d be in danger of allowing her personal life to unfold), doesn’t have quite the same torn-from-the-headlines, corporate-hatchet-man edge. Nevertheless, A Five Star Life‘s subject — centered on a 40-ish single career-woman, still such a demographic rarity these days for films — is subtly subversive, in a molto well-heeled way, while offering guilty pleasure peeps at posh concierge services and scented beige corridors. Irene (Margherita Buy) is a workaholic, but can you blame her when her job is critiquing luxe lodgings around the world? The downside of such a passion for order and perfection is that she has no one to otherwise share her high-thread-count linens. A chance encounter turns this professional traveler around and leads her question everything, though mercifully director Maria Sole Tognazzi doesn’t end up reaching for easy, Eat, Pray, Love-style responses. Self-love or acceptance, it seems, is the answer. (1:25) Opera Plaza. (Chun)

Frank Who doesn’t want to be a musical savant, visually riveting, naturally gifted, freed from convention, and liberated of linear thought? The exception might be the doll-headed, damaged namesake of this comedy loosely inspired by the life of late English musician and comedian Frank Sidebottom (real name: Chris Sievey), and real-life Sidebottom sideguy Jon Ronson, who co-wrote the screenplay. And if this loving, very funny, bromantic take on the so-called creative process of rock seems a bit forced at times, that’s only because the movie is so clearly filtered through the archetypal wannabe, made likable by Domhnall Gleeson. His office worker Jon is struggling to write songs when he stumbles across a band, Soronprfbs, after watching their keyboard player attempt to drown himself at the beach. Manager Don (Scoot McNairy) taps the bystander to contribute to the chaos happening onstage, then drags him off for the making of the album. Mysterious leader Frank (Michael Fassbender), who never takes off his massive, faux-happy head, finds inspiration in threads protruding from upholstery. As Jon’s nest egg gets sucked into the recording budget and theremin player Clara (Maggie Gyllenhaal) rages against the interloper, he posts the band’s, er, artistry to YouTube, obtaining the group a coveted gig at South by Southwest. But who really wants this shot at fame? The sideman with a will to power, or the damaged true talent? Director Lenny Abrahamson and Ronson wisely place Frank squarely in the viral video/GIF/Vine-poisoned multiplatform miasma of today, put across all the more powerfully by Gleeson and particularly Fassbender, who reveals a fine singing voice. While cleverly referencing outsider artists big and small by way of right-on original songs by Stephen Rennicks, Frank asks vital questions about motivation and art-making in an era when it seems like everyone is getting their 15 minutes of fame — and we’re getting increasingly weary of eyeballing it and filtering the wheat from the gone-in-a-nanosecond chaff. Some make music because they want to be stars, while others, Frank says, do it because they have little other choice. (1:34) Embarcadero, Shattuck, Smith Rafael. (Chun)

Get On Up Say it loud: you want to get on up on this biopic about the rich, complicated life of James Brown, a musical innovator who straddled the worlds of R&B, soul, rock ‘n’ roll, funk, hip-hop, and beyond. At first glance it seems well furnished, with a cast that includes Chadwick Boseman (last year’s 42), True Blood‘s Nelsan Ellis, The Walking Dead‘s Lennie James, Dan Aykroyd, and turns by Viola Davis and Octavia Spencer (last united in director Tate Taylor’s 2011 The Help). There’s also a slew of musician cameos (Jill Scott, Aloe Blacc), and even some personally invested oversight by co-producer Mick Jagger — not to mention the music and some vividly recreated live performances that impart some of the Godfather of Soul’s undeniable power and influence. Taylor strives to get it all in, including Brown’s childhood years of poverty and hustle; his meeting with longtime friend and collaborator Bobby Byrd (Ellis); his struggles with the law as well as disgruntled Famous Flames and band members like Maceo Parker (Craig Robinson); and his political statements, wife beating, gun toting, coke smoking, and generally exploding ego. If fitting all that into a little over two hours sounds like a task that would make a ex-Flame break a sweat, it is. And it feels even more effortful when Taylor mixes in scrambled chronology and erratic instances when Boseman’s Brown breaks the fourth wall (engaging moments that contrast with the lead’s at times glazed-eye, ungrounded readings). After taking in this flow-killing editing mishmash, you wish Taylor had settled into the groove of a straightforward narrative, à la 2004’s Ray, rather than leaping around as if directing a nouvelle vague effort on PCP. Lord knows the man’s life — not to mention the tempestuous bromance between Brown and Byrd — was fascinating enough to carry us through. Instead, we’re reduced to contemplating the blank looks and bad wigs that turn the “It’s a Man’s Man’s Man’s World” performer into a kind of Golden Girl of Funk. (2:18) SF Centre, Shattuck. (Chun)

The Giver Lois Lowry’s classic YA novel gets a veteran helmer for its big-screen adaptation, but Philip Noyce’s ability to attract top adult talent (Meryl Streep, Jeff Bridges) can’t outweigh his heavy-handed interpretation of what was never a subtle work to begin with. In a vaguely post-apocalyptic society so regulated and dulled that nobody has emotions or empathy, a young man named Jonas (Maleficent‘s Brenton Thwaites, bumped up in age from the book’s 11-year-old) is tasked with becoming the “receiver of memories.” Basically this means that he gets to hang out with Bridges’ character and learn things about the world and human history in the form of Koyaanisqatsi-meets-National Geographic montages (music — it’s a thing! Also: war is hell, etc.) This is life-changing stuff, but part of the deal is that he must never, ever tell anyone else about it, at least until he’s as grizzled as Bridges and has his own successor in need of a thorough mind-blowing. Of course, he immediately loops in pretty BFF Fiona (Odeya Rush), who he’s been seeing in a new light since catching wind of a concept called “love.” Soon, his awakening draws the ire of his mother-esque guardian (Katie Holmes), as well as the community’s leader (Streep). If you’re looking for suspense, or any curve balls (duuuude … once Jonas’ mind starts expanding, he starts seeing the black-and-white world in color!), best backtrack to one of Noyce’s 1990s thrillers (1992’s Patriot Games, perhaps). About the only surprise in The Giver is that Taylor Swift’s much-hyped role is smaller than expected, and not nearly as distracting. (1:40) Marina, 1000 Van Ness, SF Centre, Sundance Kabuki. (Eddy)

Guardians of the Galaxy The trailer that nearly broke the internet didn’t lie: Guardians of the Galaxy is cheeky, hilarious, eye-popping fun. Its plot may be a predictable anti-hero’s journey, but the saga of Peter “Star-Lord” Quill (Chris Pratt), half-Earthling, half maybe-alien, as he transforms from scavenging scoundrel to rescuer-of-the-universe is so enjoyable nobody seeking a good time at the movies will care. Helping Quill in his battle against baddie Ronan (Lee Pace) are slinky, green-skinned Gamora (Zoe Saldana); rascally raccoon Rocket (voiced by Bradley Cooper); muscle-bound dim bulb Drax (former pro wrestler Dave Bautista); and a tree-like creature named Groot (voiced by Vin Diesel — his best performance in years, if ever, despite the fact that the only words the character ever utters are “I am Groot.”) Director and co-writer James Gunn (2010’s Super), working from a cult comic from the prolific house of Marvel, does a stellar job balancing action and goofiness, with plenty of unexpected touches along the way, including the best use of 1970s soft-rock since Reservoir Dogs (1992) and Cherish (2002). (2:02) Balboa, Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy)

Hercules Dwayne Johnson is imposingly large indeed as the demigod of fabled strength. Going the Lone Ranger (2013) route of being winky-wink cynical about “the legend” while eventually buying into it anyway, here Herc is really just a 4th-century BC mercenary probably fathered by some random dude (as opposed to god-of-gods Zeus), and who with his merry band of sidekicks goes around fighting against pirates, pillagers, and such. These gigs are taken “for the gold,” but you know this Hercules wouldn’t be down fighting good people on behalf of bad people. When he’s hired to lead the citizens of Lord Cotys (John Hurt) against marauding hordes of alleged centaurs and extreme-wrestling-type beardos with green makeup led by Rhesus (Tobias Santelmann), the plot advances toward the expected training montages and battle sequences. But the plot thickens only when our don’t-call-us-heroes heroes begin to suspect they might have been misled into playing for the wrong team. Relegating a mythology-based tale’s magical aspects to dream sequences and trickery (spoiler: those aren’t real centaurs!), this adaptation of Steve Moore’s graphic novel is way less Clash of the Titans (1981/2010) and much more in the straightforward action realm of Troy (2004) and 300 (2006). It’s big and handsome, like its star, though not so debonair — the pedestrian screenplay doesn’t let him have much fun, while the supporting players allowed to smirk and deliver generally lame quips aren’t much compensation. Directed by Brett Ratner, Hercules is not the campfest of unintentional hilarity some may have hoped for. Neither does it have the content originality or stylistic personality to be memorable. Instead, it’s just pretty decent late-summer entertainment: Probably worth it if you’re craving 98 painless air-conditioned minutes, possibly not if you could really use those 12 bucks or so elsewhere in your life. (1:39) Metreon. (Harvey)

The Hundred-Foot Journey Don’t watch Lasse Hallström’s latest film on an empty stomach. Under the film’s rich layers of mouthwatering food closeups and stunning shots of France (which, admittedly, occasionally threaten to steal the show), The Hundred-Foot Journey is a simple feel-good movie, akin to your favorite comfort food. The Kadam family spices up the South of France when they open an Indian restaurant just 100 feet away from a formidable competitor: a ritzy place owned by Madame Mallory (Helen Mirran). Papa (Om Puri) and eldest son Hassan (Manish Dayal) don’t back down when the heat gets turned up. It’s easy to get caught up in Hassan’s optimism, so the film is predictable (even managing to sprinkle a bit of romance in), but not cheesy. The score is the final icing on the cake, but it’s impossible to expect anything less from Slumdog Millionaire (2008) composer A.R. Rahman. (2:02) Marina, 1000 Van Ness, SF Centre, Sundance Kabuki. (Amy Char)

If I Stay Place If I Stay alongside The Fault in Our Stars, and wonder: Is the time right to begin to define the tweepie, or teenage weepie? If I Stay speaks to the emo girl snifflers and intimate tween dystopians in the crowd, though it’s not compelling enough to make them forget to check their texts mid-movie. Excruciatingly shy cello prodigy Mia (Chloë Grace Moretz) is the oddball in her happy rocked-out family (mom and dad are Mireille Enos and Joshua Leonard). Her underlying, relatable dilemma: Should she should reach for her Juilliard dreams or stick close to her Portland, Ore., home to be with her own budding rock star boyfriend Adam (Jamie Blackley, he of the dilated wooden gaze)? But fate intervenes, as a head-on car accident slams Mia into a coma and into an out-of-body battle over deeper questions concerning survival, identity, or simply, as her punk drummer dad might quip, should she stay or should she go? Further, how to depict this without reducing Mia’s out-of-body spirit to Alice in Flashbackland, sprinting comically through hospital halls? One would think she’d run into a stray family member or two on their way to the light, but alas, If I Stay never rises to the occasion — or imaginative possibilities — and its multiple flashbacks and disembodied interludes add an ungrounded, talky sheen to the overall earnestness. Perhaps unfairly, the efforts by documentarian R.J. Cutler, working with Gayle Foreman’s popular YA novel, pale in comparison to, say, the far more psychedelic Enter the Void (2009), with its traumatic crash crash, shattered family, and wandering protagonist. Unlike that film, however, there’s never any question where If I Stay‘s heart lies: In the all-too-familiar construct of suburban America, rather than an ecstatic afterworld. (1:47) 1000 Van Ness, SF Centre, Shattuck, Sundance Kabuki. (Chun)

Into the Storm This disaster movie can’t be discussed without bringing up 1996’s Twister, probably the biggest cinematic showplace for tornadoes since 1939’s The Wizard of Oz. And while Into the Storm spectacularly improves upon Twister‘s special effects and makes timely references to climate change’s fiercest consequences — the 2011 Joplin outbreak gets a nod in dialogue and via the inclusion of a scary high-school graduation scene — it’s also a far more shallow exercise. Twister was silly, but its ragtag storm chasers (including a then-unknown Philip Seymour Hoffman) were likable; Cary Elwes’ bad-guy meteorologist was fun to jeer; and the broken-marriage tension between Helen Hunt (pre-Oscar) and Bill Paxton (endearingly wooden) had at least a few script pages’ worth of depth. No such luck in Into the Storm, in which every character seems to have been crafted based on his or her ability to perpetuate Into the Storm‘s “found-footage” aesthetic, be they filmmakers, tech-obsessed teens, or comic-relief adrenaline junkies dreaming of YouTube stardom. Sarah Wayne Callies (Walking Dead) does her best to bring gravitas as the scientist member of a documentary crew led by a tank-driving tornado hunter (Veep‘s Matt Walsh) — and Richard “Thorin Oakenshield” Armitage tries on an American accent to play the tough-love dad of two high-school boys — but no human here has as much charisma as those CG funnels. (1:29) Metreon. (Eddy)

Island of Lemurs: Madagascar (:40) Metreon, 1000 Van Ness.

Let’s Be Cops (1:44) Metreon, 1000 Van Ness.

Lucy Eurotrash auteur Luc Besson’s latest is a mostly fun action fantasy about a party girl (Scarlett Johansson) who runs afoul of gangsters in Taipei and ends up with a leaking packet of futuristic drugs sewn into her shapely stomach. Side effects include super strength and supernatural intelligence — insert pseudo-science mumbo-jumbo about tapping into 100 percent of one’s woefully underused brainpower, etc. etc. — which leads to some satisfying scenes in which Johansson’s Lucy flattens a hallway of cops with a single gesture, or filters through every phone conversation in the Paris metro area to find the one guy she needs to eavesdrop on. She’s also able to beam herself into electronic devices, a nifty trick that convinces kindly scientist Morgan Freeman to help download her magnificently advanced intelligence into a kind of living computer (shades of 2013’s Her and Under the Skin, except this time ScarJo’s wearing a really great dress). South Korean weirdo/superstar Choi Min-sik (2003’s Oldboy; 2010’s I Saw the Devil) is an inspired choice to play the vengeful kingpin intent on tracking down his runaway mule, and Besson adds some arty flair via nature-show footage and Cosmos-esque clips from beyond the infinite — though the film’s Big Ideas wobble precariously amid its other, mostly silly elements. (1:29) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Magic in the Moonlight Woody Allen’s latest — after last year’s vodka-drenched Cate Blanchett showcase Blue Jasmine — offers a return to period romance á la 2011 smash Midnight in Paris. Instead of Owen Wilson time-traveling through the artsy 1920s, we get winsome 1920s clairvoyant Sophie (Emma Stone, 25 years old) falling for the skeptic who’s sent to debunk her, played by Colin Firth (who’s 53). Firth’s performance is easily the best part of Magic in the Moonlight; his Stanley Crawford is a theatrical conjurer famed for his yellowface act, in which he solemnly makes elephants disappear. Off-stage, he’s a self-proclaimed genius regarded by most who meet him as a pompous jerkface. When he’s summoned to the South of France to help a longtime friend and fellow magician (Simon McBurney) prove that Sophie — from humble origins, she’s grown fond of high-society living — is hoodwinking the fancy American family that’s taken her in, nothing unfolds as he expects. The whole exercise is lighter than meringue; it’d be passable as lesser Allen except for that obvious, comically huge age gap between the leads. He knows we disapprove, and he does not care. Are you trolling us, Woody? (1:40) Albany, Clay, Piedmont, SF Centre. (Eddy)

Me and You Bernardo Bertolucci’s Me and You is this once-towering director’s first feature in over a decade spent sidelined by crippling back pain. But it’s also his best since at least 1990’s The Sheltering Sky, despite some limitations to the material adapted from Niccolò Ammaniti’s novel. In some respects, it’s a flashback to 1979’s cultishly adored, popularly reviled Luna, again mixing up awkward male adolescence, heroin addiction, and diva behavior. Lorenzo (Jacopo Olmo Antinori) is a more-than-usually withdrawn teen, perhaps due to major acne and his parents’ separation. When the mom he’s exhausting with his attitude (Sonia Bergamasco) sends him off to ski camp, he quails at joining so many prettier peers. Instead, he sneaks back for a week of blissful solitude in their apartment building’s conveniently well-supplied basement. This curmudgeon’s idyll, however, is interrupted by another fugitive. Lorenzo’s older half-sister Olivia (Tea Falco) is a decadent wild child temporarily out of allies, and horse. She needs a place to crash and withdraw. Yelps that he’d prefer being alone don’t get pimply Lorenzo very far, as Olivia is “not exactly dying to be in this craphole.” She’s here because it’s her only option. Bertolucci embarrassed himself with a couple of later movies (1996’s Stealing Beauty, 2003’s The Dreamers) in which he seemed a stereotypical old artiste ogling young flesh. Me and You doesn’t go where you might expect, but neither do its characters develop in otherwise sufficiently surprising or revealing ways. Once they’re trapped in the basement, the movie remains fascinating, but the fascination is all directorial rather than narrative. It’s a master class in execution with a definite minor in content. (1:43) Roxie. (Harvey)

A Most Wanted Man Director Anton Corbijn’s film may not be the greatest John le Carré adaptation in recent years (see: 2011’s Tinker Tailor Soldier Spy), but it’s still a solid thriller, anchored by Philip Seymour Hoffman’s turn as Günther Bachmann, the once-bitten-but-not-yet-shy head of an top-secret branch of Germany’s FBI/CIA equivalent. Its task: spying on Hamburg’s Islamic groups, where the 9/11 attacks were planned, though the enemies that Bachmann faces come mostly from within the greater intelligence community, including his superiors. Never before has the phrase “the Americans have taken an interest” been so chilling, especially to a guy who is just trying to do his job, if only everyone else (including Robin Wright as one of those meddling Americans) would keep their sticky mitts off his delicately planned surveillance operations. There’s a forward-moving plot, of course, about a Chechen-Russian illegal immigrant with a huge inheritance who might be a terrorist (Rachel McAdams plays his human-rights lawyer), but could also serve a greater purpose by helping bring down an even bigger target. And while A Most Wanted Man‘s twists and turns, involving Willem Dafoe as a banker who becomes a reluctant player in Bachmann’s scheme, are suspenseful, Hoffman’s portrayal of a man trapped in a constant maze of frustration — good intentions cut off at every turn, dumping booze into his morning coffee, breaking up a bar fight, ruefully admitting “I am a cave dweller,” visibly haunted by past errors — is the total package, a worthy final entry in a career that ended way too early. (2:02) Embarcadero, Four Star, 1000 Van Ness, Presidio, Shattuck. (Eddy)

Obvious Child We first encounter the protagonist of writer-director Gillian Robespierre’s funny, original film — a Brooklyn-dwelling twentysomething named Donna (Jenny Slate), who works at a lefty secondhand bookstore and makes regular (if unpaid) appearances at a local comedy night — onstage mining such underdiscussed topics as the effects of vaginal discharge on your garden-variety pair of underwear. This proves a natural segue to other hefty nuggets of embarrassment gold concerning her love life, to the dismay of boyfriend Ryan (Paul Briganti), auditing from the back of the club. He pretty much deserves it, however, for what he’s about to do, which is break up with her in a nasty, well-populated unisex bathroom, taking time to repeatedly glance at the texts coming through on his phone from Donna’s good friend, with whom he’s sleeping. So when Donna, mid-drowning of sorrows, meets a nice-looking fellow named Max (Jake Lacy) at the bar, his post-fraternity-presidency aesthetic seems unlikely to deter her from a one-night stand. The ensuing trashed make-out dance-off in Max’s apartment to the Paul Simon song of the title is both comic and adorable. The fractured recap of the evening’s condom-free horizontal events that occurs inside Donna’s brain three weeks later, as she hunkers down with her best friend, Nellie (Gaby Hoffmann), in the bookstore’s bathroom after peeing on a stick, is equally hilarious — and unwanted-pregnancy jokes aren’t that easy to pull off. Robespierre’s treatment of this extended windup and of Donna’s decision to have an abortion is a witty, warmhearted retort to 2007’s Knocked Up, a couple generations’ worth of Hollywood rom-com writers, and an entertainment industry that continues to perform its sweaty contortions of storytelling in the gutless cause of avoiding the A-word. (1:15) Opera Plaza. (Rapoport)

The One I Love Sophie (Elisabeth Moss) and Ethan (Mark Duplass) have hit a speed bump in their relationship — they don’t have fun together like they used to, and even direct attempts to replicate that past magic fall completely flat. Ergo they take the advice of a couples counselor (Ted Danson) and book a weekend at a country getaway he swears has done “wonders” for all his previous clients in relationship trouble. Things get off to a pleasant enough start, but the duo’s delight at recapturing their old mojo becomes complicated when they realize … well, it’s best to know as little as possible going into The One I Love, a first feature for director Charlie McDowell and scenarist Justin Lader that approaches a fantastical narrative idea with a poker face and considerable ingenuity. Duplass and (especially) Moss are terrific in roles that eventually require some very complicated (and subtle) nuances. (1:31) Presidio. (Harvey)

Rich Hill Documentarians Andrew Droz Palermo and Tracy Droz Tragos’ exquisite Sundance Grand Jury Prize winner Rich Hill spends some months in the company of three boys living in particularly problematic circumstances in the depressed titular Missouri small town. The future doesn’t look bright, but then their present is already pretty bleak. Harley is a rather thick teen with serious anger-management issues who’s fallen into the weary care of his grandmother. His mother is in prison. When we learn why, it explains a great deal about why he always teeters on the edge of violent rage. The younger Appachey, barely adolescent but already dropping f-bombs like a cranky Teamster, lives in chaotic near-squalor with his mother and junior siblings. And you can tell the filmmakers’ favorite is Andrew; the adorable 14-year-old is an oasis of faith and positivity despite the shitstorm of bad luck life’s already dealt him. “We’re not trash, we’re good people,” he says at one point, though one imagines his hapless, transient family might be regarded as the former by some of Rich Hill’s more respectable 1,393 citizens. Later he rationalizes continued dire straits by musing, “God must be busy with everyone else,” a statement of dogged hope rather than bitterness. Rich Hill is more beautifully crafted, notably in the realm of Palermo’s gorgeous cinematography and Nathan Halpern’s musical scoring, than documentaries are supposed to be these days. The lyricism never seems forced, however. This is a movie about young American lives orphaned by globalization and trickle-up, among other factors — the kinds of small-town heartland existence they were born into has already been written off as unprofitable. (1:31) Roxie. (Harvey)

Sin City: A Dame To Kill For (1:38) Metreon, 1000 Van Ness, Presidio, Sundance Kabuki.

Snowpiercer Eighteen years after an attempt to reverse global warming has gone wildly awry — freezing all life into extinction — the only known survivors are on a one-of-a-kind perpetual-motion train that circles the Earth annually, has its own self-contained ecosystem, and can smash through whatever ice buildup has blocked its tracks since the last go-round. It’s also a microcosm of civilization’s worst class-economic-racial patterns over history, with the much-abused “tail” passengers living in squalor under the thumb of brutal military police. Unseen at the train’s front is its mysterious inventor, Wilford, whose minions enforce “Eternal Order Prescribed by the Sacred Engine.” Curtis (Chris Evans) is default leader of the proletariat’s latest revolt, in which they attempt to force their way forward though the prison section (where they free Song Kang-ho and Go Ah-sung as the train’s original lock designer and his psychic daughter) on to the wonders of the first class compartments, and beyond. This first (mostly) English-language feature by South Korean Bong Joon-ho (2006’s The Host, 2009’s Mother), based on a 1982 French graphic novel, starts out as a sort of locomotive, claustrophobic Mad Max (1979) variation. But it gets wilder and more satirical as it goes along, goosed by Tilda Swinton’s grotesquely comic Minister Mason, and Alison Pill as a teacher propagandist in a particularly hilarious set piece. In case the metaphor hasn’t already hit you on the head, one character explains “The train is the world, we the humanity.” But Snowpiercer‘s sociopolitical critique is as effective as it is blunt, because Bong handles everything here — visceral action, absurdist humor, narrative left-turns, neatly etched character archetypes, et al. — with style, confidence, and wit. Some of the FX may not be quite as seamless as it would have been in a $200 million Hollywood studio production, and fanboys will no doubt nitpick like nitwits at various “credibility gaps.” (As if this movie ever asks to be taken literally.) But by current, or any, sci-fi action blockbuster standards, this is a giddily unpredictable, risk-taking joy. (2:07) Four Star. (Harvey)

Teenage Mutant Ninja Turtles Years from now, film scholars will look back at these creatively bankrupt (if box office-rich) times and blame Michael Bay for many evils, including a garish Transformers series that won’t die. He also produces this theatrical reboot of a kiddie action series (currently enjoying a TV cartoon renaissance on Nickelodeon) that probably should’ve been left in the sewer after 2007’s TMNT — star Chris Evans thanks you for forgetting that even existed — or, even better, after revealing the secret of the ooze in the 1990s. But Teenage Mutant Ninja Turtles is here to stomp all over nostalgic goodwill, not to mention take advantage of CG advancements that render its heroes as “real” as pumped-up reptiles with weapons can be, with a 3D coating that does allegedly human but suspiciously plastic co-star Megan Fox no favors. If you can get past that eeriness, you won’t be rewarded for your efforts; the jokes are either unfunny or pointless (are we really still referencing the Lost finale?), and the plot is so insultingly predictable William Fichtner’s character might as well be named “Sinister Rich Guy.” May also contain: fart jokes, butt jokes, pizza. (2:00) Metreon, 1000 Van Ness, Shattuck. (Eddy)

To Be Takei The erstwhile and forever Mr. Sulu’s surprisingly high public profile these days no doubt sparked this documentary portrait by SF’s own Jennifer Kroot (2009’s It Came From Kuchar). But she gives it dramatic heft by highlighting the subject’s formative years in World War II Japanese-American internment camps, and finds plenty of verite humor in the everyday byplay between fairly recently “out” gay celebrity George and his longtime life and business partner Brad Altman — the detail-oriented, pessimistic worrywart to his eternally upbeat (if sometimes tactlessly critical) star personality. We get glimpses of them in the fan nerdsphere, on The Howard Stern Show, at Takei’s frequent speaking engagements (on internment and gay rights), and in his latter-day acting career both as perpetual TV guest and a performer in a hopefully Broadway-bound new musical (about internment). Then of course there’s the Star Trek universe, with all surviving major participants heard from, including ebullient Nichelle Nichols, sad-sack Walter Koenig, thoughtfully distanced Leonard Nimoy, and natch, the Shat (who acts like a total asshat, dismissing Takei as somebody he sorta kinda knew professionally 50 years ago.) We also hear from younger Asian American actors who view the subject as a role model, even if some of his actual roles weren’t so trailblazing (like a couple “funny Chinaman” parts in Jerry Lewis movies, and in John Wayne’s 1968 pro-Vietnam War film The Green Berets). Even if you’ve tired of Takei’s ubiquity online and onscreen, this campy but fond tribute is great fun. (1:30) Sundance Kabuki. (Harvey)

What If (1:45) Metreon, Shattuck.

When the Game Stands Tall (1:55) Metreon, 1000 Van Ness. *

Infinite loop

Steven T. Jones

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August 26, 2014

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esilvers@sfbg.com

FALL ARTS If you are a fan of hip-hop, you likely already know that 1993 was a very special year.

Call it coincidence, call it fate, call it a combination of social, economic, and political factors projected through the kaleidoscopic lens of American pop culture and write your thesis about it (you wouldn’t be the first). But something in the air in 1993 coalesced into a weather system of seminal albums from the best of the best: Tupac, Queen Latifah, Snoop Dogg, A Tribe Called Quest, Wu-Tang, De La Soul.

In Oakland, E-40 made his solo debut. Too $hort’s new album hit the top of the R&B/hip-hop charts. The Coup was selling records by rapping about the Communist Manifesto. And then there was Souls of Mischief.

Fresh out of Skyline High School, the sound of the four-piece’s debut was something else altogether: Over obscure jazz and funk samples, Souls of Mischief traded flows about weed, street violence, girls, teenage boredom — so no, not entirely unique in subject matter. But there was a sweet subtlety to the delivery, a charismatic, self-aware almost-wink to their bravado. These were Bay Area kids talking about how it felt to be Bay Area kids at that time, with a mission statement that charted a modest path for the future: This is how we chill/ from 93 ’til…

As of this writing, it’s been 20 years and 11 months since 93 ‘Til Infinity helped put the Bay on the hip-hop map. A lot’s changed, to put it lightly. The Internet happened, and the Internet’s effect on the music industry. The consolidation of thousands of smaller, regionally-influenced media channels into a few giant, similar-sounding ones.

And then there are things that haven’t changed. Twenty years and 11 months since that record first propelled them into the national spotlight, the four high school buddies who make up Souls of Mischief — that’s A-Plus, Opio, Phesto, and Tajai — are slouched on couches in their clubhouse in East Oakland on a warm Wednesday evening, ribbing each other about joint-rolling technique.

The Hiero compound, as the converted two-story warehouse is known, serves as the physical center of Hieroglyphics, the close-knit hip-hop collective/umbrella record label that’s home to rappers Del the Funkee Homosapien, Casual, and Pep Love, DJ Toure and producer Domino, in addition to Souls of Mischief. The exterior walls are covered with a mural done by teenagers in the neighborhood (it’d be tagged up by now, but everyone knows it’s Hiero so they leave it alone). Inside, the ground floor contains recording studios — Pep Love is working in one right now — and a big room that can be set up for video shoots. Upstairs, more recording space, a room with wall-to-wall shelves of vinyl, a mini-kitchen, an office.

A-Plus’s teenage son is here at the moment, recording something of his own. Stickers bearing the three-eyed Hiero logo adorn nearly every surface. An incoming mail pile is marked with a Post-it. Items on a nearby bookshelf: a stuffed alligator toy, Swisher blunt wraps. In one corner, a whiteboard reads “HIEROGLYPHICS CREW NEXT PROJECTS,” with members’ names down the left-hand side and updates about their records; as an afterthought: “THE PURPOSE OF THIS BOARD IS COORDINATED MARKETING STRATEGY.” In another corner, a chart titled “Capitalism Is a Pyramid Scheme.”

In the two-plus decades since that momentous year, the members of Souls of Mischief have had kids. Hieroglyphics went from young upstart crew to real business venture to respected veterans of the hip-hop world who can still easily sell out amphitheaters (as they learned on their 20th anniversary tour last year). There are special edition box-sets of their 20th anniversary reissue waiting for autographs downstairs before being shipped. On Monday, Sept. 1 (Labor Day), Souls of Mischief will be the centerpiece of the third annual Hiero Day, a free, all-ages music festival/block party in downtown Oakland that gets bigger every year — and it’s not just about the music. But more on that later.

What the guys have been consumed by for a year makes its debut a few days earlier. On Aug. 26, Souls of Mischief will drop their sixth studio album, There Is Only Now, the group’s first full-length since 2009.

A richly orchestrated concept album set in 1994, based loosely on real events from the year following their breakout album (when they were dealing with newfound fame, as Oakland dealt with an increase in gun violence), the record serves as both a bookend to 93 ‘Til Infinity and as completely fresh territory. For one, it’s Souls of Mischief’s first collaboration with the LA-based producer of the moment, Adrian Younge (Jay Z, Delfonics, Ghostface Killah), who’s using the album to launch his new vinyl-centric label, Linear Labs.

“The name There Is Only Now comes in part from Buddhism, the idea of focusing on the moment and being present. But it’s also a period piece with a twist — it touches on issues that are still going on now: Street violence, love, drugs, the music business. It’s a universal story,” says Tajai, after ambling in the last of the four, asking who has rolling papers. (He’s just come from a panel at UC Berkeley’s architecture school, where he was judging undergraduates’ projects, he says, by way of explanation about his preppy sweater. He’s enrolled in the Master’s program there.)

Fittingly, the record is a study in contrasts and surprises. Its guest stars are folks you might have heard of — Snoop Dogg, Busta Rhymes — but in roles we’re not really used to. The story, which follows the crew on an adventure through Oakland after Tajai is kidnapped, is punctuated by interludes from A Tribe Called Quest‘s DJ Ali Shaheed Muhammad as an animated radio DJ, narrating and addressing Oakland from a fictional radio station, K-NOW.

Even more appropriately: The record, which clocks in at a packed 40 minutes long, sounds slick as anything — and was created without the use of a single sample or computer. At 35, Younge is known for using only live instrumentation (most of it performed himself), and the resulting beats and backing tracks draw heavily from classic ’60s and ’70s soul; his affinity for the Blaxploitation era of cinema and experience scoring films lends an extra layer of cinematic feeling to the record’s narrative.

Maybe most importantly, Souls of Mischief sound like they’re having a damn good time.

“The fact that it was all analog took it back to the beginning for us,” adds Phesto, noting that in the high school days of Souls of Mischief, they wrote songs using three-way calling. “We’ve been messing with live instrumentation from the beginning. But with the storyline, [Younge] writing it like a score, and us being lyricists for that score — I think he brought out something in us that no other producer has.”

There’s a base level of social consciousness that Hiero fans will know to expect. During one radio interlude that prefaces the song “Ghetto Superhero,” callers into K-NOW voice concerns about violence in Oakland in a way that, unfortunately, is still highly relevant. (Ali Shaheed Muhammad, with an audible smile: “It’s almost like we need some kind of superhero…”).

But it’s never been the goal to hit listeners over the head with social commentary, says A-plus. If they were going to tackle something like gentrification in Oakland, they’d do it for real, “and it’d be an 18-hour song.”

Besides, adds Tajai, “We’re older rappers. When we preach, it comes off preachy.”

Which is not to say that they’re reluctant to get political. Ask, for example, what they make of current trends in mainstream, commercial rap (and what seems like the chasm between that and the independent hip-hop that’s always bubbling just underground), and you will hear some opinions about materialism. Particularly, hypothetically, if A-Plus and Phesto had to leave an hour ago, and the light outside is waning from the pink East Oakland sky, and Tajai and Opio have smoked a good amount over the last 90 minutes.

“Music is always a reflection of society, and rap is like a 40-year-old man. That motherfucker has kids and a 401k. That’s how it’s acting,” says Tajai. “It doesn’t have the idealism it used to. It’s about ‘get paper.’ And you’re hearing kids saying that.”

“I think you can talk about money and still be a real person and have some style and finesse — I always liked Run-D.M.C. with the big chain and whatever, that’s part of hip-hop,” offers Opio. “I don’t think standing in front of the car is horrible in and of itself. But when every single thing is that…”

“The problem is not the subject matter, it’s that access to shit that isn’t that isn’t equal. It’s always the lowest common denominator, scraping the bottom of the barrel,” says Tajai. “I’ll hear something these days that’s like — is this a parody? I can’t even tell if it’s a joke. And then it takes off!”

Opio: “That’s just advertising dollars. People are investing in that because it makes money.”

Tajai: “I’m not mad at that. I’m mad that the dollars that do come in don’t go toward building new power structures. Look, the materialism is across the board. ‘In God we trust’ is on the dollar. We’re a materialist, capitalist society that’s driven by consuming. We are the mall. We’re not even the manufacturer or the farm, America is just the mall, and we’re being fed these images that make us wanna go to the mall all the time. My thing is I just want there to be some kind of reinvestment. Like cool, make a million dollars, but then have 40 percent of it go to literacy programs. Because then at the very least, people will understand that you’re a human who thinks, and not just this caricature of a rapper you’re selling to everybody.”

And now is maybe when we talk about Hiero Day.

The thing about Hieroglyphics, most fans will tell you, is that Hieroglyphics has never quite gotten their due. Souls of Mischief were notoriously underpromoted by Jive following their debut; as violence in Oakland increased in the ’90s, the city put an actual moratorium on hip-hop shows for a while. Ask hip-hop historian Davey D about it. There was literally no place in Oakland for rappers to get on a stage.

When Hieroglyphics threw the first Hiero Day in 2012 — prompted by a Facebook fan who wrote online that, in honor of ’93 Til Infinity, he wanted to introduce as many people as possible to Hieroglyphics on 9/3, Sept. 3 — something shifted. A roster of the Bay Area’s hip-hop stars came out and played a free show in the streets that weekend, and roughly 10,000 people showed up. In 2013, it grew bigger, gaining sponsors, with Mayor Jean Quan naming it an official city holiday and referring to Hieroglyphics as a “bright spot” for Oakland.

This was a big change in tone from a city that hadn’t formally done much to support hip-hop for 20 years.

But Souls of Mischief aren’t looking for a medal. They’re looking at fundraising models like Farm Aid. They want to be able to give away houses after Hiero Day. They talk all the time, they say, about buying a farm and building a commercial kitchen where Oakland kids can learn about agriculture and cooking, learn farm-to-table techniques.

“As far as hip-hop moving forward, my thing is that hip-hop used to give us what we needed intellectually. And if we can’t feed people with it that way anymore, let’s feed them physically,” says Tajai. “You throw a weekend festival with 200,000 people, it should be an imperative to then go ‘Where is this money going?’ or ‘We’re gonna create this farm or this school.’

“That’s the whole point of Hiero Day,” he continues. “Use music to bring people together, bring people to local businesses, and then pool our resources and invest in the community so there’s lasting effects beyond just a party.”

“That’s one of the most powerful tools for young people,” says Opio. “It’s ‘OK, we’re partying, this is fun,’ and then you realize you can come together and do more than just party. You’ve seen the effects of that in the ’60s. That leads to revolutions.”

There are 15-year-olds becoming adults knowing only this version of Souls of Mischief. There’s a whole subset of fans who were born in ’93, in particular, who take Souls of Mischief lyrics straight to the chest. What will “old school” mean to their kids? Think for a second on the difference between infinity and there is only now.

“We’re talking about how to turn hip-hop into a generator of what it used to generate for us,” says Tajai. “I mean, we’re here today because of rap music. Not dead, not strung out, because of rap music. As much as because of our parents, our homies, whatever. So we gotta give something back.”

“Oh, right, and buy the record,” he adds. A half-hearted laugh. “We are the worst fucking promoters.”

Souls of Mischief play Hiero Day (alongside Zion I and some 28 other artists) Monday, Sept. 1 at the Linden Street Brewery Stage, 95 Linden, Oakl. More info: www.hieroday.com

Music Listings Oct 1 – Oct 7, 2014

Michael Redmond

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August 26, 2014

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WEDNESDAY 8
DANCE
Beaux: 2344 Market, San Francisco. “BroMance: A Night Out for the Fellas,” 9pm, free.
The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8pm, free.
Cat Club: 1190 Folsom, San Francisco. “Bondage-A-Go-Go,” w/ DJ Damon, Tomas Diablo, guests, 9:30pm, $7-$10.
Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance party, 9pm, $10-$20.
DNA Lounge: 375 11th St., San Francisco. “Go Deep!,” 18+ dance party, 9pm, $10-$15.
Edinburgh Castle: 950 Geary, San Francisco. “1964,” w/ DJ Matt B & guests, Second and Fourth Wednesday of every month, 10pm, $2.
F8: 1192 Folsom, San Francisco. “Housepitality,” 9pm, $5-$10.
Lookout: 3600 16th St., San Francisco. “What?,” 7pm, free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9pm, free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10pm, free.
Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, 9pm, $3.
HIP-HOP
Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9pm, $5.
ACOUSTIC
Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7pm, free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, Every other Wednesday, 9:30pm, free/donation.
The Independent: 628 Divisadero, San Francisco. Angus & Julia Stone, 8pm, sold out.
JAZZ
Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7pm, free.
Balancoire: 2565 Mission, San Francisco. “Cat’s Corner,” 9pm, $10.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6pm, free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7pm, free.
Level III: 500 Post, San Francisco. Sony Holland, Wednesdays-Fridays, 5-8pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with Eric Tillman, 7pm, $5.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30pm, $5.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Baobab!,” timba dance party with DJ WaltDigz, 10pm, $5.
Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7pm, $5-$10.
Revolution Cafe: 3248 22nd St., San Francisco. Americano Social Club, Second Wednesday of every month, 9pm
FUNK
Vertigo: 1160 Polk, San Francisco. “Full Tilt Boogie,” w/ KUSF-in-Exile DJs, Second Wednesday of every month, 8pm-1:30am, free.
SOUL
Monarch: 101 Sixth St., San Francisco. “Color Me Badd,” coloring books and R&B jams with Matt Haze, DJ Alarm, Broke-Ass Stuart, guests, Wednesdays, 5:30-9:30pm, free.
THURSDAY 9
ROCK
The Independent: 628 Divisadero, San Francisco. Sondre Lerche, 8pm, $15.
DANCE
Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10pm, free.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9pm, $5-$7.
Balancoire: 2565 Mission, San Francisco. “Electric SwingSet,” Second Thursday of every month, 7:30pm, $10 (+ $5 for dance lessons).
Beaux: 2344 Market, San Francisco. “Twerk Thursdays,” 9pm, free.
The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9pm, $5.
Cat Club: 1190 Folsom, San Francisco. “Class of 1984,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9pm, $6 (free before 9:30pm).
The Cellar: 685 Sutter, San Francisco. “XO,” 10pm, $5.
Club X: 715 Harrison, San Francisco. “The Crib,” 18+ LGBT dance party, 9:30pm, $10.
Elbo Room: 647 Valencia, San Francisco. “Hi Life,” w/ resident DJs Pleasuremaker & Izzy*Wize, 9:30pm, $6.
Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10pm, $10.
Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9pm, $5 after 10pm
Raven: 1151 Folsom, San Francisco. “1999,” w/ VJ Mark Andrus, 8pm, free.
Trax: 1437 Haight, San Francisco. “Beats Reality: A Psychedelic Social,” w/ resident DJs Justime & Jim Hopkins, 9pm, free.
Underground SF: 424 Haight, San Francisco. “Bubble,” 10pm, free.
HIP-HOP
John Colins: 138 Minna, San Francisco. “Future Flavas,” w/ DJ Natural, 10pm, free.
Park 77 Sports Bar: 77 Cambon, San Francisco. “Skratchpad S.F.,” Second Thursday of every month, 10pm, free.
Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/ lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10pm, free.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7pm
Plough & Stars: 116 Clement, San Francisco. The Shannon Céilí Band, Second Thursday of every month, 9pm
The Pour House: 1327 Polk, San Francisco. Jimbo Scott & Grover Anderson, 7pm, free.
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, Second Thursday of every month, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30pm
Level III: 500 Post, San Francisco. Sony Holland, Wednesdays-Fridays, 5-8pm, free.
The Royal Cuckoo: 3202 Mission, San Francisco. Charlie Siebert & Chris Siebert, 7:30pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with Eric Tillman, 7pm, $5.
SFJAZZ Center: 205 Franklin, San Francisco. “Hotplate,” Second Thursday of every month, 8 & 9:30pm, $15-$20.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Pure Ecstasy, 7:30pm, $10.
INTERNATIONAL
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8pm
REGGAE
Make-Out Room: 3225 22nd St., San Francisco. “Festival ‘68,” w/ Revival Sound System, Second Thursday of every month, 10pm, free.
Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9pm, free.
BLUES
50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30pm, free.
COUNTRY
Atlas Cafe: 3049 20th St., San Francisco. Jinx Jones & Jessica Rose, Second Thursday of every month, 8pm, free.
McTeague’s Saloon: 1237 Polk, San Francisco. “Twang Honky Tonk,” w/ Sheriff Paul, Deputy Saralynn, and Honky Tonk Henry, 7pm
The Parlor: 2801 Leavenworth, San Francisco. “Honky Tonk Thursdays,” w/ DJ Juan Burgandy, 9pm, free.
EXPERIMENTAL
Exploratorium: Pier 15, San Francisco. Resonance: Unheard Sounds, Undiscovered Music, Second Thursday of every other month, 7pm
FRIDAY 10
ROCK
The Independent: 628 Divisadero, San Francisco. Fink, Douglas Dare, 9pm, $18-$20.
Slim’s: 333 11th St., San Francisco. Uncle Acid & The Deadbeats, Danava, 9pm, $17.
Thee Parkside: 1600 17th St., San Francisco. Slaughter & The Dogs, Juicehead, Modern Kicks, 9pm, $15.
DANCE
Amnesia: 853 Valencia, San Francisco. “Indie Slash,” w/ resident DJs Danny White, Rance, and Sweethearts, Second Friday of every month, 10pm, $5.
Beaux: 2344 Market, San Francisco. “Manimal,” 9pm
The Cafe: 2369 Market, San Francisco. “Boy Bar,” 9pm, $5.
Cat Club: 1190 Folsom, San Francisco. “Dark Shadows,” w/ resident DJs Daniel Skellington & Melting Girl, Second Friday of every month, 9:30pm, $7 ($3 before 10pm).
The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10pm
The EndUp: 401 Sixth St., San Francisco. “Trade,” 10pm, free before midnight.
The Grand Nightclub: 520 Fourth St., San Francisco. “We Rock Fridays,” 9:30pm
Infusion Lounge: 124 Ellis, San Francisco. “Flight Fridays,” 10pm, $20.
Lone Star Saloon: 1354 Harrison, San Francisco. “Cubcake,” Second Friday of every month, 9pm
Make-Out Room: 3225 22nd St., San Francisco. “Last Nite: A 2000s Indie Dance Party,” w/ DJs Jamie Jams & EmDee, Second Friday of every month, 10pm, $5-$10.
MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9pm
OMG: 43 Sixth St., San Francisco. “Deep Inside,” 9pm, free.
Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9pm, $3.
Showdown: 10 Sixth St., San Francisco. “The Reboot,” w/ The Certain People Crew, Second Friday of every month, 10pm, free.
Underground SF: 424 Haight, San Francisco. “Pulse Generator,” w/ resident DJs Cherushii, Clairity, and Nightbiscuit, Second Friday of every month, 10pm, free.
HIP-HOP
EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9pm
John Colins: 138 Minna, San Francisco. “Heartbeat,” w/ resident DJ Strategy, Second Friday of every month, 9pm, $5 (free before 11 p.m).
Slate Bar: 2925 16th St., San Francisco. “The Turn Up,” w/ DJs Spank Bank & Ma Yeah, Second Friday of every month, 10pm, free.
ACOUSTIC
The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10am, $5.
JAZZ
Bird & Beckett: 653 Chenery, San Francisco. Jimmy Ryan’s Bird & Beckett Bebop Band, Second Friday of every month, 5:30pm, $10 suggested donation per adult.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30pm, free.
Level III: 500 Post, San Francisco. Sony Holland, Wednesdays-Fridays, 5-8pm, free.
Revolution Cafe: 3248 22nd St., San Francisco. Tin Cup Serenade, Second Friday of every month, 9:30pm
Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9pm, $10.
Zingari: 501 Post, San Francisco. Joyce Grant, 8pm, free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10pm, $5.
Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30pm, $15 (free entry to patio).
Cliff House: 1090 Point Lobos, San Francisco. Orquesta Conquistador Quartet, Second Friday of every month, 7pm
Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15pm, $15-$18.
Roccapulco Supper Club: 3140 Mission, San Francisco. Fuego Latino, 9pm
REGGAE
Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30pm, free.
BLUES
The Saloon: 1232 Grant, San Francisco. Jinx Jones & The KingTones, Second Friday of every month, 4pm
FUNK
Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, and Tom Thump, 10pm, $5-$10.
SOUL
Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10pm, free.
The Knockout: 3223 Mission, San Francisco. “Nightbeat,” w/ DJs Primo, Lucky, and Dr. Scott, Second Friday of every month, 10pm, $4.
Madrone Art Bar: 500 Divisadero, San Francisco. “Yo Momma: M.O.M. Weekend Edition,” w/ DJ Gordo Cabeza, Second Friday of every month, 9pm, $5 (free before 10pm).
SATURDAY 11
ROCK
Thee Parkside: 1600 17th St., San Francisco. Eddie & The Hot Rods, Dime Runner, The Richmond Sluts, Bad Coyotes, 9pm, $12.
DANCE
Amnesia: 853 Valencia, San Francisco. “2 Men Will Move You,” w/ DJs Primo & Jordan, Second Saturday of every month, 9pm
Cat Club: 1190 Folsom, San Francisco. “Club Gossip,” w/ DJ Damon & guests, Second Saturday of every month, 9pm, $5-$8 (free before 9:30pm).
DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” 9pm, $10-$15.
Elbo Room: 647 Valencia, San Francisco. “Tormenta Tropical,” w/ resident DJs Oro11 & Theory, Second Saturday of every month, 10pm, $5-$10.
The EndUp: 401 Sixth St., San Francisco. “Eclectricity,” Second Saturday of every month, 10pm
Lookout: 3600 16th St., San Francisco. “Bounce!,” 9pm, $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Music Video Night,” w/ DJs Satva & 4AM, Second Saturday of every month, 10pm, $5.
Mighty: 119 Utah, San Francisco. “Salted,” w/ Miguel Migs, Julius Papp, guests, Second Saturday of every month, 10pm, $10 before 11pm
OMG: 43 Sixth St., San Francisco. “Fixup,” Second Saturday of every month, 10pm, $5 (free before 11 p.m).
Q Bar: 456 Castro, San Francisco. “Shoop!,” w/ DJs Tommy T & Bryan B, Second Saturday of every month, 9pm
Rickshaw Stop: 155 Fell, San Francisco. “Cockblock,” w/ DJ Natalie Nuxx & guests, Second Saturday of every month, 10pm, $10.
The Stud: 399 Ninth St., San Francisco. “Frolic: A Celebration of Costume & Dance,” w/ resident DJ NeonBunny, Second Saturday of every month, 8pm, $8 ($4 in costume).
HIP-HOP
111 Minna Gallery: 111 Minna, San Francisco. “Back to the ‘90s,” Second Saturday of every month, 9:30pm, $10.
John Colins: 138 Minna, San Francisco. “Frothin,” w/ resident DJ Matt Cali, Second Saturday of every month, 10pm
Slate Bar: 2925 16th St., San Francisco. “The Hustle,” w/ DJs Sake One & Sean G, Second Saturday of every month, 10pm, $5 before midnight.
ACOUSTIC
Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco and/or Meredith Axelrod, Saturdays, 4-6pm, free.
Slim’s: 333 11th St., San Francisco. Bahamas, Basia Bulat, 9pm, $16.
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Byrds of a Feather, Second Saturday of every month, 7:30pm, $8.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9pm
INTERNATIONAL
1015 Folsom: 1015 Folsom, San Francisco. “Pura,” 9pm, $20.
Bissap Baobab: 3372 19th St., San Francisco. Misión Flamenca, Monthly live flamenco music and dance performances., Second Saturday of every month, 7:30pm “Paris-Dakar African Mix Coupe Decale,” 10pm, $5.
Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10pm, $5-$10.
Pachamama Restaurant: 1630 Powell, San Francisco. Eddy Navia & Pachamama Band, 8pm, free.
Public Works: 161 Erie, San Francisco. “Non Stop Bhangra,” w/ resident DJ Jimmy Love, Dholrhythms dance troupe, more (in the main room), Second Saturday of every month, 9pm, $10-$15.
Revolution Cafe: 3248 22nd St., San Francisco. BrazilVox, Second Saturday of every month, 9:30pm
Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30pm
BLUES
The Saloon: 1232 Grant, San Francisco. Dave Workman, Second Saturday of every month, 4pm
SUNDAY 12
DANCE
The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9pm, free.
The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8pm
Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” Sunday night excursions into the echo-drenched outer realms of dub with resident DJ Sep and guests, 9pm, $6 (free before 9:30pm).
The EndUp: 401 Sixth St., San Francisco. “Sundaze,” 1pm, free before 3 p.m; “The Rhythm Room,” Second Sunday of every month, 10pm
F8: 1192 Folsom, San Francisco. “Stamina,” w/ DJs Lukeino, Jamal, and guests, 10pm, free.
The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10pm, free.
Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8pm, $2.
MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10pm
Monarch: 101 Sixth St., San Francisco. “Werd,” 9pm, $5-$10.
The Parlor: 2801 Leavenworth, San Francisco. “Sunday Sessions,” w/ DJ Marc deVasconcelos, 9pm, free.
Q Bar: 456 Castro, San Francisco. “Gigante,” 8pm, free.
Temple: 540 Howard, San Francisco. “Sunset Arcade,” 18+ dance party & game night, 9pm, $10.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30pm, free.
ACOUSTIC
The Chieftain: 198 Fifth St., San Francisco. Traditional Irish Session, 6pm
The Lucky Horseshoe: 453 Cortland, San Francisco. Bernal Mountain Bluegrass Jam, 4pm, free.
Madrone Art Bar: 500 Divisadero, San Francisco. Spike’s Mic Night, Sundays, 4-8pm, free.
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30pm, free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10pm, free.
The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30pm, free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with David Byrd, 7pm, $5.
INTERNATIONAL
Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30pm, $10-$20.
Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30pm, free.
Caña Cuban Parlor & Cafe: 500 Florida, San Francisco. “La Havana,” 4pm
El Rio: 3158 Mission, San Francisco. Salsa Sundays, Second and Fourth Sunday of every month, 3pm, $8-$10.
Revolution Cafe: 3248 22nd St., San Francisco. Balkan Jam Night, 8:30pm
Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30pm
BLUES
The Saloon: 1232 Grant, San Francisco. Blues Power, 4pm; The Door Slammers, Second Sunday of every month, 9:30pm
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8pm, free.
Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9pm
COUNTRY
The Riptide: 3639 Taraval, San Francisco. Joe Goldmark & The Seducers, Second Sunday of every month, 7:30pm, free.
MONDAY 13
ROCK
The Independent: 628 Divisadero, San Francisco. Mutual Benefit, Julie Byrne, 8pm, $13-$15.
DANCE
DNA Lounge: 375 11th St., San Francisco. “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30pm, $3-$5.
Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9pm, free.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. The Pick Bluegrass Jam, Second Monday of every month, 6pm, free; Toshio Hirano, Second Monday of every month, 9pm, free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30pm, free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Open Mic with Brendan Getzell, 8pm, free.
Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7pm, free.
The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4pm
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7pm, free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8pm
REGGAE
Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10pm, free.
BLUES
Elite Cafe: 2049 Fillmore, San Francisco. “Fried Chicken & Blues,” 6pm
The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30pm
SOUL
Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8pm, $3 after 9pm
TUESDAY 14
DANCE
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10pm, $2.
Boom Boom Room: 1601 Fillmore, San Francisco. “Time Warp Tuesdays,” w/ DJ Madison, 9pm, free.
Harlot: 46 Minna, San Francisco. “Tutu Tuesday,” w/ resident DJ Atish, Second Tuesday of every month, 9pm, $7 ($2 in a tutu before 11pm).
Monarch: 101 Sixth St., San Francisco. “Soundpieces,” 10pm, free-$10.
Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9pm, $3.
Underground SF: 424 Haight, San Francisco. “Shelter,” 10pm, free.
HIP-HOP
Double Dutch: 3192 16th St., San Francisco. “Takin’ It Back Tuesdays,” w/ DJs Mr. Murdock & Roman Nunez, Second Tuesday of every month, 10pm, free.
ACOUSTIC
Revolution Cafe: 3248 22nd St., San Francisco. CelloJoe, Second Tuesday of every month, 9pm
JAZZ
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6pm, free.
Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7pm
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30pm, free.
Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7pm
Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9pm, $10-$12.
Wine Kitchen: 507 Divisadero St., San Francisco. Hot Club Pacific, 7:30pm
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8pm, $22.
INTERNATIONAL
Cafe Cocomo: 650 Indiana, San Francisco. Salsa Tuesday, w/ DJs Good Sho & El de la Clave, 8:30pm, $10.
The Cosmo Bar & Lounge: 440 Broadway, San Francisco. Conga Tuesdays, 8pm, $7-$10.
F8: 1192 Folsom, San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9pm, $5 (free before 9:30pm).
REGGAE
Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10pm
SOUL
Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30pm, free.

Fall fairs and fests

Michael Redmond

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August 26, 2014

0

Listings are compiled by Guardian staff.

Aug. 30

Pilgrim Soul Forge Harvest Fair Pilgrim Soul Forge, 101 West Tower, Alameda; www.grantsforge.com. Noon-6pm, free. Possibly the only fall fair in the Bay Area to offer blacksmithing demonstrations alongside the usual suspects: food trucks, craft vendors, and live music.

Savor Filipino Justin Herman Plaza, Embarcadero at Market, SF; www.savorfilipino.com. 10am-6pm, free (most workshops $15). Try the best in Filipino cuisine at this gathering of chefs and authors, with a huge menu of tasty eats (check it out online) and workshops on vegan Filipino cooking, modern Filipino desserts, and other tasty topics. Plus: live music and traditional dance performances, and a “Dance That Lumpia Off” audience-participation activity.

Aug. 30-31

Millbrae Art and Wine Festival 400 Broadway, Millbrae; www.miramarevents.com. 10am-5pm, free. Downtown Millbrae’s annual Mardi Gras-style celebration, with live music, a juried art show, a classic car show, carnival-style rides, and tons of specialty food and drink vendors.

San Francisco Zine Fest SF County Fair Building, 1199 Ninth Ave, SF; www.sfzinefest.org. Aug 30, 11am-5pm; Aug 31, 11am-4pm. Free. Support indie writers, artists, and creators at this annual event, with exhibitions, workshops, book signings, and more. Special guests include Ryan Sands (publishing company Youth in Decline), Tomas Moniz (RAD DAD zine), and illustrator and cartoonist Hellen Jo.

Aug. 30-31

SF Bay Brazilian Day and Lavagem Festival Casa de Cultura, 1901 San Pablo, Berk; www.brasarte.com. 11am-7pm, free. Celebrate Brazilian Independence Day with a lavagem (blessing) calling for world peace, plus Brazilian music, food, a “Caipirinha lounge,” and more.

Aug. 31

Oakland Pride Uptown Oakl; www.oaklandpride.org. Parade starts at 10:30am, Broadway and 14th St; festival, 11am-7pm, Broadway at 20th Sts. Parade free; festival $5-10. It’s the very first year for the Oakland Pride Parade, while Sheila E headlines the fifth annual festival, billed as the second-largest pride event in NorCal.

Sept. 6

SF Mountain Bike Festival McLaren Park, Jerry Garcia Amphitheater, 20 John F. Shelley, SF; sfurbanriders.org/wordpress/sf-mtb-festival. 9am-5pm, free. Register in advance to compete — or just show up to spectate or test your skills in any of the non-competitive categories. Events include a short-track challenge, a 10-mile urban adventure ride, a cargo bike hill climb, a bike skills challenge for youth and families, and more, plus a box jump demo and a bike raffle.

Sept. 6-7

Autumn Moon Festival Chinatown, SF; www.moonfestival.org. Grand opening ceremony and parade, Sept 6, 11am; festival, 11am-5pm (dog costume contest, Sept 7, 2:30pm). Free. Cultural performances, an open-air street bazaar, lion dancing, and (new this year!) a dog costume contest highlight this 24th annual celebration of the Asian holiday.

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn, Mtn View; www.miramarevents.com. 10am-6pm, free. With works by over 600 professional craftspeople and artists, plus live music, home and garden exhibits, a young-performers stage, a climbing wall, food and wine, and more.

Sept. 7

Haight Street Music and Merchants Street Festival Haight between Masonic and Stanyan, SF; hsmmsf@gmail.com. Noon-6pm, free. Yep, it’s another street fair on Haight — but this brand-new event has a highly local focus, since it’s sponsored by local merchants. Expect three stages of music, kids’ activities, a skate ramp, and more.

Sept. 13

Sea Music Festival San Francisco Maritime National Historic Park, Hyde Street Pier, SF; www.nps.gov/safr/planyourvisit/seamusicfestival2014.htm. 9am-5pm; evening chantey sing, 7:30-9:30pm. Outdoor performances free; admission to historic ships $5 (15 and under with adult supervision, free). Learn about maritime history through music at this all-day fest of traditional and contemporary songs, instrumentals, and dances. The Sea Music Concert Series continues aboard the Balclutha Sept 20, Oct 25, and Nov 25 ($12-14 or a season ticket, $36).

Sept. 13-14

Ghirardelli Chocolate Festival Ghirardelli Square, 900 North Point, SF; ghirardelli.com/chocolatefestival. Noon-5pm, $20-40. Help raise money for Project Open Hand and satisfy your sweet tooth at this 19th annual dessert and wine fiesta. In addition to offering samples of gourmet goodies from over 50 vendors , Ghirardelli hosts chef demos, a silent auction, a “Chocolate School” (learn about the chocolate-making process!), and the ever-popular hands-free sundae-eating contest.

Sept. 14

Comedy Day Sharon Meadow, Golden Gate Park, SF; www.comedyday.com. Noon-5pm, free. This year’s incarnation of the free, all-day comedy festival is dedicated to the memory of supporter (and frequent unannounced performer) Robin Williams.

Sunday Streets: Western Addition Fillmore between Geary and Fulton; Fulton between Fillmore and Baker, SF; www.sundaystreetssf.com. 11am-4pm, free. What traffic? Explore the neighborhood (including Alamo Square) on foot or bike.

Sept. 19-21

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

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

Sept. 20-21

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

Sept. 21

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

Sept. 27

Bay Area Record Fair Thee Parkside, 1600 17th St, SF; www.theeparkside.com. 11am, $5 early entry (free after noon). Vinyl junkies, take note: over 30 Bay Area indie labels participate at this semi-regular event, which also boasts live music, DJs, raffles, and more.

San Mateo Bacon and Brew Festival Central Park, Fifth Ave and El Camino Real, San Mateo; www.sanmateochamber.org/bbf. 11am-5pm, $15. This fest breaks it down to the essentials. Admission gets you a free beer (or soft drink), while food vendors favor you-know-which crispy pork product.

SuperHero Street Fair 1700 Indiana, SF; www.superherosf.com. 1-11pm, $10. Seven stages and 13 “sound camps” provide the beats for this fifth annual festival celebrating heroes, villains, sidekicks, and everything in between. It goes without saying that costumes are highly encouraged.

Sept. 28

“A Day on the Water 2” Cesar Chavez Park, 11 Spinnaker, Berk; (510) 677-9425. Noon-7pm, free. Outdoor fair and music festival with Manzo Rally, Afrofunk Experience, Crosscut, and more.

Sunday Streets: Excelsior Mission between Theresa/Avalon and Geneva, SF; www.sundaystreetssf.com. 11am-4pm, free. Hit the street at this edition of Sunday Streets, which coincides with the sixth annual Tricycle Music Fest at the Excelsior Branch Library (sfpl.org/tricycle for more info).

Oct. 4

“Oaktoberfest” Fruitvale at MacArthur, Oakl; www.oaktoberfest.org. 11am-6pm, free. Family-friendly craft beer festival, with over 30 participating local breweries, a Bavarian big band and dancers, German food vendors, and more.

Oct. 4-5

Alternative Press Expo Fort Mason Center, Festival Pavilion, 2 Marina, SF; comic-con.org/ape. Check website for updates regarding times and badge prices. APE is back to celebrate alternative and small-press comics in a new venue, with a guest list that includes Bob Fingerman, Faith Erin Hicks, Ed Piskor, Paul Pope, Jason Shiga, and many more.

Oct. 5

Castro Street Fair, Castro at Market, SF; www.castrostreetfair.org. 11am-6pm, free (donate at the gate to get $1 off at fair beverage booths). Five different entertainment areas (including a main stage, a “legends” stage, and “Barnaby’s World of Wonderment”) highlight this annual event, which was founded by Harvey Milk in 1974. Performers were TBD at press time, so check the website closer to the event for updates.

Oct. 9

Union Street Wine Walk Union between Gough and Steiner, SF; www.sresproductions.com. 4-8pm, free (sampling tickets, $25). Restaurants and merchants offer wine tasting and small bites at this fifth annual neighborhood event.

Oct. 10-18

Litquake Various venues, SF; www.litquake.org. San Francisco’s annual literary festival turns 15 this year, with a week full of live readings, performances, panels, and multimedia events, including tributes to Octavio Paz and Gabriel Garcia Marquez. The Barbary Coast Award will be presented to Dave Eggers and Vendela Vida and their many projects, including 826 Valencia and McSweeney’s.

Oct. 11

Woodside Day of the Horse Woodside Town Hall, 2955 Woodside, Woodside; www.whoa94062.org. 10am-2:30pm, free (progressive trail ride, $40). The Woodside-area Horse Owners Association (WHOA) celebrates Year of the Horse with stagecoach rides, live music, a petting zoo, and more, plus an organized trail ride for experienced riders and their horses to raise money for the organization’s charitable community projects.

Oct. 11-12

World Vegetarian Festival SF County Fair Building, 1199 Ninth Ave, SF; www.worldvegfestival.com. 10:30am-8:45pm, free. The SF Vegetarian Society’s annual event features cooking demos, exhibitors, speakers, an eco-fashion show, entertainment, and samples galore.

Oct. 12

Italian Heritage Parade Begins at Jefferson and Stockton, proceeds on Columbus, and ends in Washington Square, SF; www.sfcolumbusday.org. 12:30pm, free. Established in 1868, this North Beach tradition features handmade floats, a costumed Christopher Columbus and Queen Isabella, Italian music, a Ferrari display, and more.

Oct. 13

World Championship Pumpkin Weigh-Off IDES Grounds, 735 Main Street, Half Moon Bay; weighoff.miramarevents.com. 7-11am, free. Who will reign supreme at this 41st annual battle of the bulge, dubbed the “Superbowl of Weigh-Offs”? Last year’s champ tipped the scales at 1,985 pounds — that’s a lotta pie!

Oct. 18

Noe Valley Harvest Festival 24th St between Sanchez and Church, SF; www.noevalleyharvestfestival.com. 10am-5pm, free. This 10th annual shindig aims to help you get a jump on holiday shopping, with over 50 local artisans showing their creations. Also: two stages of music, costume contests for dogs and kids, a dunk tank, a pumpkin patch, and more.

Potrero Hill Festival 20th St between Wisconsin and Missouri, SF; www.potrerofestival.com. 11am-4pm, free. Now in its 25th year, this neighborhood block party features local food and entertainment — including a kick-off Cajun-style brunch ($5-12) with Dixieland jazz — plus pony rides and a bouncy house for kids.

Oct. 18-19

Half Moon Bay Art and Pumpkin Festival Main between Mill and Spruce, Half Moon Bay; www.miramarevents.com. 9am-5pm, free. They don’t call Half Moon Bay the World Pumpkin Capital for nothing — the coastal town represents at its 44th annual gourd-tastic throwdown with three stages of music, the Great Pumpkin Parade (Oct 18 at noon), a haunted house attraction, expert Jack O’ Lantern carving, and food and drinks galore (pumpkin beer, anyone?)

Oct. 19

Sunday Streets: Mission 18th St between Guerrero and Harrison and Valencia between 25th and Duboce, SF; www.sundaystreetssf.com. 11am-4pm, free. Sunday Streets returns to the Mission! Check the website after Oct. 3 for updates on planned activities.

Oct. 25

San Francisco’s Wharf Fest Fisherman’s Wharf, SF; www.sresproductions.com. 11am-6pm, free. Celebrate SF’s waterfront history at this event, with a chowder competition, chef demos, ship tours, street performers, fireworks, and more.

Nov. 2

San Francisco Day of the Dead Procession and Festival of Altars Festival, Garfield Park, 26th St and Harrison, SF; www.dayofthedeadsf.org. 6-11pm, free. Procession begins at 22nd St and Bryant, SF; www.dayofthedeadsf.org. 7pm, free. Add a personal altar for a loved one who has passed away to the display at Garfield Park (candles must be in glass containers; no open flames allowed), and bring canned food to donate to St. Anthony’s Foundation, in honor of the altar memorializing the deaths of homeless people in SF. The procession, led by Rescue Culture Collective, circles the Mission accompanied by traditional Aztec dancers.

Nov. 14-16

Green Festival Fort Mason Center, 2 Marina, SF; www.greenfestivals.org/sf. Nov 14, noon-6pm; Nov 15-16, 10am-6pm. $15-30. Learn how to “work green, play green, and live green” at this expo, an ode to health and sustainability. Featured events include vegan and vegetarian cooking demos, inspirational speakers, and a marketplace with more than 250 eco-friendly businesses. *

Hot tickets

Michael Redmond

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August 26, 2014

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cheryl@sfbg.com

FALL ARTS Autumn is primo movie season, not just in awards-hungry Hollywood. Here in the Bay Area we’ve got unique rep programming and festivals galore to keep our eyeballs fully engaged — and just enough room for some prestige movie-star pictures for dessert.

REP VENUES

Standing its ground on turbulent, tech-chic Valencia Street, gallery and screening venue Artists’ Television Access marks its 30th anniversary with “ATA Lives!” Sept. 4 brings a showcase of works by staffers past and present — and then a 30-hour marathon screening and benefit curated by local artist Gilbert Guerrero. Other anniversary events include programs dedicated to the Kuchar brothers and a fresh installment in “live cinema” series Mission Eye & Ear. www.atasite.org

ATA co-founder Craig Baldwin launches the latest Other Cinema season Sept. 13 with an “ATA Superstars” showcase of works by Bryan Boyce, James Hong, and others. Another highlight is Sept. 20’s “Anomalies from the Archive,” with East Coast artists Walter Forsberg and John Klacsmann performing what Baldwin describes as their “exploded view of a Technicolor lab error,” as well as sharing “kino-curiosities” from the Prelinger Archives, SF Media Archive, and other sources. Also cool: a basketball-themed night (Oct. 25) and an experimental sci-fi program (Nov. 8) that takes on the failed Soviet lunar landing, among other topics. www.othercinema.com

The Exploratorium continues its “Saturday Cinema” shorts (Sept. 6, it features 1933 stop-motion marvel The Mascot) as well as its “Off the Screen” series, including another chance to see Forsberg and Klacsmann’s Technicolor N.G. (Sept. 18) and an outdoor showing of Impossible Light — maybe your only chance to see a doc about the Bay Lights while the Bay Lights themselves glitter in the background (Sept. 25). www.exploratorium.edu

Now in its 11th year, Bernal Heights Outdoor Cinema continues its tradition of showing works by local artists. It kicks off Sept. 4 at El Rio with a shorts program, plus a performance by comedian Johnny Steele; it continues the next night with the ever-popular “Film Crawl on Cortland,” with screenings at venues like the Bernal Heights Neighborhood Center throughout the night. Sept. 6, “Under the Stars” brings short films to Precita Park. Oct. 7, the fest returns for a “Best of Bernal Night” at the Mission Cultural Center for Latino Arts. http://bhoutdoorcine.org

The San Francisco Cinematheque‘s fall calendar includes more Kuchar love, with Anthology Film Archives’ Andrew Lampert at Yerba Buena Center for the Arts to celebrate his new George Kuchar Reader (Oct. 18). And! At the Castro, two nights of “Mary Woronov, Warhol Superstar,” with Woronov in person alongside screenings of 1966’s Chelsea Girls and Hedy (Nov. 6-7). www.sfcinematheque.org

Also at the Castro, the San Francisco Silent Film Festival moves its popular “Silent Winter” to Sept. 20 and renames it (aha!) “Silent Autumn.” Per usual, the programming is excellent, with top-notch musical accompaniment planned for each screening. Compilations include “Another Fine Mess: Silent Laurel and Hardy Shorts” and the British Film Institute’s time-capsule peek at the start of World War I, “A Night at the Cinema in 1914.” Features are the Valentino classic The Son of the Sheik (1926); Buster Keaton comedy The General (1926); and German Expressionist chiller The Cabinet of Doctor Caligari (1920). www.silentfilm.org

The Castro Theatre’s own programming unveils tributes to both Robin Williams (series starts Sept. 7) and Lauren Bacall (Oct. 1). The Castro is also the most consistent venue for Jesse Hawthorne Ficks’ “Midnites for Maniacs” series; Sept. 19 honors “Diegetic Odysseys” with a double-feature of Inside Llewyn Davis (2013) and Coal Miner’s Daughter (1980). www.castrotheatre.com; www.midnitesformaniacs.com

Fall at the Pacific Film Archive includes complete retrospectives “Eyes Wide: The Films of Stanley Kubrick” (Sept. 4-Oct. 31) and “James Dean, Restored Classics from Warner Bros” (Sept. 5-20). There’s also the Berkeley-appropriate “Activate Yourself: The Free Speech Movement at 50” (Sept. 11-Oct. 30); movie-geek catnip “Jean-Luc Godard: Expect Everything from Cinema” (Sept. 12-Oct. 23) and “Life: The Films of Hou Hsaio-hsien” (Oct. 10-Dec. 14); and the launch of an impressively depthed overview of Georgian cinema (Sept. 26-April 19). www.bampfa.berkeley.edu

Didn’t make it to any of the big out-of-town film festivals this past year? Don’t worry — the Roxie‘s got your back with a calendar that includes the buzzed-about Memphis (opens Sept. 19); Nick Cave docudrama 20,000 Days on Earth (Sept. 26); Catherine Breillat’s Abuse of Weakness (Oct. 3); and Alex Ross Perry’s Listen Up Philip (Oct. 26). www.roxie.com

Over at the Yerba Buena Center for the Arts, film/video curator Joel Shepard promises an action-packed fall, with series like the extremely timely “Lest We Forget: Remembering Radical San Francisco” (Oct. 2-26); Halloween-time new horror films from Spain, including Albert Serra’s Casanova-meets-Dracula tale Story of My Death (2013); “New Black Cinema” (Nov. 6-9) and “New Waves in Mexican Cinema” (Dec. 4-21); and Double Play, a new documentary on Richard Linklater that’s screening as part of a Linklater-James Benning dual focus (Nov. 13-16). www.ybca.org

The San Francisco Film Society begins its fall mini-festival season Nov 6. with “French Cinema Now,” followed by “Hong Kong Cinema” (Nov. 14-16) and “New Italian Cinema” (Nov. 19-23). It also presents a screening of acclaimed indie Hellion, with director Kat Candler in person (Sept. 15), and hosts Ethiopian American filmmakers Zeresenay Mehari and Mehret Mandefro as its latest artists-in-residence (Oct. 1-14). www.sffs.org

And in micro-cinema news, the Vortex Room promises “Rock You Like a Vortex Room” as its next Thursday Night Film Cult theme (starts Oct. 8; think musical-themed oddities, like 1974’s Phantom of the Paradise), while the Berkeley Underground Film Society’s “Lost and Out of Print” September event majors in burlesque, highlighted by a 16mm screening of 1930’s The Blue Angel (Sept. 19-21). Facebook: The Vortex Room; lostandoutofprintfilms.blogspot.com

FEELING FESTIVE?

California Independent Film Festival Lifetime achievement award winner Julie Newmar appears in person at this fest, which also includes a 30th anniversary tribute to Sixteen Candles. Sept. 11-14; www.caiff.org

Legacy Film Festival on Aging Shorts, features, and documentaries from around the world that take on “the challenges and triumphs of aging.” Sept. 12-14; www.legacyfilmfestivalonaging.org

World’s Independent Film Festival Formerly billed as the Third World Indie Film Festival, this Silicon Valley-based event presents films by emerging international filmmakers. Sept. 19-21, www.theworldindiefilmfest.com

San Francisco Irish Film Festival Contemporary Irish cinema, including shorts and Irish-language films (with English subtitles). Sept. 18-20; http://sfirishfilm.com

Cine+Mas SF’s San Francisco Latino Film Festival Features, docs, and shorts from Argentina, Brazil, Chile, Colombia, Puerto Rico, Peru, Uruguay, and points beyond. Sept. 19-27; www.sflatinofilmfestival.com

Oakland Underground Film Festival This East Bay celebration of indie cinema kicks off with SXSW sci-fi hit The Infinite Man and the Michael Jai White-starring Falcon Rising. Sept. 25-28; www.oakuff.org

Iranian Film Festival This fest’s motto is “discovering the next generation of Iranian filmmakers.” Sept. 27-28; www.iranianfilmfestival.org

Arab Film Festival Emphasizes independent films that provide “insightful and innovative perspectives” on Arab people, culture, history, and politics. This year, look for an emphasis on comedy, animation, and films for kids. Oct./Nov. TBD; www.arabfilmfestival.org

Mill Valley Film Festival History doesn’t lie: Five of the last six Best Picture winners had their Bay Area debuts at this veteran fest, which is also known for its star-studded special events. Oct. 2-12; www.mvff.org

“Berlin and Beyond Autumn Showcase” The actual B&B fest isn’t until January 2015, but fans of German-language cinema can nibble on this mini-fest, which showcases a 35mm screening of the late Michael Glawogger’s 1998 Megacities. Oct. 11; www.berlinbeyond.com

ReelAbilities Bay Area Disabilities Film Festival Presented by Creative Growth, this fest promotes the awareness and appreciation of the lives, stories, and art of people with disabilities. Oct. 15-19; www.creativegrowth.org

United Nations Association Film Festival The all-documentary festival highlights themes of human rights, the environment, refugee issues, war and peace, and more. This year’s theme is “Bridging the Gap.” Oct. 16-26; www.unaff.org

American Indian Film Festival Now in its 39th year, this fest showcases works (including narratives, docs, music videos, and animation) by and about North American Indian and Canada First Nation people. Nov. 1-9; www.aifisf.com

San Francisco Dance Film Festival Shorts, documentaries, and performance films celebrating dance, with a special tribute to documentarian Frederick Wiseman. Nov. 6-9; www.sfdancefilmfest.org

San Francisco Transgender Film Festival This extremely popular fest (program info coming in early October) celebrates films that challenge stereotypes and “promote the visibility of transgender and gender variant people.” Nov. 7-9; www.sftff.org

3rd I San Francisco International South Asian Film Festival: Bollywood and Beyond This year’s fest focuses on music and dance, with a centerpiece lecture-performance on “Bollywood maestros” R.D. Burman and A.R. Rahman. Nov. 6-9 and 15; www.thirdi.org

FIRST-RUN INTRIGUE

Apologies to Katniss Everdeen (The Hunger Games: Mockingjay — Part 1 is out Nov. 21; as always, all release dates are subject to change) and Reese Witherspoon (Wild, Dec. 5), but fall’s big-budget brigade is awfully male-dominated. That said, one of the season’s most-anticipated films — David Fincher’s take on the runaway best-seller Gone Girl (Oct. 3) — has quite the doozy of a female character (Rosamund Pike) to offset its double-sided lead (Ben Affleck). Fourteen more must-see (dude-filled) films below.

The Drop (Sept. 12) Tom Hardy and the late James Gandolfini star in this Dennis Lehane crime drama, which also has a puppy-themed subplot. Everybody wins!

A Walk Among the Tombstones (Sept. 19) and The Equalizer (Sept. 26) Thank you, Liam Neeson and Denzel Washington, for keeping the “lone-wolf badass” genre alive.

The Guest (Oct. 3) Downton Abbey escapee Dan Stevens stars in this creeper from indie horror auteurs Adam Wingard and Simon Barrett.

The Judge (Oct. 10) How’s this for casting: Robert Downey Jr. plays a hotshot lawyer; Robert Duvall is his estranged, retired-judge father who maybe killed someone.

Kill the Messenger (Oct. 10) Jeremy Renner plays Pulitzer-winning San Jose journalist Gary Webb in this thriller about the CIA’s suspected involvement in the crack epidemic.

Whiplash (Oct. 17) In this Sundance hit, a talented jazz drummer (Miles Teller) meets the music teacher from hell (the inimitable J.K. Simmons).

Fury (Oct. 17) Brad Pitt (and the haircut that launched a thousand hipster imitations) stars in David Ayer’s action drama, set during the last month of World War II.

Birdman (Oct. 17) Michael Keaton plays “a washed-up actor who once played an iconic superhero” (hmm…) in Alejandro González Iñárritu’s ensemble dramedy. Also aboard: Emma Stone, Naomi Watts, Edward Norton, and Zach Galifianakis.

Revenge of the Green Dragons (Oct. 24) Martin Scorsese presents this latest from Andrew Lau (with Andrew Loo), whose 2002 Infernal Affairs became the Oscar-winning The Departed (2006). Gangsters + revenge plot + 1980s NYC Chinatown = oh hell yes.

Interstellar (Nov. 7) Matthew McConaughey — already an expert on time being a flat circle, thanks to True Detective — has his first post-Oscar turn in Christopher Nolan’s drama about wormhole-traversing space explorers.

Foxcatcher (Nov. 21) Bennett Miller directs Steve Carell, Channing Tatum, and Mark Ruffalo in this true crime tale of two Olympic wrestlers and one murderous millionaire. Exodus: Gods and Kings and Inherent Vice (both Dec. 12) Better take work off this particular Friday, because Ridley Scott (with Christian “Moses” Bale and Joel “Ramses” Edgerton) is getting Biblical, and Paul Thomas Anderson (with an all-star ensemble cast, led by Josh Brolin) is adapting Pynchon. *