Media

Our Weekly Picks: September 7-13

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WEDNESDAY 7

MUSIC

The Jim Jones Revue

On its new album, Burning Your House Down, the Jim Jones Revue has seemingly perfected its rowdy mix of 1950s rock ‘n’ roll and MC5-esque blues-punk. The London five-piece debuted in 2004 with a ramshackle garage rock style and a series of blistering live sets that won over the likes of Liam Gallagher and Jim Sclavunos (Nick Cave & The Bad Seeds, Grinderman) — Sclavunos produced the group’s new LP. The band’s relentless Jerry Lee Lewis-style piano twinkling, punk rock guitars, and rockabilly drumming, coupled with Jones’ intense vocal delivery (an endearing mix of Little Richard yelps and Motorhead gravitas) has earned it a reputation as one of the UK’s can’t miss live acts. (Landon Moblad)

With the Sandwitches

8 p.m., $13–$15 The Independent

628 Divisadero, SF (415) 771-1421

www.theindependentsf.com


THURSDAY 8

MUSIC

SF Symphony Free 100th Birthday Celebration

Ghirardelli chocolate squares, an afternoon party outside City Hall, and Michael Tilson Thomas conducting the SF Symphony with superstar Chinese pianist Lang Lang — all free? Yep, it’s the centennial celebration of our own musical starship, with two can’t fail crowd-pleasers, Franz Liszt’s Piano Concerto No. 1 in E-flat major and Benjamin Britten’s The Young Person’s Guide to the Orchestra, on the menu. The engaging Lang Lang has a way with Liszt’s Concerto No. 1 — his twinkling flourishes on both its silent-movie villain and John-and-Mary romantic passages can call to mind another flashy Liszt lover, Liberace, but Lang Lang’s technical enthusiasm is all his own. (Marke B.)

11:30 a.m., free

San Francisco City Hall

1 Dr. Carlton B. Goodlett Place, SF

(415) 864-6000

www.sfsymphony.org


FRIDAY 9

MUSIC

Christian Marclay

The mad genius-artist-composer-filmmaker who recently unleashed The Clock, an astonishingly well made 24-hour-long film collage on Los Angeles, is one of the highlights of an already awesome San Francisco Electronic Music Festival this year. Marclay, who was actually born just outside of San Francisco in San Rafael, before emigrating to Switzerland as a child, is a master of mezmerization. The sonic tapestries he creates with records were the precursors to turntablism, albeit a more avant-garde version than what has been popularized by DJs in the past several decades, and continue to transgress the boundaries of music and performance. The collage of sounds rendered by Marclay may seem cacophonous, but a hypnotizing rhythm always lurks just below the surface, ready to suck you in if you only let it. (Cooper Berkmoyer)

With Shelley Hirsch, Zachary Watkins, and Jessica Rylan

8 p.m., $16

Brava Theater

2781 24th St., SF

(415) 641-7657

www.sfemf.org


MUSIC

Iris DeMent

Sweet is the voice of Iris DeMent, whose Pentecostal parents kept her singing gospel even after they moved from Arkansas to Orange County. DeMent rolled her complex feelings towards the old time religion into one of the finest opening shots of any debut album: “Let the Mystery Be,” a Marilynne Robinson novel in the shape of a country song. She’s only recorded three albums since that first Infamous Angel (1992), but her songs still radiate hard-won wisdom and calm in concert. She kept the Hardly Strictly Bluegrass hillside hushed a few years ago, and one imagines tonight’s show at the Great American will be far more intimate. (Max Goldberg)

With Kiyoshi Foster

8 p.m., $35

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com


MUSIC

Down

When Hurricane Katrina hit New Orleans in 2005, the devastation was near total. In the wake of the storm, different people coped in different ways. Down used the harrowing experience as inspiration for its most recent album, III: Over the Under, soulful slab of stoner metal that helped excise some of the emotional pain. Drawing on the talents of NOLA metal stalwarts Kirk Weinstein, Phil Anselmo, Pepper Keenan, and Jimmy Bower, the super-group has stayed on tour, shouting out its heavy, Southern Rock-influenced sound in defiance of disaster. (Ben Richardson)

With In Solitude, Ponykiller

8 p.m., $25

The Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

(415) 673-5716


SATURDAY 10

EVENT

Ghirardelli Chocolate Festival

With a name that is among the most synonymous in the world for delicious chocolate, Ghirardelli has been making tasty treats in San Francisco since 1852 — a long standing tradition that has been joined in recent years by the annual Ghirardelli Square Chocolate Festival, a two-day fete where visitors can sample a wide variety of scrumptious confections from both the famous host company, along with more than 30 other vendors and producers. A variety of cooking demonstrations and live entertainment are also on tap for this sweet event that benefits Project Open Hand. (Sean McCourt)

Through Sun/11, noon-5 p.m., $20 for 15 tastings

Ghirardelli Square

900 North Point St., SF

(415) 775-5500

www.ghirardellisq.com


MUSIC

Rancid

Now twenty years into an impressively steady career, Rancid continues to make a uniquely identifiable version of punk rock that sounds entirely uninterested in modern spins on the genre. The East Bay-born group flirted with the mainstream with hits like “Ruby Soho” and “Time Bomb,” but its catalog goes far deeper than those pop-punk radio gems. From the early skate punk of Let’s Go, to the late period Clash-aping Life Won’t Wait, to the fiery hardcore influences of its self-titled release in 2000, Rancid has cemented itself over the years as one of the essential bands to emerge from the punk revival of the 1990s.(Landon Moblad)

With H20 and DJ J & Nicki Bonner

8 p.m., $24 The Warfield 982 Market, SF (415) 354-0900 www.thewarfieldtheatre.com

 

MUSIC

Balkans

The swallow-hard, pleading vocals of Balkans — which invoke the Strokes’ Julian Casablancas — occasionally sounds slurred, like perhaps the singer who owns those pipes knocked back a few. And who know, maybe he did. The band is after all said to be influenced by its Atlanta-hometown compatriots the Black Lips — known for destructive antics at live shows. And in a recent interview with video platform Noisey (curated by VICE), Balkans and fans did claim the band has set off fireworks, thrown raw meat, and bled on guitars during shows. Regardless of such stories, it doesn’t get in the way of the music. The fresh-faced 20-somethings, buddies since childhood, spin fuzzy ’60s pop-infused garage rock with jangly guitars — gaining comparisons to both the Walkmen and Television. Those equivalences alone are enough to want to grab a beer. (Emily Savage)

With PS I Love You

9:30 p.m., $10

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

MUSIC

Totimoshi

Totimoshi has always defied categorization. The band, led by the baleful singing and scrabbling guitar of Antonio Aguilar, relies on a rock-solid rhythm section comprised by bassist Meg Castellanos and drummer Chris Fugitt to round out its idiosyncratic hard-rock sound. New album Avenger includes guest spots by Mastodon’s Brent Hinds, the Melvin’s Dale Crover, and Neurosis’ Scott Kelly, which should give you some idea of what’s in store. Catching them in El Rio’s intimate back room will be a great opportunity to see the band putting it’s best foot forward for a hometown crowd. (Richardson)

With Hot Fog, Belligerator

9 p.m., $8

El Rio

3158 Mission, SF

415-282-3325

www.elriosf.com


SUNDAY 11

MUSIC

Slim Cessna’s Auto Club

After a week-long, whiskey-fueled bender that leaves you half dead and nearly broke in a seedy motel room just outside of New Orleans, a sudden concern for your spiritual well being drives you into the dusky sunlight in search of salvation. Bleary eyed and still drunk, you stumble across a small Pentecostal church on an empty street populated by shuttered storefronts and a lone dog. A sign outside reads: “DIVINE HEALING. LIVE MUSIC. SNAKES.” Figuring you’ve got nothing to loose, really, you open the door. The healing is neat, you guess, and hey, who doesn’t love snakes, but the music is like nothing you’ve ever heard before. It’s like Johnny Cash performing an exorcism on Spencer Moody: Slim Cessna’s Auto Club (that’s who played, you later find out) put on one of the best damn shows you’ve ever seen and leaves you grinning . . . but still damned. (Berkmoyer)

With the Ferocious Few and Tiny Televisions

9 p.m., $12

Bottom of the Hill

1233 17th Street

San Francisco, CA

(415) 621-4455

www.bottomofthehill.com

 

TUESDAY 13

MUSIC

Teen Daze

Ambient pop can go one of two ways; this one goes the right way. True to its name, Teen Daze, sounds as if it he creates music under the lush and youthful haze of teenage emotion. Stretched out in bed, it’s music for you to toss and turn to, giant headphones attached to your head, wrapped in heady thoughts of loves gone by, slight trickles of keyboard optimism bursting over pillowy ambient clouds and pangs of sorrow. Presented by Epicsauce.com and Yours Truly, the show marks the release of the Vancouver, British Columbia-based synth musician’s newest record, A Silent Planet on Waaga Records. Throw on an oversized sweatshirt and let your thoughts get the better of you. (Savage)

With Yalls, Speculator

8 p.m. $6

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

MUSIC

The Vibrators

It’s the Vibrators! The 16-year-old with a safety pin though his cheek and Clorox in his hair that lives at the center of all that is still good in your heart demands that you go see them! Formed in London in 1976, the Vibrators was one of Britain’s first punk bands and 35 years later it’s also one of the longest lasting. Although numerous line-up changes have reduced the band to only one original member, drummer John ‘Eddie’ Edwards, the current three-piece line up can still tear through classics like “Baby, Baby” and “Whips and Furs” with the energy of the good ol’ days of punk and the precision that comes with three odd decades of practice. (Berkmoyer)

With the Meat Sluts, Sassy!!! and Elected Officials

9 p.m., $8

The Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage Listings

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THEATER

OPENING

A Midsummer Night’s Dream Phoenix Theatere, 414 Mason, Sixth flr, SF; (415) 509-8656. $10-20. Previews Wed/7, 8pm. Opens Fri/8, 8pm. Runs Thurs-Sat, 8pm (also Sat/10, 2pm; Sept 17, 3pm). Through Sept 17. Ninjaz of Drama and Divinity Productions Presents Rey Carolino’s contemporary staging of the Bard’s classic.

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Previews Thurs/8-Fri/9, 8pm; Sat/10, 8:30pm; Sun/11, 3pm. Opens Thurs/15, 8pm. Runs Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Through Oct 23. Marga Gomez performs her comedy about “lies, vanity, and the good old days.”

Patience Worth Thick House, 1695 18th St, SF; (415) 456-8892, www.symmetrytheatre.com. $20-30. Opens Sat/10, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through Oct 2. Symmetry Theatre Company performs Michelle Carter’s world premiere about a spirit who appears via Ouija board in 1913. Erika Chong Shuch directs.

“San Francisco Fringe Festival” Exit Theatre, 156 Eddy, SF; (415) 673-3847, www.sffringe.org. $7-10 (passes, $40-75). Sept 7-18. The 20th annual fest contains over 40 shows highlighting unique indie theater.

Show Ho New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $20-32. Previews Thurs/8, 8pm. Opens Fri/9, 8pm. Runs Thurs-Sat, 8pm; Oct 9, 2pm. Through Oct 9. Sara Moore performs her multi-character story about a clown in a low-rent circus.

“3 Guys in Drag Selling Their Stuff” Garage, 975 Howard, SF; www.brownpapertickets.com. $20. Opens Fri/9, 8pm. Runs Fri-Sat, 8pm. Through Sept 17. Edward Crosby Wells’ bawdy comedy is about a trio of friends who host an unusual yard sale.

Turandot War Memorial Opera House, 201 Van Ness, SF; (415) 864-3330, www.sfopera.com. $21-389. Opens Fri/9, 8pm. Runs Sept 14, 22, and Oct 4, 7:30pm; Sept 17 and Oct 1, 8pm; Sept 25, 2pm. The San Francisco Opera performs Puccini’s classic in conjunction with the Lyric Opera of Chicago.

Unveiled Brava Theater, 2781 24th St, SF; (415) 647-2822, www.brava.org. $10-25. Previews Wed/7-Thurs/8, 7pm. Opens Fri/9, 7pm. Runs Sat/10, 3pm; Sun/11-Mon/12 and Sept 15-17, 3pm (also Sun/11, 3pm). Brava Theater presents Rohina Malik’s solo show about five Muslim women in the post-9/11 world.

ONGOING

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

All Atheists Are Muslim Stage Werx Theatre, 533 Sutter, SF; (415) 517-3581, www.brownpapertickets.com. $20. Thurs-Sat, 8pm. Through Oct 1. Zahra Noorbakhsh performs her solo comedy.

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Extended through Sept 17. Actors Theatre of San Francisco performs the David Mamet crime classic.

Cymbeline Parade Ground Lawn, Main Post, Presidio (between Graham and Keyes), SF; www.sfshakes.org. Free. Sat, 7:30pm; Sun, 2:30pm. Through Sept 25. The San Francisco Shakespeare Festival presents its annual “Free Shakespeare in the Park” performance.

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Wed-Sat, 8pm. Through Sept 17. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Geezer Marsh, 1062 Valencia, SF; (415) 282-3055. $25-100. Thurs, 8pm; Sat-Sun, 5pm. Through Sept 18. Geoff Hoyle returns to the Marsh with his acclaimed solo show.

King Henry the Sixth Boxcar Studios, 125a Hyde, SF; www.brownpapertickets.com. $12-15. Thurs-Sat, 8pm. Through Sept 17. Do It Live Productions debuts with a contemporary Shakespeare adaptation.

Tigers Be Still SF Playhouse, 522 Sutter, SF; www.sfplayhouse.org. $30-50. Wed/7, 7pm; Thurs/8-Sat/10, 8pm (also Sat/10, 3pm). SF Playhouse performs Kim Rosenstock’s quirky comedy.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed-Sat, 8pm. Through Sept 17. Expression Productions presents Sam Shepard’s tale of two brothers.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 18. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

A Delicate Balance Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-48. Previews Wed/7, 8pm. Opens Thurs/8, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Oct 9. Aurora Theatre performs Edward Albee’s comedy of manners.

The Merry Wives of Windsor Old Mill Park, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat-Sun and Sept 5, 2pm. Through Sept 18. Curtain Theatre performs Shakespeare’s Falstaff-centric comedy.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 8 and 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Of Dice and Men La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Oct 1. Impact Theatre performs Cameron McNary’s comedy about a group of adult Dungeons and Dragons players.

Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Opens Wed/7, 8pm. Runs Tues-Sun, showtimes vary. Through Oct 30. Rita Moreno stars in a show created specifically for her by Berkeley Rep’s Tony Taccone and David Galligan.

The Road to Hades John Hinkel Park, Southampton Ave, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (suggested donation; no one turned away for lack of funds). Sat/10-Sun/11, 3pm. Shotgun Players presents a new comedy written by and starring veteran comedian and clown Jeff Raz.

Sense and Sensibility Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 18. TheatreWorks performs Roger Parsley and Andy Graham’s adaptation of the Jane Austen novel.

The Tempest Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company presents Shakespeare’s romance with a steampunk twist.

Toke Ashby Stage, 1901 Ashby, Berk; www.brownpapertickets.com. $25. Thurs/8-Sat/10, 8pm; Sun/11, 5pm. Swirl Media presents Deedee Kirkwood’s pot-fueled comedy.

PERFORMANCE/DANCE

“Comedy Returns to El Rio” El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon, 8pm, $7-20. Stand-up performers include Dhaya Lakshminarayanan, Josh Healey, Nathan Habib, Conrad Roth, and Lisa Geduldig.

FACT/SF and Lenora Lee Dance CounterPULSE, 1310 Mission, SF; (415) 626-2060, www.counterpulse.org. Thurs-Sun, 8pm. $15-20. The companies present Pretonically Oriented v.3 and Reflections.

“Hand to Mouth Comedy” Dark Room, 2263 Mission, SF; handtomouthcomedy.tumblr.com. Thurs, 8pm. Pay what you can. This month, comedians Kurt Weitzmann, Cory Loykasek, and Bryan Yang take on conspiracy theories.

“Mortified SF” DNA Lounge, 375 11th St, SF; www.getmortified.com. Fri, 8pm, $17. The embarassing-tales smorgasbord rolls on in a back-to-school edition.

“Opera in the Park” Sharon Meadow, Golden Gate Park, SF; www.sfopera.com. Sun, 2pm. Free. SF Opera pays tribute to the victims of 9/11 with a free program of Mozart, Leonard Bernstein, and others.

“Porchlight Season 10 Kickoff: Shipwrecked! Stories from the Sea” Maritime Museum, foot of Polk (at Beach), SF; www.brownpapertickets.com. Thurs, 8pm, $15. The storytelling series beings its tenth year with a special seafaring edition.

“Process as Adventure” ODC Commons, 351 Shotwell, SF; www.odcdance.org. Thurs, 8pm. Free. Dance company Project Bandaloop presents this multi-media event and discussion.

“Second Sandwiches” Purple Onion, 140 Columbus, SF; www.willfranken.com. Sat, 8pm. $20. Comedian Will Franken performs his new solo show.

“True Stories Lounge” Make-Out Room, 3225 22nd St, SF; www.makeoutroom.com. 7:30pm, $10. Narrative journalism and other nonfiction readings from Joyce Maynard, the Guardian’s Steven T. Jones, and others.

“WestWave Dance: A Monday a Month” ODC Theater, 351 Shotwell, SF; www.westwavedancefestival.org. Mon, 8pm, $18-25. Thus month’s program, “Duets,” features Ethan and Nikki White, Pearl Marill Dance Theater, Dana Lawton, Jean Isaacs, and more.

 

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

On the Cheap Listings

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WEDNESDAY 7

Grant application seminar Independent Film Center, 145 Ninth St., SF. (415) 402-2794, www.creativeworkfund.org. 6-7:30pm, free. The Creative Work Fund is giving out up to $810,000 to local artists — and it’s hosting a series of workshops that will guide potential applicants through the process of submitting their proposal. The program is focusing on media (computer, audio, digital, and film) and performing artists this time around — if you fit the bill, you might want to look at letting this organization fit out your bills.

THURSDAY 8

Captive Genders: Trans Embodiment and the Prison Industrial Complex reading Modern Times Bookstore, 2919 24th St., SF. 7-9pm, free. A ground-breaking new book examines the relationship of queer, trans, and gender non-conforming people and the prison industrial complex. Contributors to the book — a group that includes past and present prisoners, academics, and activists — will speak at this reading. The event could be a call to action on an under-reported conflict.

Back to school dog and kid party Wag Hotel, 25 14th St., SF. (415) 876-0700, www.waghotels.com. 5-7pm, $5 suggested donation. The SF SPCA is bringing adoptable woofs to this meet-and-greet (don’t bring Junior if you’re not trying to walk away with a new best friend?). Kids will also be able to participate in the shelter’s Puppy Dog Tales Reading Room program.

FRIDAY 9

Rally in the Alley 100-199 Ames, SF. www.alleyproject.ning.com. 5:30-8pm, free. Ames Alley (between 22nd and 23rd streets and Dolores and Guerrero) has recently been renovated — the new alleyway features solar lighting, vertical gardens… whoa, water-permeable pavement!? This calls for a celebration, and a celebration is what you’ve got coming to you. Today, join food vendors, an art exhibit, live music, and more to welcome the newly spruced-up walkway to the neighborhood.

SATURDAY 10

Babylon Salon Cantina, 580 Sutter, SF. www.babylonsalon.com. 7pm, free. ZYZZYVA’s longtime editor Howard Junker is a free agent now, so he’s got the time to focus on his own projects — share in their glory at this event, where Junker will be reading from his “proto-memoir-ish blog novel of ideas” tentatively titled An Old Junker. Other readers for the night include authors Nick Krieger, Laura Goode, and magician Robert Strong.

Haight Street Hop Milk, 1840 Haight, SF. www.milksf.com. 9pm, $5 before 10pm, $10 afterwards. Bingo, boobies, DJs, dancing: such is the multi-faceted entertainment that awaits you at this something-for-everyone ho-down. Burlesque bingo? Free hairdos from professional stylists? What is going on here really, this is just getting too crazy.

Ghirardelli Square Chocolate Festival Ghirardelli Square, SF. www.ghirardellisq.com. Noon-5pm, free. Sure, you’ve got shell out some dough to sample the goods at this fest in the heart of tourist town, but monkeys come free! Paul Frank — the company of that iconic Julian monkey face, and all your adolescent nieces favorite cartoon-cute T-shirts — is coming to town. Representatives from the brand will be holding a contest for “king and queen of puppy prom,” and while we hesitate to qualify what the hell that means, it seems safe to say you should bring your dog.

SUNDAY 11

Drum for Peace gathering Numi Tea Garden, 2230 Livingston, Oakl. (877) 686-4832, www.numiteagarden.com. 3-6pm, free. A fundraiser for Altitudinal Healing Connection’s ArtEsteem youth arts education program, this gathering is sure to be very “Kumbaya” — which given this day’s recent history, probably isn’t the worst thing ever. Love your neighbor and all that, people. 

 

Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

Dick Meister: Football breeds violence, Bart breeds cell phone abuse

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By Dick Meister

The media are missing some important factors in the coverage of recent football fan violence and the protests over BART shutting off cell phone service to head off protest demonstrations.

Could the violent nature of football itself possibly have something to do with the violent stadium behavior of 49er and Raider fans, at least unconsciously?

You’ve certainly heard the cheerleader chant for players to “hit ’em again, hit ’em again, harder, harder!” That’s what blockers and tacklers do. Theirs is a violent sport surpassed only by boxing, in which the combatants aim to knock their opponents senseless.

Football fans are easily stirred up by the successful violence of their team against the other team’s violence. Once those violent juices are flowing, who knows what might happen off the field, in grandstands, parking lots and anywhere else opposing fans mix?

What kind of a sport is it, anyway, that relies so heavily on violence? Yes, nicely thrown passes, nifty catches, and exciting open field running are important aspects of football. But violence overshadows the non-violent aspects of the game – violence committed mainly by large men who rely heavily on brute strength.

Fan violence erupted again at the pre-season 49er-Raiders game in Candlestick Park Aug. 20. Two fans were shot, another fan beaten unconscious. Twelve fans were arrested and dozens ejected from the stadium.

The 49er management and San Francisco police have planned steps that they hope will head off future fan violence, among them halting preseason 49er-Raiders games, cutting the hours that the Candlestick parking lot is open for tailgating parties that invariably include lots of drinking and rowdy conduct, and assigning more police to Candlestick duty.

Those and other steps might ease the fan violence, but they will not alter the basic nature of football. You may think it a stretch to blame unsanctioned off-field violence at least in part on the on-field violence that is sanctioned. But though there’s no solid evidence that I’m right, neither is there any that shows I’m wrong.

Violence is much less an issue in the BART situation, although those protesting BART’s cell phone shutoff as well as BART police officers use of deadly force have sometimes gotten violent, pushing and shoving passengers as they picket BART stations and otherwise demonstrate their anger over BART in effect limiting free speech.

That’s a good cause, of course. Who but a tyrant would oppose the right of free speech? BART’s no enemy of free speech, no matter what the protestors from the group “Anonymous” vociferously claim. It is true, though, that BART cut off cell phone service in order to keep protestors from contacting each other and bringing more protestors into BART stations.

But as BART says, its main concern is – and must be – the safety and convenience of its riders, who may or may not agree with the protestors who have been in effect trying to force their views on people who are merely trying to get from one place to another in the fastest, safest way.

Many of those BART riders have been kept from doing that by the protestors, who at one point forced BART to close four of its downtown San Francisco stations during the evening rush hour, stranding thousands of commuters who were trying to get home.

However, despite its concern for the convenience of riders, BART fails to note that merely allowing the use of cell phones on its trains greatly inconveniences at least some riders – and I’m one of them.

To me, one of the most disturbing things about riding on BART is having to listen to fellow passengers loudly jabbering away on cell phones, rudely sharing their mundane personal conversations with all of us. The prospect of that alone has made me and probably others think twice before boarding BART.

So, media, how about some words about the cell phone abusers? And BART – shut off the damn phones!

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

Refusing to be hotboxed

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HERBWISE Karen Cue, CEO of this weekend’s International Cannabis and Hemp Expo is taking me to school. “It’s insulting to switch up those terms,” she tells me.

The terms I switched up? I just asked her why it was important to have legal-for-cannabis-consumption “215 areas” at her upcoming event, which will draw a projected 30,000 marijuana patients and cannabis-curious folk, turning a full mile’s worth of streets into an exhibition area in middle of downtown Oakland.

I’m standing by the validity of the question — but apparently I shouldn’t have phrased it “why is it important for people to be able to smoke weed?”

“That’s the terminology for recreational use,” Cue says. The expo is not, she says, about getting blazed and blunted. Medical marijuana users pay $20 million a year to the California state government in what are called taxable donations. That should buy them some civil rights — and many advocates see having places to legally consume cannabis as a big deal. “95 percent” of the people that her expo is marketed to, Cue says, are medical marijuana patients.

The event has been growing larger every year. This is the first year it will be held in downtown Oakland, having outgrown 2010 and 2009’s site, Candlestick Park. Cue calls the expo’s old digs “kind of old, kind of rustic — it’s got its good qualities about it, but we’re looking at advancement.” An Oakland local herself, she saw the possibility of holding the expo in a more accessible location — an outdoors area with a shady park, no less — a way to improve everyone’s enjoyment of the weekend.

And after years of dealing with Candlestick (a state-owned facility), holding the event in the heart of Oaksterdam was a breeze. City government had rejected two cannabis expo event applications in the past, but Cue says the reputation of her group coupled with positive media reviews it has earned made the city’s process relatively easy to work through.

“They did not ask anything of us out of the norm. But it definitely did raise the attention of the Oakland police” — a security concern that she hopes will be unfounded.

But this is no simple smoke-out (which I say in the most medicine-respecting way possible). Cue says the exhibition is also meant as an important learning opportunity about the parts of the marijuana plant you consume — and the parts you wear.

Hemp, as any good stoner should know, was once used by the US military to make uniforms, ropes, and parachutes. The government even released a short movie entitled Hemp For Victory during World War II promoting the material’s importance to the American war machine. Drafts of the Declaration of Independence was written on the stuff, for chrissakes. It’s more durable than cotton, hemp oil is a prime source of essential fatty acids — the list of reasons for its full legalization goes on.

For a crash course in hemp’s utilitarian glory, Cue recommends checking out David (“Doctor”) Bronner’s talk at the expo. Bronner is a member of Canada’s International Hemp Association, a hemp advocacy group that has no equivalent here in the United States. Learnin’ will also be on tap at the expo’s three stages of speakers, at vendor booths, and at Grow Op’s portable marijuana-growing trailer.

Have fun, learn stuff — and don’t call it weed. 

INTERNATIONAL CANNABIS AND HEMP EXPO

Sat/3-Sun/4 noon- 8 p.m., $18-300

Frank Ogawa Plaza, Oakl.

www.intcheevents.com

WEST COAST CANNABIS AND MUSIC FESTIVAL

For even more cannabis celebration, check out next month’s tune-and-toke fest — three days of live music powered by Rock The Bike’s generator bicycles.

Oct. 7-9. Fri., 3-9 p.m.; Sat., 11 a.m.-9 p.m.; Sun., 11 a.m.-7 p.m., $18 one day pass/$45 three day pass

Cow Palace

Daly City

www.westcoastcannabisexpo.com

 

The Performant New York Edition: Fringe 101, an essential lexicon

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Well, the 16-day New York International Fringe Festival has just wrapped up, and frankly it’s all a bit of a blur. Figuring out to watch next as the festival wound down was a delicate task as fraught with mystery as when it began. Was it worthwhile to attend “A” if it meant losing the opportunity to see “B” altogether? Wasn’t that one show about scuba-diving sewer rats supposed to be off the hook? Did the show about demonic possession in Uruguay already close? Which critic reviews or citizen commentary could be trusted? Which program blurbs can be relied upon to really reveal the truth about their show?

It’s times like these when an official program guide lexicon would come in handy, so that Fringers might have an easier time determining what they’ll truly be in for when they had over their fistful of coin and storm the theatre gates.

So here, just in time for own very own San Francisco Fringe Festival, which celebrates its 20th year this September, is the first definitive Fringe Program Guide Glossary, which can be applied to any (Anglophone) Fringe Festival in the world. Since tastes vary, this glossary is in no way designed to en/discourage attendance for any show, just an attempt to translate some of the more common descriptors into recognizable audience-speak.

Bare Bones: We’ve never heard of kickstarter

Cheese: Neo-surrealists in the house

Classic: We don’t need the rights to present this work

Dark: At least one of the characters dies

Disturbing:
If you don’t like fart jokes

Dynamic:
Theatre Arts undergrads

Edgy: Guaranteed to offend at least one minority group

Erotic: For inexplicable reasons, won’t include nudity

Existential:
At least half of the characters die

Experiential:
Audience participation required

Experimental: We decided not to bother writing a script

Fresh Take: You’ve seen this play 100 times before

Hilarious: If you like fart jokes

Inspirational: Overcoming the effects of an upper middle-class upbringing

Interactive: Don’t sit in the front row

Internationally-acclaimed: Also performed at the Winnipeg Fringe

Multi-media: If our projector breaks we’re screwed

New Translation:
We worked way harder on this show than you can imagine

Noir: Will be wearing great hats

Noirish: Couldn’t afford great hats

Poignant: There will be at least one monologue about innocence lost

Provocative: Will include violence and nudity

Quotes from famous people:
Assistant Director used to walk their dogs

Quotes from previous runs: We have had a chance to rehearse this

Reimagined: We don’t actually have the rights to present this work

Sensitive: Over-wrought

Site-Specific:
Wear layers

Riveting: The stage manager’s mother-in-law said so

Thought-provoking: Will include either violence or nudity

Uncompromising: Guaranteed to offend pretty much everyone

Unforgettable: No matter how hard you try

Universal: Fart jokes

Visceral:
Don’t sit in the front row

Wacky: A kazoo will definitely make an appearance at some point

With a twist: You can see it coming

World Premiere: We haven’t had a chance to rehearse this

Our weekly picks: Aug. 31-Sept. 6

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WEDNESDAY 31

FILM

“Bernal Heights Outdoor Cinema”

Don’t let all those school supplies in Walgreens fool you — summer in San Francisco is still going strong. Hope for one (or more!) of those rare fog-free nights during Bernal Heights Outdoor Cinema, a showcase of over 70 shorts made by residents of the ‘hood and points beyond. Tonight’s way-out-east opening party previews the whole shebang with live music by Stoo Odom and the Odom Poles; other events include a block party on Tiffany Avenue (runs parallel to Mission; access it from 29th St.), a “film crawl” down Cortland Avenue (get drunk on HD videos!), a screening in Precita Park, and a finale party at El Rio. The kick-off has a suggested donation to benefit Bernal History Project, but the rest of the fest is free. (Cheryl Eddy)

6:30 p.m., suggested donation $15

Old Clam House

299 Bayshore, SF

(415) 641-0324

www.bhoutdoorcine.org

 

FILM

“Cary Grant: Definitive Star”

Cary Grant was the prototypical total-package leading man: suave and dapper, gruff yet dreamy, totally manly (could kick ass atop Mount Rushmore) yet sensitive (could sweep a starlet off her feet without rumpling his hairdo). George Clooney wishes he could measure up. Show your appreciation for one of cinema’s all-time greats — and hey, the films themselves are pretty special, too — during this weeklong appreciation of the Divine Mr. Grant. Selections hew toward his 1930s-40s output of rapid-fire Howard Hawks comedies (1938’s Bringing Up Baby, which screens in a brand-new 35mm print; 1940’s His Girl Friday), but his Hitchcock turns (including 1959’s North By Northwest and, drool, 1946’s Notorious) and 1940’s classic The Philadelphia Story are also represented. (Eddy)

Through Tues/6, $7.50–$10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

THURSDAY 1

MUSIC

Uzi Rash

If your friendly neighborhood punk house grew arms and legs, developed vocal chords, and started a band, said band would probably sound a lot like Uzi Rash. A mad jangle, barely held together by grit and charm, Uzi Rash flourishes on the edge of collapse. No two songs sound the same, and band membership constantly mutates, but the appeal remains. Uzi Rash is Oakland’s answer to the Urinals, bolstered by the avant-garde weirdness of bands like Chrome or Pere Ubu, a combination that has earned a dedicated following in the bay and beyond. Lest you be surprised, an Uzi Rash show is hardly predictable; the energy is organic and the ride is free. Or six bucks. Or something like that. (Cooper Berkmoyer)

With King Lollipop, Buffalo Tooth, and Cool Ghouls

9 p.m., $6

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

MUSIC

Peaches

What can you learn from the teaches of Peaches? That sex is good, all types of body hair should be adored not shorn, and if you don’t like her style, you can get the fuck out of the club. Berlin-based artist Peaches (not be confused with our own priestess, Peaches Christ) rose from the ranks during electroclash’s heyday in the early 2000s with a far more distinctive style than others that claimed the genre. She was fierce with taboo lyrics, confusing sexuality, and throbbing beats — and is still nails-tough with followup albums such as 2009’s I Feel Cream. And of that now-rubble of electrocrash, she proudly still remains, standing atop it with arms akimbo, gleaming in shiny gold spandex hotpants, the gender-bending mistress of futuristic trash pop. (Emily Savage)

With Maluca

9 p.m., $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

FRIDAY 2

FILM

“Love Exposure”

Sion Sono, the groundbreaking, prolific, and perhaps mad writer/director/poet who notably brought the world Suicide Circle (2001) — a movie that after having watched twice I still can’t really tell you what it’s about — has once again dropped jaws across the globe with his most ambitious feature to date. Love Exposure is a nearly four-hour-long epic about a love smitten devoutly Catholic teenager named Yu Honda as he masters the art of upskirt photography, chases the object of his obsessive desire, and eludes a violent cultist. Released in Japan over three years ago to widespread acclaim, it has only recently made its way to our shores; Sept. 2 will be your first chance to catch this beast of a film in San Francisco but hopefully not your last. (Berkmoyer)

Fri/2 — 9/8

$10

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

MUSIC

Chelsea Wolfe

It’s been one full year since the beginning of based goth club night 120 minutes. As the club puts it: “a year of darkness and based goth… lasers and fog… thizzed out thugz in black throwin’ up occult signs and goth kids sippin’ sizzurp and screamin’ along to waka flocka flame.” To celebrate the anniversary of such mayhem, Los Angeles-based musician Chelsea Wolfe is coming in for a live set, arriving on the heels of her exquisitely haunting new release, Ἀποκάλυψις (pronounced “apokalypsis”). It touches both darkness and light, pain and ecstasy. From the opening beastly howl to the more subdued ethereal end, the album plays out like a black veil-laced journey on-foot through punishing natural elements. Which should fit nicely with the 120 Minutes crowd. (Savage)

120 Minutes anniversary

With DJ Todd Pendu, DJs Nako, and Whitch

10 p.m., $10

Elbo Room

647 Valencia, SF

(415) 552-7788.

www.elbo.com

 

SATURDAY 3

MUSIC

Dreamdate

What’s your dream date? Perhaps the night would start off with beers, then move on to pizza . . . then more beers? You and your date could take a stroll and talk about life. “You know what I hate?” . . . “Me too!” Maybe you would broach the subject of early-to-mid 90s indie pop. What d’ya know, you both like Cub and Go Sailor! The Popguns too! A match made in heaven. “Hey, have you heard of Dreamdate?” “Who?” “It’s new. It’s a three piece from the bay. It’s sweet and catchy without making you feel like you’re choking on a cube of sugar that’s boring its way into your brain.” “I hate that.” “Me too. But I love Dreamdate.” (Berkmoyer)

With Lilac, the Ian Fays and Wild Assumptions

6 p.m., $6

423 40th St., Oak.

(510) 985-0325

www.1234gorecords.com

 

DANCE

RawDance Concept Series 9 Why overpay for a 3D movie when you can get live action art with free popcorn to boot? Dance artists Wendy Rein and Ryan Smith of RawDance host Concept Series 9, an intimate salon featuring works-in-progress and dance repertory by Bay Area dance artists. In addition to pieces by RawDance, this installment includes a new solo by former Martha Graham Dance Company performer David Martinez who has crowdsourced content to fold into his choreography, the darkly humorous 13th Floor Dance Theater directed by Jenny McAllister, Tanya Bello’s project.b, Gretchen Garnett and Dancers and punkkiCo, led by Finnish import Raisa Punkki. (Julie Potter)

Sat/3, 8 p.m. and Sun/4, 3 and 8 p.m.9 p.m., $8

66 Sanchez, SF

(415) 686-0728

www.rawdance.org

 

MUSIC

RTX

With the demise of ’90s indie rock heavyweights Royal Trux in 2001, longtime creative partners Neil Hagerty and Jennifer Herrema parted ways with Hagerty founding Howling Hex and Herrema adopting the name RTX for her own project. Since then, RTX has released scores of records, solidifying Herrema’s reputation as a songwriter and badass of renown while reaching out to a legion of fans, young and old(er) alike, with a lurching amalgam of everything that rocks, from skate punk to old school psychedelia and everything in between; it’s a mystical trip in the desert with nothing but torn jeans, cowboy boots, and a stick-n-poke Camero on your bicep. It makes you want to drink whiskey and say “fuck.” I miss my long hair. (Berkmoyer)

With White Fence, Heavy Cream and Burnt Ones

9 p.m., $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

SUNDAY 4

EVENT

Star Wars Day

Having won their first World Series title since moving to San Francisco last season, the Giants seemed, as Master Yoda would say, “at one with the Force.” In a fitting tribute to their victory, the team is hosting “Star Wars Day” at the ballpark, complete with a pre-game costume contest and party, a post-game screening of The Empire Strikes Back, and a special “Brian Wilson in Carbonite” giveaway. With his awesome, Jedi-like command of the ball when pitching, Wilson is a most appropriate pick — not to mention the fact that with his epic beard, he’s starting to look a little bit like Obi-Wan Kenobi! (Sean McCourt)

11 a.m.; Pricing varies; see website for current availability

AT&T Park

24 Willie Mays Plaza, SF

(415) 972-2000

www.sfgiants.com/specialevents

 

MUSIC

Twin Sister Twin Sister makes funky pink frosted cake-making, pinata-swinging, casual party music. Just check out the Brooklyn-via-Long Island band’s video for “Bad Street” off its forthcoming album In Heaven. Shot on location at breathy, sweet-voiced singer Andrea Estella’s family home, the video captures a pretty epic celebratory affair, replete with balloons and metallic streamers. Estrella’s family is made up of Salvadorians and Puerto Ricans, and she says the the video and the lyrics of the song are about Latin American life in New York. While other Twin Sister tunes expose a dreamy ’80s pop bent, this particular track sounds like a funked out ’70s block party. Just pray you get the invite.(Savage)

With Devon Williams, Library Voices

8 p.m., $12 Rickshaw Stop

155 Fell, SF

(510) 861-2011

www.rickshawstop.com

 

TUESDAY 6

MUSIC

The Mummies

There will only be 40 tickets sold at the door to this notably awesome, already pre-sold out show at the Knockout — I mean, these are the godparents of San Francisco surf punk we’re talking about here. Beginning in 1988, the gauzy white-cloth-wrapped band mixed 1960s-style surf rock riffs with the more modern sounds of clattering garage punk. All the Mummies have since joined other acts, but the band still occasionally regroups for live SF shows. Of course, Russell Quan is most often seen these days behind the DJ booth at twist-crazy club night Teenage Dance Craze at the Knockout, so what better place to host the show? And it should be a good one. The flier teases “Wear white shoes for a special surprise treat. Things will get out of hand.” (Savage)

With the Hondettes, DJ Russell Quan

10 p.m., $15 Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com 

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage Listings

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

THEATER

OPENING

All Atheists Are Muslim Stage Werx Theatre, 533 Sutter, SF; (415) 517-3581, www.brownpapertickets.com. $20. Opens Thurs/1, 8pm. Runs Thurs-Sat, 8pm. Through Oct 1. Zahra Noorbakhsh performs her solo romantic comedy.

Cymbeline Parade Ground Lawn, Main Post, Presidio (between Graham and Keyes), SF; www.sfshakes.org. Free. Opens Sat/3, 7:30pm. Runs Sun/4-Mon/5, 2:30pm; Sept 10, 17, and 24, 7:30pm; Sept 11, 18, and 25, 2:30pm. Through Sept 25. The San Francisco Shakespeare Festival presents its annual “Free Shakespeare in the Park” performance.

King Henry the Sixth Boxcar Studios, 125a Hyde, SF; www.brownpapertickets.com. $12-15. Opens Fri/2, 8pm. Runs Thurs-Sat, 8pm. Through Sept 17. Do It Live Productions debuts with a contemporary Shakespeare adaptation.

BAY AREA

A Delicate Balance Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-48. Previews Fri/2-Sat/3 and Sept 7, 8pm; Sun/4, 2pm; Tues/6, 7pm. Opens Sept 8, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Oct 9. Aurora Theatre performs Edward Albee’s comedy of manners.

Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Previews Fri/2-Sat/3 and Tues/6, 8pm; Sun/4, 7pm. Opens Sept 7, 8pm. Runs Tues-Sun, showtimes vary. Through Oct 30. Rita Moreno stars in a show created specifically for her by Berkeley Rep’s Tony Taccone and David Galligan.

ONGOING

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Extended through Sept 17. Actors Theatre of San Francisco performs the David Mamet crime classic.

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Wed-Sat (no shows this week; shows resume Sept 7), 8pm. Through Sept 17. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Geezer Marsh, 1062 Valencia, SF; (415) 282-3055. $25-100. Thurs, 8pm; Sat-Sun, 5pm. Through Sept 18. Geoff Hoyle returns to the Marsh with his acclaimed solo show.

Tigers Be Still SF Playhouse, 522 Sutter, SF; www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Sat, 8pm (also Sat, 3pm). Through Sept 10. SF Playhouse performs Kim Rosenstock’s quirky comedy.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed-Sat, 8pm. Through Sept 17. Expression Productions presents Sam Shepard’s tale of two brothers.

2012: The Musical! This week: Mill Valley Community Center (back lawn), 180 Camino Alto, Mill Valley; www.sfmt.org. Free. Wed/31, 7pm. Also Thurs/1, 7pm, Mitchell Park, South Field, 600 East Meadow, Palo Alto; Sat/3-Mon/5, 2pm, Dolores Park, 18th St at Dolores, SF. Continues through Sept 25 at various Bay Area venues. San Francisco Mime Troupe mounts their annual summer musical; this year’s show is about a political theater company torn between selling out and staying true to its anti-corporate roots.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 18. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

Candida Bruns Memorial Amphitheater, 100 California Shakespeare Theatre Way, Orinda; www.calshakes.org. $35-66. Wed/31-Thurs/1, 7:30pm; Fri/2-Sat/3, 8pm (also Sat/3, 2pm); Sun/4, 4pm. Cal Shakes artistic director helms this taken on George Bernard Shaw’s classic about a housewife torn between her husband and a new suitor.

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

The Merry Wives of Windsor Old Mill Park, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat-Sun and Sept 5, 2pm. Through Sept 18. Curtain Theatre performs Shakespeare’s Falstaff-centric comedy.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 8 and 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Of Dice and Men La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Oct 1. Impact Theatre performs Cameron McNary’s comedy about a group of adult Dungeons and Dragons players.

The Road to Hades John Hinkel Park, Southampton Ave, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (suggested donation; no one turned away for lack of funds). Sat-Sun, 3pm. Through Sept 11. Shotgun Players presents a new comedy written by and starring veteran comedian and clown Jeff Raz.

Sense and Sensibility Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 18. TheatreWorks performs Roger Parsley and Andy Graham’s adaptation of the Jane Austen novel.

Seven Guitars Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-55. Wed/31, 7:30pm; Thurs/1-Sat/3, 8pm (Sat/3, 2pm); Sun/4, 2 and 7pm. Marin Theatre Company performs August Wilson’s 1940s-set entry into his series of plays about the African-American experience.

The Tempest Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company presents Shakespeare’s romance with a steampunk twist.

Toke Ashby Stage, 1901 Ashby, Berk; www.brownpapertickets.com. $25. Thurs-Sat, 8pm; Sun, 5pm. Through Sept 11. Swirl Media presents Deedee Kirkwood’s pot-fueled comedy.

PERFORMANCE/DANCE

“The Kurt Weill Project” Café Royale, 800 Post, SF; (415) 641-6033. Wed, 8pm. Free. Cabaret opera.

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.romaneeventcomedyshow.com. Wed, 7:30pm. $10. Paco Romane hosts, and Nato Green headlines, this comedy variety show.

BAY AREA

“Finian’s Rainbow” Woodminster Amphitheater, Joaquin Miller Park, 3300 Joaquin Miller, Oakl; (510) 531-9597, www.woodminster.com. $26-42. Opens Fri/2, 8pm. Runs Thurs and Sun, 7pm; Fri-Sat, 8pm. Through Sept 11. Outdoor performance of the Irish-tinged Broadway classic.

The real Leland Yee

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tredmond@sfbg.com

It’s early January 2011, and the Four Seas restaurant at Grant and Clay is packed. Everyone who is anyone in Chinatown is there — and for good reason. In a few days, the Board of Supervisors is expected to appoint the city’s first Asian mayor.

The rally is billed as a statement of support for Ed Lee, the mild-mannered bureaucrat and reluctant mayoral hopeful. But that’s not the entire — or even, perhaps, the central — agenda.

Rose Pak, who describes herself as a consultant to the Chinese Chamber of Commerce but who is more widely known as a Chinatown powerbroker, is the host of the event. She stands in front of the room, takes the microphone, and, in Cantonese, delivers a remarkable political speech.

According to people in the audience, she says, in essence, that the community has come out to celebrate and support Ed Lee — but that’s just the start. She also urges them not just to promote their candidate — but to do everything possible to prevent Leland Yee from becoming mayor.

She continues on for several minutes, lambasting Yee, the state Senator who lived in Chinatown as a child, accusing him of about every possible political sin — and turning the Lee rally into an anti-Yee crusade. And nobody in the crowd seems terribly surprised.

Across Chinatown, from the liberal nonprofits to the conservative Chamber of Commerce, there’s a palpable fear and distrust of the man who for years has been among San Francisco’s most prominent Asian politicians — and who, had Lee not changed his mind and decided to run for a full term this fall, was the odds-on favorite to become the city’s first elected Chinese mayor.

The reasons for that fear are complex and say a lot about the changing politics of Asian San Francisco, the power structure of a city where an old political machine is making a bold bid to recover its lucrative clout — and about the career of Yee himself.

Senator Leland Yee is a political puzzle. He’s a Chinese immigrant who has built a political base almost entirely outside of the traditional Chinatown community. He’s a politician who once represented a deeply conservative district, opposed tenant protections, voted against transgender health benefits and sided with Pacific Gas and Electric Co. on key environmental issues — and now has the support of some of the most progressive organizations in the city. He’s taken large sums of campaign money from some of the worst polluters in California, but gets high marks from the Sierra Club.

His roots are as a fiscal conservative — yet he’s been the only Democrat in Sacramento to reject budget compromises on the grounds that they required too many spending cuts.

He’s grown, changed, and developed his positions over time. Or he’s become an expert at political pandering, telling every group exactly what it wants to hear. He’s the best chance progressives have of keeping the corrupt old political machine out of City Hall — or he’s a chameleon who will be a nightmare for progressive San Francisco.

Or maybe he’s a little bit of all of that.

 

Leland Yin Yee was born in Taishan, a city in China’s Guangdong province on the South China Sea. The year was 1948; Mao Zedong’s Communist Party of China had taken control of much of the countryside and was moving rapidly to take the major cities. The nationalist army of General Chiang Kai-Shek was falling apart, and Yee’s father, who owned a store, decided it was time for the family to leave.

The Yees made it to Hong Kong, and since Mee G. Yee had previously lived in the United States and served in the U.S. Army during World War II, he was ultimately able to move the family to San Francisco. In 1951, the three-year-old Leland Yee arrived in Chinatown.

For four years, Yee lived with his sister and mother in a one-room apartment with a shared bathroom while his father worked as a sailor in the merchant marine. It was, Yee recalled in a recent interview, a tight, closed, and largely self-sufficient community.

“The movie theater, the shoe store, the barber shop, food — everything you needed you could get in Chinatown,” Yee said. “You never had to leave.”

Of course, after a while, Yee and his mom started to venture out, down Stockton Street to Market, where they’d shop at the Emporium, the venerable department store. “It was like walking into a different country,” he said. “If you didn’t know English, they didn’t have time for you.”

Yee, like a lot of young Chinese immigrants of his era, put much of his time into his studies — in the San Francisco public schools and in a local Chinese school. “My mom spoke a village dialect, and we had to learn Cantonese,” he said. “Every little kid had to go to Chinese school. We hated it.”

When Yee was eight, his parents managed to buy a four-unit building on Dolores Street, and the family moved to the Mission, where he would spend not only the rest of his childhood but much of his early adult life. He graduated from Mission High School, enrolled in City College, studied psychology and after two years won admission to UC Berkeley.

Berkeley in 1968 was a very different world from Chinatown and even the relatively controlled environment he’d experienced at home in the Mission. “You didn’t protest in school. You’d have been sent home, and your mother would kill you,” he said.

At Berekely, all hell was breaking loose, with the antiwar protests, the People’s Park demonstrations, the campaign to create a Third World College (which led to the first Ethnic Studies Department), and a general attitude of mistrust for authority. “I developed a sense of activism,” Yee said. “I realized I could speak out.”

That spirit quickly vanished when Yee lost faith in some of his fellow activists. “People would work with us, then get into positions of power and use that against you,” he recalled. “A lot of my friends said ‘forget it.’ I left the scene.”

Yee once again devoted his energy to school, earning a masters at San Francisco State University and a Ph.D in child psychology from the University of Hawaii. Along the way, he met his wife, Maxine.

With his new degree, the Yees moved back to San Francisco — and back in with his parents at the Dolores property, where he, Maxine and a family that would grow to four kids would live for more than a decade.

 

Yee worked as a child psychologist for the San Francisco Department of Public Health, starting the city’s first high school mental-health clinic. He went on to become a child psychologist at the Oakland Unified School District, then joined a nonprofit mental health program in San Jose.

In 1986, Yee decided to get active in politics for the first time since college, and ran for the San Francisco School Board. He lost — and that would be the only election he would ever lose. In 1988, he won a seat, and established himself as an advocate for students of color, fighting school closures in minority neighborhoods. He also tried to get the district to modify its harsh disciplinary rules, arguing against mandatory expulsions.

On fiscal issues, though, Yee was a conservative. For his first term, despite the brutal cutbacks of the recession of the late 1980s and early 1990s, he insisted that the district make do with the money it had. His solution to the red ink: Cut waste. Only in 1992, when he was up for re-election, did he acknowledge that the district needed more cash; at that point, he supported a statewide initiative to tax the rich to bring money to the schools.

The sense of fiscal conservatism — of holding the line on taxes, but mandating open and fair contracting procedures and tight financial controls — was a hallmark of much of his political career. When the Guardian endorsed him for re-election to the board in 1992, we wrote that “there’s real value in his continuing vigilance against administrative fat and favoritism in contracts.”

Over the next four years, Yee worked with then-Superintendent Waldemar “Bill” Rojas, a deeply polarizing figure who pushed his own personal theory of “reconstitution” — firing all the staff at low-performing schools — and later was enmeshed in a scandal that led to prison time for a contractor he’d hired. Yee told me he was the only board member to vote against hiring Rojas, but people who were watching the board closely back then say he didn’t always stand up to the superintendent.

He also became what some say was a bit too close with Tim Tronson, a consultant hired by the district as a $1,000-a-day facilities consultant. Tronson wound up getting indicted on 22 counts of grand theft, embezzlement, and conspiracy in a scheme to steal $850,000 from the schools, and was sentenced to four years in state prison.

In 1998, when some school board members wanted to build housing for teachers on property that the district owned in the Sunset, Yee led the opposition — with Tronson’s help. At one meeting at Sunset Elementary School, Yee went so far as to say, according to people present, that “Tim Tronson is my man, and I rely on him for advice.”

Yee acknowledged that he worked closely with Tronson to defeat that housing project. “He was the facilities manager,” Yee explained, “and I said that I trusted his judgment.”

 

Yee has either a great sense of political timing or exceptional luck. He ran for the Board of Supervisors in 1996, facing one of the weakest fields in modern San Francisco history. He was the only Chinese candidate and one of just two Asians (the other, appointed incumbent Michael Yaki, barely squeaked to re-election). In an at at-large election with the top five winning seats, Yee came in third, with 103,000 votes.

He was never a progressive supervisor. In 2000, the Guardian ranked the good votes of what we referred to as Willie Brown’s Board, and Yee scored only 43 percent. He was against campaign finance reform. He supported the brutal gentrification and community displacement represented by the Bryant Square development. He voted to kill a public-power feasibility study and opposed the Municipal Utility District initiative. He opposed a moratorium on uncontrolled live-work development.

In 2002, Yee was one of only three supervisors to oppose Proposition D, a crucial public-power measure that would have broken up PG&E’s monopoly in the city. He stood with PG&E (and then-Sups. Tony Hall and Gavin Newsom) in opposition to the measure, then signed a pro-PG&E ballot argument packed with PG&E lies.

When I asked him about that stand, Yee at first didn’t recall opposing Prop. D, but then said he “stood with labor” on the issue. In fact, the progressive unions didn’t oppose Prop. D at all; the opposition was led by PG&E’s house union, IBEW Local 1245.

Yee was particularly bad on tenant issues. He not only voted to deny city funding for the Eviction Defense Collaborative, which helped low-income tenants fight evictions; he actually tried to get the city to put up money for a free legal fund to help landlords evict their tenants. He opposed a ballot measure limiting condo conversions. He opposed a measure to limit the ability of landlords to pass improvement costs on to their tenants.

In 2001, Yee voted to uphold a Willie Brown veto of legislation to limit tenancies in common, a backdoor way to get around the city’s condo conversion ordinance. Only Hall and Newsom, then the most conservative supervisors on the board, joined Yee. At one point, he started asking whether the city should consider repealing rent control.

He opposed an affordable housing bond in 2002, joining the big landlord groups in arguing that it would raise property taxes. Every tenant group in town supported the measure, Proposition B; every landlord group opposed it.

I asked Yee about his tenant record, and he told me that he now supports rent control. But he said that he was always on the side of homeowners and small landlords, and that property ownership was central to Chinese culture. “I was responding to the Chinese community and the West Side,” he said.

He wasn’t much of an environmentalist, either — at least not in today’s terms. He was one of the only city officials to support a “Critical Car” rally in 1999, aimed at promoting the rights of vehicle drivers (and by implication, criticizing Critical Mass and the bicycle movement).

His record on LGBT issues was mixed. While he supported a counseling program for queer youth when he was on the school board, he also supported JROTC, angering queer leaders who didn’t want a program in the public schools run by, and used as a recruiting tool for, the military, which at that point open discriminated against gay and lesbian people.

 

 

Yee was also one of only two supervisors who voted in 2001 against extending city health benefits to transgender employees.

That was a dramatic moment in local politics. Nine votes were needed to pass the measure, and while eight of the supervisors were in favor, Yee and Hall balked. At one point, Board President Tom Ammiano had to direct the Sheriff’s Office to go roust Sup. Gerardo Sandoval, who was ducking the issue in his office, to provide the crucial ninth vote.

Yee didn’t just vote against the bill. According to one reliable source who was there at the time, Yee spoke to a community meeting out on Ulloa Street in the Sunset and berated his colleagues, quipping that the city should have better things to do than “spend taxpayer money on sex-change operations.”

It was a bit shocking to trans people — Yee had, over the years, befriended some of the most marginalized members of what was already a marginalized community. “There was one person at the rail crying, saying ‘Leland, how could you do this to us,'” Ammiano recalled.

The LGBT community was furious with Yee. “I didn’t speak to him for at least a year,” Gabriel Haaland, one of the city’s most prominent transgender activists, told me.

Yee now says the vote was a mistake — but at the time, he told me, he was under immense pressure. When he voted for the queer youth program, he said, “the elders of the Chinese community ripped me apart. They called my mother’s friends back in the village [where he was born] and said her son was embarrassing the Chinese community.”

That must have been difficult — and he said that “if I had known the pain I had caused, I wouldn’t have voted that way.” But it was hard to miss that pain his vote caused.

On the other hand, people learn from their experiences, attitudes evolve, we all grow up and get smarter, and the way Yee describes it, that’s what happened to him.

In 2006, when he was running for state Senate, Yee met with a group of trans leaders and formally — many now say sincerely — apologized. It was an important gesture that made a lot of his critics feel better about him.

“He didn’t have to do that,” Haaland said. “People change, and he paid for his crime, and that’s genuine enough for me.”

As a former school board member, Yee kept an interest in the schools — but not always a healthy one. At one point, he actually proposed splitting SFUSD into two districts, one on the (poorer) east side of town and one on the (richer) west. “We strongly opposed that,” recalled Margaret Brodkin, who at the time ran Coleman Advocates for Children and Youth. “Eventually he dropped the idea.”

For all the problems, in his time on the Board of Supervisors, Yee developed a reputation for independence from the Brown Machine, which utterly dominated much of city politics in the late 1990s. His weak 43 percent rating on the Guardian scorecard was actually third-best among the supervisors, after Ammiano and the late Sue Bierman.

In 1998, he was one of the leaders in a battle to prevent the owners of Sutro Tower from defying the city’s zoning administrator and placing hundreds of new antennas on Sutro Tower. He, Bierman, and Ammiano were the only supervisors opposing Brown’s crackdown on homeless people in Union Square.

When he ran in the first district elections, in 2000, against two opponents who had Brown’s support and big downtown money, the Guardian endorsed him, noting that while he “can’t be counted on to support worthy legislation … He’s one of only two board members who regularly buck the mayor on the big issues.”

(He never liked district elections, and used to take any opportunity to denounce the system, at times forcing Ammiano to use his position as president to tell Yee to quit dissing the electoral process and get to the point of his speech.)

 

In 2002, the westside state Assembly district seat opened up, and both Yee and his former school board colleague Dan Kelly ran in the Democratic primary. Yee won, and went on to win the general election with only token opposition.

His legislative record in the Assembly wasn’t terribly distinguished. Yee never chaired a policy committee — although he did win a leadership post as speaker pro tem. And he cast some surprisingly bad votes.

In 2003, for example, then-Assemblymember Mark Leno introduced a bill that would have exempted single-room occupancy hotels from the Ellis Act, which allows landlords to evict tenants for no reason. Yee refused to vote for the bill. Leno was furious — he was one vote short of a majority and Yee’s position would have doomed the bill. At the last minute, a conservative Republican who had grown up in an SRO hotel voted in favor.

When he ran for re-election in 2004, we noted: “What’s Leland Yee doing up in Sacramento? We can’t figure it out — and neither, as far as we can tell, can his colleagues or constituents. He’s introduced almost no significant bills — compared, for example, to Assemblymember Mark Leno’s record, Yee’s is an embarrassment. The only high-profile thing he’s done in the past several years is introduce a bill to urge state and local governments to allow feng shui principles in building codes.”

In 2006, Yee decided to move up to the state Senate, and he won handily, beating a weak opponent (San Mateo County Supervisor and former San Francisco cop Mike Nevin) by almost 2-1. His productivity increased significantly in the upper chamber — and in some ways, he moved to the left. He’s begun to support taxes — particularly, an oil severance tax — and when I’ve questioned him, he somewhat grudgingly admits that Prop. 13 deserves review.

He’s done some awful stuff, like trying to sell off the Cow Palace land to private developers. But he has consistently been one of the best voices in the Legislature on open government, and that’s brought him some national attention.

Yee has been a harsh critic of spending practices and secrecy at the University of California, and when UC Stanislaus refused in 2010 to release the documents that would show how much the school was paying Sarah Palin to speak at a fundraiser, Leland flew into action. He not only blasted the university and introduced legislation to force university foundations to abide by sunshine laws; he worked with two Stanislaus students who had found the contract in a dumpster and made headlines all over the country.

He’s fought for student free speech rights and this year pushed a bill mandating that corporations that get tax breaks for job creation prove that they’ve actually created jobs — or pay the tax money back. He’s also won immense plaudits from youth advocates and criminal justice reformers for his bill that would end life-without-parole sentences for offenders under 18.

Along the way, he compiled a 100 percent voting record from the major labor unions, including the California Nurses Association and SEIU, and with the Sierra Club. All three organizations have endorsed him for mayor.

Yee told me that he thinks he’s become more progressive over the years. “My philosophy has shifted,” he said.

Yet when you talk to his colleagues in Sacramento, including Democrats, they aren’t always happy with him. Yee has a tendency to be a bit of a loner — he’s never chaired a policy committee and in some of the most bitter budget fights, he’s refused to go along with the Democratic majority. Yee insists that he’s taken principled stands, declining to vote for budget bills that include deep service cuts. But the reality in Sacramento is that budget bills have until this year required a two-thirds vote, meaning two or three Republicans have had to accept the deal — and losing a Democratic vote has its cost.

“You have to give up all sorts of things, make terrible compromises, to get even two Republicans,” one legislative insider told me. “When a Democrat goes south, you have to find another Republican, and give up even more.”

In other words: It’s easy to take a principled stand, and make a lot of liberal constituencies happy, when you aren’t really trying to make the state budget work.

 

I met Rose Pak on a July afternoon at the Chinatown Hilton. She brought along her own loose tea, in a paper package; the waitress, who clearly knew the drill, took it back to the kitchen to brew. Pak and I have not been on the greatest of terms; she’s called the Guardian all kinds of names, and I’ve had my share of critical things to say about her. But on this day, she was polite and even at times charming.

After we got the niceties out of the way (she told me I was unfair to her, and I told her I didn’t like the way she and Willie Brown played politics), we started talking about Yee. And Pak (unlike some people I interviewed for this story) was happy to speak on the record.

She told me Yee had “no moral character.” She told me she couldn’t trust him. She told me a lot of stories and made a lot of allegations that we both knew neither she nor I could ever prove.

Then we got to talking about the politics of Chinatown and Asians in San Francisco, and a lot of the animosity toward Yee became more clear.

For decades, Chinatown and the institutions and people who live and work there have been the political center of the Chinese community. Nonprofits like the Chinatown Community Development Center have trained several generations of community organizers and leaders. The Chinese Chamber of Commerce, the Six Companies, and other business groups have represented the interests of Chinese merchants. And while the various players don’t always get along, there’s a sense of shared political culture.

“In Chinatown,” Gordon Chin, CCDC’s director, likes to say, “it’s all about personal connections.”

There’s a lively infrastructure of community-service programs, some of which get city money. There’s also a sense that any mayor or supervisor who wants to work with the Chinese community needs to at least touch base with the Chinatown establishment.

Yee doesn’t do that. “He doesn’t give a shit about them,” David Looman, a political consultant who has worked with many Chinese candidates over the years, told me.

Yee’s Asian political base is outside of Chinatown; he told me he sees himself representing more of the Chinese population of the Sunset and Richmond and the growing Asian community in Visitacion Valley and Bayview.

Pak is connected closely to Brown, who Yee often clashed with. For Pak, Brown, and their allies, strong connections to City Hall mean lucrative lobbying deals and public attention to the needs of Chinatown businesses. Then there’s the nonprofit sector.

CCDC and other nonprofits do important, sometimes crucial work, building and maintaining affordable housing, taking care of seniors, fighting for workers rights, and protecting the community safety net. Yee, Pak said, “has never shown any interest in our local nonprofits. We all work together here, and he doesn’t seem to care what we do.” Yee told me he has no desire to see funding cut for any critical social services in any part of town. But he has also made no secret of the fact that he questions the current model of delivering city services through a large network of nonprofits, some of which get millions of taxpayer dollars. And the way Pak sees it, all of that — the nonprofits, the business benefits, the contracts — are all at risk. “If Leland Yee is elected mayor,” she told me, “we are all dead.”

I ran into an old San Francisco political figure the other day, a man who has been around since the 1970s, inside and outside of City Hall, who remains an astute observer of the players and the power relationships in the local scene. At the time we talked, he wasn’t supporting any of the mayoral candidates, but he had a thought for me. “This town,” he said, “is being taken over by a syndicate. Willie Brown is the CEO, and Rose Pak is the COO, and it’s all about money and influence.”

That’s not a pleasant thought — I’ve lived through the era of political machine dominance in this town, and it was awful. In the days when Brown ran San Francisco, politics was a tightly controlled operation; only a small number of people managed to get elected to office without the support of the machine. Developers made land-use policy; gentrification and displacement were rampant; corruption at City Hall turned a lot of San Franciscans off, not only to the political process but to the whole notion that government could be a positive force in society.

A few years ago, I thought those days were over — and to a certain extent, district elections will always make machine politics more difficult. But when I see signs of the syndicate popping up — and I see a candidate like Ed Lee, who’s close friends with Brown, leading the Mayor’s Race — it makes me nervous. And for all his obvious flaws, at least Leland Yee isn’t part of that particular operation. If there’s a better reason to vote for him, I don’t know what it is.

YEE HOME PURCHASE RAISES SUSPICIONS

Rose Pak has a question about Leland Yee. “How,” she asked me, “did the guy manage to buy a million-dollar house on a $30,000 City Hall salary?”

Pak isn’t the only one asking — numerous media reports over the years have examined how Yee raised a family of four and bought a house in the Sunset on very little visible income. And while I’m not usually that interested in the personal finances of political candidates, I decided that it was worth a look.

Here’s what I found: Public records show that in July 1999, Yee and his wife, Maxine, purchased a house on 24th Avenue for $875,000 (it’s now assessed at slightly more than $1 million). At the time, Yee was a San Francisco supervisor, earning a little more than $30,000 a year. (The salary of the supervisors was raised dramatically shortly after Yee left the board and went to the state Assembly.) His wife wasn’t working. And his economic interest statements for that period show no other outside earnings. So the disposable, after-tax income of the entire Yee family couldn’t have been much more than $25,000.

That, by any normal standard, shouldn’t have been enough to float a mortgage that, records show, totaled $516,000. In fact, the interest payments alone on that mortgage alone would total $3,600 a month — more than Yee’s gross income.

Documents in the Assessor’s Office show another paper trail, too. In 1989, Jung H. Lee, Yee’s mother, transferred the deed on a four-unit Dolores St. building where the family had been living to Maxine and Leland Yee — for no money. And a few months before the Yees bought the Sunset house, they took out a $320,000 home-equity loan on that property. That was the down payment on the Sunset property.

Still: At that point, the Yees would have been paying off two mortgages, with a total nut of about $5,000 a month — and supporting four kids, in San Francisco. In 2002, Yee’s economic interest statement’s show some modest income from teaching at Lincoln University — but nowhere near enough to pay that level of expenses.

What happened? Yee explains it this way: “For more than 10 years, we were living rent-free in my parents’ property,” he told me I an interview. “We were a close Chinese family, and my parents provided the food and helped pay for the children’s clothing. So we had almost no expenses and we lived very frugally.”

During that period, Yee was working for the San Francisco Department of Public Health, the Oakland Unified School District, and a San Jose nonprofit, earning, he said, between $50,000 and $90,000 a year. If he saved almost all of that money, he would have had more than a half-million dollars in the bank when he bought the Sunset house.

There’s nothing on any of his economic disclosure forms showing any ownership of stocks or other reportable financial interests during that period, so he wasn’t investing the money. In fact, he says, it was, and is, all in simple savings accounts. A bit unusual for that large a sum of money.

How did he get a mortgage? “Back then,” he said, “banks were willing to lend a lot more freely than they do today.”

Starting in 2003, Yee was in the state Assembly, making a higher salary — but still not much in excess of $100,000 a year. After taxes, he was probably taking home about $75,000 — and $60,000 was going to the two mortgages.

How did he do it? “We have been supplementing our income with our savings,” he said. “We don’t take vacations, we are very careful with our money.” And they clearly aren’t desperate for cash — Yee’s daughter occupies two of the four units in the Dolores St. building they own, but the other two units are vacant.

It’s possible. It’s plausible. But I don’t blame people for wondering how he managed to pull it off. (Tim Redmond, with research assistance by Oona Robertson) 

 

 

 

BIG CORPORATIONS HAVE BACKED YEE

Yee became a prodigious fundraiser in Sacramento — and a lot of the money came from big corporations that had business in the Legislature. And while he has perfect scores from the Sierra Club and the big labor unions, he’s taken tens of thousands of dollars from some of the biggest corporations, agribusiness interests, and polluters in the state. And at times, he’s voted their way.

Since 1993, for example, campaign finance records show Yee has taken more than $20,000 from Chevron, ExxonMobil, Valero, Conoco Phillips, and BP. He’s received another $22,450 from the chemical industry (and industry employees). Most of it came from Clorox, Dow Chemical, and Dupont.

And while the Sierra Club may not have considered it a priority, Sen. Mark Leno has worked hard to pass a bill limiting chemical fire retardants in furniture. In 2008, Yee voted against Leno’s AB 706.

That year he also refused to support a bill that would prohibit the use of the chemical diacetyl in workplaces. The industries that opposed AB 514 (including Bayer, Abbott Laboratories, Pfizer, and Johnson & Johnson) have given Yee a total of more than $60,000.

In 2003, Yee voted against a crucial tenant bill, one that would have prevented the owners of single room occupancy hotels from using the Ellis Act to evict tenants. He received a campaign check for $2,500 from the San Francisco Apartment Association the next day. Landlords in general have given Yee close to $40,000.

Then there’s agribusiness. Yee gets a lot of money from the farming industry, despite the fact that there obviously aren’t many farms in his district. Why, for example, would the California Poultry Association, the California Cattlemen’s Association, and the California Farm Bureau give him money? The Poultry Association’s Bill Mattos told us that Yee “has taken a keen interest in California’s poultry industry.”

Yee also took immense flak from the San Francisco Chronicle and other papers over a 2003 vote against a bill to limit emissions from farm vehicles. In an editorial, the paper wrote that he was “doing dirty work for the lobbyists.” In the end, under immense public pressure, he switched positions and voted for the bill. I asked Yee about all that money from all those bad operators, and he told me — as most politicians will — that campaign cash has never influenced any of his votes.

So why do all these groups give him money? “It’s about whether you will sit down and listen,” Yee said. “I will talk to all sides and at least consider the arguments as a thoughtful human being. Then I vote my conscience.” (Tim Redmond, with research by Oona Robertson) 

BART protests continue (VIDEO)

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Protesters returned to downtown San Francisco train stations on August 29, vowing to keep up their schedule of Monday evening rush hour protests until the  BART police are disarmed and retrained, or disbanded. This time, howevef, stations remained open and trains ran on schedule in a protest where both BART police and demonstrators took pains to reach out to commuters angered by recent train service disruptions.

A crowd of 200 people gathered outside of Civic Center station, the location of the July 3 fatal shooting of a 45 year old Charles Hill by BART police.

Hill’s physician, Dr. Rupa Marya, joined the protest a day after releasing an open letter on the shooing calling for BART police to re-examine its use of force policies and training.

“Charles was a member of the invisible class of people in SF–mentally ill, homeless and not reliably connected to the help he needed,” read Marya’s letter. “We often have to deal with agitated–sometimes even violent–patients in the hospital. Through teamwork, tools and training, we have not had to fatally wound our patients in order to subdue them.”

The protest made its way down Market Street entering each station briefly but remaining outside the fare gates. BART police have made it clear recently that their policies only allow freedom of expression outside the paid areas of the station. Previous protests on the train platforms have lead to station closures and train delays – delays that protesters and police have accused each other of causing.

Video taken by Josh Wolf, which includes protesters and counterprotesters, including a debate between Dr. Marya and a supporter of the cops.

As the protesters moved down the Market Street corridor they were shadowed by a small army of BART and San Francisco Police Department officers intent on preventing further station closures.

At Montgomery station Deputy BART Police Chief Daniel Hartwig told the Guardian, “Protesters appear to be following BART’s free speech rules and regulations and at this point we are happy they are. We support their right to protest.”

Behind him the station lobby filled protesters chanting, “How can they protect and serve us? BART police just make us nervous.”

At Embarcadero station an organizer with No Justice No BART challenged BART’s free speech rules.

“Right here you can say what you want. The moment you enter that fare gate you can’t say what you want,” he announced over a megaphone before crossing through the fair gates under heavy police presence.

After speaking out briefly in the paid area of the station, he exited of his own accord and was promptly arrested by BART police along with another protester in a Guy Fawkes mask who also had been using a megaphone.

Muni, which shares several downtown train stations with BART, has shifted in recent years away from police patrols to a “community ambassador” program, largely removing armed SFPD officers from those train and bus lines in favor of unarmed fare enforcement personal. The program has been praised from all sides as an appropriate balance of community safety, and fare enforcement on public transportation.

Robin, a young San Francisco native who said it was her first time participating in the police misconduct protests, characterized the gathering as a success. When asked if she found the presence of so many police intimidating she said “It was meant to be intimidating. That they would bring everyone out to police a small protest shows they fell they have something to be ashamed of.”

While the protesters focused on BART’s use of lethal force, civil liberties groups filed a petition Monday with the Federal Communications Commission, as the national fallout continues over BART’s decision to cut cellphone service to thwart a protest that never developed on August 11.

The coalition including Center for Democracy and Technology, Center for Media Justice, and Electronic Frontier Foundation argues that regardless of First Amendment augments for or against the disruption of cell service in the paid areas of BART’s stations, BART exceeded its authority under federal law. The complaint notes that the Communications Act, which governs cell phone service providers, clearly states the no carrier shall discontinue service without authorization from the FCC.

“It has been settled law for decades that law enforcement agencies have no authority to order discontinuation of phone service on mere suspicion of illegal activity without due process,” the complaint states.

The coalition urged the FCC to address the issue immediately in light of BART’s statements attempting to justify the cell service disruption, and the risk that other government agency may consider similar policies if the FCC does not assert its authority in the matter.

BART’s board of directors held an emergency meeting (Wed/25) to begin crafting a policy outlining to what future instances could lead further shutoffs.

BART has staff defended its disruption of service that took place August 11, saying their intent was to protect public safety.

Our Weekly Picks: August 24-30

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WEDNESDAY 24

MUSIC

Tim Cohen’s Magic Trick

Tim Cohen may just be the hardest working man in rock ‘n’ roll. He pours time and energy into singer-songwriting the Fresh & Onlys, guest musicianing friends’ bands, and masterminding his own side project, Magic Trick. He released a Magic Trick album in February and he recently released another, just half a year later. The LP, The Glad Birth of Love, is a piece of musical achievement: four lengthy rock ballads and guest spots from members of Thee Oh Sees, the Sandwitches, and Citay. It saw a limited release on July 19 (Cohen’s birthday) but was wide-released yesterday, Aug. 23. Tonight, Cohen will be feted with an album release show at the Rickshaw Stop that includes the last show ever for fellow SF rockers Magic Bullets. (Emily Savage)

With Magic Bullets, PreTeen, and Tambo Rays

8 p.m., $8

Rickshaw Stop

155 Fell, SF

(510) 861-2011

www.rickshawstop.com

 

MUSIC

Vaz

It’s been described as “scum-pop,” “cock rock,” and “creep-rock,” but all you really need to know is this: Vaz is loud as fuck. The hard-hitting Brooklyn trio rose from the ashes of ’90s band Hammerhead in the early aughts and somehow managed to make an even noisier sound in the years that followed. Vaz has also label-jumped in said years, putting out albums, tapes, and splits on Gold Standard Laboratories, Damage Rituals, Narnack, and Load Records, among others. Wherever the band’s outputs land, vocalist-guitarist Paul Erickson continues to wail on post-metal, rapid-paced cuts and drummer Jeff Moordian looks and sounds as though he’s having a convulsive, orgasmic meltdown behind the set (a good thing). (Savage)

With Pygmy Shrews, Unstoppable Death Machine, and Dead

9 p.m., $8.

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

THURSDAY 25

EVENT

“Dinosaur Nightlife”

Though they died out 65 million years ago, Dinosaurs continue to fascinate us, stoking our imaginations, piquing our curiosities, and sometimes even stalking through our nightmares. If you’re yearning to unleash your inner 8-year-old pretend paleontologist and celebrate your love of these “terrible lizards,” then head over to the California Academy of Sciences for tonight’s Dinosaurs! Nightlife event, part of a weekly series of after-hours science-themed parties for the 21 and over portion of visitors. Tonight’s prehistoric party will feature a fossil show and tell, a special planetarium show, live music, drinks, and even a “Dino Burlesque” show. (Sean McCourt)

6-10 p.m., $10–$12

California Academy of Sciences

55 Music Concourse, SF

(415) 379-8000

www.calacademy.org

 

MUSIC

The Soft Moon

The Soft Moon is back! After touring America in support of its debut album, San Francisco’s most promising new band has finally returned. The band plays the coldest cold wave to come out of the bay in . . . forever? Seriously, it’s like 70 degrees outside and I feel like I have to put on a sweater every time I listen to a song. It’s unsettling. Frenchmen with angular haircuts and vows of silence make this kind of music, not Californians. The Soft Moon isn’t just playing at being the most ice cool band in the bay, though. The music is terse and cinematic; sparse vocals and guitar hover delicately above driving rhythm as lights and images dance across the stage completing the performance. Brrr. (Cooper Berkmoyer)

With Craft Spells

9 p.m., $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

MUSIC

Sallie Ford & the Sound Outside

It’s easy to see how Sallie Ford & the Sound Outside has so quickly risen the ranks of the Portland music scene. The band’s breezy blend of rockabilly, jumpy jazz, and 1950s rock ‘n’ roll is contagiously effective, punctuated with walking stand-up bass lines, lively percussion, and just the right amount of rebellious energy. But it’s Ford herself that steals the show and lends the group its most compelling element. Channeling the yelping spirit of 1920s and 1930s-era blues singers such as Bessie Smith and Ida Cox, the wildly unhinged and raw passion in her voice has quickly won the band scores of fans, including the Avett Brothers, which the band accompanied for several shows throughout the West Coast and Colorado in 2009. (Landon Moblad)

With il gato

9 p.m., $12 Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

MUSIC

White Mystery

Goddamn can Alex White sing. On guitar and vocals, Alex is half of Chicago, Ill. brother-sister duo White Mystery. Her brother Francis White, on drums, is the other half of this stripped down rock ‘n’ roll combo. The Bikini Kill comparisons are perhaps inescapable thanks to her powerful pipes and punchy riffs, but White Mystery is a different beast, one with two full heads of red hair that fly back and forth with each drum strike. The songs are simple and energetic: even as a two-piece, White Mystery sounds full with attitude that demands your attention. “I have an idea,” says Alex at the beginning of its song “Party:” “let’s have a party!” Yes, let’s. (Berkmoyer)

With Burnt Ones

9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

FRIDAY 26

FILM

Edgar Wright

Gaining American mainstream exposure with 2004’s zombie smash hit Shaun Of The Dead, continuing with the 2007 action farce Hot Fuzz, and most recently with last year’s comic adaptation Scott Pilgrim vs. The World, writer and director Edgar Wright has brought us some of the most darkly hilarious and entertaining movies in recent memory. The British filmmaker visits the Castro Theatre tonight for a special “Midnights For Maniacs” event that will feature screenings of all three previously mentioned films, an assortment of shorts including the Grindhouse faux trailer Don’t, plus a live onstage interview in conversation with host Jesse Hawthorne Ficks. (McCourt)

7 p.m., $15

Castro Theatre

429 Castro, SF.

(415) 621-6120

www.castrotheatre.com

 

MUSIC

Traditional Fools

Snotty, sloppy and drunken, the Traditional Fools is everything garage rock should be. Notes crash into each other and vocals are kind of slurred over the consequent blur of fuzz, but something holds it all together for a few minutes until one song ends and another starts. “1-2-3-4!” It’s a party in three pieces: Andrew, David, and Ty (of eponymous Ty Segall fame) are heir to the Mummies’ budget rock sound with a twist of their own. If John Waters ever made a skate video (don’t ask me, I don’t know why he would, but if he did) the Traditional Fools would play in every scene. Does that make any sense? I’m not sure it does. (Berkmoyer)

With Outdoorsmen, Uzi Rash, and Shrouds

9 p.m., $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com


SATURDAY 27

MUSIC

J-Pop Summit Festival

Any day of the year you can stop by New People — that glowing white box/contemporary mall in the heart of Japantown — for a brief, colorful dose of j-pop. But if you really want to do it right, and get maximum exposure to the current pop culture trends of Japan, the yearly J-Pop Summit Festival is your best bet. The festival, which is hosted by New People this year, takes place on Post Street from Webster to Laguna, encompassing both the mall and the Peace Plaza of Japantown. There will be live music by Danceroid, Layla Lane, K-ON!, SpacEKrafT, the Patsychords, and teen duo the Bayonettes (which formed at the Bay Area Girls Rock Camp) along with DJs spinning modern j-pop. The fest also includes film screenings and avant-garde Elegant Gothic Lolita-style fashion by h. Naoto, so you can dress the part as well. (Savage)

Through Sun/28

11 a.m.-6 p.m., free

New People

1746 Post, SF

(415) 525-8630

www.newpeopleworld.com

 

FILM

“Showgirls: The Peaches Christ Experience”

It’s hard to believe anyone (ahem, director Paul Verhoeven and writer Joe Eszterhas) thought for two seconds that 1995’s Showgirls would be received as anything other than extreme high camp to the zillionth power. Faster than you can say “I like your nails,” however, Showgirls’ true destiny — as audience participation classic — was embraced, and one of its fiercest champions has been our very own Peaches Christ. Surely San Francisco’s hunger for the on-screen antics of Nomi Malone and Peaches’ accompanying hijinks (including a “Volcanic Goddess” pre-show and an army of 100 lap dancers) can barely be contained by any four walls, but among all possible venues, the Castro Theatre seems equipped for the challenge. Thrust it! (Cheryl Eddy)

8 p.m., $25–$45

Castro Theatre

429 Castro, SF

www.peacheschrist.com

 

SUNDAY 28

MUSIC

Sway Machinery

For those not of the Jewish faith, cantorial music is basically synagogue tunage. If Brooklyn-based, edged-out cantorial-meets-blues music isn’t your thing, try it tangled up with West African drumming and Malian vocals. At some point, Sway Machinery will get your attention. The band went to Mali, recorded two full albums with musicians there including local superstar Khaira Arby, then tread a bumpy road back to the States. Dynamic singer-songwriter-guitarist Jeremiah Lockwood often leads the Sway Machinery in Hebrew, though on the group’s most recent, inextricably Mali-influenced records, he takes two steps away from the traditional, and experiments with different vocal stylings. It’s true that the bloggers have made it clear they’re sick of indie-afro-pop, but this is an exception to that rule, it’s an old-world away from appropriation. (Savage)

8 p.m., $12

Beatbox

314 11th St., SF

www.beatboxsf.com

 

TUESDAY 30

MUSIC

Butthole Surfers

Boasting one of the most infamous monikers in music history and a harried reputation for wild antics that more than matched, the Butthole Surfers have been attacking stages and ear drums for the past 30 years. Still led by the core trio of Gibby Haynes, Paul Leary, and King Koffey, the band may have flirted with some mainstream success back in the 90s with tunes such as “Who Was In My Room Last Night?” and “Pepper,” but they still continue to mix a crazy concoction of underground punk, psychedelic rock, and noise that may confound the casual listener, while the hardcore fans go rabid at its shows. (McCourt)

With 400 Blows.

8 p.m., $30

Regency Ballroom

1290 Sutter, SF

www.theregencyballroom.com 

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage Listings

0

THEATER

OPENING

Geezer Marsh, 1062 Valencia, SF; (415) 282-3055. $25-100. Opens Thurs/25, 8pm. Runs Thurs, 8pm; Sat-Sun, 5pm. Through Sept 18. Geoff Hoyle returns to the Marsh with his acclaimed solo show.

BAY AREA

The Merry Wives of Windsor Old Mill Park, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Opens Sat/27, 2pm. Runs Sat-Sun and Sept 5, 2pm. Through Sept 18. Curtain Theatre performs Shakespeare’s Falstaff-centric comedy.

Of Dice and Men La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thurs/25-Fri/26, 8pm. Opens Sat/27, 8pm. Runs Thurs-Sat, 8pm. Through Oct 1. Impact Theatre performs Cameron McNary’s comedy about a group of adult Dungeons and Dragons players.

Sense and Sensibility Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Previews Wed/24-Fri/26, 8pm. Opens Sat/27, 8pm. Runs Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 18. TheatreWorks performs Roger Parsley and Andy Graham’s adaptation of the Jane Austen novel.

The Tempest Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company presents Shakespeare’s romance with a steampunk twist.

ONGOING

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Extended through Sept 17. Actors Theatre of San Francisco performs the David Mamet crime classic.

The Book of Liz Custom Made Theatre, 1620 Gough, SF; www.custommade.org. $25-32. Thurs/25-Sat/27, 8pm; Sun/28, 7pm. Custom Made Theatre performs David and Amy Sedaris’ comedy about an unconventional nun.

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Wed-Sat (Wed/24-Sat/27 and Sept 7-17), 8pm. Through Sept 17. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Gilligan’s Island: Live On Stage! 2011 Garage, 975 Howard, SF; www.brownpapertickets.com. $10-20. Sat/27-Sun/28, 8pm. Moore Theatre and SAFEhouse for the Performing Arts presents this updated, ribald take on TV’s classic castaways.

A Midsummer’s Night Dream This week: Dolores Park, 19th St at Dolores, SF; www.womanswill.org. Free (donations requested). Sat/27-Sun/28, 2pm. Woman’s Will performs the Shakespeare favorite.

The Nature Line Phoenix Theater, 414 Mason, SF; www.sleepwalkerstheatre.com. $17-20. Thurs/25-Sat/27, 8pm. With The Nature Line, Sleepwalkers Theatre concludes playwright J.C. Lee’s ambitious apocalypse trilogy, “This World and After.” Now well into the post-apocalyptic age, Aya (Charisse Loriaux) buries her miscarriages in the hardscrabble earth, tended by a blind one-breasted s/he named T (Amy Prosser) who plants a would-be garden and collects tattered love letters from a past when people could still physically — and emotionally — touch one another. All that’s been banished now, Aya’s friend Arty (Ariane Owens) tells us, along with the onetime plague of “sadness.” The few humans remaining huddle in the antiseptic arms of a corporate entity represented by a bossy nurse (Janna Kefalas) and her spacey assistant (Lissa Keigwin), who manage an artificial insemination clinic fueled by a stable of four comic-book–reared studs, or “dudes” in the argot of the future (a sensitive crooner smitten with Aya, played by Joshua Schell, and a boisterously adolescent fantastic three played by the roundly hilarious Roy Landaverde, Jeff Moran, and Jomar Tagatac). If Lee’s title suggests “line” as both lineage and division, the play recovers a timeless order by challenging the artificial lines between persons; people and “nature”; past, present, and future; or dream and reality. Director Mina Morita’s staging is fleet and at times poetic, while she gets generally solid performances from her cast (the more comical parts working best). Imaginative, just a little risqué, and reminiscent in its heightened vernacular, low humor, and romantic optimism of word-struck apocalypto-dramas like Liz Duffy Adams’ Dog Act, Nature is a well-constructed narrative with a theme and dialogue that can feel alternately eloquent and heavy-handed. (Avila)

Peaches en Regalia Stage Werx, 533 Sutter, SF; www.wilywestproductions.com. $12-24. Thurs/25-Sat/27, 8pm. The new comedy by Bay Area playwright Steve Lyons borrows its title from a Frank Zappa instrumental and stamps it on the menu of a local diner (tangibly evoked in Wes Cayabyab and Quinn J. Whitaker’s spiffy set design), where new employee and recent college graduate Peaches (an endearingly offbeat Sarah Moser) revels in her impulse decision to leave a job at an investment bank to work at a place with such an auspicious side dish. We meet Peaches, as well as best friend Joanne (Nicole Hammersla), nebbish customer Norman (Philip Goleman), and confident guy’s guy Syd (Cooper Carlson), through a set of discrete monologues, each illustrated with mute help from the other characters. Philosophies of life and hidden desires are all on display but the plot is a prix fixe menu of romance, marriage, and parenthood as deliberate encounters lead to unexpected matches. Sharp performances crisply directed by Sara Staley add zest to otherwise average comic fare, but the writing has several inspired flights of zaniness too. Questionable whether the second act’s course is warranted, however, since it’s plot to pull into parenthood a reluctant Norman — for whom the pace of events collapses nine months and more into a dizzying time warp — is a bit too I Love Lucy to concentrate on without itching to change the channel. (Avila)

Tigers Be Still SF Playhouse, 522 Sutter, SF; www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Sat, 8pm (also Sat, 3pm). Through Sept 10. SF Playhouse performs Kim Rosenstock’s quirky comedy.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed-Sat, 8pm. Through Sept 17. Expression Productions presents Sam Shepard’s tale of two brothers.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Previews Wed/24-Fri/26, 8pm. Opens Sat/27, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Sept 18. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

Candida Bruns Memorial Amphitheater, 100 California Shakespeare Theatre Way, Orinda; www.calshakes.org. $35-66. Tues-Thurs, 7:30pm; Fri-Sat, 8pm (also Sept 3, 2pm); Sun, 4pm. Through Sept 4. Cal Shakes artistic director helms this taken on George Bernard Shaw’s classic about a housewife torn between her husband and a new suitor.

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

Madhouse Rhythm Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-35. Thurs/25, 7:30pm. Joshua Walters performs his hip-hop-infused autobiographical show about his experiences with bipolar disorder.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 8 and 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Reduction in Force Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centralworks.org. $14-25. Thurs/25-Sat/27, 8pm (also Sat/27, 5pm); Sun/28, 5pm. Central Works performs “an economic comedy about back-stabbing, ass-kissing, and survival of the sneakiest.”

The Road to Hades John Hinkel Park, Southampton Ave, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (suggested donation; no one turned away for lack of funds). Sat-Sun, 3pm. Through Sept 11. Shotgun Players presents a new comedy written by and starring veteran comedian and clown Jeff Raz.

Seven Guitars Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-55. Tues and Thurs-Sat, 8pm (also Thurs/25, 1pm; Sept 3, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Sept 4. Marin Theatre Company performs August Wilson’s 1940s-set entry into his series of plays about the African-American experience.

Strange Travel Suggestions Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Fri/26, 8pm; Sat/27, 5pm. Jeff Greenwald returns with a new version of his hit show of improvised monologues about travel.

Toke Ashby Stage, 1901 Ashby, Berk; www.brownpapertickets.com. $25. Thurs-Sat, 8pm; Sun, 5pm. Through Sept 11. Swirl Media presents Deedee Kirkwood’s pot-fueled comedy.

2012: The Musical! This week: Veterans’ Memorial Park, Main at Third St, Napa; www.sfmt.org. Free. Wed/24, 7pm. Also Thurs/25, 7pm, Montclair Ball Field, 6300 Moraga, Montclair; Sat/27-Sun/28, 3pm, San Lorenzo Park, Dakota at Ocean, Santa Cruz. Continues through Sept 25 at various Bay Area venues. San Francisco Mime Troupe mounts their annual summer musical; this year’s show is about a political theater company torn between selling out and staying true to its anti-corporate roots.

PERFORMANCE/DANCE

“Crazy Ain’t Nothing But Love Misspelled” Stage Werx Theatre, 533 Sutter, SF; www.brownpapertickets.com. Sun, 7pm. $12. Presented by Solo Sundays, this evening includes performances by Maria Affinito, David Caggiano, and Vanessa Alabarces.

Gray Garage, 975 Howard, SF; www.brownpapertickets.com. Thurs, 8pm. $10. The Oakland-based solo performer presents excerpts from Burst and the work-in-progress Self-ish.

“Hubba Hubba Revue Summer Camp” DNA Lounge, 375 11th St, SF; www.hubbahubbarevue.com. Fri, 10:15pm. $15. The burlesque and variety revue returns with a summer camp there.

“Rustling Silk” CounterPULSE, 1310 Mission, SF; www.brownpapertickets.com. Fri-Sat, 8pm. $15-20. This Avy K Productions project is inspired by the world of ancient nomadic horsemen, with music, dance, video, and live painting. 

 

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

BART arrests protesters for speaking out

Faced with yet another protest over BART’s disruption of cell phone service on August 11 to preemptively disrupt a protest, and with lingering anger over the BART police shooting of Charles Hill on the Civic Center station platform on July 3, BART police stifled vocalizations of dissent with immediate arrests during an Aug. 22 protest on the Civic Center Station platform.

“Free speech is the best kind of speech,” said one protester on the Civic Center BART platform as the second protest called by the international hacker group Anonymous in as many weeks challenged the BART system at rush hour.

As a few protesters began to gather, surrounded by dozens of riot police and media, a uniformed BART police officer told a young African American man he would be arrested if he raised his voice. Chanting began in response among the small pack of protesters, and the man was promptly arrested by BART police.

As he was being led off the platform by police, a woman who stood in the center of the platform began verbally engaging a BART officer, saying, “BART police need to be reformed. Make BART Safe. Make BART safe.” She was apparently arrested for nothing more then her words. Deputy BART Police Chief Daniel Hartwig said he could not provide any information about what the arrestees would be charged with.

Video by Shawn Gaynor

Shortly after, BART police declared the small gathering an illegal assembly. Riot police surrounded some 40 protesters for arrest as media was ejected from the station.

Civic Center station and Powell Station were both shuttered, blocking many transit passengers from their evening commute.

What started as a cell phone disruption has apparently escalated into BART arresting anyone expressing an unfavorable opinion of BART.

When asked if the arrested represented a new BART police policy for protests, Hartwig told the Guardian BART’s policy remains the same. “This environment has to remain safe, and if that safety is jeopardized in any way, we will make arrests,” he said. “We have a responsibility to maintain a safe station.”

Protesters said it was appropriate to protest on the Civic Center platform because it is the location of the July 11 shooting of Hill by BART police.

Earlier in the day, the National Lawyer’s Guild issued a statement calling on BART to respect passengers’ and community members’ civil liberties during the Aug. 22 demonstration.

“First and foremost, the BART Police should provide transparency regarding the killing of Charles Hill and should stop shooting people, especially unarmed and incapacitated individuals,” the NLG statement read. “Second, BART should apologize for its disruption of cell service on August 11th and not repeat this unconstitutional action. Finally, BART should recognize passengers’ right to freedom of speech on platforms and in trains.”

Calls to the BART for the names of the arrestees and number of arrests had not yet been returned by press time.

Who doesn’t support Ed Lee?

37

One of the more interesting things about the Democratic County Central Committee’s mayoral endorsements was the lack of support for Mayor Ed Lee among the eight state and federal office holders who sit on the panel.


Under the party charter, any Democrat who lives in the city and represents San Francisco in Sacramento or Washington gets to vote at the DCCC. So U.S. Senator Dianne Feinstein, U.S. Reps. Nancy Pelosi and Jackie Speier, state Senators Mark Leno and Leland Yee, State Assembly Members Tom Ammiano and Fiona Ma and Attorney General Kamala Harris all had a say in who the party would support for mayor. None of those people ever show up at the meetings, but they’re allowed to appoint an alternate to represent their views.


And only Feinstein voted to endorse Lee.


Pelosi’s alternate didn’t show up for the endorsement meeting. Speier abstained. Yee voted for himself. Leno voted No Endorsement. Ammiano suported Avalos. Harris abstained. Fiona Ma voted for Bevan Dufty.


Not a rousing show of support for the incumbent.


(It would have been interesting if Lt. Governor Gavin Newsom were still on the DCCC, but Gav has moved to Marin, and he will now have the distinct honor of serving on that county’s committee.)


Meanwhile: I almost want to ignore Randy Shaw’s attempt to portray the DCCC (and some white progressives in general) as racist for not supporting any of the Asian candidates, since I think it’s too easy to throw that word around in this city, and journalists ought to be pretty careful when they do it. White people (like me and Randy Shaw) need to be particularly sensitive to race issues in the media — and I do think there are real tensions between some old-line progressives and emerging Asian political leaders who don’t always agree with progressives on issues. But that sensitivity should include not sensationalizing race or using race to score political points.


That said, it’s worth noting that of the four Asians on the Board of Supervisors, the DCCC endorsed three (Eric Mar, David Chiu, and Carmen Chu). The only one who didn’t get the DCCC nod for supervisor was Shaw’s candidate in District 6, Jane Kim.


Oh, and the Number 1 candidate endorsed by the Democratic Party is Latino. And the two fastest-growing non-white political populations in the city are Asians and Latinos.


You can fight forever about the politics of the DCCC endorsement and why the panel only chose two candidates. The Guardian will almost certainly support three, since that’s how RCV works. Why Yee, who has the support of both SEIU Local 1021 and the Sierra Club, got only two votes at the DCCC is a fair question. Why Chiu, who is a member of the DCCC, didn’t win the third slot is also an interesting political question. But I honestly don’t think race was a factor. Maybe I’m wrong.    


And as for the whole flap about Aaron Peskin, Rose Pak and the People’s Republic of China (based, by the way, on Peskin’s comments in a Falun Gong newspaper): I met with Rose Pak a few weeks ago, and in the course of talking about Leland Yee (who I will be profiling in the Aug. 31 Guardian) she told me that some progressives were accusing her of being a Communist — a reference to comments by Peskin and Chris Daly linking her to the PRC. She called it “red baiting.”


Just for the record: I’d by happy if Pak WAS a communist — maybe she’d be more interested in income redistribution, progressive taxation and land reform in San Francisco. I like communists. I even got me a picture of ol’ Leon Trostky hangin’ in my office (along with a picture of John Ross, another noted pinko). And years ago, when I had a garage, I really did have a commie flag tacked up on the wall. A friend bought it for me in the Soviet Union back in the day, and one of the reasons I loved it was that it was so poorly made that it started to unravel the minute I stuck the tacks in it, and the colors weren’t quite right, and the silkscreened hammer and sickle was way off center. Go team.


Seriously, I think the era when the label “Communist” was a serious smear is long over. Nobody cares any more. Besides, China isn’t really a Communist country these days, is it? I’m not an expert on the Chinese economy, but it seems much more hyper-capitalist to me. And it’s safe to say that there’s no Cuba-style forced economic equality in China, a country that has a handful of billionaires and a lot of very poor people and may have even worse income distribution than the United States.


Maybe we could talk about the issues?

Inside the V.I.P. cocktail party with Willie Brown

The Alliance for Jobs and Sustainable Growth hosted a V.I.P. reception just before a mayoral candidate forum held at UCSF Aug. 16, and former Mayor Willie Brown appeared to be the guest of honor. Although the theme of the event was technically “honoring San Francisco’s mayors” — former Mayor Frank Jordan was there, someone indicated that former Mayor Art Agnos was in the room, former Mayor Gavin Newsom was invited but didn’t show, and Mayor Ed Lee was of course in attendence — Brown seemed to be given more prominent recognition than any of the others.

The moment he strolled in, Sup. Mark Farrell, who was doing introductions for the the affair, scrambled onstage to announce Brown’s presence and deliver a warm welcome, and everyone applauded. Within minutes, the former mayor was seen chatting with a crowd that included Mayor Lee and several others. Soon after, Brown and former Mayor Frank Jordan were summoned to the stage to say a few words.

Once in the limelight, Brown cracked a few jokes. He said he felt for the 36 mayoral candidates, who are forced to campaign in an era when the Internet threatens to reveal videos and photos of them at any time to thousands of online viewers. “I’m glad they didn’t have that kind of communication system when I was running,” he said. “I can’t imagine the photographs you’d have of me floating around doing things I shouldn’t have been doing.”

As for his own time in Room 200, “I enjoyed every single solitary minute of it, and if I really thought I had great skills, I would be number 37,” he said, drawing more applause.

Then again, common wisdom says it isn’t necessary for Brown to bother campaigning in order to gain access to Room 200 these days. Later that same evening, during his own turn in the spotlight at the mayoral debate, Mayor Lee came under fire from Board President David Chiu, who revealed that Lee had privately confided to him about a week before he announced his candidacy that he was having a difficult time saying no to Brown and influential Chinatown business consultant Rose Pak when it came to launching a campaign for a full term.

Chiu’s pointed question for the mayor was what had changed in his mind since that conversation, but Lee referenced neither Brown nor Pak in his answer. Instead, he said he’d changed his mind after witnessing his success in changing the tone of government and getting things done in City Hall.

Back at the V.I.P. reception, Brown and Jordan were invited onstage again, this time to receive awards presented by the Alliance for Jobs and Sustainable Growth. But first Steve Falk, president and CEO of the San Francisco Chamber of Commerce, reminded the crowd that there was still time to buy a drink before the debate got underway. He said, “Debates are much more interesting after three drinks.”

Before Falk presented Brown with a commemorative plaque, he said, “It’s tough to put in a few sentences the life and times of Willie Brown,” and proceeded to note that, with his term in the California Assembly and time serving as mayor of San Francisco behind him, Brown “has now followed his friend Herb Caen into an honest line of work as a columnist for the San Francisco Chronicle.”

Being a newspaper columnist doesn’t mean Brown is always kind to members of the local media. While mixing through the crowd minutes after receiving his award, he fired some harsh words at a well-known City Hall reporter who had recently published some unflattering articles about the “Run, Ed, Run” effort to encourage Lee to seek a full term.

In recent months, Brown’s columns have provided the public at large with a rare glimpse into Mayor Lee’s dining experiences in San Francisco. In February, Brown wrote in one of his columns that he went out to North Beach Restaurant at sat at the window table with Lee, Brown’s “friend” Sonya Molodetskaya, and Jack Baylis, who serves as the US Group Executive of Strategic Development for AECOM, one of the city’s largest contractors and a sponsor of the Alliance for Jobs and Sustainable Growth Event. (Baylis was on the invite list for the V.I.P reception, too.)

Apparently, AECOM had something to celebrate that same day — according to an Aug. 16 press release, an AECOM joint venture was just awarded a $150 million contract for program management services for the San Francisco Public Utilities Commission’s wastewater improvement program.

The V.I.P. reception had representation from many key players in the downtown business community, with sponsorship from AT&T, AECOM, Pacific Gas & Electric Co., Wells Fargo, Motorola, California Pacific Medical Center, the San Francsico Chamber of Commerce, the Building Owners and Managers Association, the San Francisco Police Officer’s Association, Shorenstein Properties, and others. Several labor unions, including the United Association of Plumbers & Pipefitters Union Local 38, United Brotherhood of Carpenters and Joiners of America Local Union No. 22, and United Food and Commercial Workers Union Local 5 were also listed as sponsors. Guests included district supervisors, developers, lobbyists, business owners, mayoral candidates, media spokespeople, executives from the health care industry, and other political insiders.

Clearly, there were many people in the room who wanted to get on Brown’s good side.

After ordering phones censored, BART spokesperson took vacation during protest

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On August 16, one day after a transit system disruption caused by protests over BART’s unprecedented decision to temporary cut cellular phone during a previous protest, BART Chief Communications Officer Linton Johnson acknowledged to the press that the idea to cut service had been his from the start.

Johnson defended his decision telling the San Francisco Chronicle, “A 1969 U.S. Supreme Court decision, in the Brandenburg v. Ohio case, allows public agencies to put public safety before free speech when there is an imminent danger to the public.”

But was there an imminent danger?

What Johnson failed to acknowledge was that after his idea to order a unprecedented disruption of cellular service to thwart the protest anticipated on August 11 was vetted by BART police, Johnson went on vacation and wasn’t around to help determine what kind of danger the protest – which didn’t end of happening – may have posed. NOTE THE UPDATE BELOW. JOHNSON CLAIMS HE WAS MONITORING THE STATIONS.

In fact, Johnson left on vacation on August 11, the same day the fizzled protest that started a national controversy occurred. So with BART’s plan in motion, and Johnson apparently not on hand, nothing of note happened. No indication was reported by BART or by the media of any trouble at all breaking out on the platforms or paid areas of BART stations on August 11. BART may have been left holding the bag.

An automatically generated e-mail response to the Guardian’s request to interview Johnson read “I will be out of the office starting 08/11/2011 and will not return until 08/16/2011. Please contact Deputy Chief Communications Officer Jim Allison while I am gone.”

On August 15, Johnson’s voicemail message indicated he had returned from vacation early, and would do his best to field phone interview requests within 20 minutes of receiving them.

August 15 happened to be the day that fallout from his plan lead to evening rush hour transit disruptions by protesters with swarms of national and international news representatives on hand. Though interviewed by the nation’s press corp, Johnson chose not to acknowledge the primacy of his decision making role in the censorship until the following day.

Comparing the “imminent danger,” declared by BART, and the #opBART protest called by international hacker group Anonymous on August 15 that caused all Downtown San Francisco BART stations to close for the evening rush, questions arise over what, if any, criteria Johnson used in deciding to pull or not pull the plug on BART cell service.

The Federal Communications Commissions has launched an investigation into BART’s actions, responding to a call by California State Senator Leland Yee.

“We are continuing to collect information about BART’s actions,” stated FCC spokesperson Neil Grace in a statement issued by the agency. “(We) will be taking steps to hear from stakeholders about the important issues those actions raised, including protecting public safety and ensuring the availability of communications networks.”

UPDATE: Johnson finally got back to us by email and wrote, “I offered up the idea on Thursday morning.  BART PD took it to the Interim GM.  The GM approved it then let the Board of Directors know what was to happen that night.  I was  on scene in case the protest broke out.   I left downtown SF around 8pm – I was on a plane that night, which left at 11:50pm.”

 

Familiar but strange

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arts@sfbg.com

THEATER In 1934, Broadway hosted its longest-running opera to that time, the serenely unconventional Four Saints in Three Acts. The brainchild of writer Gertrude Stein and composer Virgil Thomson, the production famously featured an all–African American cast (for the first time in roles not geared to depicting African American life), a scenic design covered in cellophane, music that mingled hints of Parisian modernism with a boisterous collage of vernacular American forms, and a libretto of unfathomable if evocative wordplay that merrily eschewed narrative — or even consistency with the title (acts were actually five, saints were many). It was weird. And people liked it.

In deciding upon a topic for the opera, Stein had taken on the lives of saints (especially Theresa and Ignatius, who figure prominently) as representative of the lives of artists. It was a secular work, and apotheosis, that ultimately concerned both her and Thomson, neither of them otherwise religious. As it turned out, the opera not only hailed the arrival of avant-garde ideas into the mainstream, but catapulted Stein into the stratosphere of celebrity.

“In Stein’s personal story the opera was a very large chapter,” explains Frank Smigiel, associate curator of public programs at the San Francisco Museum of Modern Art, currently presenting The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde. “In addition to The Autobiography of Alice B. Toklas, [Four Saints] radically transformed Stein from an experimental writer known for collecting other artists into a popular artist in her own right.”

One good apotheosis deserves another. This weekend SFMOMA, in association with Yerba Buena Center for the Arts, presents Four Saints in Three Acts: An Opera Installation, as part of The Steins Collect. While the exhibition already includes footage and ephemera from Stein and Thomson’s landmark opera (with even more footage on view in the concurrent Gertrude Stein exhibition at nearby Contemporary Jewish Museum), audiences will now have the chance to see a full staging of the work. Meanwhile, the production’s team of collaborators promises as much a re-envisioning as a revival.

This is as it should be, suggests Smigiel, who spearheaded the idea for the revival about a year ago as he and his colleagues were asking themselves how they might expand on the exhibition.

“If you look at all the other artists in the Steins Collect exhibition, they’re all working not just on canvases,” he says, speaking by phone from his office at SFMOMA. “It was a creative community that was crossing disciplines in ways people might not always know about. One of our aims was to rev up the avant-garde energy of the exhibition. There’s a way, when you go to a show with Matisse and Picasso, they can just look canonical now to us. One of the hopes is that there’s still something about Stein’s language and the opera that’s going to have a bit of shake-up to it. It won’t just appear as a rolling out of a canonical piece, and people wondering, ‘What was this again?'”

To that end, Smigiel approached local company Ensemble Parallèle, acclaimed specialists in contemporary chamber opera, having been impressed by their recent production of Alban Berg’s Wozzeck, including its shrewd use of visual media. He also sought out Italian-born, San Francisco–based composer, performer, and musicologist Luciano Chessa, an expert in the period whom he had worked with before. Equally inspired was Smigiel’s call to Kalup Linzy, whose video-performance practice mixes soap opera genre with drag, original songs, lip-sync, and themes of family, community, sexuality, and otherness through the prism of his African American Southern upbringing and later Brooklyn milieu.

After a process of deciding how they might re-approach the work, Chessa landed on the idea of resetting the text that Thomson had excised in his own 1950s version of the opera. The result is its own piece, entitled A Heavenly Act, which will immediately precede Four Saints without an intermission (the entire program will run a fleet 90 minutes). Linzy developed video projections as the predominant visual element in the production.

Chessa and Linzy offered further insight into the collaboration, and their respective processes, during a break from a rehearsal last week. Although neither knew the opera very well before embarking on the revival, each found points of contact and familiarity with their own work.

“I knew it mostly because of [Canadian filmmaker] John Greyson’s [2009 operatic documentary] Fig Trees,” explains Chessa. In conceiving A Heavenly Act, Chessa says he wanted to account for both Thomson’s own musical influences as well as the legacy he has left in the work of later composers.

“I couldn’t be approaching the text naively as if I was discovering it for the first time,” he says. “There is a history of setting Stein in the 20th century, which I ended up discovering by analyzing the work and also the development of Thomson’s fortunes in the 20th century. Because Stein’s text is very wordy, Thomson used the technique of having it chanted. So my idea was to bring this element of chant, but do it in a different way, using different lines of text moving at different speeds, creating clusters of textures.”

Adds Linzy, “We kept things very loose and abstract, kind of organic. It didn’t have to be so strict.” Linzy — who in the production also performs a song Chessa wrote for him set to Stein’s words — shot a cast of friends as angels against a green screen, usually with movement informed by music tracks Chessa had forwarded. But in at least one case, Linzy didn’t receive the track for a corresponding scene.

“There’s a dance scene [in A Heavenly Act] where [Chessa] did a waltz, but we danced to Donna Summer’s ‘Bad Girls,'” explains Linzy. “But seeing it against the waltz, really slowed down, it’s almost like the angels got high off LSD and just went too far. But we were moving to Donna Summer, we were discoing. That’s what I like. He had sent the tracks but somehow I didn’t get that particular one. So I was like, ‘Oh, we’ll just disco it out.’ And so that’s what we did, and it’s the most amazing thing.”

FOUR SAINTS IN THREE ACTS: AN OPERA INSTALLATION

Thurs/18, 7:30 p.m. (preview); Fri/19-Sat/20, 8 p.m.; Sun/21, 2 p.m., $10-85.

Novellus Theater

700 Howard, SF

(415) 978-2787

www.ybca.org

 

Our Weekly Picks: August 17-23

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WEDNESDAY 17

FILM

Better than Something

Before his death in 2008 at the age of 29, Jimmy Lee Lindsey Jr., a.k.a. Jay Reatard, released more material in ten years than most musicians dream of in a lifetime. He was at the peak of his career, and documentarians Alex Hammond and Ian Markiewicz were able to spend a week filming with Reatard just before he passed. The result is Better than Something, a feature length film about the life and death of Jay Reatard with footage culled from live performances, interviews, and the personal time the crew spent with him. Catch a glimpse into the mind of a man who rocked hard, lived fast, and, unfortunately, died young — the essential rock and roll fable. (Cooper Berkmoyer)

7:30 and 9:30 p.m., $10

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

MUSIC

Diamond Head

Formed in 1976, U.K rockers Diamond Head would go on to become one of the leaders of a musical movement known as the “new wave of British heavy metal.” Diamond Head heavily influenced bands like Metallica, which covered Diamond Head tunes such as “Am I Evil” in its early days, and continue to do so today. Lead by founding member and guitarist Brian Tatler — who has been cited as a major influence by metal titans including Megadeth’s Dave Mustaine — the band’s current lineup is hitting the states for the very first time. In Europe, Diamond Head plays huge festivals; don’t miss this rare headbanger’s dream show. (Sean McCourt)

9 p.m., $15–$20

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

THURSDAY 18

COMEDY

SF Improv Festival

Making shit up. It’s become a serious job skill in the new non-economy, where bullshitting, winging it, and blind leaps have taken the place of an industrial base and steady employment. What I’m saying, I guess, is that you can totally rationalize going to the SF Improv Festival on economic grounds. But you don’t have to treat it like career day, even if it is a local and nationwide convention of expert improvisers where anything can happen. It’s must-see, or might-see, as is the case with New York’s famed Improv Everywhere, popping up in Union Square earlier this week. Founder Charlie Todd appears in conversation tonight as part of the festival. Improv festival highlights include group performances and workshops for careerists. Check the website for the complete program. (Robert Avila)

Through Aug. 27, most events $10–$25

Eureka Theater

215 Jackson, SF

www.sfimprovfestival.com

 

PERFORMANCE

Henson Alternative: Stuffed and Unstrung

Brian Henson started working with his dad Jim Henson when he was just a child. As fans know, he has gone on to be an incredibly talented artist in his own right, and has worked on a wide variety of well-known projects. His latest creation is the hilarious stage show Henson Alternative: Stuffed and Unstrung, which features a cast of 80 puppets and six puppeteers, and combines the imaginative world of puppetry with the mapcap world of improv comedy. In the adult-oriented show, audience members will offer story suggestions while the skilled puppeteers will bring the zany action to life on stage — with the amount of guaranteed laughs in store, even Statler and Waldorf would be impressed. (McCourt)

Thurs/18 and Aug. 25, 8 p.m.; Fri/19-Sat/20 and Aug. 26-27, 7 and 10:30 p.m., $30–$65

Curran Theatre

445 Geary, SF

1-888-746-1799

www.shnsf.com

 

MUSIC

EDAN

In Edan’s perfect world, hip-hop probably never would have evolved past the old-school beats and playful lyricism of late 1980s rappers like Big Daddy Kane and Slick Rick. A shaggy-haired, Berklee College of Music-trained white kid from the suburbs of Baltimore, Md. might seem like an odd choice to carry the retro torch in a world of auto-tune and over-polished production, but he pulls it off with impressive conviction, showcasing his quirky delivery and clever wordplay along the way. Beauty and the Beat, Edan’s 2005 LP, is an underground classic overflowing with 1960s rock and psychedelia-inspired beats, dusty funk grooves, eclectic samples, and the lighthearted sense of humor that has made him one of the more interesting personalities in alternative, vintage-minded hip-hop. (Landon Moblad)

With Cut Chemist and Mr. Lif

9 p.m., $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

MUSIC

James Pants

Skipping out on prom to go record shopping with Peanut Butter Wolf in his hometown of Austin, Tex. led James Pants to an internship at the idiosyncratic Stones Throw record label. Apparently, he learned a lot over there. Since his debut album Welcome (2008) — supposedly culled from 100 demos — initially pegged him as a DIY weirdo with a serious fetish for cheap 70s soul and cheaper 80s hip-hop, subsequent releases have been surprising in the best way. (2010’s New Tropical EP is a summer dance party essential.) His latest, a self-titled album, focuses on a creepy, 50s-style Twin Peaks pop rock sound, with anachronistic synths and krautrock beats thrown in according to Pants’ unpredictable logic. (Ryan Prendiville)\

9 p.m., free with RSVP

Clift Hotel

495 Geary, SF

www.morganshotelgroup.com/rsvp/clift-sessions.html

 

MUSIC

U.S. Bombs

U.S. Bombs have cultivated an incendiary reputation thanks to singer, legendary skateboarder, and all around “Master of Disaster,” Duane Peters. Combining sounds culled from old school influences like the Clash and mixing them with the raw adrenaline pumping attitude needed to attack a half pipe, the band’s lineup has gone through several variations, but no matter which members of punk rock royalty he has behind him, Peters is guaranteed to steal the spotlight and make for a show you won’t likely soon forget. (McCourt)

With Meat Sluts and Johnny Mapcap and the Distractions.

9 p.m., $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

FRIDAY 19

MUSIC

RUN DMT

Things I learned this week: English muffins are better cooked on the stovetop, kites are fun, there are two acts with the name RUN DMT. One is from Baltimore, Md. plays psych rock, and is sometimes covered in maple syrup. The other is from Austin, Tex., DJs electronic, and has a good hand for dubstep or just plain bass heavy remixes across genres (having reworked Busta Rhymes, Butthole Surfers, and Cutty Ranks). It’s the second, producers Lemiwinks and Parson, that will be making their SF debut after a tour including sets at NY’s Camp Bisco and Portland, Ore.’s Fire in the Canyon festivals, so leave your waffles at home. (Prendiville)

With DJs BOGL vs DIALS

9 p.m., $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

SATURDAY 20

FILM

Labyrinth

For those of us that grew up in the 1980s, it may be hard to believe, but it has now been 25 years since the beloved film Labyrinth was released. Although the movie’s human actors — including David Bowie and Jennifer Connelly — were great in their roles, to us kids back then, the real stars were the amazing puppets that were brought to life by the geniuses at the Jim Henson Company. At tonight’s screening and celebration, puppeteers Brian Henson, David Goelz, and Karen Prell will appear in conversation with Adam Savage of Mythbusters for a look behind the scenes at how they created creatures and characters such as “Hoggle,” “Didymus,” and “The Worm.”(McCourt)

5 p.m., $15

Castro Theatre

429 Castro, SF

www.sfsketchfest.com

 

MUSIC

Ray Manzarek and Robby Krieger

Last month may have marked the 40th anniversary of the death of Jim Morrison, but his band’s powerful music has lived on for both original fans and the multiple generations that have come since his passing. Celebrating that mythical force, Ray Manzarek and Robby Krieger of the Doors are on tour performing the group’s classic songs, giving audiences a taste of what it was like back at the Whisky A Go Go circa 1966. No one will ever be able to really fill the shoes (or leather pants) of the Lizard King, but guest vocalist Dave Brock does a great job singing alongside the original guitarist and keyboard player, keeping the Doors’ music and spirit alive and well in 2011. (McCourt)

9 p.m., $45

Regency Ballroom

1290 Sutter, SF

www.theregencyballroom.com

 

SUNDAY 21

MUSIC

“Daytime Realness”

“It’ll be the perfect way to spend a lazy gay Sunday,” says Hard French gadabout DJ Carnita of his and Heklina’s shiny new drag patio dance party. Daytime Realness’ second installation wants to sun-soak your soul in 30 years of backyard jams — yacht rock, early ’90s Top 40 hip-hop, disco, funk — brought to you by Vienetta Discotheque’s Stanley Frank, DJ BootieKlap, and DJ Rapid Fire. Did I mention drag? Hourly performances to keep your ass stationed in the El Rio backyard, served with a side of chicken ‘n’ waffles. “It’s really amazing seeing all these queens in full face in the middle afternoon. I mean, it’s a little jarring,” chirps Temprano. Step into the light, y’all. (Caitlin Donohue)

3-8 p.m., $6-8

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

 

MUSIC

Apache “What can you say about a band with songs like “Fingerbanger” and “Faster Louder” that doesn’t speak for itself? Apache, from Oakland, likes rock ‘n’ roll. And fingerbanging, apparently. (Also, really, MS Word? Fingerbanging isn’t in your spell check repertoire?) Apache plays long hair-sporting, flared jean-wearing, sunglasses at night rock music that’s heavy enough to satisfy garage purists and snotty enough to keep it fun. Stripped down and straight-forward, Apache is a no-duh addition to Burger Record’s ever expanding empire and a credit to the East Bay’s reputation as one of the last frontiers for the “fuck you” punk attitude we’ve all come to know and love, even when it means getting kicked in the shins every now and then. (Berkmoyer)

With Daddy Long Legs and the Fever Machine

9 p.m., $6

Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com

 

TUESDAY 23

MUSIC

Steve Lake When word got round that Steve Lake, founding member of seminal anarcho-punk band Zounds, was still touring, the news left many a little surprised. I think we’ve gotten so accustomed to the idea of “growing old and settling down,” of the people we admire packing it in at 27 or fading away, that we’ve forgotten how vital a musician can be even as his youth dwindles. Zounds was one of the more inspired and intelligent bands of the early British punk scene, and Steve Lake was at its heart. Although his solo material sounds more like Billy Bragg than Crass or Omega Tribe, the man that wrote “Subvert” and “Dirty Squatters” is still going strong. (Berkmoyer)

With Tommy Strange

9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage Listings

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OPENING

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Previews Thurs/18-Fri/19, 8pm. Opens Sat/20, 8pm. Runs Wed-Sat (Aug 24-27 and Sept 7-17), 8pm. Through Sept 17. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Previews Fri/19-Sat/20 and Aug 24-26, 8pm; Sun/21, 2pm. Opens Aug 27, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Sept 18. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

Toke Ashby Stage, 1901 Ashby, Berk; www.brownpapertickets.com. $25. Opens Thurs/18, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. Through Sept 11. Swirl Media presents Deedee Kirkwood’s pot-fueled comedy.

ONGOING

Act One, Scene Two SF Playhouse, Stage Two, 533 Sutter, SF; (415) 869-5384, www.un-scripted.com. $10-20. Thurs/18-Sat/20, 8pm. Un-Scripted Theater Company hosts a different playwright each night, performing the first scene of an unfinished play and then improvising its finish.

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Sept 3. Actors Theatre of San Francisco performs the David Mamet crime classic.

Bedtime in Detroit Boxcar Theatre Studios, 125A Hyde, SF; www.boxcartheatre.org. $15. Thurs/18-Sat/20, 8pm; Sun/21, 4pm. Boxcar Theatre’s first-ever Directing Lab Performance is of Ellen K. Anderson’s drama, set in Detroit on Devil’s Night.

Billy Elliot Orpheum Theater, 1192 Market, SF; www.shnsf.com/shows/billyelliot. $35-200. Wed/17-Sat/20, 8pm (also Sat/20, 2pm); Sun/21, 2 and 7:30pm. As a Broadway musical, Billy Elliot proves more enjoyable than the film. The movie’s T. Rex score may have been a major selling point, but it was a bit maudlin for a story that needed no help in that department. The musical naturally has a sentimental moment or three, but it’s much more often funny, muscular in its staging (with repeatedly inspired choreography from Peter Darling), and expansive in its eclectic score (Elton John) and well-wrought book and lyrics (Lee Hall). Moreover, Stephen Daldry (who also directed the 2000 film) plays up bracingly the too-timely class politics of the modest 1980s English mining town besieged by Margaret Thatcher’s neoliberal regime in the latter’s ultimately successful bid to crush the once-powerful miners union. The cast is likewise very strong. The second act is not as strong as the first, but as crowd-pleasing entertainment the musical burrows deep and more often than not comes up with gold. (Avila)

The Book of Liz Custom Made Theatre, 1620 Gough, SF; www.custommade.org. $25-32. Thurs-Sat, 8pm; Sun, 7pm. Extended through Aug 28. Custom Made Theatre performs David and Amy Sedaris’ comedy about an unconventional nun.

Gilligan’s Island: Live On Stage! 2011 Garage, 975 Howard, SF; www.brownpapertickets.com. $10-20. Sat-Sun, 8pm. Through Aug 28. Moore Theatre and SAFEhouse for the Performing Arts presents this updated, ribald take on TV’s classic castaways.

A Midsummer Night’s Dream Steve Silver Theater, 1101 Eucalyptus (on the Lowell High School campus), SF; www.bathwater.org. $20. Thurs/18-Sat/20, 7:30pm. Bathwater Productions performs an acrobatic version of the Shakespeare classic.

A Midsummer’s Night Dream This week: McLaren Park, Mansell St, SF; www.womanswill.org. Free (donations requested). Sat/20-Sun/21, 2pm. Performances continue at Bay Area parks through Aug 28. Woman’s Will performs the Shakespeare favorite.

The Nature Line Phoenix Theater, 414 Mason, SF; www.sleepwalkerstheatre.com. $17-20. Thurs-Sat, 8pm. Through Aug 27. With The Nature Line, Sleepwalkers Theatre concludes playwright J.C. Lee’s ambitious apocalypse trilogy, “This World and After.” Now well into the post-apocalyptic age, Aya (Charisse Loriaux) buries her miscarriages in the hardscrabble earth, tended by a blind one-breasted s/he named T (Amy Prosser) who plants a would-be garden and collects tattered love letters from a past when people could still physically — and emotionally — touch one another. All that’s been banished now, Aya’s friend Arty (Ariane Owens) tells us, along with the onetime plague of “sadness.” The few humans remaining huddle in the antiseptic arms of a corporate entity represented by a bossy nurse (Janna Kefalas) and her spacey assistant (Lissa Keigwin), who manage an artificial insemination clinic fueled by a stable of four comic-book–reared studs, or “dudes” in the argot of the future (a sensitive crooner smitten with Aya, played by Joshua Schell, and a boisterously adolescent fantastic three played by the roundly hilarious Roy Landaverde, Jeff Moran, and Jomar Tagatac). This all takes place at the edge of a vast, reportedly menacing frontier. Lured by an enchanting dream, and urged by T, Aya crosses over into this forbidding land, followed willy-nilly by everyone else, only to find another Eden of sorts, inhabited by the, at first, unrecognized figures of Aya’s lost and future familia (Soraya Gillis and Carla Pantoja) — a poignant moment comes in a bilingual reunion that magically erases barriers of language and time. Indeed, if Lee’s title suggests “line” as both lineage and division, the play recovers a timeless order by challenging the artificial lines between persons; people and “nature”; past, present, and future; or dream and reality. Director Mina Morita’s staging is fleet and at times poetic, while she gets generally solid performances from her cast (the more comical parts working best). Imaginative, just a little risqué, and reminiscent in its heightened vernacular, low humor, and romantic optimism of word-struck apocalypto-dramas like Liz Duffy Adams’ Dog Act, Nature is a well-constructed narrative with a theme and dialogue that can feel alternately eloquent and heavy-handed. That said, its final image remains an apt conclusion for the trilogy as a whole, amid another Eden where the first kiss, and first heartbreak, starts the beating all over again. (Avila)

Peaches en Regalia Stage Werx, 533 Sutter, SF; www.wilywestproductions.com. $12-24. Thurs-Sat, 8pm. Through Aug 27. The new comedy by Bay Area playwright Steve Lyons borrows its title from a Frank Zappa instrumental and stamps it on the menu of a local diner (tangibly evoked in Wes Cayabyab and Quinn J. Whitaker’s spiffy set design), where new employee and recent college graduate Peaches (an endearingly offbeat Sarah Moser) revels in her impulse decision to leave a job at an investment bank to work at a place with such an auspicious side dish. We meet Peaches, as well as best friend Joanne (Nicole Hammersla), nebbish customer Norman (Philip Goleman), and confident guy’s guy Syd (Cooper Carlson), through a set of discrete monologues, each illustrated with mute help from the other characters. Philosophies of life and hidden desires are all on display but the plot is a prix fixe menu of romance, marriage, and parenthood as deliberate encounters lead to unexpected matches. Sharp performances crisply directed by Sara Staley add zest to otherwise average comic fare, but the writing has several inspired flights of zaniness too. Questionable whether the second act’s course is warranted, however, since it’s plot to pull into parenthood a reluctant Norman — for whom the pace of events collapses nine months and more into a dizzying time warp — is a bit too I Love Lucy to concentrate on without itching to change the channel. (Avila)

Tigers Be Still SF Playhouse, 522 Sutter, SF; www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Sat, 8pm (also Sat, 3pm). Through Sept 10. SF Playhouse performs Kim Rosenstock’s quirky comedy.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed-Sat, 8pm. Through Sept 17. Expression Productions presents Sam Shepard’s tale of two brothers.

2012: The Musical! This week: Washington Square Park, Columbus at Union, SF; www.sfmt.org. Free. Sat/20, 2pm. Also Sun/21, 2pm, Yerba Buena Gardens, Mission at Third St, SF. Continues through Sept 25 at various Bay Area venues. San Francisco Mime Troupe mounts their annual summer musical; this year’s show is about a political theater company torn between selling out and staying true to its anti-corporate roots.

What Mamma Said About Down There SF Downtown Comedy Theater, 287 Ellis, SF; www.sfdowntowncomedytheater.com. $15. Thurs/18-Sat/20, 8pm. Sia Amma returns with her solo comedy.

BAY AREA

Candida Bruns Memorial Amphitheater, 100 California Shakespeare Theatre Way, Orinda; www.calshakes.org. $35-66. Tues-Thurs, 7:30pm; Fri-Sat, 8pm (also Sept 3, 2pm); Sun, 4pm. Through Sept 4. Cal Shakes artistic director helms this taken on George Bernard Shaw’s classic about a housewife torn between her husband and a new suitor.

Communicating Doors Live Oak Theatre, 1301 Shattuck, Berk; www.aeofberkeley.org. $12-15. Fri/19-Sat/20, 8pm. Actors Ensemble of Berkeley performs Alan Ayckbourn’s “time-travel-battle-of-the-sexes comedy.”

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

Madhouse Rhythm Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-35. Thurs, 7:30pm. Through Aug 25. Joshua Walters performs his hip-hop-infused autobiographical show about his experiences with bipolar disorder.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 8 and 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Reduction in Force Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centralworks.org. $14-25. Thurs-Sat, 8pm (also Sat/20 and Aug 27, 5pm); Sun, 5pm. Through Aug 28. Central Works performs “an economic comedy about back-stabbing, ass-kissing, and survival of the sneakiest.”

The Road to Hades John Hinkel Park, Southampton Ave, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (suggested donation; no one turned away for lack of funds). Sat-Sun, 3pm. Through Sept 11. Shotgun Players presents a new comedy written by and starring veteran comedian and clown Jeff Raz.

Seven Guitars Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-55. Tues and Thurs-Sat, 8pm (also Aug 25, 1pm; Sat/20 and Sept 3, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Sept 4. Marin Theatre Company performs August Wilson’s 1940s-set entry into his series of plays about the African-American experience.

Strange Travel Suggestions Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Fri, 8pm; Sat, 5pm. Through Aug 27. Jeff Greenwald returns with a new version of his hit show of improvised monologues about travel.

“2011 New Works Festival” TheatreWorks at Lucie Stern Theatre, 1355 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-29. Schedule varies. Through Sun/21. TheatreWorks presents its annual festival of new musicals and plays, performed in workshop or staged-reading form, plus a panel discussion.

PERFORMANCE/DANCE

“Four Saints in Three Acts: An Opera Installation” Novellus Theater, 700 Howard, SF; (415) 978-2787, www.ybca.org. Previews Thurs, 7:30pm. Runs Fri-Sat, 8pm; Sun, 2pm. $10-85. SFMOMA and YBCA present this new production of Virgil Thomson and Gertrude Stein’s opera.

“Free Preview of SF Fringe Festival” Exit Theatre, 156 Eddy, SF; RSVP to carrpool@pacbell.net. Sat, 8pm. Free. Check out excerpts from Fringe-bound works by local companies.

“Help is on the Way XVII: Gotta Sing! Gotta Dance!” Herbst Theatre, 401 Van Ness, SF; www.helpisontheway.org. Sun, 7:30pm. $50-125. Performers including Lea Salonga, Shirley Jones, Kim Nalley, Paula West, and more join forces to raise money for local AIDS service organizations, presented by the Richmond/Ermet AIDS Foundation.

“House Special” ODC Theater, 3153 17th St, SF; (415) 863-9834, www.odctheater.org. Sat, 8pm. $15-18. Julie Caffey, Christine Bonasea, and Raisa Punkii present works-in-progress as part of ODC’s summer shared-residency program.

“A Mix Tape for Ophelia” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri-Sat, 8pm. $20. CounterPULSE and Collage Theater present this multimedia exploration of adolescence through a Shakespearian, queer lens.

“SF Live!” 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. Mon, 9:30pm. Free. Ongoing. Comedy and music showcase.

“2011 Bay Area Rhythm Exchange” Herbst Theatre, 401 Van Ness, SF; (415) 392-4400, www.cityboxoffice.com. Fri-Sat, 8pm. $17-25. Stepology presents this tap dance festival, featuring Melinda Sullivan, Channing Cook Holmes, the Barbary Coast Cloggers, and more.

“The Wounded Stag” Marsh, 1062 Valencia, SF; www.themarsh.org. Tues, 7:30pm, $10. Musical performance and monologues with multi-instrumentalist Andrew Goldfarb (a.k.a. the Slow Poisoner) and absurdist performance artist Dan Carbone.

 

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

Appetite: A mouthwatering preview of the SF Street Food Festival

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La Cocina‘s SF Street Food Festival keeps getting bigger each year. Gearing up for this Saturday’s (8/20) third annual street food extravaganza, prepare for a takeover of numerous Mission blocks (free admission, with food for purchase under $8). This year there was an early sneak peek for media and select guests. There will be much to love at this year’s festival. Many food truck and street food favorites return, plus Ferry Plaza stars like Namu. Just a few stand-outs the new-to-this-year front:

Wax moth larvae tacos from Don Bugito – These pretty, little tacos are laden with crispy larvae, garlic, pasilla chiles, and pickled onions. Some popped them in their mouths without realizing what they were, others turned away once they heard… but to taste them is to be converted. No need to fear bugs in the hands of owner, Monica Martinez. Plus, it’s a great conversation starter.

15 Romolo’s jambalini – I’ve been touting 15 Romolo since day one. One of our city’s best bars is also home to some of the best bar food (just try their Challah at ‘Cha Boy, Nutella lathered on challah bread with fried bananas, bacon, and pickles!) The jambalini (jambalaya croquettes) are fried balls in the style of Italian arancini, with a Creole aioli for dipping. This has been a top bite at the bar for years. Thankfully, it’s also at this year’s Street Food Fest.

Rye on the Road’s Lawrenceburg swizzle & spicy paloma – You’d want Rye on the Road at any party. The experts behind beloved bars 15 Romolo and Rye are handling the bars at Street Food Fest. Watch for the snow cone-like fun of a lawrenceburg swizzle: Wild Turkey 101, maple syrup, lemon, Creole bitters, garnished with mint. Or go for a little heat with a spicy paloma: tequila, grapefruit juice, jalapeno syrup, salt.

Azalina’s Malaysian bites
Azalina‘s fills the far too vacant Malaysian food gap with a few Malaysian items, including a creamy, savory coconut chicken curry on green onion buns, perked up with spice, cut with blueberry cucumber pickles.

For the first time, there will also be six mobile vendors from across the country: The Peached Tortilla (Austin), The Arepa Lady (New York), Big-Ass Sandwiches (Portland), Skillet Street Food (Seattle), La Cocina grads Global Soul (Los Angeles), Ingrid’s Lunch Box (Madison).

Passports ($50-$250) offer discounts on food and eliminate cash purchases or you can just stop by for a couple individual bites.

— Subscribe to Virgina’s twice monthly newsletter, The Perfect Spot

Film Listings

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OPENING

Final Destination 5 Because Death never dies, or stops making sequels. (1:32)

Glee: The 3D Concert Movie The TV show goes cinematically 3D. (1:30)

The Help Three women (played by Emma Stone, Viola Davis, and Octavia Spencer) form an unlikely alliance in 1960s Mississippi. (2:17) Balboa, California, Presidio.

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) Embarcadero. (Chun)

*Salvation Boulevard The ridiculous and ill-reputed worlds of ex-Deadheads and evangelical mega-churches collide in director George Ratliff’s Salvation Boulevard, based on Larry Beinhart’s novel of the same name. When proselytizing pastor Dan Day (Pierce Brosnan) accidentally murders an atheist professor (Ed Harris), churchgoer Carl (Greg Kinnear) tries to forget what he saw. He soon finds himself embroiled in plots involving a kidnapping in Mexico and the fundamentalist takeover of his town. Carl’s god-fearin’, brainwashed wife (Jennifer Connelly) isn’t the least bit understanding, and instead takes to painting demons to exorcise her grief. Though the film often struggles to find a consistent tone, its lampoon of spiritual hogwash (i.e. purity balls) and the sheer inanity of the situational comedy makes for pleasantly amusing satire. The real saint of the film — and no surprise here — is Marisa Tomei as a pothead security guard named Honey. (1:35) )Opera Plaza, Shattuck. (Ryan Lattanzio)

Sex and Zen: Extreme Ecstasy Ming Dynasty-set porn on the big screen. (2:09) Four Star.

30 Minutes or Less Jesse Eisenberg and Danny McBride star in this comedy caper about a pizza delivery guy forced to rob a bank. (1:29) Presidio, Shattuck.

*Vigilante Vigilante Eschewing any pretense of objectivity and adopting a civic-journalism approach, Bay Area director Max Good and producer Nathan Wollman exhaustively explore the issues at stake in the current graffiti and street art scene by focusing on some unexpected, once-hidden antagonists: the so-called buffers, graffiti abatement advocates, and self-styled vigilantes who obsessively paint over graffiti in cities like Los Angeles (Joe Connolly) and New Orleans (Fred Radtke). Good wraps his interviews with well-known street artists like Shepard Fairey, cultural critics such as Stefano Bloch, and graf advocates a la SF author Steve Rotman around his central pursuit: he’s trying to uncover the identity of the Silver Buff, the mysterious figure who has splashed silver over artwork and tags in Berkeley for more than a decade. After capturing the Buff on camera in the wee hours of the morn, the documentarian get his story — it’s Jim Sharp, a stubborn preservationist intent on “beautifying” the blight, tearing down street posters, picking up trash, and covering over what he sees as vandalism, even if he has to damage the property he claims to be cleaning up. In a witty twist on if-you-can’t-beat-’em-join-’em, Good and Wollman ratchet their tale up a notch when they follow Sharp with colorful paint of their own, brilliantly driving home an appeal for freedom of expression and a reclamation of public space. (1:26) Roxie. (Chun)

The Whistleblower Rachel Weisz stars as a scandal-unearthing American working on a U.N. peacekeeping mission in post-war Bosnia. (1:58) Embarcadero.

ONGOING

Another Earth After serving a prison sentence for a youthful drunk-driving incident that killed two passengers in another car, Rhoda (Brit Marling) emerges no longer a blithe party girl but a haunted loner who prefers working as a high school janitor. Obsessed by her crime, she starts spying on the man it had left widowed and childless, a onetime composer (William Mapother) who like her has retreated into a solitary shell of depression. She finds a way to integrate herself (without revealing her identity) into his threadbare current existence, the two of them bonding over fascination with a newly discovered planet that appears the exact duplicate of Earth — complete with the possibility of our doubles living a parallel existence there. You can take Mike Cahill’s modestly scaled U.S. indie feature (cowritten with actor Marling) as a familiar drama about grief and repentance with a novel gloss of sci-fi, or as a sci-fi story with unusual attention to character emotions and almost no need of fantasy FX. Either way, it’s earnest, well-acted and interesting if not quite memorable; as has been noted elsewhere, the material could have fit just as effectively into a half-hour Twilight Zone episode. (1:32) Opera Plaza, Shattuck. (Harvey)

*Attack the Block The Goonies go to a South London projects, with more gore, guts, and gumption? With good reason, writer, director, and Edgar Wright/Simon Pegg cohort Joe Cornish’s own project, Attack the Block, has been getting raves at fests for its effortless, energetic originality, discernible through its thick, glottal stop-chomping, Jafaican-draped local brogue. The question posed, ever so entertainingly: what happens when you pit the toughest kids on the block against a ferocious pack of outer-space critters — not quite out to serve man but rather sever him limb from limb? We start out seeing this gang of at-risk, risk-taking youth through the peepers of a vulnerable female mugging victim and neighbor, Sam (Jodie Whittaker) — they seem as scary as any alien invader and she wants to bring down the full force of the law on them. But the pack, led by Moses (John Boyega, who charismatically scowls like a young 50 Cent), has more pressing matters at hand: a mysterious creature has come crashing down from out of the sky, and naturally, being nasty terrors, they kill it, bringing down a intergalactic shit storm of trouble. Their favorite refuge: the top-floor weed room overseen by Ron (Pegg sidekick Nick Frost), where they attempt to suss out why they’ve become the prime prey for wolfish aliens out for blood. Throw in chills, bike chases, a resourceful use of elevators and dumpsters, and an epic, eerie dubstep theme by Basement Jaxx, and you have a very fun horror-thriller that declines to preach but manages to bring home a message reminiscent of Night of the Living Dead (1968). Consider this a whole-hearted, double-fisted antidote to the fearful vigilantism of films like 2009’s Harry Brown. (1:28) Metreon. (Chun)

Beats, Rhymes & Life Actor Michael Rapaport probably didn’t set out to make a hip-hop Metallica: Some Kind of Monster (2004), but that’s pretty much where his portrait of A Tribe Called Quest ends up. The first half of Beats, Rhymes & Life: The Travels of A Tribe Called Quest is predictably worshipful, slathering on low angles and slow motion to cover mediocre live shows. More effectively, Rapaport traces the Queens group’s brief incubation period and subsequent breakthroughs in what would later be called alternative or, more obnoxiously, conscious hip-hop. A slew of notable followers and contemporaries toast Tribe’s first three albums, but by the time Rapaport catches up to the group’s 2008 reunion even their longtime friends De La Soul are wishing they’d call the whole thing off. The documentary slides into the Monster zone of hurt feelings and passive aggressive behavior in accounting for the group’s split after their inappropriately named 1998 album, The Love Movement. Phife Dawg and Q-Tip are the warring egos, though perennially slighted Phife is really no match for the imperially cool Tip. DJ Ali Shaheed Muhammad is the Kirk Hammett of the outfit, looking on helplessly as the two bigger personalities make a mess of things. There’s still novelty in a story about aging in hip-hop, but Rapaport’s portrait is utterly conventional. He also doesn’t pursue more interesting questions of race and politics that naturally follow the band’s crossover appeal. (1:38) Shattuck. (Goldberg)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) Lumiere. (Peitzman)

*Between Two Worlds In 1981 Deborah Kaufman founded the nation’s first Jewish Film Festival in San Francisco. Thirteen years later, with similar festivals burgeoning in the wake of SFJFF’s success — there are now over a hundred around the globe — she left the festival to make documentaries of her own with life partner and veteran local TV producer Alan Snitow. Their latest, Between Two Worlds, could hardly be a more personal project for the duo. Both longtime activists in various Jewish, political, and media spheres, Snitow and Kaufman were struck — as were plenty of others — by the rancor that erupted over the SFJFF’s 2009 screening of Simone Bitton’s Rachel. That doc was about Rachel Corrie, a young American International Solidarity Movement member killed in 2003 by an Israeli Defense Forces bulldozer while standing between it and a Palestinian home on the Gaza Strip. As different sides argued whether Corrie’s death was accidental or deliberate, she became a lightning rod for ever-escalating tensions between positions within and without the U.S. Jewish populace on Israeli policy, settlements, Palestinian rights, and more. Seeing the festival being used by extremists on both sides became a natural starting point for Between Two Worlds, which takes a many-sided, questioning, sometimes humorous look at culture wars in today’s American Jewish population. The fundamental question here, as Kaufman puts it, is “Who is entitled to speak for the tribe?” For the first time, the filmmakers have made themselves part of the subject matter, exploring their own very different personal and familial experiences to illustrate the diversity of the U.S. Jewish experience. (1:10) Roxie. (Harvey)

Bride Flight Who doesn’t love a sweeping Dutch period piece? Ben Sombogaart’s Bride Flight is pure melodrama soup, enough to give even the most devout arthouse-goer the bloats. Emigrating from post-World War II Holland to New Zealand with two gal pals, the sweetly staid Ada (Karina Smulders) falls for smarm-ball Frank (Waldemar Torenstra, the Dutchman’s James Franco) and kind of joins the mile high club to the behest of her conscience. The women arrive with emotional baggage and carry-ons of the uterine kind. As the harem adjusts to the country mores of the Highlands, Frank tries a poke at all of them in a series of sex scenes more moldy than smoldery. This Flight, set to a plodding score and stuffy mise-en-scene, never quite leaves the runway. Not to mention the whole picture, pale as a corpse, resembles one of those old-timey photographs of your great grandma’s wedding. These kinds of pastoral romances ought to be put out to, well, pasture. (2:10) Opera Plaza. (Lattanzio)

*Bridesmaids For anyone burned out on bad romantic comedies, Bridesmaids can teach you how to love again. This film is an answer to those who have lamented the lack of strong female roles in comedy, of good vehicles for Saturday Night Live cast members, of an appropriate showcase for Melissa McCarthy. The hilarious but grounded Kristen Wiig stars as Annie, whose best friend Lillian (Maya Rudolph) is getting hitched. Financially and romantically unstable, Annie tries to throw herself into her maid of honor duties — all while competing with the far more refined Helen (Rose Byrne). Bridesmaids is one of the best comedies in recent memory, treating its relatable female characters with sympathy. It’s also damn funny from start to finish, which is more than can be said for most of the comedies Hollywood continues to churn out. Here’s your choice: let Bridesmaids work its charm on you, or never allow yourself to complain about an Adam Sandler flick again. (2:04) Shattuck. (Peitzman)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) Opera Plaza, Shattuck. (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) Empire, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Eddy)

The Change-Up This brom-com just might go down as the one where Ryan Reynolds proves his acting chops by playing a creepy Peter Pan and an upstanding family man with Jason Bateman’s physical tics. And it’s almost good enough to wipe out those terrible memories of Reynolds’ dances with CGI in Green Lantern. Yet 2011 summer movies’ MVP Bateman still manages to steal all the best scenes as both the straight man and the kidult-in-a-grown-up’s-body: namely those R-pushing moments he’s changing diapers and taking a face full of baby poo, coming on like a pink-Polo’d jackass at a big-money meeting, and watching the woman of his dreams saunter into the can to cope with backfiring Thai grub. It’s the stuff of fantasy — as well as some clever writing and considerable buddy-buddy chemistry — when career-climbing, do-right lawyer Dave (Bateman) and perpetual playa Mitch (Reynolds) voice envy for each other’s lives while pissing into a magical fountain. The old switcheroo inexplicably occurs the next morning when each chum find himself in the other’s body. Fortunately the Freaky Friday (1976) kookiness that ensues rises a bit above the safe norm by plunging headlong into all the cringey discomfort that comes with watching babies toy with cleavers and electrical outlets. The Change-Up is completely ludicrous, fo’ sho’, and never really strays from the reassuring confines of its story arc, but the laughs accompanying its morning-afters will satisfy more than any new Hangover. (1:52) Four Star, Marina, 1000 Van Ness, Shattuck. (Chun)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) Balboa, 1000 Van Ness, Presidio, SF Center. (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) Marina, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Chun)

*Crime After Crime In 1983, Deborah Peagler was sentenced to 25 years to life for first-degree murder in the death of her former boyfriend Oliver Wilson, whom two local L.A. gang members had strangled — supposedly at her behest. Encouraged to plead guilty to avoid the death penalty, Peagler had a juryless trial and was quickly shunted off to prison. There she was repeatedly turned down for parole despite spending the years of her incarceration as a church leader, mentor, and tutor to other inmates; a highly skilled electronics-assembly supervisor; earning two degrees; and sustaining good long-distance relationships with her two daughters. Even most of the victim’s surviving relatives had come to believe she should have been released years earlier. For her part, Peagler always claimed she intended Wilson to be beaten, but had not asked for or condoned his murder. What was missing (or suppressed) from the original trial were the myriad reasons she’d wanted to frighten him away from herself and her family, including the fact that he’d frequently beaten her. Walnut Creek attorneys Nadia Costa and Joshua Safran agreed to take on Peagler’s case pro bono, and they launched what turned into years of effort during which her cause becomes a public cause célèbre, and indications emerge of some very ugly misconduct by the District Attorney’s office. This battle is chronicled in Bay Area filmmaker Yoav Potash’s documentary Crime After Crime. It’s a story with plenty of lurid and tragic revelations, ranging from child sexual abuse to terminal illness to hidden evidence of perjury. The film won’t exactly stoke your faith in the justice system, but this thoroughly engrossing document does affirm that there is hope good people can and will fight the system. (1:33) Roxie, Smith Rafael. (Harvey)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) California, SF Center, Sundance Kabuki. (Chun)

*Friends With Benefits If you see only one romantic comedy this summer about a sex-sans-pair-bonding pact between a girl and a guy saddled with intimacy issues — well, chances are, if you tend to see movies with premises like this, you probably already saw No Strings Attached. In which case, poor unlucky Friends with Benefits may be filed away in your brain as that other movie about fuckbuddies, the one in which Ashton Kutcher is played by Justin Timberlake and Natalie Portman (in a slightly eerie cosmic echo of last year’s Black Swan) is played by Mila Kunis. But if you see two such movies this summer, and admit it, you probably might, you’ll likely agree that FWB kicks NSA‘s booty call, particularly in the areas of scriptwriting ingenuity, pacing, and the casting subcategory of basic chemistry between romantic leads, with points possibly taken off for shark-jumping use of flash mobs and the fact that the maddeningly sticky song “Closing Time” will now be with you from closing credits ’til doomsday. This is not a searing, psychologically nuanced portrayal of two young people’s struggles to grapple with modern-day sexual mores and their own crippling pathologies — rather, the pair’s emotional baggage mostly seems to be stuffed with packing peanuts, and scenes in which they catalog their sexual proclivities in a humorously businesslike, gently raunchy fashion reveal them to be hearteningly adept at the art of communication. But such moments keep us entertained as the film, salted with light jabs at the genre’s worn-down touchstones yet utterly complicit, depicts the inevitable stages of a non-relationship relationship. (1:44) 1000 Van Ness, Sundance Kabuki. (Rapoport)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) Empire, Sundance Kabuki. (Peitzman)

Horrible Bosses Lead by a clearly talented ensemble of comic actors, Horrible Bosses is yet another example of a big-budget summer comedy with a promising conceit (see Bad Teacher) that fails to deliver anything but crude alms to the lowest common denominator. Seth Gordon directs Jason Bateman, Jason Sudeikis, and Charlie Day as three pals fed up with their evil employers (Kevin Spacey, Colin Farrell and Jennifer Aniston, respectively) so they hatch a plan to have them killed. Because the answer to their problem obviously lies in a dive bar in the “bad part of town,” Jamie Foxx plays Motherfucker Jones, their murder consultant and the film’s most likable character-stereotype. In the tradition of The Hangover (2009) and its ilk of beer-guzzling, frat-boy cousins, Horrible Bosses is a disastrous pile-up of idiocy that’s more vapid than vulgar despite a few amusing performances. See it for no other reason than Michael Bluth and Charlie Kelly on coke. (1:33) 1000 Van Ness. (Lattanzio)

Life in a Day (1:30) Balboa.

*Magic Trip How to bottle the lysergic thrills and chills of a monumental road trip that marked the close of the Beat Generation era and the dawn of the hippie years? Remarkably, Ken Kesey and his Merry Pranksters did just that — and with the help of directors-writers Alison Ellwood and Alex Gibney, their efforts have been retrieved from the swamps of yesterday. You don’t have to be a Summer of Love easy rider, Kesey reader, Deadhead, or acid gobbler to appreciate the freewheeling energy and epoch-making antics of Magic Trip, which arrives well-outfitted in much invaluable, real-deal-y footage and audio of Kesey, driver Neal Cassady, and the proto-Merry Pranksters, shot during their 1964 trip from La Honda to the World’s Fair in NYC, off, on, and hovering 10 miles above the paint-strewn school bus named Further. Already viewed through the lens of Tom Wolfe’s The Electric Kool-Aid Acid Test, the trip unfolds in all its truly weird, silly, LSD-laden, improvised, awkward, flailing, freeing glory, as the filmmakers gracefully sidestep the audio sync problems that drove Kesey to give up on assembling the film himself. Instead Ellwood and Gibney contextualize the hijinks with voice-over interviews from Pranksters prepped to look back on the journey’s consciousness-expanding trips, both good and bad, and imaginatively animate memorable asides, including a tape recording of Kesey’s first LSD experiments as a Stanford student. “What long, strange trip,” indeed — and this affectionate document viscerally, wonderfully conveys why it changed lives as well. (1:47) Lumiere. (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Embarcadero, 1000 Van Ness, Piedmont, Sundance Kabuki. (Harvey)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Clay, Piedmont, Shattuck, Smith Rafael. (Harvey)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Sarah’s Key (1:42) Albany, Embarcadero, Piedmont.

The Smurfs in 3D (1:43) 1000 Van Ness.

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) California, Lumiere. (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) Bridge, Shattuck. (Devereaux)

 

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

Black secret technology

0

Detroit. Perhaps you’ve heard of it? Maybe someone forwarded you a link to a fascinating ruin porn slideshow of its abandoned skyscrapers and crumbled mansions. Or you’ve clicked on one of the innumerable feature stories about young, homesteading pioneers plowing new fields among the wind-blasted industrial decay. Maybe your grandfather has shook his head at the glory that used to be the Big Three, a multi-billion dollar auto industry now propped up by government funds. Or perhaps you’ve appeared in a sequined gown and endless gloves in one of your black-and-white snooze-button dreams, backed by Mary and Flo, cooing out “Where Did Our Love Go?”

If you’ve been anywhere near a good club in the past year, you’ve definitely heard Detroit — one thing those strangely same-y media narratives always seem to omit is the other huge industry that Detroit has spawned, namely techno. That’s fine, real techno should always fly beneath the mainstream eye, a Cybertronic bird with tingling feathers and a killer beak-beak-beak.

Yet even in the underground Detroit’s techno legacy was threatened with obliteration: the explosion of bedroom producers who came of age during the minimal era of the late 2000s looked to Berlin for inspiration, rather than the Midwest. The wave of original Detroit innovators had become diffuse. You could sense a struggle for a Grand Unified Theory of Detroit Techno Now to present to newcomers who, after all, couldn’t exactly consult a textbook on such things. To them, “Detroit” was more of an archetypal ideal than an actual sound, let alone one created by Black people. And there was only so much jawing on about the good old days us dance floor seniors could do without being put out to the House Nation pasture. (There are Smart Drinks, nappy dreads, hoop earrings, Maurice Malone overalls, and a lot more bass there.)

Berlin has every right to claim the techno megalopolis crown — it’s done more as a civic entity to promote the music than Detroit could afford — and, hearteningly, it takes pains to venerate its Motor City forebear. No coincidence that one of Germany’s freshest acts is Motor City Drum Ensemble or that the brilliant Berlin club Tresor greets entrants with a giant “Detroit” sign. And it’s not as if Detroit went away — minimal was balanced out by the disco-funk re-edit scene, pioneered by Detroit techno heroes Moodymann and Theo Parrish.

Luckily, the smart kids will always be curious, and Detroit has been thrust back into the spotlight by a yearning for history, depth, and basics in the global techno scene. An awesome, corresponding glut is now upon us of touring DJs from the D to satisfy that need.

In the past two months alone San Francisco has seen appearances by Kevin Saunderson, Mike Huckaby, MK, Scottie Deep, Stacy Pullen, Dan Bell, and honorary Detroiter Richie Hawtin. Jeff Mills, Carl Craig, and Moodymann were here last year. And, this weekend, Parrish himself comes, along with fantastic unsung hero of the early years Claude Young, who isn’t afraid to scratch things up a little. Just announced? Two of techno’s Big Three, Derrick May and Kevin Saunderson (who along with Juan Atkins invented and popularized the whole damn thing) performing together in November in their Hi Tek Soul guise.

One of the real joys of this latest Detroit resurgence, and one it would be most painful to lose: the reclamation of techno as a black musical form, a poetic permutation of soul, rejiggered by freaky sci-fi nerds with one ear attuned to space-jazz, another to krautrock and synthpop, and a third to down-and-dirty electro-funk. Or, as May’s famous formulation has it, “a complete mistake … like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.”

As commercial techno claims larger and larger arenas and the Motor City slips further into media cliché, it’s the perfect time to gather back at the roots. Oh, and dancing.

THEO PARRISH

Fri/12, 10 p.m.-3:30 a.m., $10–$20

Public Works

161 Erie, SF.

www.publicsf.com

 

CLAUDE YOUNG

at the Sunset Boat Party

Sun/14, 5 p.m., $45 advance

Pier 3 (Washington and Embarcadero)

www.pacificsound.net

 

HI TEK SOUL

w/ Derrick May and Kevin Saunderson

November 12, 10 p.m.-late

Public Works