Mission

Our Weekly Picks: October 10-16

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WEDNESDAY 10

Happy Hour at 251 Post

Stumbling on 251 Post Street feels a lot like clicking on a square in Minesweeper that opens up an awesome chunk of mine-free space. The entrance is nudged between a designer sunglass shop and high-end French clothing store, but it leads to six floors full of innovate artwork. Granted, the art might be in the same price range as the surrounding stores, but hey, admission is a lot cheaper than a museum. The happy hour will feature artist talks at four of the six galleries, including the Bay Area painter Brett Amory, whose simple but beautiful paintings are evocative of my lonelier dream visions. His work, focused on figures and buildings he encounters in Oakland and San Francisco, reduces everything down to the essence, creating empty spaces where buildings and figures seem to recede and appear before your eyes. (Molly Champlin)

5pm, free

251 Post Street Art Galleries, SF

(415) 291-8000

www.artgalleryweek.com

 

Dinosaur Jr.

We don’t need to tell you that Dinosaur Jr was one of the most influential alternative rock bands of the 1990s or that these dudes can really shred. We’ll just let their 28-year career attest to that. What we will tell you is that their new album is not to be overlooked or underestimated. These Dinosaurs have aged well. I Bet on Sky, their 10th full-length, is a loudmouthed snarl of a record. It features all the best quirks of Dinosaur Jr’s extensive catalogue: frightening amounts of fuzz, weirdly engaging hooks, and deep dark lyrics in J Mascis’ disengaged nasal yowls. Don’t forget to bring earplugs. (Haley Zaremba)

8pm, $32.50

Fillmore

1805 Geary, SF

(415) 346-3000

www.thefillmore.com

 

FRIDAY 12

Lenora Lee Dance

The history of Chinese Americans in the Bay Area is not exactly a closed book. Over the years many artists — including dancers — have opened a few of its pages, but I can’t think of any choreographer who has taken an approach as simultaneously intimate and large scale as Lenora Lee. In her work, the personal and the political intertwine inextricably. As part of her fifth anniversary celebration she, and some very fine visual, musical and text collaborators, are presenting a triptych that is still in the making. “Passages: For Lee Ping To” is the most personal — based on Lee’s grandmother’s story; “Reflections” looks at conflicting ideas of maleness; and “The Escape”, a work on immigrant women. (Rita Felciano)

Fri/12-Sat/13, 8pm, $15–$25

Sun/14, 3:30pm

Dance Mission Theater

3316, 24th St., SF

www.dancemission.com

 

 

The Raveonettes

The collaboration of Sune Rose Wagner and Sharin Foo feels like 1950s and ’60s rock’n’roll overlaid with electric noise and coupled with darker, more introspective lyrics. Their sound recalls grunge and captures a shoegazy moodiness that’s both mysterious and lyrical. The Danish duo has been making music together as the Raveonettes since 2001, has developed a cult following along the way, and has been credited with spawning somewhat of an American indie rock renaissance. Wagner relates Observator, the group’s recently released sixth album, to “a heavenly dream that you slowly realize is actually taking place in hell.” (Mia Sullivan)

With Melody’s Echo Chamber

9pm, $25

Bimbo’s

1025 Columbus, SF?

(415) 474-0365

www.bimbos365club.com

 

 

Morbid Angel

Time was that Morbid Angel could do no wrong. Tampa was bursting with bands in the later Reagan years, but few combined brutality with complexity as well as guitarist Trey Azagthoth, drummer Pete Sandoval, and bassist-vocalist David Vincent. With the release of 2011’s Illud Divinum Insanus, however, that time officially ended. Industrial and electronic textures alienated fans, leaving them uncertain about the band’s new direction. Thankfully, having missed the Illud… sessions while recovering from back surgery, Sandoval is now back in the fold, which bodes well for a return to death metal roots on the band’s current tour. (Ben Richardson)

With Dark Funeral, Grave

9pm, $31

Slim’s

333 11th St., SF

(415)-255-0333

www.slimspresents.com

 

SATURDAY 13

Life is Living Festival

Even in the season of street fair, Marc Bamuthi Joseph’s Life is Living Festival stands out. The overarching theme for the fests — they take place in ‘hoods across the country, from Houston’s Emancipation Park to Chicago’s South Side to the Bronx — is bringing green to the black community, uniting the sustainability movement with a hip-hop sensibility. The fest overflows with hip-happenings: Oakland’s first youth poet laureate Stephanie Yun will take the stage, there’ll be a street art contest, a show by a local team of dunk artists, vegan Filipino food, free breakfast (a park tradition started by the Black Panthers), youth science exhibition, dancing, hip-hop cipher — oh, and Talib Kweli will DJ. The fest prides itself on being an uber-positive, multi-generational show of strength. You won’t go home frowning. (Caitlin Donohue)

10am-6pm, free Defremery Park 1651 Adeline, Oakl. www.lifeisliving.org

 

Alternative Press Expo

Besides, of course, the sweetly self-conscious parade of Optimus Prime, Misty from Pokemon, and Clockwork Android costumes, my favorite part of the dearly-departed Wonder Con was the sociology nerd comics panels. “Women in Comics,” “Social Justice in Comics,” the list goes on. Graphic novels present the perfect, neurosis-friendly media in which to delve into alternative culture, which is why the Alternative Press Expo will make you forget all those Hollywood blockbuster star panels. Go this year to delve into the best scribblers of alt culture, like the Hernandez brothers of Love and Rockets Latino punk fame, a queer cartoonist panel moderated by Glamazonia’s Justin Hall, and the chance to connect with a gajillion like-minded indie comic freaks. (Donohue)

11am-7pm; also Sun/14, 11am-6pm; $10 one day, $15 two day pass Concourse Exhibition Center 635 Eighth St., SF www.comic-con.org/ape

 

Yerba Buena Night

Art allies in the Yerba Buena district are rallying together for another installment of Yerba Buena Night. The neighborhood will be full of people getting their musing-spectator on during the gallery walk, rocking out at the three main performance stages, and chatting with class at the champagne reception hosted by Visual Aid. Be sure to stop by 111 Minna to see surreal graffiti and pen artist Lennie Mace, who operates in both America and Japan, as well as some of Mike Shine’s paintings and props from Outside Lands (minus the live carny folk, unfortunately). Or visit Wendi Norris Gallery for beautifully bright but often gruesome narrative paintings by artist Howie Tsui: think pop-surrealist Mark Ryden with a Chinese influence. (Champlin)

3pm, free

Yerba Buena District

701 Mission

(415) 541-0312

www.yerbabuena.org

 

MONDAY 15

David Byrne and St. Vincent

Old and young, man and woman, beauty and beast (albeit a hip beast with now slick, silver hair), David Byrne and St. Vincent make quite the unlikely pair. Despite, or maybe in light of these differences, their respective talents fit together like puzzle pieces in their joyously poppy and horn-laden collaboration, Love This Giant. The album, released in September, rings in like a call to action and touches on issues of wealth, prescribed and individual culture, love, and forgiveness. Aside from the fact that everyone loves a rock show backed with an eight-piece brass band, this is set to be a memorable night.(Champlin)

8pm, $63.50–$129

Orpheum Theater

1192 Market, SF

(888) 746-1799

www.shnsf.com

 

The Sheepdogs

If you’re itching for some classic rock nostalgia but aren’t in the mood for the full-on experience (i.e. Dark Star Orchestra), check out The Sheepdogs. This Canadian quartet looks like they were pulled straight out of the ’70s and has been sonically influenced by rock icons like The Grateful Dead, Credence Clearwater Revival, and Steely Dan. These guys released a self-titled, debut album with Atlantic Records last month. (They released their first three albums independently.) The Sheepdogs thrive on three-part harmonies, produce extremely catchy tracks, and have been rumored to put on fun, blissful shows. (Sullivan)

With Black Box Revelation

7:30pm, $15

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


TUESDAY 16

Nik Bärtsch’s Ronin

Not quite nu-jazz, math-rock, or classical minimalism, Nik Bärtsch’s Ronin attacks Reichian time signatures with the borderline robotic technical skill of a group of Juilliard grads, the undeniable groove of an airtight funk band, and the Steely Dan-worthy production values inherent to ECM, the venerable European jazz label to which they’re signed. Bärtsch’s piano playing is remarkably dynamic, flowing between resonant, open tones and muffled, percussive hammering, while generously layered drums, agile bass-plucking, and exotic woodwinds (contrabass clarinet, anyone?) create a dark, steely backdrop. Considering the Swiss ensemble’s masterful ability to anchor soulful acoustic instrumentation with a relentlessly electronic pulse, Nik Bärtsch’s Ronin is as compelling, and unmissable, as any live ensemble currently working. (Taylor Kaplan)

8pm, $20

Yoshi’s Oakland

510 Embarcadero West, Oakl.

(510) 238-9200

www.yoshis.com/oakland

 

Vampyr with live score by Steven Severin

Get your Halloween on a little early this year with Steven Severin, founding member and bassist of Siouxie and the Banshees, who comes to haunt the city tonight with two special live performances of his new score to the classic 1932 horror film Vampyr. The third installment in Severin’s ongoing film accompaniment series “Music For Silents,” the darkly moody synthesizer score perfectly matches the surreal scenes on the silver screen, working in conjunction with the somewhat unorthodox style of filmmaker Carl Theodor Dreyer, who continued to use elements of the silent era, including dialogue title cards, even though the film was made at the advent of the talkies. (Sean McCourt)

7 and 9:30pm, $15

Roxie Theater

3117 16th St., SF

www.roxie.com

 

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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.

THEATER

OPENING

Love in the Time of Zombies Café Royale, 800 Post, SF; sftheaterpub.wordpress.com. Free ($5 donation suggested). Opens Mon/15, 8pm. Runs Mon-Tue, 8pm. Through Oct 30. San Francisco Theater Pub performs Kirk Shimano’s “rom-zom-com.”

The Scotland Company Exit Theatre, 156 Eddy, SF; www.thunderbirdtheatre.com. $15-25. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm; Sun, 3pm. Through Oct 27. Thunderbird Theatre Company performs Jake Rosenberg’s new comedy.

“Strindberg Cycle: The Chamber Plays in Rep” Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50 (festival pass, $75). Previews Fri/12-Sat/13, 8pm; Sun/14, 5pm (part one); Oct 25, 7:30pm and Oct 26, 8pm (part two); Nov 1, 7:30pm and Nov 2, 8pm (part three). Opens Oct 18, 7:30pm (part one); Oct 27, 8pm (part two); and Nov 3, 8pm (part three). Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 18. Cutting Ball performs a festival of August Strindberg in three parts: The Ghost Sonata, The Pelican and The Black Glove, and Storm and Burned House.

BAY AREA

An Iliad Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-77. Previews Fri/12-Sat/13 and Tue/16, 8pm; Sun/14, 7pm. Opens Oct 17, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through Nov 11. Berkeley Rep performs Lisa Peterson and Denis O’Hare’s Homer-inspired tale.

Richard the First: Part One, Part Two, Part Three Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $14-25. Previews Fri/12, 8pm (part one); Sat/13, 8pm (part two); and Sun/14, 5pm (part three). Opens Oct 18, 8pm (part one); Oct 19, 8pm (part two); and Oct 20, 8pm (part three). Runs Thu-Sat, 8pm; Sun, 5pm (three-part marathon Sundays, Nov 11 and 18, 2, 5, 8pm). Through Nov 18. This Central Works Method Trilogy presents a rotating schedule of three plays by Gary Graves about the king known as “the Lionheart.”

ONGOING

Elect to Laugh Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

Family Programming: An Evening of Short Comedic Plays Shelton Theater, 533 Sutter, SF; www.brownpapertickets.com. $20. Thu/11-Sat/13, 8pm. Left Coast Theatre Company performs short plays about gay and alternative families.

The Fifth Element: Live! Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. Fri-Sat, 8pm. Through Oct 27. Comedic adaptation of the 1997 Luc Besson sci-fi epic.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Fri-Sat, 8pm (no show Nov 17). Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $30-100. Sat, 8pm; Sun, 7pm. Through Nov 18. Geoff Hoyle’s popular solo show about aging returns.

Of Thee I Sing Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Wed, 7pm; Thu-Fri, 8pm; Sat, 6pm (also Sat/13, 1pm); Sun, 3pm. Through Oct 21. 42nd Street Moon performs George and Ira Gershwin’s classic political satire.

The Play About the Baby Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $30. Thu/11-Sat/13, 8pm; Sun/14, 7pm. Custom Made Theatre presents Edward Albee’s devilishly funny 1998 play, an intriguing and gleefully idiosyncratic work about the brutality to which innocence is invariably subjected in this world. In a formal and thematic reshuffling of the Albee deck (from which he drew earlier gems like Who’s Afraid of Virginia Woolf? or The American Dream), the play offers two couples: Boy (Shane Rhoades) and Girl (Anya Kazimierski) — two innocents in the blush of first love who have just had a baby — and Man (Richard Aiello) and Woman (Linda Ayres-Frederick), a quippy, slightly sinister pair who intrude on the younger couple for initially undisclosed reasons. As much propositions as people (albeit lively ones), the characters move around a stage backed by a wall-full of assorted chairs (in Sarah Phykitt’s somewhat enigmatic scenic design) addressing each other and the audience by turns, the older ones prone to digressive monologues, the younger to ingenuous rapture, confusion, and finally (as their predicament becomes clear) anguish. The play’s oddball dialogue and intentional repetition demand a lot from a cast, however, and director Brian Katz gets uneven results from his. While Kazimierski offers a sure, buoyant performance as Girl, Rhodes wavers in his delivery, proving only occasionally convincing as Boy. Ayres-Frederickson exudes a nice, saucy, indomitable air as Woman, and Aiello is a pretty good match for her, despite a somewhat stilted start. But the effect overall is a little too erratic to avoid turning the play’s intentional repetitions into a slow-growing tedium. (Avila)

The Real Americans Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Fri, 8pm; Sat, 8:30pm. Extended through Oct 27. Dan Hoyle’s hit show, inspired by the people and places he encountered during his 100-day road trip across America in 2009, continues.

Roseanne: Live! Rebel, 1760 Market, SF; www.brownpapertickets.com. $25. Wed, 7 and 9pm (no shows Oct 31). Through Nov 14. Lady Bear, Heklina, D’Arcy Drollinger, and more star in this tribute to the long-running sitcom.

Shocktoberfest 13: The Bride of Death Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Thu-Sat, 8pm. Through Nov 17. Thrillpeddlers’ annual Halloween horror extravaganza features a classic Grand Guignol one-act and two world premiere one-acts, plus a blackout spook show finale.

The Strange Case of Citizen de la Cruz Bindlestiff Studio, 185 Sixth St, SF; www.bindlestiffstudio.org. Thu/11-Sat/13, 8pm. Bindlestiff Studio presents Luis Francia’s political thriller.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Sat/13, 5:30pm. After spending the summer on Angel Island with their epic-scale production of The Odyssey, the We Players have scaled back with a lo-key rendition of Shakespeare’s Twelfth Night on Hyde Street Pier. Of course when it comes to the We Players, “scaled-back” still means a two-and-a-half hour long participatory jaunt taking place mainly along the length of the pier and aboard the historic ferryboat, the Eureka, which serves primarily as the residence of the grieving Illyrian Countess, Olivia (Clara Kamunde) around whose favors much of the plot revolves. Highlights of the experience include the opportunity to visit historic Hyde Street Pier, a gypsy-jazzy score directed by Charlie Gurke (who also plays the lovelorn Duke Orsino), and the rascally quartet of the prankish Maria (Caroline Parsons), jocular drunk Toby Belch (Dhira Rauch), clueless doofus Andrew Augecheek (Benjamin Stowe), and wise fool Feste (John Hadden). But as We Players productions go, this one feels less inspired in its staging, and much of the action merely shuffles back and forth on the Eureka without incorporating many of the intriguing nooks and views the Hyde Street Pier offers, despite a promising opening scene involving a beach and a rowboat. Also, uncharacteristically for We, the comic timing seemed to be off the evening I saw it, although both Stowe and Hadden ably conveyed their wit without a flaw. Dress warmly, carry a big flask, and you’ll be fine. (Gluckstern)

The Waiting Period Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 5pm. Extended through Oct 27. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Acid Test: The Many Incarnations of Ram Dass Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 5pm. Through Nov 24. Lynne Kaufman’s new play stars Warren David Keith as the noted spiritual figure.

Assassins Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 11. Shotgun Players performs the Sondheim musical about John Wilkes Booth, Lee Harvey Oswald, and other famous Presidential killers (and would-be killers).

Hamlet Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-71. Wed/10-Thu/11, 7:30pm; Fri/12-Sat/13, 8pm; Sun/14, 4pm. Liesl Tommy directs this season closer for Cal Shakes, a decidedly uneven and overall surprisingly bland production of one of Shakespeare’s most fascinating, affecting, and endlessly rich works. The best part of Tommy’s less-than-inspired hodgepodge production (summed up by the dry and cluttered swimming-pool set, albeit very nicely designed by Clint Ramos) is lead Leroy McClain, whose Hamlet is a vibrantly intelligent and charismatic force most of the time. He gets some fine support from Dan Hiatt as a comically pedantic but still sympathetically paternal Polonius, but there is precious little chemistry with either Ophelia (a nonetheless striking Zainab Jah) or faithless queen mother Gertrude (Julie Eccles). The rest of the cast is rarely more than dutiful. Meanwhile, the staging comes laden with some awkward and/or tired conceits: a small fish tank-like landscape inset into the back wall for an unraveling Ophelia; a gore-covered zombie-esque ghost (a flat Adrian Roberts, who also plays Claudius); or guards sporting submachine guns, which always looks ridiculous. Moreover, the language comes awkwardly modernized in places —substituting “dagger” for “bodkin” in a rather famous soliloquy, for example, seems unnecessary and is definitely distracting. Why not “submachine gun”? (Avila)

The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Sat/13, 8:30pm; Sun/14, 7pm. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Sex, Slugs and Accordion Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $10. Wed, 8pm. Through Nov 14. Jetty Swart, a.k.a. Jet Black Pearl, stars in this “wild and exotic evening of song.”

33 Variations TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $23-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Oct 28. TheatreWorks performs Moisés Kaufman’s drama about a contemporary musicologist struggling to solve one of Beethoven’s greatest mysteries, and a connecting story about the composer himself.

Topdog/Underdog Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $36-57. Tue and Thu-Sat, 8pm (also Thu/11, 1pm; Oct 20, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Oct 21. Marin Theatre Company performs Suzan-Lori Parks’ Pulitzer Prize winner about a contentious pair of brothers.

The World’s Funniest Bubble Show Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $8-50. Sun, 11am; Nov 23-25, 11am. Through Nov 25. Louis “The Amazing Bubble Man” Pearl brings his lighter-than-air show back to the Marsh.

PERFORMANCE/DANCE

“Bi Curious Comedy Night” Deco Lounge, 510 Larkin, SF; www.decosf.com. Sun/14, 8pm. $10. With Nick Leonard, Kate Willet, Nicole Calasich, and more.

“Comedy Bodega” Esta Noche Nightclub, 3079 16th St, SF; www.comedybodega.com. Thu, 8pm. Ongoing. No cover (one drink minumum). This week: the San Francisco Comedy Burrito Festival.

“Gravity (and other large things)” NOHspace, 2840 Mariposa, SF; www.performancelab.org. Wed/10, Fri/12-Sat/13, and Oct 19-20, 8pm; Sun/14 and Oct 21, 4pm. $12-25. Right Brain Performancelab present this evening-length dance-theater piece.

“A New Anthropology of Asian-Black Relations” Garage, 715 Bryant, SF; www.brownpapertickets.com. Wed-Thu, 8pm. $10-20. Mash-up poetry installation, plus performance, by Kevin Simmonds.

Smuin Ballet Palace of Fine Arts Theatre, 3301 Lyon, SF; www.smuinballet.org. Thu/11-Sat/13, 8pm (also Sat/13, 2pm); Sun/14, 2pm. $25-65. The company performs its fall program, including West Coast premiere Cold Virtues.

“The Spooky Cabaret” Stage Werx, 446 Valencia, SF; www.wilywestproductions.com. Wed/10, 7:30pm. $10. ‘Tis the season for this fest of three full-length and five one-act plays with horror themes.

“Theatecture on UN Plaza” Civic Center, UN Plaza, Seventh St at Market, SF; www.ftloose.org. Tue/16, noon-2pm. Free. Outdoor performance of Mary Alice Fry’s Honeycomb Zone as part of the “24 Days of Central Market Arts Festival.”

Heads Up: 8 must-see concerts this week

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With the xx – at Treasure Island Music Festival – and Nouvelle Vague both in town this week, there’s a whole lot of sexy, sex-making music coming. Also popping up in the Bay in the next few days: Dinosaur Jr., Grave Babies with 2:54, Saint Vitus, and Wreckless Eric and Amy Rigby.

These shows, as of press time, still have tickets. Lucky you. There is another band in town, however, whose Bay Area stop is long-sold out: Grizzly Bear, the Brooklyn act that was featured in the much-discussed New York Magazine cover story last week, “Is Rock Stardom Any Way To Make A Living?”

The main crux of the story’s thesis is that more than ever, bands have to tour (and license songs) to make ends meet. So, go support your favorite musicians live, their livelihood depends on it. Also, actually buy the album. As Grizzly Bear’s Ed Droste puts it in the article, a record costs about as much as “a fucking appetizer, a large popcorn at the movie theater, and you’ll have it forever, and they took two years to make it.”

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

Wreckless Eric and Amy Rigby
English rocker Wreckless Eric first found Amy Rigby when he happened upon the singer-songwriter covering his classic, whisper-to-shout post-punk love song, “(I’d Go the) Whole Wide World.” (She was playing in the wrong key, but he got up on stage and joined in.) They’re now married and play adorable acoustic sets together and are about to release another joint record, A Working Museum (Southern Domestic, Oct. 30). 
Tue/9, 8:30pm, $10 
Hemlock Tavern
1131 Polk, SF
(415) 923-0923
www.hemlocktavern.com
https://www.youtube.com/watch?v=6s0UtowN9g4

Saint Vitus
The legendary LA doom metal band, Saint Vitus, comparatively molasses slow and full of despair, has played together in some form or another since 1978. This week, it plays the Independent, which is so out of wildly character for the venue, it’s got to be good. There will be headbanging.
With Weed Eater, Sourvein
Tue/9, 8pm, $25
Independent
628 Divisadero, SF
(415) 771-1421
www.theindependentsf.com
http://www.youtube.com/watch?v=OhjP96dKYIU

Il Gato
This week, local baroque pop trio Il Gato released Tongues and Teeth (self-released), a folkier follow-up to last year’s All Those Slippery Things EP, and 2010’s All These Slippery Things LP. “The main themes are regarding the truth we hold inside us — from our bodies internal wisdom, to our intuition, to our patterns and rituals — and the beauty and struggle of being able to both think and feel,” says spiritual singer Daimian Holiday Scott.
With Immanu El, Wolf and Crow
Wed/10, 8pm, $10
Rickshaw Stop,
155 Fell, SF.
www.rickshawstop.com

Dinosaur Jr.
“We don’t need to tell you that Dinosaur Jr. was one of the most influential alternative rock bands of the 1990s or that these dudes can really shred. We’ll just let their 28-year career attest to that. What we will tell you is that their new album is not to be overlooked or underestimated. I Bet on Sky, their 10th full-length, is a loudmouthed snarl of a record. It features all the best quirks of Dinosaur Jr.’s extensive catalogue: frightening amounts of fuzz, weirdly engaging hooks, and deep dark lyrics in J Mascis’ disengaged nasal yowls. Don’t forget to bring earplugs.” –Haley Zaremba
Wed/10, 8pm, $32.50
Fillmore
1805 Geary, SF
(415) 346-3000
www.thefillmore.com
https://www.youtube.com/watch?v=FpsGcnLEZbk

Grave Babies
Seattle’s “scuzziest goth rockers,” Grave Babies, recently got the remix treatment for their haunting new wave song “Fuck Off” by Total Control and Eddy Current Suppression Ring’s Mikey Young, which resulted in an even spookier, deeper-in-to-outer-space trip.
With 2:54
Thu/11, 9pm, $10-$13
Brick and Mortar Music Hall
1710 Mission, SF
(415) 371-1631
www.brickandmortarmusic.com

Sic Alps
The best and biggest surprise from local garage rock band Sic Alps on its newest self-titled full-length (Drag City, Sept. 18) was the inclusion of a string section. It adds a sparkly additional layer to an already textured and loopy blanket, er, release.
With Thee Oh Sees, Sonny and the Sunsets, the Mallard.
Fri/12, 8:30pm, $15
Great American Music Hall
859 O’Farrell, SF
www.slimspresents.com
http://www.youtube.com/watch?v=N3P_7LsDHag

Treasure Island Music Festival
This year, I’m most curious about luminous Beth Ditto’s Gossip, to see how they work this glossy new dance-pop sound live, Grimes, to hear if her tiny voice can carry, and Public Enemy, because, it’s Public Enemy. There’s also M83, Joanna Newsom, and Divine Fits. Also, Sunday’s headliners the xx just released shimmering new LP, Coexist, which should create a sexy, foggy atmosphere. Though the best part about Treasure Island — besides the outstanding views — is the lack of set-time conflicts.
Sat/13-Sun/14, noon, single day $75; two-day, $129.50
Treasure Island, SF
www.treasureislandfestival.com
http://www.youtube.com/watch?v=_nW5AF0m9Zw

Nouvelle Vague
Nouvelle Vague has the ability to turn anything – moody ’80s new wave (the band’s namesake), post-punk grinders, Dead Kennedy’s “Too Drunk to Fuck” – into a sexy French pop classic. Everything they rework and perform turns into Françoise Hardy over bossa nova arrangements. Past covers include “Ever Fallen in Love (With Someone You Shouldn’t’ve),” “Heart if Glass,” and “Master and Servant.” This makes it difficult not to purse your lips and sing along in a faux-Francophone tribute; but you’d look silly, please leave it to these experts.
Sun/14, 8pm, $25-$28
Bimbo’s
1025 Columbus, SF
(415) 474-0365
www.bimbos365club.com
http://www.youtube.com/watch?v=J5j-ipGFcko

Why the parks bond could lose

13

A general obligation bond to improve San Francisco parks ought to be a slam dunk, particularly when it’s getting pushed by Sup. Scott Wiener, who isn’t exactly a pro-tax kind of guy. The left always votes for these things. Wiener’s lining up the moderates. Proposition B would, in normal circumstances, get 70 percent of the vote.

But there’s an awful lot of pent-up anger at the Rec-Park department, and if you want to know why, just check this out. A group of mostly immigrant soccer players, who’ve been using a park in the Mission for pickup games for more than a decade, are now getting kicked out two nights a week — because Rec-Park has turned the place over to a private outfit that charges money to enter the games.

Oh, and you have to register on your smartphone.

So the young white techies who want to play soccer and can afford $7 for a game on parkland our taxes paid for get to play, and the Latino immigrants — who, by the way, were there first — lose out.

You like that? It’s the direction Rec-Park is going under the direction of Phil Ginsburg.

Even the Guardian, which has never opposed a GO bond for anything except prisons, had a lot of trouble with Prop. B. And while Wiener, in a meeting with us, dismissed most of the opposition as marginal, it doesn’t take much to prevent a bond from getting a two-thirds vote. Here’s the question Ginsburg needs to think about:

Would he rather have his park bond — or evict the Haight Ashbury Neighborhood Council recycling center? Would he rather have his $195 million for badly needed capital projects — or privatize recreation facilities? Will he do anything, anything at all, to show some good faith that he’s heard the message from his critics?

Ginsburg and Wiener both support the idea of coming up with a new (tax-based) revenue source for Rec-Park. And we went along with the park bond, reluctantly. But if doesn’t show us any reason to believe there’s hope for the Latino immigrants to play soccer without paying $7, if he isn’t changing his tune at all, he may not get his two-thirds vote Nov. 6. And he’s going to have a hell of a time convincing any of us to give him any more money in the future.

 

 

Open doors await on Affordable Housing Day

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Tomorrow, 10/6 from 1pm-4pm, you can tour several of the city’s affordable housing sites — there’s even a handy citywide bike tour! — and  get an indepth look inside many of the innovative buildings that have recently gone up (or been rehabbed) in San Francisco, helping to house the homeless and make the city an affordable place to live for seniors, families, and people with special needs.

There will be refreshments! And also access to detailed information about the design, finances, and management of the buildings. And if you’re interested in finding out how to apply to live at one of the sites, there’ll be info about that, too. 

For Nosey Parkers like me who just like to go inside buildings and have a good gander, this will be pretty neat. (Also, my husband works in non-profit housing, and I get the backstory on a lot of the great stuff going on at these buildings, but never get to see it all!) And many of the buildings are doing really cool things environmentally and designwise. Complete list of locations and official press release after the jump.

SITE LIST:

Armstrong Place, 3rd Street & Armstrong
Bayview Commons, 4445 3rd Street
Bishop Swing, 275 10th Street
Broadway Family Apartments, 810 Battery Street
CASA, 5199 Mission Street
I Hotel, 868 Kearny Street
Mendelsohn House, 737 Folsom
Mosaica, 2949 19th Street
Notre Dame Plaza, 347 Dolores Street
St. Peters Place, 29th Avenue & Geary Street
The Hayes, 55 Page Street
Westbrook Plaza, 255 7th Street
Zygmunt Arendt House, 850 Broderick

Affordable Housing Day San Francisco to be held on Saturday, October 6
The Council of Community Housing Organizations, the American Institute of Architects San Francisco, and SPUR invite the community to an open house highlighting the benefits of affordable housing in San Francisco.

SAN FRANCISCO ─ As part of a citywide Affordable Housing Day, neighborhood affordable housing organizations throughout San Francisco will open up selected buildings for tours, info sessions and refreshments. Included in the tours will be examples of housing designed for seniors, families and people with special needs. The goal of the citywide day is to provide an opportunity for up close and personal experience with the people and places that make up San Francisco’s affordable housing. Each location will have detailed information about design, finance and management of these housing developments as a sample of the many affordable housing sites across the city. And for individuals interested in obtaining affordable housing, each participating organization will have information about qualifications, the application process, and vacancies.

Fernando Martí, co-director of the Council of Community Housing Organizations which is sponsoring the event, said “These are great examples of housing for everyday San Franciscans, slowing SF’s family flight, so that our children and grandchildren can continue to live in the City they helped build. Affordable housing also preserves the diversity of our neighborhoods, stabilizing communities from gentrification, while improving living conditions.”

There will be building tours throughout the city including the South of Market, Richmond, Mission, Excelsior, Bayview and Western Addition neighborhoods. Participants are welcome to visit all the open house locations, or just stop by the building in their neighborhood. Participating organizations include: Bernal Heights Neighborhood Center, Bridge Housing, Chinatown Community Development Center, Community Housing Partnership, Episcopal Community Services, Mercy Housing, San Francisco Housing Development Corporation, Tenants and Owners Development Corporation, Tenderloin Neighborhood Development Corporation , and The Hayes (55 Page).

“Creating affordable housing helps build our economy, creates jobs in San Francisco and supports families so they can stay, live and succeed in our City,” said San Francisco Mayor Ed Lee. “We must create a permanent source of revenue to fund the production of housing in San Francisco to ensure that seniors, people with disabilities and San Francisco families can continue to call San Francisco home.” Supervisor Christina Olague representing the city’s Western Addition and Hayes Valley neighborhoods where two sites will be open on Affordable Housing Day, said “We are fortunate to have such wonderful examples of affordable housing in my district, it’s a critical part of making diverse and stable neighborhoods.”

Please join us for San Francisco Affordable Housing Day, a free event to be held Saturday, October 6 from 1:00pm – 4:00pm. This is an open house format, so visitors can start at any of the 13 sites.

 

Shake, rattle, and read

1

LIT What do you get when you bring together a horde of ravenous bibliophiles in a city that’s known for the possibility of a future catastrophic event? No, not the zombie-nerd apocalypse: Litquake, the largest annual independent literary festival on the West Coast. This year’s nine-day festival runs from Fri/5 through Sat/13, ending with Lit Crawl, the infamous booklovers pub-crawl that words up the Mission. The festival’s venues are as diverse as its writers, ranging from theaters, coffee houses, bars to a barbershop, a bee-keeping supply store, even a parklet. The jam-packed program is expected to bring even more attendees than last year (a whopping 16,581), and features 850 authors in 163 events including hundreds of readings and a multitudinous array of panels and cross-media events.

Originally dubbed Litstock, the festival was conjured up by Jane Ganahl and Jack Boulware at the Edinburgh Castle pub in San Francisco, a watering hole where local authors had been doing readings of their work. Ganahl and Boulware’s idea was simple: get a bunch of writers together to read their work in Golden Gate Park, and see what happens. With the help of Phil Bronstein, then editor of the San Francisco Examiner, they got $300 for a sound system, and on July 16, 1999, Litstock was born. Twenty-five writers read from their work, and to the surprise of Ganahl and Boulware, 300 people came to hear them. In 2002, the festival acquired its new, quintessentially San Francisco moniker, Litquake, and has been growing exponentially — more than 3,650 authors have presented to more than 83,500 people.

(About this year’s installment, Boulware tells the Guardian, “”This year, the festival feels like the programming has more depth than in previous years. We’re including more events at museums, more events outside the city, in particular the Berkeley Ramble, more tributes to noteworthy authors — Lenore Kandel, Woody Guthrie, and Juan Rulfo — and much more diversity in our expanded Lit Crawl schedule. We’re overjoyed to help cement the Bay Area’s rightful place on the national and international literary map.”)

As the story goes, the renaming of the festival in 2002 was partly inspired by an article in USA Today reporting that San Franciscans spend more money on books and alcohol than the residents of any other major city in the nation, according to the Bureau of Labor Statistics. Added to the festival in 2004, Lit Crawl has becoming the living, breathing embodiment of San Francisco’s happy marriage of books and booze — more than 6000 scribes and fans take part in venues in the Mission. San Francisco’s Lit Crawl (this year on Sat/13) has been so successful that there are now Lit Crawls in New York, Austin, Brooklyn and, soon, Seattle.

As neighborhoods go, the Mission is the perfect setting for the event, given its noteworthy independent bookstores and Dave Eggers’s brainchild, 826 Valencia. Like North Beach and the Haight, the city’s former literary hotspots, the Mission has an inherited bohemian spirit (some would call it Beat) that gives life to the idea of literary community.

This year’s Liquake roster of readers is a hefty one, spanning various genres and including such notable participants as Christopher Coake and Daniel Alarcón, both among Granta’s Best of Young American Novelists, along with local legends like US Poet Laureate Robert Hass and poet D.A. Powell. A bound-to-be-popular panel featuring cartoonist Daniel Clowes and Eggers himself will surely to draw a crowd, as the two discuss everything from the creative process to their favorite comics, books, and movies.

And for history buffs, there will be panels on little-known and formerly censored poetry of Beat poet Kandel and a tribute to Jane Austen featuring Karen Joy Fowler, author of bestseller book The Jane Austen Book Club.

It’s a fitting testament to San Francisco’s rich intellectual heritage that, in a city known for its ballooning tech industry (the oft-feared culprit behind literature’s “imminent demise”), San Franciscans’ literary love affair shows no signs of waning. Our lust for books still causes the city to tremble.

LITQUAKE

Fri/5-Sat/13

Various times, venues, and prices, SF.

www.litquake.org

 

Cheap basics, side of rainbow magic: Uniqlo’s full-size store opens this week

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“We’re trying to impress you with the amount of colors we have for socks,” says Aldo Liguori, Uniqlo global director of corporate PR as he guides us through his Japanese clothing brand’s soon-to-be-open San Francisco store. There are indeed, a lot of sock colors. The three-story Union Square space is home to many wonders, however. Walls of affordably-priced cashmere sweaters, a magic mirror, color-shifting staircases, heat-generating clothing, and — perhaps most compelling to your reporter — a $9.90 special on “Japanese engineered denim.”

They have eggplant, dark gold, forest-colored jeans. An autumn palette rainbow. Grab them while they last. “They are manufactured in ChIina,” said Liguori in a reserved cadence befitting a person whose office is in the Minato ward of Tokyo. “But to Uniqlo Japanese standards.”

Not even $10. Elbows out on Friday, shoppers. 

Sure, I spent the morning touring a chain clothing store. But Uniqlo is an exciting chain clothing store, way more exciting than Target, although maybe not as exciting as Top Shop. Te Powell Street location is the fifth full-fledged US location, although a San Francisco pop-up shop has been open since August a few blocks away. Would you believe New Jersey got a full-sized Uniqlo before the Bay Area? It did 🙁

Nonetheless, Uniqlo’s been busy at the hype game here in SF — promotional gambits have included online games involving Japanese cult cat Maru, and panel discussions held in the pop-up with Goapele and Mission Chinese Food’s Danny Bowein. 

Those $9.90 jeans are one of a few opening days sales — you can also get their heavily-promoted, weirdly-lightweight down jackets for $49.90, and no less than six pairs of socks for $9.90. Uniqlo’s big on basics, but a lot of the basics come with twists, like aforementioned Heatech line of heat-producing long underwear, tank tops, etc. I swooned at the SF store over the wool cocoon coats and Double Standard by Masahisa Takino line of solid, Helmut Lang-like pieces. Slouchy sweatshirt shrugs, futuristic-looking rain trenches, etc. 

But maybe you’re in it for the majick. You’ll find it here — like I said the staircases breathe rainbow. There are rotating army of fedora-wearing rainbow-clad mannequins, LOOK: 

 

… and a mirror that, with the touch of a button, will change the color of the reflection of the fleece or down jacket you are wearing, so that you can see whether you’re more of a rose or a silver. 

DISCLAIMER: By popular demand, we’d like to remind you that clothes produced in China are not subject to the same labor laws as clothes produced here in the United States (love you, Guardianistas.) Please note, Uniqlo has a mediocre history when it comes to these issues.

Uniqlo San Francisco store opening 

Fri/5

Store hours: Mon.-Sat., 10am-9pm; Sun., 10am-8pm

111 Powell, SF

www.uniqlo.com

Reborn on the Bayou

0

Tofu and whiskey is music editor Emily Savage’s new weekly music column.

emilysavage@sfbg.com

Tofu and Whiskey There are loud grinding noises and those cinematic electric sparks shooting from a machine below a church pew-like balcony. It’s musky and filled with dark bordello wood. The arched main room, the one you see when you walk in the front door of 777 Valencia Street and turn a quick corner, is outlined in bright, bloody red, and there’s a stage.

Despite this transitional state a few weeks back, this stage at brand new Mission venue, Preservation Hall West at the Chapel — named after the jazzy New Orleans venue that inspired it — will hold star-powered spillover from Hardly Strictly Bluegrass (www.hardlystrictlybluegrass.com) this week, beginning Thu/4; the fest itself is Fri/5 through Sun/7. The Preservation Hall Jazz Band of New Orleans will perform each night of the long weekend with double-dipping special guests including Elvis Costello, Robert Earl Keen, Justin Townes Earl, and Steve Earle. Maybe this means we’ll see a bespectacled Costello riding a bicycle from Golden Gate Park to the Mission, with a guitar slung on his back? One can dream.

Back to reality: “There’s no shame in construction,” said Tracey Buck of Slim’s, who, along with Britt Govea of (((folkYEAH!))) and certainly others in the future, will be doing consulting and programming at the new all-ages venue. The building, now owned by Jack Knowles, was built in 1914, formerly housed the New College, and before that was a mortuary — which gives it a sort of macabre back story. The idea for the Chapel came from Knowles’ friend Ben Jaffe, creative director for the beloved New Orleans venue, Preservation Hall, and leader of the Preservation Hall Jazz Band.

In early 2013, the West Coast sister venue will have a full restaurant attached serving fare with elements of New Orleans cuisine. But for now, there will just be concerts, including the aforementioned HSB-linked shows and upcoming visits from the likes of Woods, White Fence, and Here We Go Magic — but not to worry, the Chapel does have its liquor license now, and the bar should be ready to serve.

I pushed for fears about the venuenot being ready in time for its rapidly approaching opening date, anxiety about the relatively short distance between that morning two weeks back and the first show this week, but got back little more than nervous laughter. “It’s crunch time, but everyone knows what needs to be done,” said Buck, diplomatically.

It’s no surprise. First of all, if you live in the neighborhood, or have been near it recently, you’ve undoubtedly poked your head in and have seen what I saw — constant work. Secondly, as rabid HGTVers know, programs like Love It Or List It and their ilk show designers and construction workers whipping out brand new pads in a matter of weeks. Buck even referenced the show Restaurant: Impossible, where they quickly turn around a doomed eatery. So, it can be done.

There was also some less literal rebuilding at the actual Hardly Strictly Bluegrass festival in 2012. After the death late last year of the fest’s founder, head cheerleader, and billionaire backer, Warren Hellman, the crew had some personal reconstruction to work on.

Buck has been working the festival since it began 12 years back, and felt the loss personally. “It’s been tough, and I realize it more and more every day. But his spirit is there.”

Sheri Sternberg, technical director for the Hardly Strictly Bluegrass festival, also ruminated on Hellman’s passing, “There was something really great about having our first meeting with Warren each year…how excited he got about all the bands. If it was up to him, we would keep adding stages and days.”

The lineup this year is interesting, it’s a bit smaller — no more Thursday shows — but heavy on seriously disparate musicians such as Dwight Yoakam and Jenny Lewis and actor-bluegrass enthusiast John Reilly, and Cowboy Junkies, along with Giant Giant Sand (Howe Gelb’s hour-long opera) and a handful of younger acts such as Beachwood Sparks, the Civil Wars, and the Head and the Heart, along with the fest pillars like Emmylou Harris, Guy Clark, and Steve Earle. Sternberg says Gary West is gathering a “greatest hits” of the festival to pay tribute to Hellman, Earl Scruggs, and Doc Watson, all of whom died last year, in a set called “The Founding Fathers.” It’s kind of the theme of this year as well. That tribute will likely be kicked off with the Preservation Hall Jazz Band doing a second line.

I asked Buck if it was hard to nab artists from Hardly Strictly to play an unknown, nearly unfinished venue like the Chapel and she claims it was the opposite: “They were really eager. I think it’s just exciting to finally have a venue opening — rather than closing.”

 

LAURA MARLING

While bone-rattling noise has its very important place in my heart, there’s something to be said for warm cooing and surreal lyrics. For that, you can crawl up the grand staircase of the Swedish American and opera clap for English folk plucker Laura Marling. Her honest lilt and fluttering riffs have gained her comparisons to Joni Mitchell, but she has a distinctly British affect to these American ears. She played Grace Cathedral earlier this year and returns this week on her “Working Holiday Tour” to play from her most recent album A Creature I Don’t Know (Ribbon Music, 2011) at this far more intimate venue.

Wed/3, 8pm, $25. Swedish American Hall, 2174 Market, SF; www.cafedunord.com.

 

NOM DE GUERRE

Best band name of the week goes to members of San Francisco’s Butt Problems: Fuck You Cop, You Fucking Cop opens for Street Justice at the Knockout.

Thu/4, 10pm, $7. 3223 Mission, SF. www.theknockoutsf.com.

 

TOYS THAT KILL

Here’s to Recess Records — the independent punk label formed in 1989 and thriving in the current web-and-micro record shop musical landscape — and its friendly kingpin, Todd Congelliere. The snot-nosed singer-guitarist-label owner, who also fronted F.Y.P. and Underground Railroad to Candyland, returned this year to his early Aughts punk outfit, Toys That Kill. Todd and the Toys That Kill gang released its first new album in six years — the energetic and well-received Fambly 42 (Recess Records, 2012) — earlier this summer and have sparingly journeyed up the coast from their mythic Sunken City homebase of San Pedro, Calif. to play it live. Fambly 42 might have taken so long to get here because Todd (jokingly?) told me that good bands only put out three albums then quit to form new ones. With Pins of Light, Elephant Rifle.

Fri/5, 9:30pm, $10. Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com.

Endorsements 2012: San Francisco propositions

85

PROPOSITION A

CITY COLLEGE PARCEL TAX

YES

The scathing accreditation report by the Western Association of Schools talks about governance problems at the San Francisco Community College District — a legitimate matter of concern. But most of what threatens the future of City College is a lack of money.

Check out the accreditation letter; it’s on the City College website. Much of what it says is that the school is trying to do too much with limited resources. There aren’t enough administrators; that’s because, facing 20 percent cuts to its operating budget, the college board decided to save front-line teaching jobs. Student support services are lacking; that’s because the district can barely afford to keep enough classes going to meet the needs of some 90,000 students. On the bigger picture, WASC and the state want City College to close campuses and concentrate on a core mission of offering two-year degrees and preparing students to transfer to four-year institutions. That’s because the state has refused to fund education at an adequate level, and there’s not enough money to both function as a traditional junior college and serve as the training center for San Francisco’s tech, hospitality and health-care industry, provide English as a second language classes to immigrants and offer new job skills and rehabilitation to the workforce of the future.

It’s fair to say that WASC would have found some problems at City College no matter what the financial situation (and we’ve found more — the nepotism and corruption under past boards has been atrocious). But the only way out of this mess is either to radically scale back the school’s mission — or to increase its resources. We support the latter alternative.

Prop. A is a modest parcel tax — $79 dollars a year on each property lot in the city. Parcel taxes are inherently unfair — a small house in Hunters Point pays as much as a mansion in Pacific Heights or a $500 million downtown office building. But that’s the result of Prop. 13, which leaves the city very few ways to raise taxes on real property. In the hierarchy of progressive tax options, parcel taxes are better than sales taxes. And the vast majority of San Francisco homeowners and commercial property owners get a huge benefit from Prop. 13; a $6 a month additional levy is hardly a killer.

The $16 million this tax would raise annually for the district isn’t enough to make up for the $25 million a year in state budget cuts. But at least the district would be able to make reasonable decisions about preserving most of its mission. This is one of the most important measures on the ballot; vote yes.

PROPOSITION B

PARKS BOND

YES

There are two questions facing the voters: Does the San Francisco Recreation and Parks Department need money to fix up badly decrepit, sometimes unsafe facilities, and build out new park areas, particularly in underserved neighborhoods? Has the current administration of the department so badly mismanaged Rec-Park, so radically undermined the basic concept of public access to public space, so utterly alienated neighborhoods and communities all over the city, that it shouldn’t be trusted with another penny?

And if your answer to both is yes, how the hell do you vote on Prop. B?

It’s a tough one for us. The Guardian has never, in 46 years, opposed a general obligation bond for anything except jail or prisons. Investing in public infrastructure is a good thing; if anything, the cautious folks at City Hall, who refuse to put new bonds on the ballot until old ones are paid off, are too cautious about it. Spending public money (paid by increased property taxes in a city where at least 90 percent of real estate is way under taxed thanks to Prop. 13) creates jobs. It’s an economic stimulus. It adds to the value of the city’s resources. In this case, it fixes up parks. All of that is good; it’s hard to find a credible case against it.

Except that for the past few years, under the administrations of Mayors Gavin Newsom and Ed Lee and the trusteeship of Rec-Park Directors Jared Blumenfeld and Phil Ginsburg, the city has gone 100 percent the wrong way. Parks are supposed to be public resources, open to all; instead, the department has begun charging fees for what used to be free, has been turning public facilities over to private interests (at times kicking the public out), and has generally looked at the commons as a source of revenue. It’s a horrible precedent. It makes us sick.

Ginsburg told us that he’s had no choice — deep budget cuts have forced him to look for money wherever he can find it, even if that means privatizing the parks. But Ginsburg also admitted to us that, even as chief of staff under Newsom, he never once came forward to push for higher taxes on the wealthy, never once suggested that progressive revenue sources might be an option. Nor did any of the hacks on the Rec-Park Commission. Instead, they’ve been busy spending tens of thousands of dollars on an insane legal battle to evict the Haight Ashbury Neighborhood Council’s recycling center — entirely because rich people in the Haight don’t want poor people coming through their elite neighborhood to cash in bottles and cans for a little money.

So now we’re supposed to cough up another $195 million to enable more of this?

Well, yes. We’re not happy to be endorsing Prop. B, but the bottom line is simple: The bond money will go for things that need to be done. There are, quite literally, parks in the city where kids are playing in unsafe and toxic conditions. There are rec centers that are pretty close to falling apart. Those improvements will last 50 years, well beyond the tenure of this mayor of Rec-Park director. For the long-term future of the park system, Prop. B makes sense.

If the measure fails, it may send Lee and Ginsburg a message. The fact that so many neighborhood leaders are opposing it has already been a signal — one that so far Ginsburg has ignored. We’re going Yes on B, with all due reservations. But this commission has to go, and the sooner the supervisors can craft a charter amendment to give the board a majority of the appointments to the panel the better.+

PROPOSITION C

AFFORDABLE HOUSING TRUST FUND

YES

This measure is about who gets to live in San Francisco and what kind of city this will be in 20 years. If we leave it up to market forces and the desires of developers, about 85 percent of the housing built in San Francisco will be affordable only by the rich, meaning the working class will be forced to live outside the city, clogging regional roadways and transit systems and draining San Francisco of its cultural diversity and vibrancy. And that process has been accelerated in recent years by the latest tech bubble, which city leaders have decided to subsidize with tax breaks, causing rents and home prices to skyrocket.

Mayor Ed Lee deserves credit for proposing this Housing Trust Fund to help offset some of that impact, even if it falls way short of the need identified in the city’s Housing Element, which calls for 60 percent of new housing construction to be affordable to prevent gentrification. We’re also not thrilled that Prop. C actually reduces the percentage of housing that developers must offer below market rates and prevents that 12 percent level from later being increased, that it devotes too much money to home ownership assistance at the expense of the renters who comprise the vast majority of city residents, and that it depends on the passage of Prop.E and would take $15 million from the increased business taxes from that measure, rather than restoring years of cuts to General Fund programs.

But Prop. C was a hard-won compromise, with the affordable housing folks at the table, and they got most of what they wanted. (Even the 12 percent has a long list of exceptions and thus won’t apply to a lot of new market-rate housing.) And it has more chance of actually passing than previous efforts that were opposed by the business community and Mayor’s Office. This measure would commit the city to spending $1.5 billion on affordable housing projects over the next 30 years, with an initial $20 million annual contribution steadily growing to more than $50 million annually by 2024, authorizing and funding the construction of 30,000 new rental units throughout the city. With the loss of redevelopment funds that were devoted to affordable housing, San Francisco is a city at risk, and passage of Prop. C is vital to ensuring that we all have a chance of remaining here. Vote yes.

PROPOSITION D

CONSOLIDATING ODD-YEAR LOCAL ELECTIONS

YES

There’s a lot of odd stuff in the San Francisco City Charter, and one of the twists is that two offices — the city attorney and the treasurer — are elected in an off-year when there’s nothing else on the ballot. There’s a quaint kind of charm to that, and some limited value — the city attorney is one of the most powerful officials in local government, and that race could get lost in an election where the mayor, sheriff, and district attorney are all on the ballot.

But seriously: The off-year elections have lower turnout, and cost the city money, and it’s pretty ridiculous that San Francisco still does it this way. The entire Board of Supervisors supports Prop. D. So do we. Vote yes.

PROPOSITION E

GROSS RECEIPTS TAX

YES

Over the past five years, Board of Supervisors President David Chiu estimates, San Francisco has cut about $1.5 billion from General Fund programs. It’s been bloody, nasty, awful. The budget reductions have thrown severely ill psych patients out of General Hospital and onto the streets. They’ve forced the Recreation and Parks Department to charge money for the use of public space. They’ve undermined everything from community policing to Muni maintenance.

And now, as the economy starts to stabilize a bit, the mayor wants to change the way businesses are taxed — and bring an additional $28.5 million into city coffers.

That’s right — we’ve cut $1.5 billion, and we’re raising taxes by $28.5 million. That’s less than 2 percent. It’s insane, it’s inexcusable, it’s utterly the wrong way to run a city in 2012. It might as well be Mitt Romney making the decision — 98 percent cuts, 2 percent tax hikes.

Nevertheless, that’s where we are today — and it’s sad to say this is an improvement from where the tax discussion started. At first, Mayor Lee didn’t want any tax increase at all; progressive leaders had to struggle to convince him to allow even a pittance in additional revenue.

The basic issue on the table is how San Francisco taxes businesses. Until the late 1990s, the city had a relatively rational system — businesses paid about 1.5 percent of their payroll or gross receipts, whichever was higher. Then 52 big corporations, including PG&E, Chevron, Bechtel, and the Gap, sued, arguing that the gross receipts part of the program was unfair. The supervisors caved in to the legal threat and repeal that part of the tax system — costing the city about $30 million a year. Oh, but then tech companies — which have high payrolls but often, at least at first, low gross receipts — didn’t want the payroll tax. The same players who opposed the other tax now called for its return, arguing that taxing payroll hurts job growth (which is untrue and unfounded, but this kind of dogma doesn’t get challenged in the press). So, after much discussion and debate, and legitimate community input, the supervisors unanimously approved Prop. E — which raises a little more money, but not even as much as the corporate lawsuit in the 1990s set the city back. It’s not a bad tax, better than the one we have now — it brings thousands of companies the previously paid no tax at all into the mix (sadly, some of them small businesses). It’s somewhat progressive — companies with higher receipts pay a higher rate. We can’t argue against it — the city will be better off under Prop. E than it is today. But we have to look around our battered, broke-ass city, shake our poor bewildered heads and say: Is this really the best San Francisco can do? Sure, vote yes on E. And ask yourself why one of the most liberal cities in America still lets Republican economic theory drive its tax policy.

PROPOSITION F

WATER AND ENVIRONMENT PLAN

NO, NO, NO

Reasonable people can disagree about whether San Francisco should have ever dammed the Tuolumne River in 1923, flooding the Hetch Hetchy Valley and creating an engineering marvel that has provided the city with a reliable source of renewable electricity and some of the best urban drinking water in the world ever since. The project broke the heart of famed naturalist John Muir and has caused generations since then to pine for the restoration of a valley that Muir saw as a twin to his beloved nearby Yosemite Valley.

But at a time when this country can’t find the resources to seriously address global warming (which will likely dry up the Sierra Nevada watershed at some point in the future), our deteriorating infrastructure, and myriad other pressing problems, it seems insane to even consider spending billions of dollars to drain this reservoir, restore the valley, and find replacement sources of clean water and power.

You can’t argue with the basic facts: There is no way San Francisco could replace all the water that comes in from Hetch Hetchy without relying on the already-fragile Delta. The dam also provides 1.7 billion kilowatt hours a year of electric power, enough to meet the needs of more than 400,000 homes. That power now runs everything from the lights at City Hall to Muni, at a cost of near zero. The city would lose 42 percent of its energy generation if the dam went away.

Besides, the dam was, and is, the lynchpin of what’s supposed to be a municipal power system in the city. As San Francisco, with Clean Power SF, moves ever close to public power, it’s insane to take away this critical element of any future system.

On its face, the measure merely requires the city to do an $8 million study of the proposal and then hold a binding vote in 2016 that would commit the city to a project estimated by the Controller’s Office to cost somewhere between $3 billion and $10 billion. Yet to even entertain that possibility would be a huge waste of time and money.

Prop. F is being pushed by a combination of wishful (although largely well-meaning) sentimentalists and disingenuous conservatives like Dan Lungren who simply want to fuck with San Francisco, but it’s being opposed by just about every public official in the city. Vote this down and let’s focus our attention on dealing with real environmental and social problems.

PROPOSITION G

CORPORATE PERSONHOOD

YES

If San Francisco voters pass Prop. G, it won’t put any law into effect. It’s simply a policy statement that sends a message: Corporations are not people, and it’s time for the federal government to tackle the overwhelming and deeply troubling control that wealthy corporations have over American politics.

Prop. G declares that money is not speech and that limits on political spending improve democratic processes. It urges a reversal of the notorious Citizens United vs. Federal Elections Commission Supreme Court decision.

A constitutional amendment, and any legal messing with free speech, has serious potential problems. If corporations are limited from spending money on politics, could the same apply to unions or nonprofits? Could such an amendment be used to stop a community organization from spending money to print flyers with political opinions?

But it’s a discussion that the nation needs to have, and Prop. G is a modest start. Vote yes.

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.

THEATER

OPENING

The Fifth Element: Live! Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. Opens Fri/5. Runs Fri-Sat, 8pm. Through Oct 27. Comedic adaptation of the 1997 Luc Besson sci-fi epic.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $30-100. Opens Sat/6, 8pm. Runs Sat, 8pm; Sun, 7pm. Through Nov 18. Geoff Hoyle’s popular solo show about aging returns.

Of Thee I Sing Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Previews Wed/3, 7pm; Thu/4-Fri/5, 8pm. Opens Sat/6, 6pm. Runs Wed, 7pm; Thu-Fri, 8pm; Sat, 6pm (also Oct 13, 1pm); Sun, 3pm. Through Oct 21. 42nd Street Moon performs George and Ira Gershwin’s classic political satire.

BAY AREA

Acid Test: The Many Incarnations of Ram Dass Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Opens Thu/4, 8pm. Runs Thu-Fri, 8pm; Sat, 5pm. Through Nov 24. Lynne Kaufman’s new play stars Warren David Keith as the noted spiritual figure.

Sex, Slugs and Accordion Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $10. Opens Wed/3, 8pm. Runs Wed, 8pm. Through Nov 14. Jetty Swart, a.k.a. Jet Black Pearl, stars in this “wild and exotic evening of song.”

33 Variations TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $23-73. Previews Wed/3-Fri/5, 8pm. Opens Sat/6, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Oct 28. TheatreWorks performs Moisés Kaufman’s drama about a contemporary musicologist struggling to solve one of Beethoven’s greatest mysteries, and a connecting story about the composer himself.

The World’s Funniest Bubble Show Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $8-50. Opens Sun/7, 11am. Runs Sun, 11am; Nov 23-25, 11am. Through Nov 25. Louis “The Amazing Bubble Man” Pearl brings his lighter-than-air show back to the Marsh.

ONGOING

Elect to Laugh Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

Family Programming: An Evening of Short Comedic Plays Shelton Theater, 533 Sutter, SF; www.brownpapertickets.com. $20. Thu-Sat, 8pm. Through Oct 13. Left Coast Theatre Company performs short plays about gay and alternative families.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Previews Fri/5, 8pm. Opens Sat/6, 8pm. Runs Fri-Sat, 8pm (no show Nov 17). Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Normal Heart American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $25-95. Wed/3-Sat/6, 8pm (also Sat/6, 2pm); Sun/7, 2pm. Three decades after the onset of the AIDS epidemic — today affecting and killing millions across the globe — playwright and ACT UP founder Larry Kramer’s 1985 autobiographical docudrama of the first years and victims of the crisis in New York City proves still relevant and powerful in this spirited 2011 Tony Award–winning Broadway revival, under direction by George C. Wolfe, now up at American Conservatory Theater in an ACT-Arena Stage co-presentation. Centering on the grassroots response to official inaction amid the homophobic status quo — in particular, the founding of a small but determined HIV advocacy group by Ned Weeks (Kramer’s stand-in, played brilliantly by Patrick Breen) and others — The Normal Heart also roots itself in a set of characters and fraught personal relationships as Weeks’s brash, confrontational style progressively alienates him from his brethren and more accommodating (or closeted) allies. It’s a play that really shouldn’t work so well, given its message-driven and inevitably self-serving structure, but it nevertheless does — in part because the urgency behind it remains, and the eerie confusion and unforgivable official neglect of those early years carry even more weight with tragedy-laden hindsight. Kramer also crafts some affecting scenes and some rousingly fiery monologues (not just for Weeks, and all expertly delivered by the sharp cast) that underscore a time when history, as it is wont to do, put forward fervent loudmouths and nonconformists as the necessary agents of resistance and change. (Avila)

The Other Place Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $22-62. Wed/3-Sat/6, 8pm (also Wed/3, 2:30pm); Sun/7, 7pm. A middle-aged scientist named Juliana (Henny Russell) finds herself marooned inside her own rapidly unraveling mind in the West Coast premiere of this occasionally intriguing but finally unconvincing psychological drama of madness and grief by Sharr White (Annapurna). Describing an “episode” she suffered while presenting a major new dementia treatment to an audience of doctors and sales reps in the Bahamas, Juliana soon proves an unreliable narrator, as estranged husband Ian (Donald Sage Mackay) challenges her on some basic facts — including her claim to be in phone contact with their long-lost daughter (Carrie Paff) and Juliana’s disgraced former post-doc (Patrick Russell). The mystery here has to do with another “episode” altogether, one that took place at the couple’s Cape Cod summer home years before, which has left Juliana and Ian bereft and now on the verge of divorce. As Juliana slides back and away to “the other place,” we understand the mistakes this supposedly brilliant but also flawed woman has made, and the emotional logic of her mind’s drift. Not a bad premise, but it also feels contrived, with dialogue straining after tension and wit that are too often not there. Helmed by artistic director Loretta Greco, the action unfolds at almost too regular a clip, leaving little room for rumination — no doubt a stylistic choice but one which undercuts what modest force there is in the play’s dynamics, which anyway serve a rather sentimental storyline about loss and forgiveness. (Avila)

The Real Americans Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Fri, 8pm; Sat, 8:30pm. Extended through Oct 27. Dan Hoyle’s hit show, inspired by the people and places he encountered during his 100-day road trip across America in 2009, continues.

Roseanne: Live! Rebel, 1760 Market, SF; www.brownpapertickets.com. $25. Wed, 7 and 9pm (no shows Oct 31). Through Nov 14. Lady Bear, Heklina, D’Arcy Drollinger, and more star in this tribute to the long-running sitcom.

Shocktoberfest 13: The Bride of Death Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Thu-Sat, 8pm. Through Nov 17. Thrillpeddlers’ annual Halloween horror extravaganza features a classic Grand Guignol one-act and two world premiere one-acts, plus a blackout spook show finale.

The Strange Case of Citizen de la Cruz Bindlestiff Studio, 185 Sixth St, SF; www.bindlestiffstudio.org. Thu-Sat, 8pm; Sun/7, 2pm. Through Oct 13. Bindlestiff Studio presents Luis Francia’s political thriller.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Fri/5-Sun/7 and Oct 13, 5:30pm. After spending the summer on Angel Island with their epic-scale production of The Odyssey, the We Players have scaled back with a lo-key rendition of Shakespeare’s Twelfth Night on Hyde Street Pier. Of course when it comes to the We Players, “scaled-back” still means a two-and-a-half hour long participatory jaunt taking place mainly along the length of the pier and aboard the historic ferryboat, the Eureka, which serves primarily as the residence of the grieving Illyrian Countess, Olivia (Clara Kamunde) around whose favors much of the plot revolves. Highlights of the experience include the opportunity to visit historic Hyde Street Pier, a gypsy-jazzy score directed by Charlie Gurke (who also plays the lovelorn Duke Orsino), and the rascally quartet of the prankish Maria (Caroline Parsons), jocular drunk Toby Belch (Dhira Rauch), clueless doofus Andrew Augecheek (Benjamin Stowe), and wise fool Feste (John Hadden). But as We Players productions go, this one feels less inspired in its staging, and much of the action merely shuffles back and forth on the Eureka without incorporating many of the intriguing nooks and views the Hyde Street Pier offers, despite a promising opening scene involving a beach and a rowboat. Also, uncharacteristically for We, the comic timing seemed to be off the evening I saw it, although both Stowe and Hadden ably conveyed their wit without a flaw. Dress warmly, carry a big flask, and you’ll be fine. (Gluckstern)

The Waiting Period Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 5pm. Extended through Oct 27. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Assassins Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Previews Wed/3-Thu/4, 7pm. Opens Fri/5, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 11. Shotgun Players performs the Sondheim musical about John Wilkes Booth, Lee Harvey Oswald, and other famous Presidential killers (and would-be killers).

Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Wed/3 and Sun/7, 7pm (also Sun/7, 2pm); Thu/4 and Sat/6, 2 and 8pm. Tony Award-winning playwright David Henry Hwang (M. Butterfly) delivers this inconsistent but generally lively and fascinatingly au courant comedy about a down-on-his-luck American businessman (Alex Moggridge) who visits China hoping to win a contract for English-language signage. Hiring a British expat (Brian Nishii) to smooth the way for him, he enters negotiations with a local official (Larry Lei Zhang). Although things seem to be going well (across some hilarious scenes of half-assed simultaneous translation), he finds the deal running inexplicably aground, then finds unexpected help from a hard-nosed, initially hostile, and beautiful Party official (a standout Michelle Krusiec), with whom he soon begins an extramarital affair. But the American (who has a past of his own that eventually comes to light with surprising consequences) has no idea of the machinations taking place behind the formal business meetings and other confused cross-cultural encounters. What unfolds is a sometimes stretched but generally shrewd and laugh-out-loud funny assessment of has-been American delusions through the prism of rising Chinese ambitions and clout, cultural and otherwise. If the central dynamic between the lovers is not always convincing on the individual or metaphorical level, Leigh Silverman directs for Berkeley Rep a super slick production, complete with rotating sets and precisely timed entrances, featuring an enjoyable cast rounded out by Vivian Chiu, Celeste Den, and Austin Ku. (Avila)

Hamlet Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 4pm. Through Oct 14. Liesl Tommy directs this season closer for Cal Shakes, a decidedly uneven and overall surprisingly bland production of one of Shakespeare’s most fascinating, affecting, and endlessly rich works. The best part of Tommy’s less-than-inspired hodgepodge production (summed up by the dry and cluttered swimming-pool set, albeit very nicely designed by Clint Ramos) is lead Leroy McClain, whose Hamlet is a vibrantly intelligent and charismatic force most of the time. He gets some fine support from Dan Hiatt as a comically pedantic but still sympathetically paternal Polonius, but there is precious little chemistry with either Ophelia (a nonetheless striking Zainab Jah) or faithless queen mother Gertrude (Julie Eccles). The rest of the cast is rarely more than dutiful. Meanwhile, the staging comes laden with some awkward and/or tired conceits: a small fish tank-like landscape inset into the back wall for an unraveling Ophelia; a gore-covered zombie-esque ghost (a flat Adrian Roberts, who also plays Claudius); or guards sporting submachine guns, which always looks ridiculous. Moreover, the language comes awkwardly modernized in places —substituting “dagger” for “bodkin” in a rather famous soliloquy, for example, seems unnecessary and is definitely distracting. Why not “submachine gun”? (Avila)

The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through Oct 14. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Topdog/Underdog Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $36-57. Tue and Thu-Sat, 8pm (also Sat/6 and Oct 20, 2pm; Oct 11, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Oct 21. Marin Theatre Company performs Suzan-Lori Parks’ Pulitzer Prize winner about a contentious pair of brothers.

PERFORMANCE/DANCE

“Comedy Bodega” Esta Noche Nightclub, 3079 16th St, SF; www.comedybodega.com. Thu, 8pm. Ongoing. No cover (one drink minumum). Stand-up comedy.

“Comedy Returns to El Rio” El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon/8, 8pm. $7-20. With Maureen Langan, Sammy Obeid, Dhaya Lakshminarayanan, Bobby Golden, and guest host Nick Leonard.

Dance Elixir Kunst-Stoff Arts, One Grove, SF; www.danceelixirlive.org. Thu/4-Sat/6, 8:30pm. $10. Performing Destroy// with Tiberius and Ava Mendoza.

“Hot Mess 3: Third Time, No Charm” New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. Thu/4-Sat/6, 8pm. $15. San Francisco’s newest sketch comedy group performs.

Shazia Mirza Punchline, 444 Battery, SF; www.punchlinecomedyclub.com. Wed/3, 8pm. $15. The British comedian performs, with opening acts Kevin Camia and Samson Koletkar.

Smuin Ballet Palace of Fine Arts Theatre, 3301 Lyon, SF; www.smuinballet.org. Fri/5-Sat/6 and Oct 11-13, 8pm (also Oct 13, 2pm); Oct 14, 2pm. $25-65. The company performs its fall program, including West Coast premiere Cold Virtues.

“Spaceholder Festival” ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/5-Sat/6, 8pm; Sun/7, 7pm. $25-45. Choreographer Morgan Thorson spearheads this evening-length performance that transforms the stage into “an archeological dig, an auction block, and a museum.”

“The Spooky Cabaret” Stage Werx, 446 Valencia, SF; www.wilywestproductions.com. Sun/7, 5:30pm; Oct 8-10, 7:30pm. $10. ‘Tis the season for this fest of three full-length and five one-act plays with horror themes.

“Theatecture on UN Plaza” Civic Center, UN Plaza, Seventh St at Market, SF; www.ftloose.org. Tue, noon-2pm. Through Oct 16. Free. Outdoor performance of Mary Alice Fry’s Honeycomb Zone as part of the “24 Days of Central Market Arts Festival.”

Music Listings

0

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

WEDNESDAY 3

ROCK/BLUES/HIP-HOP

Assemblage 23, Espermachine, Demodulate DNA Lounge. 9pm, $18.

Battlehooch, Paranoids, Chaka Knockout. 9pm, $5.

“Communion in San Francisco” Brick and Mortar Music Hall. 8pm, $8-$10. With Tarnation, Prairiedog, Quinn DeVeaux.

Guido vs Jason Marion Johnny Foley’s Dueling Pianos. 9:30pm, free.

Jezabels, Yukon Blinde Independent. 8pm, $16.

Keith Crossan Blues Showcase: Big Jo Manfra Biscuits and Blues. 8 and 10pm, $15.

Laura Marling Swedish American Hall. 8pm, $25.

Nightwish, Kamelot Warfield. 8pm, $40-$65.

Helen Reddy Yoshi’s SF. 8pm, $45.

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

“SF Acoustic Collective” Bottom of the Hill. 9pm, $7. With Laura Weinbach, Ben Flanagan, Adam Dishart, and more.

Spring Standards Hotel Utah. 8pm, $8.

Strung Out, Swellers, Such Gold, Sheds Slim’s. 7:30pm, $18-$20.

Tokyo Raid, Spiral Electric, Elektrik Sunset Hemlock Tavern. 8:30pm, $6.

Wax Tailor, Shana Halligan, DJ Tom Thump Rickshaw Stop. 8pm, $15.

Z-Man, Dregs One, Toast, Rey Resurrection Elbo Room. 9pm, $10.

JAZZ/NEW MUSIC

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

Dink Dink Dink, Gaucho, Eric Garland’s Jazz Session Amnesia. 7pm, free.

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

FOLK/WORLD/COUNTRY

Cha-Ching Boom Boom Room. 8pm, $5.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm.

Coo-Yah! Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. DJs Daneekah and Green B spin reggae and dancehall.

Obey the Kitty: Justin Milla Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $5.

THURSDAY 4

ROCK/BLUES/HIP-HOP.

Alma Desnuda, Achii Boom Boom Room. 8pm, $15.

Big Tree, DRMS, Guy Fox Brick and Mortar Music Hall. 7:30pm, $5-$8.

Bisi and the Moonwalker, Black Dream, Greater Sirens 50 Mason Social House. 8pm, $13.

Dead Western, Exquisite Corpse, Blue Oaks Hemlock Tavern. 8:30pm, $6.

Helio Sequence, Slowdance Independent. 8pm, $18.

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

Stephen Marley Fillmore. 8pm, $29.50.

Mount Eerie, Bouquet, Tortured Genius Bottom of the Hill. 9pm, $12.

Niki and the Dove, Wolf Gang, popscene DJs Rickshaw Stop. 9:30pm, $13-$15.

Sheri Puorto Biscuits and Blues. 8 and 10pm, $15.

Helen Reddy Yoshi’s SF. 8pm, $45.

Sleeping Giants Brick and Mortar Music Hall. 10pm, $5-$8.

Street Justice, Lord Nasty and the Seekers of Perversion, Fuck You Cop, You Fucking Cop Knockout. 10pm, $7.

Rags Tuttle vs Guido Johnny Foley’s Dueling Pianos. 9:30pm, free.

JAZZ/NEW MUSIC

Home of Easy Credit Luggage Store Gallery, 1007 Market, SF; www.luggagestoregallery.org. 8pm, $5.

“Jazz Beyond Genre” Red Poppy Art House. 7pm, $12-$15. With Andrea Wolper, Hafez Modirzadeh, and more.

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

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

FOLK/WORLD/COUNTRY

Delhi 2 Dublin, Non Stop Bhangra Slim’s. 9pm, $17

Septeto Nacional JCCSF, 3200 California, SF; www.jccsf.org. 7:30pm, $27-$45.

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

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-$7. With DJ-host Pleasuremaker.

All 80s Thursday Cat Club. 9pm, $6 (free before 9:30pm). The best of ’80s mainstream and underground.

Base: Tim Green Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $5-$10.

Supersonic Lookout, 3600 16th St., SF; www.lookoutsf.com. 9pm. Global beats paired with food from around the world.

Tropicana Madrone Art Bar. 9pm, free. Salsa, cumbia, reggaeton, and more.

FRIDAY 5

ROCK/BLUES/HIP-HOP

Adios Amigo, Solwave, Dogcatcher Elbo Room. 9:30pm, $8.

Adoration 50 Mason Social House. 8pm, $5.

Bernadette, Shawn Virago, Castles in Spain, Lydia Popovich, DJ Salex Thee Parkside. 9pm, $10.

Brother Tyrone Biscuits and Blues. 8 and 10pm, $20.

ConFunkShun Yoshi’s SF. 8 and 10pm, $30.

Dead Kennedys, Fang, Guantanamo Dogpile, 13 Scars Regency Ballroom. 9pm, $27.

Dead Winter Carpenters, Hackensaw Boys Brick and Mortar Music Hall. 9pm, $15-$20.

Dry the River, Ferocious Few, Houndmouth Independent. 9pm, $15.

Roger Knox, Jon Langford and Sally Timms, Walter Salas-Humara Swedish American Hall. 7:30pm, $16.

Nick Lowe, Jesse Winchester Great American Music Hall. 9pm, $30.

Mono, Chris Brokaw, Jon Porras Rickshaw Stop. 9pm, $12-14.

Reckless Kelly, Chuck Mead and His Grassy Knoll Boys, Trishas, Tiny Television Slim’s. 9pm, $17

Rebel Ship Boom Boom Room. 8pm, $15.

Laetitia Sadier, Orca Team, Pageants, DJ Dominique Leone Bottom of the Hill. 9:30pm, $14.

Sadies, John Langford and His Sadies, Misisipi Rider Cafe Du Nord. 7:30pm, $16.

Shpongle, Phutureprimitive Warfield. 10pm, $35-$40.

Sole Johnny Foley’s. 9pm, free.

Tell River, Gunsafe, Clay Hawkins Plough and the Stars. 9pm, $6.

Nathan Temby, Greg Zema, Jason Marion Johnny Foley’s Dueling Pianos. 9pm, free.

Toys That Kill, Pins of Light, Elephant Rifle Hemlock Tavern. 9:30pm, $10.

JAZZ/NEW MUSIC

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

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

FOLK/WORLD/COUNTRY

Janam, Lila Sklar Red Poppy Art House. 8pm, $12-$15.

DANCE CLUBS

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

Joe Lookout, 3600 16th St.,SF; www.lookoutsf.com. 9pm.

Kenny Loi, Steele vs Whitlock Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

Old School JAMZ El Rio. 9pm. Old school funk, hip-hop, and R&B.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music.

Strangelove: Undead Wedding Cat Club. 9:30pm, $3-$10. With DJs Tomas Diablo, Joe Radio, Daniel Skellington, and Donimo.

Womp SF DNA Lounge. 9pm, $10. With Dyloot, Liam Shy, and more.

SATURDAY 6

ROCK/BLUES/HIP-HOP

Apogee Sound Club, Generacion Suicida, Permanent Ruin, Die Time, Cold Circuits Knockout. 4pm, $6.

Rome Balestrieri, Nathan Temby, Randy Johnny Foley’s Dueling Pianos. 9pm, free.

Michael Beach, Native Cats, Buttons Hemlock Tavern. 9:30pm, $7.

Big Gigantic, GriZ Regency Ballroom. 9pm, $20.

Burning Monk, Die! Thee Parkside. 3pm, free.

ConFunkShun Yoshi’s SF. 8 and 10pm, $30.

Dead Winter Carpenters, Hackensaw Boys Brick and Mortar Music Hall. 9pm, $12-$15.

Glen Hansard Fillmore. 9pm, $30.

Paula Harris and the Beasts of Blues, Big Ass Brass Biscuits and Blues. 8 and 10:30pm, $20.

Inciters, Impalers, Wicked Mercies Cafe Du Nord. 9:30pm, $10.

John Wayne Bro Band Riptide. 9:30pm, free.

Jenny Lewis Great American Music Hall. 9pm, $21.

Maccabees, Mwahaha Independent. 9pm, $20.

Mantles, Swiftumz, Cocktails El Rio. 10pm, $8.

Soul Rebels, Rebel Ship Boom Boom Room. 8pm, $20.

Tall Shadows Johnny Foley’s. 9pm, free.

Wave Array, She Beards, Warbler Bottom of the Hill. 9:30pm, $10.

JAZZ/NEW MUSIC

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

FOLK/WORLD/COUNTRY

BronwChicken BrownChicken, Renegade Stringband, Mountain Men, Dull Richards Plough and Stars. 9pm, $10-$15.

Kafana Balkan, Brass Menazeri, Jill Parker and Foglove Sweethearts, DJ Zeljko Rickshaw Stop. 9pm, $13.

DANCE CLUBS

“Beats for Boobs” Mezzanine. 7pm, $25-$40. With shOOey, Carol C, Emily Fox, and more.

Bootie SF DNA Lounge. 9pm, $10-$15.

Martin Buttrich Public Works. 9:30pm, $20.

Cockfight Underground SF, 424 Haight, SF; (415) 864-7386. 9pm, $7. Dance night for gay boys.

Foundation Som., 2925 16th St, SF; (415) 558-8521. 10pm, $5-$10. Hip-hop, dancehall,funk, and salsa.

Haceteria Deco Lounge, 510 Larkin, SF; www.decosf.com. 9pm, free before 11pm, $3 after.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music.

Pheeko Dubfunk, Vahid, Frenchy Le Freak, G StavVessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

Saturday Night Soul Party Elbo Room. 10pm, $5-$10. DJs Lucky, Paul Paul, and Phengren Oswald spinning 60s soul 45s.

SUNDAY 7

ROCK/BLUES/HIP-HOP

Admiral Fallow, Young Buffalo Cafe Du Nord. 8:30pm, $12-$14.

Gregors, Piranha Party, Crazy Eyes Sub-Mission. 8pm.

Ewert and the Two Dragons, Lighthouse and the Whaler, Family Crest Bottom of the Hill. 8pm, $10.

Jason King Band Biscuits and Blues. 7 and 9pm, $15.

Michael Kiwanaka, Nathaniel Rateliff, Foy Vance Independent. 8pm, $20.

Wayne Krantz Yoshi’s SF. 7pm, $20.

Aaron Leese and the Panhandlers, Jenny and the Jerks Boom Boom Room. 8pm, $5.

Li XI, Rubedo, Mosshead, Oiler Hemlock Tavern. 8:30pm, $7.

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

She Wants Revenge, Pyyramids Great American Music Hall. 8pm, $25.

Soulit 50 Mason Social House. 8pm.

Stepdad, Rich Aucoin, Terror Pigeon Dance Revolt Rickshaw Stop. 8pm, $10.

JAZZ/NEW MUSIC

Jazzkwest Trio Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

FOLK/WORLD/COUNTRY

Twang Sunday Thee Parkside. 4pm, free. With Jinx Jones and the King Tones.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $13. With Brother Culture, DJ Sep, and Dubsmashers.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2.

Love and Light Public Works. 9pm, $15.

Remember the Party: We Are Family City Nights, 715 Harrison, SF; www.remembertheparty.com. 6pm-3am, $30. Disco with DJ Jerry Bonham.

MONDAY 8

ROCK/BLUES/HIP-HOP

Star Anna and Kasey Anderson Brick and Mortar Music Hall. 9pm, free.

Blank Tapes, Lawlands, Cafe Cabana Cafe Du Nord. 8pm, $10.

Damir Johnny Foley’s. 9pm, free.

Gangstagrass, BPos Elbo Room. 9pm, $7.

Patti Smith Fillmore. 8pm, $39.50.

Richie Spice Independent. 9pm, $25.

JAZZ/NEW MUSIC

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

DANCE CLUBS

Death Guild DNA Lounge. 9:30pm, $3-$5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Crazy Mondays Beauty Bar, 2299 Mission, SF; www.thebeautybar.com. 10pm, free. Hip-hop and other stuff.

M.O.M. Madrone Art Bar. 6pm, free. DJs Timoteo Gigante, Gordo Cabeza, and Chris Phlek playing all Motown every Monday.

Soul Cafe John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm.

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop from the ’60s-’90s.

TUESDAY 9

ROCK/BLUES/HIP-HOP

Bad Books, Drowning Men, Harrison Hudson Bottom of the Hill. 8pm, $19.

“Benefit Show for Subversion Vol. 1” Knockout. 9:30pm, $6. With Secret People, No Mistake, Stares, Total Fucker.

Ben Howard Fillmore. 8pm, $25.

IO Echo, Gliss, Cruel Summer Rickshaw Stop. 8pm, $10-$12.

Saint Vitus, Weedeater, Sourvein Independent. 8pm, $22.

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

Steve Vai, Beverly McClellan Regency Ballroom. 7:30pm, $40-$49.50.

Wreckless Eric and Amy Rigby, John Murry Hemlock Tavern. 8:30pm, $10.

JAZZ/NEW MUSIC

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

Northern promises

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On the Road (Walter Salles, US/France/UK/Brazil, 2012) Walter Salles (2004’s The Motorcycle Diaries) engages Diaries screenwriter Jose Rivera to adapt Jack Kerouac’s Beat classic; it’s translated to the screen in a streamlined version, albeit one rife with parties, drugs, jazz, danger, reckless driving, sex, philosophical conversations, soul-searching, and “kicks” galore. Brit Sam Riley (2007’s Control) plays Kerouac stand-in Sal Paradise, observing (and scribbling down) his gritty adventures as they unfold. Most of those adventures come courtesy of charismatic, freewheeling Dean Moriarty (Garrett Hedlund of 2010’s Tron: Legacy), who blows in and out of Sal’s life (and a lot of other people’s lives, too, including wives played by Kristen Stewart and Kirsten Dunst). Beautifully shot, with careful attention to period detail and reverential treatment of the Beat ethos, the film is an admirable effort but a little too shapeless, maybe simply due to the peripatetic nature of its iconic source material, to be completely satisfying. Among the performances, erstwhile teen dream Stewart is an uninhibited standout. Thu/4, 6:30 and 6:45pm, Smith Rafael. (Cheryl Eddy)

Road North (Mika Kaurismäki, Finland) Mika Kaurismäki’s films are generally much more broadly accessible than the dryly minimalist ones of his brother Aki, yet the latter has by far the larger international audience. That might change a bit with this likable seriocomic road trip. Emotionally recessive concert pianist Timo (Samuli Edelmann) is less than delighted one day to find an uninvited guest slumped outside his apartment: the father who abandoned him 30-odd years earlier. Far from having improved himself in the interim, Leo (Vesa-Matti Loiri) is a corpulent slob, convenience store robber, and car thief. But he is insistent in dragging his son on a journey whose full purpose he won’t reveal until its end. Actually, you can guess where it’s headed — but getting there is full of surprises, some touching and some very funny. Fri/5, 9pm, Smith Rafael; Sun/7, 6pm, Sequoia. (Dennis Harvey)

Fat Kid Rules the World (Matthew Lillard, US) It really does suck to be Troy (Jacob Wysocki from 2011’s Terri). An XXL-sized high schooler, he’s invisible to his peers, derided by his little brother (Dylan Arnold), and has lived in general domestic misery since the death of his beloved mother under the heavy-handed rule of his well-meaning but humorless ex-military dad (Billy Campbell). His only friends are online gamers, his only girlfriends the imaginary kind. But all that begins to change when chance throws him across the path of notorious local hell raiser Marcus (Matt O’Leary), who’s been expelled from school, has left the band he fronts, and is equal parts rebel hero to druggy, lyin’ mess. But he randomly decrees Troy is cool, and his new drummer. Even if he’s just being used, Troy’s world is headed for some big changes. Actor Matthew Lillard’s feature directorial debut, based on K.L. Going’s graphic novel, is familiar stuff in outline but a delight in execution, as it trades the usual teen-comedy crudities (a few gratuitous joke fantasy sequences aside) for something more heartfelt and restrained, while still funny. O’Leary from last year’s overlooked Natural Selection is flamboyantly terrific, while on the opposite end of the acting scale Campbell makes repressed emotion count for a lot — he has one wordless moment at a hospital that just might bring you to the tears his character refuses to spill. Sat/6, 3pm, Sequoia; Oct. 11, 7pm, Smith Rafael. (Harvey)

The Central Park Five (Ken Burns, US) Acclaimed documentarian Ken Burns takes on the 1989 rape case that shocked and divided a New York City already overwhelmed by racially-charged violence. The initial crime was horrible enough — a female jogger was brutally assaulted in Central Park — but what happened after was also awful: cops and prosecutors, none of whom agreed to appear in the film, swooped in on a group of African American and Latino teenagers who had been making mischief in the vicinity (NYC’s hysterical media dubbed the acts “wilding,” a term that became forever associated with the event). Just 14 to 16 years old, the boys were questioned for hours and intimidated into giving false, damning confessions. Already guilty in the court of public opinion, the accused were convicted in trials — only to see their convictions vacated years after they’d served their time, when the real assailant was finally identified. Using archival news footage (in one clip, Gov. Mario Cuomo calls the crime “the ultimate shriek of alarm that says none of us are safe”) and contemporary, emotional interviews with the Five, Burns crafts a fascinating study of a crime that ran away with itself, in an environment that encouraged it, leaving lives beyond just the jogger’s devastated in the process. Sat/6, 3:30pm, Smith Rafael; Mon/8, 3:15pm, Smith Rafael. (Eddy)

Rebels with a Cause (Nancy Kelly, US) The huge string of parklands that have made Marin County a jewel of preserved California coastline might easily have become wall-to-wall development — just like the Peninsula — if not for the stubborn conservationists whose efforts are profiled in Nancy Kelly’s documentary. From Congressman Clem Miller — who died in a plane crash just after his Point Reyes National Seashore bill became a reality — to housewife Amy Meyer, who began championing the Golden Gate National Recreation Area because she “needed a project” to keep busy once her kids entered school, they’re testaments to the ability of citizen activism to arrest the seemingly unstoppable forces of money, power and political influence. Theirs is a hidden history of the Bay Area, and of what didn’t come to pass — numerous marinas, subdivisions, and other developments that would have made San Francisco and its surrounds into another Los Angeles. Sat/6, 6:15pm, Sequoia; Tue/9, 4pm, Smith Rafael. (Harvey)

The Sessions (Ben Lewin, US) Polio has long since paralyzed the body of Berkeley poet Mark O’Brien (John Hawkes) from the neck down. Of course his mind is free to roam — but it often roams south of the personal equator, where he hasn’t had the same opportunities as able-bodied people. Thus he enlists the services of Cheryl (Helen Hunt), a professional sex surrogate, to lose his virginity at last. Based on the real-life figures’ experiences, this drama by Australian polio survivor Ben Lewin was a big hit at Sundance this year (then titled The Surrogate), and it’s not hard to see why: this is one of those rare inspirational feel-good stories that doesn’t pander and earns its tears with honest emotional toil. Hawkes is always arresting, but Hunt hasn’t been this good in a long time, and William H. Macy is pure pleasure as a sympathetic priest put in numerous awkward positions with the Lord by Mark’s very down-to-Earth questions and confessions. Sat/6, 7pm, Smith Rafael; Sun/7, noon, Sequoia. (Harvey)

Flicker (Patrik Eklund, Sweden) The provincial HQ of behind-the-times, inept telecommunications company Unicom is locus to a whole bunch of weirdness during the eventful work week chronicled by Swedish writer-director Patrik Eklund’s first feature. To wit: sterility by electrocution, tarantula therapy, grade-school performances of Frankenstein, Ted Danson fixations, workplace application of dunce caps, blind dates, domestic terrorism cults, and scented candle making. If you only see one Scandinavian comedy this year, make it Klown. If you only see two, however, this is definitely the other one. It’s a goofy, lightly surreal delight. Sat/6, 9pm, Smith Rafael; Mon/8, 3:15pm, Smith Rafael. (Harvey)

Jayne Mansfield’s Car (Billy Bob Thornton, US) Billy Bob Thornton’s first directing gig in over a decade is an ensemble piece set in small-town 1969 Alabama — like every U.S. town at the time, a hotbed of generational conflict over the Vietnam War and the generally changin’ times. Particularly defining that gap is the squabbling relationship between hawkish patriarch Jim Caldwell (Robert Duvall) and youngest son Carroll (Kevin Bacon), who — though a World War II veteran, like brother Skip (Thornton) — has appointed himself a sort of elder to the local hippie population. That alone is enough to set Jim’s teeth on edge; he’s put in an even crustier mood upon hearing that his ex-wife has died, and her corpse is being brought back from England by the new family (John Hurt, Ray Stevenson, Frances O’Connor) she’d acquired after leaving him. The awkward meeting between two very different clans quickly thaws in various ways, however, some sexual, some comradely. Dismissed as a garrulous mess in its other festival showings to date, this Car is indeed one rusty, leaky, wayward vehicle at times, with some forced situations and way too much speechifying in the director’s script (co-written with Tom Epperson). But the thematically over ambitious, structurally clumsy movie is watchable nonetheless, with some real strengths: most notably strong performances (especially Thornton’s own) and a real feel for a particular high-Southern Brahmin milieu that hasn’t changed much more in the last 40 years than it did in the prior 40. Thornton will receive the MVFF Award and be interviewed onstage at the film’s screening. Sun/7, 6:30pm, Smith Rafael; Oct. 14, 5pm, Smith Rafael. (Harvey)

Ricky on Leacock (Jane Weiner, France/US) Shot over the last 40 years, since she was her subject’s student, Jane Weiner’s film about globe trotting director-cinematographer Richard Leacock is a fond tribute that pays due respect to the latter’s innovations in the documentary form. Dismayed by the lack of spontaneity that cumbersome equipment forced on the genre, he began devising a series of lightweight, synch-sound cameras that could unobtrusively travel with and capture events as they occurred. While his own mostly TV-targeted fruits of that labor are relatively little-known today, their impact on nonfiction cinema was enormous — and Leacock, who died last year at 89, was clearly charming company. Sun/7, 7pm, Smith Rafael; Mon/8, 9:15pm, 142 Throckmorton. (Harvey)

In Another Country (Hong Sang-soo, Korea) This latest bit of gamesmanship from South Korea’s Hong Sang-soo (2000’s Virgin Stripped Bare by Her Bachelors) has Isabelle Huppert playing three Frenchwomen named Anne visiting the same Korean beachside community under different circumstances in three separate but wryly overlapping stories. In the first, she’s a film director whose presence induces inapt overtures from both her married colleague-host and a strapping young lifeguard. In the more farcical second, she’s a horny spouse herself, married to an absent Korean man; in the third, a woman whose husband has run away with a Korean woman. The same actors as well as variations on the same characters and situations appear in each section, their rejiggered intersections poking fun at Koreans’ attitudes toward foreigners, among other topics. Airy and amusing, In Another Country is a playful divertissement that’s shiny as a bubble, and leaves about as much of a permanent impression. Tue/9, 4:15pm, Sequoia; Oct. 12, 9:45pm, Smith Rafael. (Harvey)

To Kill A Beaver (Jan Jakub Kolski, Poland) Furtive, paranoid, solitary Eryk (Eryk Lubos) returns from places unknown to prepare his dilapidated farmhouse for a mission that, for a long time, remains equally unclear. Veteran Polish director Jan Jakub Kolski’s enigmatic drama takes its time unfolding the mysteries of Eryk’s traumatic past, unstable present, and future purpose. He’s all suspicion when he finds local teen Bezi (Agnieszka Pawelkiewicz) trespassing on his property, but her brazen come-on and hidden vulnerabilities chip away at his ample defenses. This intricate character study in the guise of a thriller puzzle is offbeat and absorbing, thanks in large part to Lubos’ prickly performance as a man as damaged as he is dangerous. Oct. 10, 6:30pm, Smith Rafael; Oct. 11, 9:30pm, Sequoia. (Harvey)

Holy Motors (Leos Carax, France) Holy moly. Offbeat auteur Leos Carax (1999’s Pola X) and frequent star Denis Lavant (1991’s Lovers on the Bridge) collaborate on one of the most bizarrely wonderful films of the year, or any year. Oscar (Lavant) spends every day riding around Paris in a white limo driven by Céline (Edith Scob, whose eerie role in 1960’s Eyes Without a Face is freely referenced here). After making use of the car’s full complement of wigs, theatrical make-up, and costumes, he emerges for “appointments” with unseen “clients,” who apparently observe each vignette as it happens. And don’t even try to predict what’s coming next, or decipher what it all means: this wickedly humorous trip through motion-capture suits, graveyard photo shoots, teen angst, back-alley gangsters, old age, and more (yep, that’s the theme from 1954’s Godzilla you hear; oh, and yep, that’s pop star Kylie Minogue) is equal parts disturbing and delightful. Movies don’t get more original or memorable than this. Oct. 11, 6pm, Sequoia; Oct. 12, 3:15pm, Smith Rafael. (Eddy)

The 35th Mill Valley Film Festival runs Oct. 4-14 at the Christopher B. Smith Rafael Film Center, 1118 Fourth St, San Rafael; Cinéarts@Sequoia, 25 Throckmorton, Mill Valley; and 142 Throckmorton Theatre, Mill Valley. For additional venues, full schedule, and tickets (most shows $13.50), visit www.mvff.com. Additional short reviews at www.sfbg.com.

 

On the Cheap Listings

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

WEDNESDAY 3

Humpday Happy Hour! Good Vibrations Lakeshore Store, 3219 Lakeshore, Oakl. (510) 788-2389, www.goodvibes.com. 6:30-7:30pm, free. We’ve all faced the post-work dilemma: gym or happy hour? Stress no more because the good folks at Good Vibrations would like to invite you to come and work out those PC muscles by doing Kegel exercises. Remember, strong PC muscles are very beneficial regardless of age, gender and, sexuality.

Venus and Mars reading J. Paul Leonard Library, Room 121, 1600 Holloway, SF. (415) 338-2408, www.library.sfsu.edu. 4pm, free. SFSU professor of cinema Jan Millsapps reads from her new novel Venus and Mars, a story about the discoveries of a 20th century astronomer.

THURSDAY 4

“The Art of Conservation” The Bone Room, 1573 Solano, Berk. (510) 526-5252, www.boneroom.com. 7-9pm, free. Artist Jane Kim’s passion for the environment is her raison d’etre. Her environmental consciousness will be on display at this upcoming event hosted by Berkeley’s Bone Room. Featured will be life size murals of the endangered Sierra Nevada bighorn sheep, meant by Kim as a reminder of our own fragile ecosystem.

Hendrix on Hendrix Pegasus Books, 2349 Shattuck, Berk. (510) 649-1320, www.pegasusbookstore.com. 7:30pm, free. Jimi Hendrix historian and author Steven Roby will be a giving an audiovisual presentation on the storied and tragic career of one of rock’s most talented guitarists. This unique presentation will feature interviews with reporters in which Hendrix discusses his fraught childhood and his legacy. A cannot-miss for Hendrix enthusiasts.

“Circular Motion: Subverting Circumscription” Meridian Gallery, 535 Powell, SF. (415) 398-7229, www.merdiangallery.org. Through Nov.24. Opening reception: 5:30-8:30pm, free. Seven video installations from contemporary Cuban female artists will be display at the Meridian Gallery. The pieces of art each with its own distinct circular aspects form together to symbolize the much-troubled relationship between Cuba and United States.

FRIDAY 5

Pancakes and Booze Pop-Up Art Show Gallery 4n5, 863 Mission, SF. (415) 522-2440, www.galiara.com. Also Sat/6. 8pm-1am, free. If the name of this art show doesn’t convince you to show up then nothing will. But then again, don’t be that person and show up just for the food and beer — in addition to art from over 75 local and emerging artists, there will be a zombie fashion show, live music, and body painting.

SATURDAY 6

Frank Moore; Risk For Deep Love Temescal Art Center, 511 48th St., Oakl. (510) 526-7858, www.temescalartcenter.org. 8pm, free. Lauded and controversial shaman performance artist Frank Moore’s event at the Temescal Art Center will be sure to baffle your mind. Moore will attempt to reimagine human emotion through the use of musicians, actors, dancers, and members of the audience. It’s experimental performance art at its most experimental.

Garden Party White Walls, 835 Larkin, SF. (415) 931-1500, www.whitewallssf.com. Through Nov.5. Opening reception: 7-11pm, free. Artist Casey Gray will debut new works in his third exhibition with White Walls. This time around, the focus will be on paintings of 17th century Flemish life.

Cheeses of France Pop-Up Café Minna Gallery, 111 Minna, SF. (415) 974-1719, www.111minnagallery.com. 10am-5pm, free. Calling all cheeseheads! Famed chef Jason Fox of Commonwealth will be putting on a cheese dish clinic courtesy of the SOMA Pop-up Café. Five different French cheese producers will also be on hand to let you sample their delectable goods. Oh and there’ll be cheese art too.

SUNDAY 7

Japan Center Anime Fair: Sailor Moon’s 20th Anniversary Japantown Peace Plaza, Post and Buchanan, SF. www.japancentersf.com. 12:30-4:30pm, free. Bust out that Sailor Mercury ‘fit and head on over to Japantown to celebrate the 20th anniversary of the Sailor Moon anime classic series. There will be a performance that consists of a battle between Super Sentai and Kamen Rider and singing and dancing by Mari Watanabe, Yukie Dong, Ti@Mi, and Angel Hearts.

UCSF Taste for the Cure: A Taste of Science Jewish Community Center, 3200 California, SF. (415) 353-7672, www.jccsf.org. 11am-4pm, free. It’s nutrition meets education in UCSF’s popular event on how diet can have a significant effect on breast health. Breast cancer doctors from the university will be conducting presentations numerous breast cancer-related topics. Unique to this year’s event will be a demonstration of DNA extraction — after the strands have been extricated you’ll be able to view them via microscope on the spot.

MONDAY 8

Safeway World Championship Pumpkin Weigh-Off IDES Grounds, 735 Main, Half Moon Bay. www.miramarevents.com/weighoff. 7-11am, free. Cartoonishly fat pumpkins will be battling it out for the heavyweight title (no pun intended) at this year’s Safeway World Championship Pumpkin Weigh-Off. Defending champion Leonardo Urena of Napa will have to bring his A game if he’s going to break the state record that he set at last year’s competition. For the first time in the history of outlandish contest there will be a mega-prize of $25,000 offered to the pumpkin grower that can grow the world’s first one-ton pumpkin.

Downtown development

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LIT/VISUAL ARTS The term “Mission School” was coined in these pages by Glen Helfand in 2002 to describe a loose-knit group of artists based around the Mission District who were then just beginning to break through into international art world success. These artists — including Barry McGee, Margaret Kilgallen, Chris Johanson, Alicia McCarthy, Rigo 23 and others — made use of found materials and shared an informal aesthetic that was influenced as much by the low rent streets of the city around them as a relaxed, collective Bay Area vibe.

A decade later, it seems safe to say that the Mission School was probably the last major art movement of its kind in this country, and itself the end of an era. For over three decades, significant art and music breakthroughs in this country were linked to specific urban neighborhoods (hip-hop to the South Bronx; Warhol’s Factory to downtown Manhattan, riot grrrl to Olympia, Wash.; grunge to Seattle; Fort Thunder in Providence, RI, etc.) Today, with the rise of the importance of MFA programs as a means to enter the art world, and the lack of locality fostered by the internet, the era of geographic specificity as arts incubator has perhaps passed us for good.

Two new books take us back to those freer, more experimental days at the inception of the SoHo and East Village arts scenes of New York in the 1970s and 80s. 112 Greene Street: The Early Years (1970-1974) (Radius Books, 192 pp., $50) is a brief, but invigorating oral history from the early years of what we now know as SoHo. This just-released catalog to last year’s exhibition at Zwirner Gallery in Chelsea brings to life the sense of discovery and improvisation of the nascent neighborhood scene that centered around the legendary pioneering alternative arts space and its north star, the late Gordon Matta-Clark.

In October 1970, when Jeffrey Lew and Matta-Clark opened 112 Greene Street in the storefront of a “rundown former rag picking factory,” the area south of Houston Street was a wasteland of abandoned former textile factories known as Hell’s Hundred Acres. The space, with its lack of heat, and its raw walls, uneven floors, and poor artificial lighting resembled the city then falling apart all around it. The ruins of the city not only influenced the work; sometimes they literally became work.

Alan Saret remembers walking near Canal Street with Matta-Clark one night when a cornice simply fell off a building right in front of them. Saret found some other cornices on the ground nearby and paid the crew of a passing city garbage truck to haul them back to 112 Greene where they became part of a sculpture piece he called Cornices.

Far from the uptown galleries where Manhattan art world power then was consolidated, 112 Greene’s isolation and state of decay fostered a certain kind of “anything goes” artistic freedom and collaborative spirit. For the first opening at 112 Greene, Matta-Clark jackhammered a hole in the basement floor and filled the area with dirt, where he planted a cherry tree that he kept alive all winter with grow lamps. For a later exhibition, George Trakas wanted to do a two-story sculpture, so he simply cut a hole in the floor so his piece could rise up out of the basement into the main floor. The only rule seemed to be that work had to be created on site and could not be made for sale.

Perhaps predictably, with this last rule, the space could barely keep its doors open. Yet, there is a timeless lesson here for those running arts spaces today: the downfall of 112 Greene came ironically only after it finally achieved financial stability. When Lew landed a big NEA grant in 1973, pure art experimentation and spontaneity gradually gave way to formal scheduling and programming guidelines from the funders in DC, who demanded more and more say in the operation of the space. “The excitement that anything could happen waned as paperwork and schedules were enforced,” remembers Lew. The core group of artists slowly drifted away from 112 Greene, just as the original SoHo, too, was beginning to change all around them into the high-end shopping district it is today.

The SoHo model has become a cynical real estate gentrification strategy, as developers create prefab arts — and shopping — neighborhoods in empty warehouse districts across the country from Miami to Portland, Ore. to Brooklyn. But if, say, Bushwick’s art scene feels less like a real place than the shores of a desert island where hundreds of young artists have been randomly washed up by the storms of the global economy, 112 Greene Street reminds us that the first art neighborhoods were formed organically around genuine community. In 1971, Matta-Clark and artist Carol Goodden started an artist-run collective restaurant in SoHo called Food. By all accounts, Food was not some relational aesthetic stunt; it was a well loved and sincere attempt to provide cheap meals, a gathering place, and jobs to artists in the scene.

112 Greene Street ends before Matta-Clark’s untimely death from pancreatic cancer at age 35 in 1978, and before the artist would famously take the work he developed in the ruins of 112 Greene out into the ruins of the city with a practice he dubbed “Anarchitecture.” He took the city as his canvas, transforming raw space by sawing dramatic cuts in the floors and facades of abandoned buildings in the South Bronx and industrial parts of New Jersey. But the charm and dreamy freedom of the era 112 Greene Street depicts comes through in Matta-Clark’s film, Day’s End. In it, Matta-Clark works calmly with a blowtorch, cutting holes in the steel ceiling of an abandoned city pier on the Hudson River (with no apparent fear of getting caught) as the space slowly fills with radiant light.

A decade later, another artist who would die too young, David Wojnarowicz, would also find a wide-open playground in the rotting piers along the river. Wojnarowicz would spend hours at the piers, writing about what he saw there, having sex with strangers, and drawing murals or writing poetry on the crumbling walls. Wojnarowicz delighted in the ruins and saw the piers as a sign that America’s empire was fading away before his eyes. That today we know it was actually only Wojnarowicz’s world that was about to disappear is just one of the many poignant aspects of Cynthia Carr’s beautiful new book, Fire in the Belly: The Life and Times of David Wojnarowicz (Bloomsbury USA, 624 pp., $35), the first comprehensive biography to date of the artist, writer, and activist who died of AIDS at the age of 39 in 1992.

On the run from an abusive father, Wojnarowicz started sleeping with older men for money while living on the streets in his teens. Drawn to other criminals and outlaws, his first published writings were based on interviews he did with street hustlers, travelers, and homeless people he met in skid row waterfront diners and on hitchhiking trips. In the works of Jean Genet, he found a literary moral universe that helped him make sense of his own worldview. One of his earliest surviving works, a collage entitled St. Genet, depicts the French writer wearing a halo in the foreground while in the background, Jesus is tying off to shoot up. While Wojnarowicz would continue to use such blunt religious imagery in his work, the collage resonates in other ways. Carr reports that it was Kathy Acker who first called Wojnarowicz “a saint” when she appeared with him at his final public reading in 1991. The identification of Wojnarowicz’s life and work with the tragic loss of so many daring, outlaw artists to AIDS is so complete that Wojnarowicz has become a patron saint to young queer and activist artists today, his life story surrounded by an aura of myth.

Carr, a former arts reporter for the Village Voice, carefully picks apart myth from fact: Wojnarowicz didn’t actually start selling his body for money at age nine as he often claimed and he also wasn’t a founding member of ACT UP as many people suppose (though he did participate in some ACT UP protests). Yet, the complex and more human Wojnarowicz that Carr leaves us with is no less inspiring a figure — a self-taught artist whose lifelong struggle to make meaningful art out of his own experience, sexuality, and ultimate diagnosis with an incurable disease would almost by chance place him front and center in the story of the AIDS crisis and the great culture wars of the late 1980s and early ’90s.

Carr, a resident of the East Village now for four decades, became friends with Wojnarowicz late in his life, and she refreshingly breaks journalistic “objectivity” to insert her own eyewitness perspective into the narrative at many key junctures. One senses Fire in the Belly is so good precisely because it is a story only Carr could personally tell. Built on years of observation, Fire in the Belly has the ambitious scope and rich detail of a novel, and, more than a biography, is the story of a fabled East Village scene now irrevocably lost.

Wojnarowicz arrived in a gritty East Village where whole blocks had been abandoned to heroin dealers and bricked up tenements. A nihilistic neighborhood arts scene embraced the decay of the streets as an aesthetic, and galleries like Civilian Warfare Studios presented a giddy cocktail of downtown punk and queer culture mixed with the freshly born graffiti and hip-hop scenes of the South Bronx. Carr relates now-famous events like Gracie Mansion’s “Loo Division” show (mounted in the bathroom of her E. Ninth Street walkup), Keith Haring painting on the snow on the street in front of his show at Fun Gallery, and the exploits of the Wrecking Crew — a team including Wojnarowicz and other artists who would binge on acid and stay awake for days, filling galleries with creepy and crazed collaborative installations.

The artists’ isolation would not protect them from the art world for long. Soon, limos were disgorging passengers at openings on the heroin and rat-filled terra incognita east of First Avenue. East Village stalwarts like Jean-Michel Basquiat and Haring became rich and internationally famous, and even Wojnarowicz became a fairly established up-and-coming art star. The rags-to-riches story of the East Village scene might be the same kind of innocent tale of lost Bohemia as that of 112 Greene, were it not for the AIDS crisis shadowing it the whole time. Carr skillfully juxtaposes the narrative of openings and parties with chronological news reports of the then-unknown new disease. Carr describes a party on Fire Island in July 1981: writer Cookie Mueller read a story from the New York Times out loud to the room about a strange, new “gay cancer”. Photographer Nan Goldin, who was present, remembers today, “We all just kind of laughed.”

Carr’s tale picks up suspense after Wojnarowicz himself is diagnosed with AIDS. Over a breathtaking two-year period, Wojanrowicz embarks on an urgent mission to complete every single art project he’d ever hoped to accomplish in the time left to him in life. In the process he almost reluctantly becomes the fiery AIDS activist we remember today. While working on his career retrospective, he also battles the harassment of his landlord who is determined to evict Wojnarowicz and convert his loft in the gentrifying East Village into a cinema multiplex. He struggles to complete his memoir, even as his work becomes the focus of battles over government funding of art. Soon, Republicans denounce the dying man’s work as obscene and anti-Christian on the floors of Congress, and Wojnarowicz becomes a target of conservative Mississippi preacher Reverand Donald Wildmon’s public attacks. Wojnarowicz absorbed these attacks and the era’s stunning homophobia and turned them into what became the most powerful work of his career, the myth of his own life.

Carr’s book stands along with recent work like Sarah Schulman’s Gentrification of The Mind as a corrective to the uncritical nostalgia for the lost New York City of the 1970s and 80s that seems to have flowed like a river from Patti Smith’s 2009 memoir, Just Kids. These works unromantically detail what has been lost and then lovingly describe exactly how painfully it was all lost. Yet, perhaps all is not lost. While arts neighborhoods like the ones described in 112 Greene Street and Fire in the Belly seem like a thing of the past, the towering myths left behind by figures like Matta-Clark and Wojanrowicz still bring young artists against all odds to the rehabbed neighborhoods of San Francisco and New York today. Everytime Sara Thustra serves a meal at an opening at Adobe Books on 16th Street or Homonomixxx shuts down a Wells Fargo bank, we walk, if just for a short time, the streets of our old familiar city.

David Wojnarowicz: Cynthia Carr and Amy Scholder in Conversation
Wed/3, 7:30pm, free
Lecture Hall
San Francisco Art Institute
800 Chestnut, SF
www.sfai.edu/event/CynthiaCarr

Heads Up: 6 must-see concerts this week

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So much to talk about this week, but the biggest news of course is both Hardly Strictly Bluegrass’ return – for the first time since the death of founder Warren Hellman – and new venue Preservation Hall West at the Chapel.

Below, you’ll get the basic need-to-know info on the shows you must see; but check Tofu and Whiskey, my music column in this week’s paper, for the details behind it all. A sort of Behind the Music on the newly constructed Mission venue and the cherished Golden Gate Park fest, if you will.

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

Patrick Wolf (acoustic)
The glitzy British multi-instrumentalist returns, this time repping hefty sixth record, Sundark and Riverlight. The double album is a career retrospective – marking 10 years since debut studio album, Lycanthropy – that will include rejiggered acoustic versions of his favorite songs. It sees release Oct. 15 on Bloody Chamber Music/Essential Music.
With Woodpigeon
Tue/2, 8pm, $21
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.slimspresents.com
http://www.youtube.com/watch?v=SCoJXqGn_kg

Laura Marling
While bone-rattling noise has its very important place in my heart, there’s something to be said for warm cooing and surreal lyrics. For that, you can crawl up the grand staircase of the Swedish American and quietly opera clap for English folk plucker Laura Marling. Her honest lilt and fluttering riffs have gained her comparisons to Joni Mitchell, but she has a distinctly British affect to these American ears. She played Grace Cathedral earlier this year and returns on her “Working Holiday Tour” to play from her most recent album  A Creature I Don’t Know (Ribbon Music, 2011) at this more intimate venue.
Wed/3, 8pm, $25
Swedish American Hall
 2174 Market, SF
www.cafedunord.com
http://www.youtube.com/watch?v=zR-AOZfLh7w

Niki and the Dove
“Sweden is exporting a lot more than bedframes and meatballs. Stockholm’s Niki and the Dove is an electro duo giving a dark depth to pop music. Vocalist Malin Dahlström and keyboardist Magnus Böqvist met when writing music for the theater, giving their recorded music and their live shows a dynamic, dramatic quality that pop so often lacks. Dahlström’s sugary voice soars above the churn and chime of Böqvist’s catchy and sometimes unsettling beats.” — Haley Zaremba
With WOLF GANG, Popscene DJs
Thu/4, 9:30pm, $15
Rickshaw Stop
155 Fell, SF
(415)861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=l2f6UbMnlq4

Preservation Hall Jazz Band with Robert Earl Keen
The new, all-ages Mission venue kicks its doors wide open for the first time this Thursday with the Preservation Hall Jazz Band – of the much-loved New Orleans venue that inspired the West Coast version. The swinging Pres Hall Jazz Band will play with various Hardly Strictly Bluegrass acts throughout the weekend, but the first show goes to country-folk singer-songwriter Robert Earl Keen.
Preservation Hall West at the Chapel
777 Valencia, SF
Ticketfly: Preservation Hall West
http://www.youtube.com/watch?v=b7M8ZkQma3I

Hardly Strictly Bluegrass
It’s free; it’s the best swarming, long-running outdoor bluegrass-folk-rock’n’roll fest in San Francisco. Do you need more? Well there’s Elvis Costello, Chuck Ragan, Jenny Lewis, Lumineers, Robert Earl Keen, the Chieftains, Steve Earle, Red Baraat, the Head and the Heart, Cowboy Junkies, Chris Robinson Brotherhood, Emmylou Harris, Ralph Stanley, Dwight Yoakam, Patti Smith, and more. You get it.
Fri/5, 10am-7pm; Sat/6-Sun/7, 11am-7pm
Golden Gate Park, SF
www.hardlystrictlybluegrass.com
http://www.youtube.com/watch?v=9eciObRuQZk

Conor Oberst
For those who just can’t get enough Conor Oberst: Oberst will also be playing Hardly Strictly Bluegrass, and will likely bring some of his friends from the fest to this show. (Thinking Jenny Lewis, perhaps? That’s my best guess.) Here’s hoping he plays a broad spectrum of trembling, angsty folk, from Bright Eyes to the Mystic Valley Band.
Sun/7, 8pm
Fillmore
1805 Geary, SF
(415) 346-3000
www.thefillmore.com
http://www.youtube.com/watch?v=MfW5cYIIqHc

The Performant: Love is (not) a battlefield

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Our Genocides and “Combat Paper” speak out for peace.

Along with playing host to all of the fun and fabulous festivals occurring this past weekend (hopefully you managed to make it out to at least one), San Francisco also played host to a more sobering event—the sixteenth play in a cycle of seventeen on the topic of genocide. Penned by Eric Ehn, all seventeen are being prepared and presented in various corners of the country before coming together at La MaMa in New York in November for a complete run entitled “Soulographie: Our Genocides.” Last May, the tenth play in the cycle, “Cordelia,” a Noh-inflected reimagining of King Lear was presented by Theatre of Yugen, and this weekend “Dogsbody”, directed by Rebecca Novick, turned the Mission Street headquarters for Intersection of the Arts into a Ugandan battlefield. 

Humming and singing, the three-person cast enters the room, clad respectively in the garb of a jungle soldier, the mismatched scraps of a peasant child, a flowing white garment and incongruous leggings.

We meet Scovia (Rami Margron), kidnapped by the Lord’s Resistance Army, first as a kitchen slave, second as a spoil of war, with all the violent implications that entails. Over the course of the play we see the tape rewound to the moment when Scovia’s life is changed for the worse—hiding in a schoolyard tree where she is found first by bees, then by the LRA. In a dreamlike, non-linear narrative, Scovia recounts her traumas with expressionistic text and expressive dance (choreographed by Erica Chong Shuch), while a menacing Reggie D. White and sympathetic Catherine Castellanos flank her on either side, unshakable traces of an endless nightmare. 

Drained and devastated, Margron finally describes the moment she is forced to kill her own father, flour falling from her fingers to the stage as she speaks, like handfuls of graveyard dust. In the second half of the play, set in a futuristic, war-torn Texas, this same dust will be thrown over her body by White during a described act of violence, turning her, appropriately, into a funereal witness to her own destruction. In this segment, White as “Dogface” and Margron as “Nipple” navigate the chaotic battlegrounds of Texas, the days of arrows, the death of human compassion. Although not every Ehn-penned message is completely clear, the ultimate implication is: in the brutal arena of war, there is no place for love.

There might be a space for redemption, however, and at Southern Exposure this idea is being explored with a series of interactive paper-making workshops through September 29. Spinning old uniforms into new paper, artist Drew Cameron crafts the materials of war into a civilian statement of catharsis. Himself a former soldier, Cameron’s Combat Paper workshops have been presented on both coasts, geared particularly towards veterans and their families, but embracing participation from all. Just the act of cutting up and pulping a set of fatigues can be an emotional liberation of sorts, and the resultant paper perfectly embodies the idea of a blank slate with the potential to become an expression of peace.