Music

Crackdown on gangs — or civil liberties?

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Sarah@sfbg.com

City Attorney Dennis Herrera’s Aug. 5 decision to file a civil gang injunction against two alleged gangs in Visitacion Valley is being hailed by top local law enforcement officials as an important weapon in a war between heavily-armed members of two rival gangs in the Sunnydale housing projects.

“I consider this another vital tool in the prosecution of violent criminals,” District Attorney Kamala Harris said in a City Attorney’s Office press release announcing the suit against the Down Below Gangsters (DBG) and Towerside Gang.

But in the middle of a heated race for supervisor in District 10, the gang injunction also has become a political issue — and infuriated civil liberties activists who say it’s unfair and won’t work.

Herrera’s complaint names and identifies 41 young black men using declarations from gang task force members, police reports, photographs of the men sporting tattoos, flashing hand signs, and wearing purported gang clothing — and even extracts from a letter that one listed individual sent to another alleged gang member, who was in jail.

If Herrera’s request is granted in court Sept. 30, it will be San Francisco’s fourth civil gang injunction. Herrera secured similar injunctions against the Bayview-Hunters Point Oakdale Mob in October 2006; the Mission District’s Norteños in 2007; and the Western Addition’s Chopper City, Eddy Rock, and Knock Out Posse in 2007.

The City Attorney’s Office claims a “cooling off” effect as a result of those injunctions. “Since Herrera launched the civil gang injunction program at the end of 2006, 46 percent of identified gang members (43 of 93) have gone without even a single arrest in San Francisco for crimes other than minor violations of the injunction itself,” Herrera’s office states.

It claims that the data also show progressive improvements over time. “Only 14 percent of identified gang members (13 of 93) were arrested for noninjunction crimes so far in 2010 — down from 41 percent in 2007,” Herrera’s office states.

But San Francisco Public Defender Jeff Adachi, civil rights lawyers, and community advocates worry that the injunction raises constitutional issues and practical problems that could be counterproductive in terms of Herrera’s stated effort to reduce violence in Visitacion Valley.

“The first difficulty you observe is that there is no right to counsel,” Adachi said, pointing to the three injunctions Herrera has already launched. “Instead, the burden is on the individuals named in the injunction to come forward and contest the injunction.”

Contesting an injunction is expensive and difficult, Adachi says.

“There’s a large amount of filing, and then there’s a hearing and a trial,” said Adachi, who represented individuals named in Herrera’s 2007 suit against the Norteños. “It costs between $10,000 and $20,000 to mount an adequate defense.”

Adachi claims Herrera’s past injunctions were mostly based on allegations and stale information that could have triggered more violence. “We saw that the city attorney based its injunction solely on what police officers had alleged, officers who in most cases were members of the Gang Task Force,” he said. “For instance, there was a woman who had been in a gang, but left years before. As a result of being named, her family was threatened and she was fearful there would be reprisals.” The woman’s name was ultimately removed.

Adachi represented a young man who had never been in trouble but found himself on Herrera’s Mission-based injunction list after he rapped about the Nortenos. “There was no evidence, but when we said there had been a mistake, the city attorney disagreed,” Adachi said. “In the end, a judge found there was insufficient evidence.”

Adachi worries about the impact on individuals mistakenly named in the suit. “When you name someone, that brands them. What we saw in other injunctions was that people lost jobs.”

He notes that only a few people came forward to challenge past injunctions. “But in at least four cases, people were found not to be gang members,” he said.

At the time of those injunctions, there was no way to get off the list. “So we worked with the ACLU to demand one and the City Attorney’s Office agreed,” Adachi said. “But I don’t know how many people have since filed paperwork.”

Ingleside police station Capt. Louis Cassenego told us that as of Aug. 20, 12 men had been served with the injunction — six allegedly from DBG, six from Ingleside.

“We had signage posted on utility poles, and no signs have been torn down,” Cassenego said. “And so far, the folks served have taken it in a matter-of fact fashion.”

But Sharen Hewitt, executive director of the C.L.A.E.R. Project, a community empowerment and violence prevention nonprofit, said she worries that people don’t understand the implications of being served and won’t take the trouble to opt out. “I talked to a young man after he got served and he tore up his notice,” Hewitt said.

Hewitt invited representatives from the City Attorney’s Office, Police Department, Lawyers Committee for Civil Rights, Bay Area Legal Aid, and residents of the area to an Aug. 12 emergency debriefing. “We are sitting in the middle of a major war zone,” Hewitt said, referring to the meeting’s location at Britton Courts, a public housing project that Herrera claims is on DBG turf. “Although this situation threatens the community, it has also brought us together. And now we are trying to pull together a legal team.”

Deputy City Attorney Yvonne Mere explained that the suit seeks to ban criminal and nuisance conduct by creating a proposed safety zone that covers two-tenths of a square mile and encompasses both gangs’ alleged turf plus a buffer zone.

The injunction would impose a 10 p.m. curfew on the 41 men listed, who are a barred from trespassing, selling drugs, and illegally possessing firearms, loitering, displaying gang signs, and associating in public in neighborhoods surrounding the Sunnydale, Heritage Homes, and Britton Courts developments.

Some of this conduct is already against the law, but other activities, including assembling in groups, is typically protected by the Constitution, Mere explained.

Lt. Mikail Ali of the Ingleside station said many youngsters don’t want to be in a gang. “This is an out,” Ali said.

But some residents questioned whether some men on Herrera’s list are in a gang. “Who are you to say who is a gang member?” asked Sheila Hill, who was concerned that her son, the victim of a shooting a couple of years ago, was on the list. “Yes, they might have done something three or five years ago, but many of them have moved on, got married, and got a job. I don’t believe you guys are really checking your records.”

Mere disagreed (later clarifying that Hill’s son isn’t named by the injunction). “We looked at criminal records within the last five years, including shootings, shots fired, and weapons possessed, and it’s a pretty violent zone down here,” Mere said. Mere claims the war between DBG and the Towerside caused 10 murders in the last three years.

Leslie Burch, president of the Britton Courts Neighborhood Association and cofounder of the Visitacion Valley Peacekeepers, said a lot of the men named grew up together, playing sports, staying at each other’s houses overnight, and making affiliations.

“So I wouldn’t necessarily classify them as gangs,” Burch said. “They are just a bunch of friends who have common interests like music, sports, and hanging out together.”

Mere pointed to the opt-out option, part of a 2008 agreement between the city attorney, ACLU, and Lawyers’ Committee for Civil Rights.

“It’s an option for people to say, ‘No, you are wrong,'<0x2009>” Mere said. “They can submit letters from pastors and friends, and we’ll consider that between now and Sept. 30.

But Burch challenged some of the evidence posted at the City Attorney’s wesbite, including photographs of people sporting alleged gang tattoos and clothing.

“Take the T sign,” Burch explained “The city attorney says it represents the Towerside. But I had a nephew who was murdered. His name was Trayon, and some people wear the letter T in remembrance of him. I was in court with a nephew who was trying to explain that he is not a gang member just because he’s wearing a hat with a T on it.”

Hewitt noted that the injunction follows budget cuts that decimated local nonprofits and that funding is desperately needed for programs that provide young men with jobs and other alternatives to crime.

Hewitt also noted that the injunction gives District 10 candidates an opportunity to show the community that they are tracking all the issues in this pivotal race. “D-10 has been reduced to the Lennar issue, and that’s what’s criminal,” Hewitt said, adding that coverage of the race has so far largely excluded Viz Valley, even though it’s home to the city’s largest public housing site.

Indeed, the injunction is becoming part of the dialogue in the District 10 supervisor campaign. Candidates Isaac Bowers, Kristine Enea, Chris Jackson, Nyese Joshua, Steve Moss, and Marlene Tran attended Sharen Hewitt’s Aug. 12 gang injunction debriefing. By meeting’s end, Bowers and Enea said they would help community members get legal representation. “A lot of people being served don’t know what an injunction is or don’t show up at the hearing, and then they become subject to the injunction,” Bowers said.

Jackson said he’s committed to helping these men get access to job and education opportunities.

Candidate Tony Kelly said if there are gangs in Viz Valley, Herrera’s injunction would be valid. “There is gang-like activity, but it’s small-scale turf wars, shootings. and retaliations. And it’s not organized,” Kelly claimed. “Instead, you’ve got unorganized young black men with no other options doing whatever it takes to get ahead. But instead of doing something constructive, the city attorney calls them gangs.”

DeWitt Lacy, also a candidate, said he remains concerned that gang injunctions are circumventing people’s due process rights. “In a criminal case, you have the right to an attorney — but that’s not so in a civil action.”

Music listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 25

ROCK/BLUES/HIP-HOP

B Rooster Blues Trio One Bush Plaza, Bush at Sansome; www.peopleinplazas.org. Noon, free.

Bane, Trapped Under Ice, Cruel Hand, Alpha and Omega, Bankrobber Thee Parkside. 8pm, $12.

Blind Willies Union Square, Powell at Geary, SF; www.unionsquarepark.us. 12:30pm, free.

Endroit, Double Plus Good Hemlock Tavern. 9pm, $5.

Entropic Density, Zoo, Saything, Zachary Michael Zinn Knockout. 9pm, $6.

Japonize Elephants, Zoyres, Killbossa Rickshaw Stop. 7:30pm, $10.

Oneida, Jonas Reinhardt, Lights Bottom of the Hill. 9pm, $10.

Thriving Ivory, Ryan Star, Entice Great American Music Hall. 8pm, $17.

Tracorum, Dead Winter Carpenters Café Du Nord. 9pm, $10.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Club Shutter Elbo Room. 10pm, $5. Goth with DJs Nako, Omar, and Justin.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 26

ROCK/BLUES/HIP-HOP

Anvil Chorus, Orchid, My Victim Thee Parkside. 9pm, $10.

Bang Data, Funky*C, Los Amnesicos, Basura, DJ Khata Selektor Submission, 2183 Mission, SF; www.kpfa.org. 8pm, $10.

BlackMahal, Boy in the Bubble, Soul Wide World Café Du Nord. 9pm, $10.

Boris, Red Sparowes, Helms Alee Great American Music Hall. 9pm, $18.

Celeste Lear Band, Moving Picture Show Red Devil Lounge. 8pm, $5.

Deep Teens, Moira Scar, Tongue and Teeth, Dawn The Stud. 9pm, $3.

Jason King Band Biscuits and Blues. 8 and 10pm, $15.

Lazer Sword, Rainbow Arabia, Religious Girls, Sister Crayon Rickshaw Stop. 8pm, $14.

Light Asylum, You, Veil Veil Vanish Knockout. 10pm, $6.

Lydia, Fight Fair, Polaris At Noon Bottom of the Hill. 8pm, $10.

Rondo Brothers featuring Foreign Globester, Oona, King Midas in Reverse Slim’s. 8pm, $13.

Royal Baths, Th Mrcy Hot Sprngs, Outlaw, Lilac Hemlock Tavern. 9pm, $6.

Volbeat, Dommin, A New Revolution Independent. 8pm, $16.

DANCE CLUBS

Afrolicious Elbo Room. 9pm, $6. DJs Pleasuremaker and Señor Oz spin Afrobeat, Tropicália, electro, samba, and funk.

Base Vessel, 85 Campton, (415) 433-8585. 9:30pm, $10. With DJs Seth Troxler and Gordon Waze spinning house.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Gigantic Beauty Bar. 9pm, free. With DJs Eli Glad, Greg J, and White Mike spinning indie, rock, disco, and soul.

Good Foot Som.. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Gymnasium Matador, 10 Sixth St, SF; (415) 863-4629. 9pm, free. With DJ Violent Vickie and guests spinning electro, hip hop, and disco.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

Super Happy Funtime Burlesque DNA Lounge. 7pm, $10. Performance and live music.

Tropicana Madrone Art Bar. 9pm, free. With DJs Don Bustamante, Sr. Saenz, and guests spinning salsa, cumbia, reggaeton, and merengue.

FRIDAY 27

ROCK/BLUES/HIP-HOP

Café R&B Biscuits and Blues. 8 and 10pm, $22.

Cannons and Clouds, Winfred E Eye, By Sunlight Bottom of the Hill. 10pm, $10.

Cap’n Jazz, Abe Vigoda Bimbo’s 365 Club. 9pm, $17.

Flexx Bronco, Spittin’ Cobras, Departed, DJ Ace Thee Parkside. 9pm, $8.

Beres Hammond and the Harmony House Musicians, Inner Circle, Culture feat. Kenyatta Hill Independent. 9pm, $35.

Nekromantix, Howlers, Mutilators Slim’s. 9pm, $15.

Lavay Smith and Her Red Hot Skillet Lickers Red Poppy Art House. 8 and 9:30pm, $15.

Kelley Stoltz, UV Race, Total Control, Young Offenders Hemlock Tavern. 9:30pm, $8.

JAZZ/NEW MUSIC

Aleph Trio Yoshi’s San Francisco. 10pm, $25.

Alhambra Love Songs Yoshi’s San Francisco. 8pm, $28.

Pascal Boker Band Savanna Jazz. 7:30pm, $5.

FOLK/WORLD/COUNTRY

Albino! Elbo Room. 10pm, $10. With DJ David Satori.

Bryan Girard Trio Cliff House, 1090 Point Lobos, SF; (415) 386-3330. 7pm, free.

Culann’s Hounds Plough and Stars. 9pm.

"Old Time Southern Murder Hour" Great American Music Hall. 8:30pm, $14. With the Pine Box Boys, Trainwreck Riders, Good Luck Thrift Store Outfit, and Virgil Shaw.

Red Meat, Total BS, Famous Café Du Nord. 9:30pm, $15.

DANCE CLUBS

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Down to Earth Rickshaw Stop. 10pm, $15. Outer space dance party with DJs Polish Ambassador and Alxndr.

Duniya Dancehall Blue Macaw, 2565 Mission, SF; (415) 920-0577. 10pm, $10. With live performances by Duniya Drum and Dance Co. and DJs dub Snakr and Juan Data spinning bhangra, bollywood, dancehall, African, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

House of Voodoo Medici Lounge, 299 9th St., SF; (415) 501-9162. 9pm, $5. With DJs voodoo and Purgatory spinning goth, deathrock, glam, darkwave indistrial, and 80s.

I Heart the 90s Madrone Art Bar. 9pm, $5. With DJs Samala, Mr. Grant, and Sonny Phono spinning hip hop, dance, alternative, grunge, and more.

Psychedelic Radio Club Six. 9pm, $7. With DJs Kial, Tom No Thing, Megalodon, and Zapruderpedro spinning dubstep, reggae, and electro.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa "Samoa Boy" spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing The Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Teenage Dance Craze Party Knockout. 10pm, $3. With DJs Sergio Iglesias, Russell Quann, and dX the Funky Gran Paw.

Tocadisco Club Six. 9pm, $15. With DJs Elz and Elise, Mario Dubbz, Doc Martin, Hektor Perez, and more spinning house for Tocadisco’s 5th anniversary.

Trannyshack DNA Lounge. 10pm, $12. Björk tribute with Heklina and more.

SATURDAY 28

ROCK/BLUES/HIP-HOP

Band of Brotherz, Stymie and the Pimp Jones Luv Orchestra Bottom of the Hill. 9:15pm, $10.

Blasphemous Rumours, Luv’n Rockets Café Du Nord. 9:30pm, $12.

Bostich + Fussible, Loquat Independent. 9pm, $17.

Melissa Etheridge Warfield. 9pm, $57.75-102.75.

From Monument to Masses, Judgement Day, Silian Rail Great American Music Hall. 9pm, $15.

Guitar vs. Gravity, Moneypenny, Charmless Hemlock Tavern. 9:30pm, $7.

Hightower, Red Octopus, High and Tight, DJ Blackheart Thee Parkside. 9pm, $5.

Earl Thomas and the Blues Ambassadors Biscuits and Blues. 8 and 10pm, $22.

J Ward, Fujiko-Chan Thee Parkside. 3pm, free.

PROBLEMS, Abrupt Bender’s, 806 S. Van Ness, SF; www.bendersbar.com. 10pm, $5.

Realistic Orchestra Yoshi’s San Francisco. 11:59pm, $20. Michael Jackson tribute.

Shants, Vandella, Not An Airplane, Coyote Girl Hotel Utah. 9pm, $8.

Emily Wells, Valerie Orth, Kindness and Lies Slim’s. 8:30pm, $15.

JAZZ/NEW MUSIC

Al Coster Group Savanna Jazz. 7:30pm, $10.

Cobra Yoshi’s San Francisco. 10pm, $35.

Ralph Carney’s Serious Jass Project Amoeba, 1855 Haight, SF; www.amoeba.com. 2pm, free.

John Zorn and the Rova Saxophone Quartet Yoshi’s San Francisco. 8pm, $30.

FOLK/WORLD/COUNTRY

Gas Men Plough and Stars. 9pm.

La Gente Red Poppy Art House. 9pm, $10-$15.

Orquesta Borinquen The Ramp, 855 Terry Francois, SF; (415) 621-2378. 5pm.

Panteon Rococo, Raskahuele, Bang Data Fillmore. 8pm, $25.

Stellamara Trio, Round Mountain Noe Valley Ministry, 1021 Sanchez, SF; (415) 454-5238. 8:15pm, $17.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Barracuda 111 Minna. 9pm, $10. Eclectic 80s music with DJs Damon, Phillie Ocean, and Gabe Gavilanes, plus 80s cult video projections, a laser light show, prom balloons, and 80s inspired fashion.

Bootie DNA Lounge. 9pm, $6-12. Michael Jackson Birthday Tribute with mash-up DJs Adrian and Mysterious D.

Cockblock Rickshaw Stop. 10pm, $7. Homolicious dance party.

4OneFunktion Elbo Room. 10pm, $5-10. Hi-hop with Park, FAME, and DJs B.Cause, Mista B, and Aron.

Future Night Knockout. 9pm, $4. Mashers, bang-ups, and refixes with Djs Danny Glover, Kick, and Pope.

Go Bang! Paradise Lounge. Recreating the diversity and freedom of the 70’s/ 80’s disco nightlife with DJs Said, Carnitas, Brown Amy, Steve Fabus, Sergio, and more.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Weekend Warriors Madrone Art Bar. 9:30pm, $5. Live music with Will Blades and O.G.D. and DJs Gordo Cabeza and guests spinning motown.

SUNDAY 29

ROCK/BLUES/HIP-HOP

Dinosaur Bicycle, Red Light Circuit Hemlock Tavern. 9pm, $5.

Emily Greene, Rabbits Running, 7 Orange ABC Hotel Utah. 8pm, $8.

Juliana Theory Independent. 8pm, $25.

Junius, Orbs, Disastroid Bottom of the Hill. 9pm, $10.

Slash, Myles Kennedy, Taking Dawn Warfield. 8pm, $32-40.

FOLK/WORLD/COUNTRY

Cheetahs on the Moon, Everhearts Thee Parkside. 4pm, free.

Forro Brazuca The Ramp, 855 Terry Francois, SF; (415) 621-2378. 5pm.

Jack Gilder, Darcy Noonan, Richard Mandel and friends Plough and Stars. 9pm.

DANCE CLUBS

Anamanaguchi, Minusbaby, Mr. Spastic, Crashfaster, DJ Harbour DNA Lounge. 8pm, $14. Chip music.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Vinnie Esparza, and guest Adam Twelve.

45Club Knockout. 10pm, free. Funky soul with dX the Funky Gran Paw, Dirty Dishes, and English Steve.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

Superbad Sundays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With DJs Slopoke, Booker D, and guests spinning blues, oldies, southern soul, and funky 45s.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 30

ROCK/BLUES/HIP-HOP

Eden Brent Trio Biscuits and Blues. 8 and 10pm, $18.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

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

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 31

ROCK/BLUES/HIP-HOP

Fat Tuesday Band Biscuits and Blues. 8 and 10pm, $15.

Huge Cookies, Adonisaurus Hemlock Tavern. 9pm, $5.

Jason Reeves with Brendan James, Todd Carey Café Du Nord. 8pm, $12.

*Slayer, Megadeth, Testament Cow Palace, 2600 Geneva, SF; www.ticketmaster.com. 7pm, $39.50.

Le Vice, Tim Carr Project Elbo Room. 9pm.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. "Stump the Wizard" with DJ Nodrat and DJ the Wizard.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Kids in America Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9pm, free. With DJs Fuzzprobe and Bryna spinning 80s.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

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.

THEATER

OPENING

How Lucky Can You Get? New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $20-28. Previews Thurs/26, 8pm. Opens Fri/27, 8pm. Runs Thurs-Sat, 8pm. Through Sept 11. Darlene Popovic sings Kander and Ebb under the direction of F. Allen Sawyer.

Oscar Wilde’s The Picture of Dorian Gray Eureka Theatre, 215 Howard; 552-4100, www.TheRhino.org. $10-25. Previews Thurs/26-Sat/28, 8pm; Sun/29, 3pm. Opens Sept 1, 8pm. Runs Wed-Sat, 8pm (also Sept 5, Sept 12, and Sept 19, 3pm). Through Sept 19. John Fisher adapts the Oscar Wilde novel for the stage and directs the production.

BAY AREA

Into the Woods 142 Throckmorton Theatre, 142 Throckmorton, Mill Valley; 383-9600, www.142throckmortontheatre.org. $14-30. Opens Fri/27, 7:30pm. Runs Fri-Sat, 7:30pm, Sun, 2pm. Through Sept. 4. Marin Youth Performers present James Lapine’s and Stephen Sondheim’s fractured fairy tale.

The Light in the Piazza TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-67. Previews Wed/25-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Tues-Wed, 7:30pm, Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sept 19. TheatreWorks presents Craig Lucas’s tale of love under the Tuscan sun.

MilkMilkLemonade La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thurs/26-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Thurs-Sat, 8pm. Through Oct 2. Impact Theatre presents Joshua Conkel’s off off Broadway about a lonely gay man trapped in a chicken farm.


ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Fri/ 26, 9pm. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

The Glass Menagerie Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Fri/27 (also Sept. 2 and Sept. 3), 8pm. Through Sept 3. The third production in Boxcar Theatre’s trio of Tennessee Williams plays in repertory is the biggest disappointment, not only because director Jessica Holt’s production comes bloated distractingly by "shadow" versions of the principals and other random characters, but because it’s the play that otherwise feels most apt and urgent. The "social background of the play," as narrator Tom (a generally credible Brian Trybom) describes it, is a landscape characterized by depression at home and revolution abroad, as pent-up American energies shuffle along through hangdog subsistence, shallow hedonism and occasional "labor unrest." This is the social projection of Tom’s private quandary, but that’s just how this partly autobiographical play speaks so eloquently and subtly to larger themes. When the unhelpful, enervating pantomiming and other stage business dies down a bit, you can see the principal roles—rounded out by Hannah Knapp as Tom’s too fragile sister, Laura, and Suzan A. Kendall as his indomitable mother, Amanda—breath more genuinely and the play actually take shape on the stage. The arrival of the Gentleman Caller (played with winning solidity by Boxcar’s Nick A. Olivero) marks the best part of the evening, even if the gentleman arrives too late to fully redeem the proceeding hour’s misconceived shenanigans. (Avila)

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun/29, 8pm. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through Sept 5. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory ("Peaceweavers"), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of "Esta es Nuestra Lucha" passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

Skin Tight CounterPULSE, 1310 Mission; www.counterpulse.org. $20 ($35 for gala opening). Thurs-Sat, 8pm. Through August 28. Rapid Descent Physical Performance Company takes its debut bow with Gary Henderson’s oblique portrait of a lifelong love affair, directed and choreographed by Megan Finlay. The couple, the vivacious Elizabeth (Beth Deitchman) and her gentle but quick-witted childhood sweetheart (and later war veteran) Tom (Nathaniel Justiniano) tumble, wrestle and entwine in playful lovemaking and painful heartache across a stage largely bare but for a bathtub set prominently upstage and center, and a white-clad trumpet player (composer-performer Aaron William Priskorn) who observes and accompanies them at close quarters throughout as an invisible muse or piece of mobile furniture. The acting is strong and committed—Deitchman’s sharp and vibrant Elizabeth balances well with the brawny Justiniano’s slyly self-effacing Tom, and both are lithesome in the physically demanding staging—but the dramatic content is thin and hampered by a sentimental storyline that feels precious rather than genuinely romantic or truthful. Moreover, the movement, central to the piece, remains fitfully effective and repetitious. But there’s a promising intelligence at work throughout the production that makes Rapid Descent a welcome arrival. (Avila)

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sept 4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ "A Streetcar Named Desire" includes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in "Cat on a Hot Tin Roof," Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sept 4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

This World Is Good Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Thurs-Sat, 8pm. Through Sat/28. $18-24. The 1990s are giving way to a millennial moment of anti-climax known as Y2K, but the anxiety and dread are real, and the bloodiest century in human history looks poised to be outdone by the doom-drones of the next. Making at least academic sense of all that angst is Ally (Dina Percia), a brilliant young Latina writing her doctoral dissertation on Grunge and its landscape of youth alienation. Her best friend and occasional lover is a smitten young English prof (Damian Lanahan-Kalish), a dork with a degree and the pet name Scrotum Face. But as she delves into the world of ideas, Ally loses track of her family: single mother Emmy (Tessa Koning-Martinez) and, more tragically, talented but emotionally tortured younger brother Sam (Shoresh Alaudini), whose battered mind and compassionate heart craft a graphic story around a new "super hero" with no costume, no parallel identity, and indeed no special powers. When her family collapses, Ally reassembles the pieces from a new vantage, outside the ivory tower, where she makes art from a sort of crystalline "ordinariness" that complements her brother’s all-too-ordinary super hero. This World Is Good is the opening gambit in a new trilogy by local playwright J.C. Lee called This World and After, all being presented by Sleepwalkers Theatre this season. Artistic director Tore Ingersoll-Thorp helms a competently acted production, which helps lend Lee’s ambitious scope its tangible human proportions, though in truth the characters do not always feel fully drawn. There’s a fine monologue from Sam, both chilling and exhilarating, but also a proclivity throughout for awkwardly poetical speeches over dialogue. Still, there’s subtlety and real humor in the best parts, and enough here to want to see more. (Avila)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Sept 12. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Sat-Sun, 3pm (also Sept 5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by Ian Tracy.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). Through Sept 12. Minneapolis’s Joel Sass returns to Cal Shakes to direct Macbeth with a pared down cast of 12, lead by Jud Williford in the title role of the prophesy-driven regicidal social climber and Stacy Ross as his ambitious and then guilt-crazed Lady M. The towering, two-tiered set (by Daniel Ostling) is a suitably eerie, decrepit-looking place, a "murky hell" with a sort of Old World clinical sleaze about it. The three witches come gowned (by costumer Christal Weatherly) in dingy white nurses habits and sickly green surgical gloves with black voids where their faces should be (their spectral speech projected over the audio system). But Cal Shakes’s production doesn’t really measure up to the atmospheric mise-en-scene, being more dutiful than heat-generating. A wily cut-and-paste job with one of the more famous lines doesn’t quite come off either, since it jars by its initial absence and then rings a bit self-consciously when it does surface as a downbeat coda. (Avila)

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Dates and times vary. Through Sept 5. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

PERFORMANCE/DANCE

"Buddy Club Children’s Shows" Botanical Garden, 9th Ave and Lincoln; (510) 236-7649, www.TheBuddyClub.com. Sun/29, 11am-noon, $5-10. Robert Strong performs magic.

"New Choreography" The Garage, 975 Howard; 518-1517, www.975howard.com Fri/27-Sat/28, 8pm. SPF5 presents two nights of dance.

Penny Dreadful Project Studio Theatre, Creative Arts Bldg, San Francisco State University, 1600 Holloway; 338-2467, www.creativearts.sfsu.edu. Wed/25-Sat/28, 8:30pm; free. A dark tale about an unnamed woman and three versions of her son, directed and co-written (with Alex peri) by Mario El Caponi Mendoza.

"San Francisco Circus Center Showcase" San Francisco Circus Center, 755 Frederick; www.brownpapertickets.com. Fri/27, 7pm; Sat/28 2 and 7pm; Sun/29, 2pm; $10-20. The Circus Center presents its annual showcase.

Sci-Fi Burlesque DNA Lounge, 375 11th; www.superhappyfuntimeburlesque.com. Thurs/26, 9pm; $10-15. Six-person Michigan burlesque group puts on a show.

BAY AREA

On the Cheap listings

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On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

THURSDAY 26

The Bearded Gentleman Books Inc., 2275 Market, SF; (415) 864-6777. 7:30pm, free. Men have been growing and styling their facial hair for centuries. Hear facial hair expert Nick Burns read from his authoritative, detailed guide, The Bearded Gentleman: The Style Guide to Shaving Face, on 50 specific facial hair styles and how to grow and maintain them.

“On Artists and Institutions” Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 6pm, free. Curators Stuart Horodner and Betti-Sue Hertz and artist Sergio de la Torre discuss the relationship between local artists and their city’s arts institutions, and the meaning of “local” in an increasingly globalized art world. RSVP required, email tlam@ybca.org.

“Seedy Side of SF” Bender’s Bar and Grill, 806 South Van Ness, SF; (415) 824-1800. 8pm, free. Check out six short silent films from Grumblefish Films that depict the darker sides of San Francisco, with slapstick humor revolving around heavy drug use, hard boozing, jerk landlords, and more from the underbelly we all know and love.

BAY AREA

007 Jack London Square, 2 Webster, Oakl.; www.jacklondonsquare.com. 7:30pm, free. Practice your double agent skills at this free showing of the newest James Bond movie, Quantum of Solace, coupled with some James Bond trivia and DVD prizes. Prepare for the night by getting a martini, shaken of course, beforehand at one of the many surrounding bars.

FRIDAY 27

BAY AREA

Eat Real Festival Jack London Square, 2 Webster, Oakl.; www.eatrealfest.com. Fri. 2pm-9pm, Sat. 10:30am-9pm, Sun. 10:30am-5pm; free. Celebrate tasty, fresh, handmade food, with a focus on food craft, street food, artisan beers, and local wines at this three day food and culture festival, where no food item will be priced over $5. There will also be DIY lifestyle demonstrations, tons of live music, films, a lit fest, a Porchlight Storytelling performance on Sunday, and more.

SATURDAY 28

Climate Change, Adaptation, and the Gowen Cypress Meet in the Presidio at the parking area at the intersection of Pacific and Walnut, SF; www.wildequity.org. 10am, free. Join Brent Plater of the Wild Equity Institute and Dr. Daniel Gluesenkamp of the Bay Area Early Detection Network for a guided tour of the Presidio’s misplaced Gowen Cypress, an endangered species that is not native to the area.

Cow Palace Farmer’s Market Cow Palace, Lower Parking Lot, 2600 Geneva, SF; 9am-1pm, free. Get some fresh and affordable produce, baked and specialty goods, live music, and more at this community farmers market, happening every Saturday through October 16.

“Regeneration Art Walk” Meet at Intersection for the Arts, 446 Valencia, SF; (415) 626-2787. Noon, free. Attend this guided art walk on Valencia street of artwork curated and created by current and previous participants in Intersection’s Leadership Training Program, exploring regeneration as an integral aspect of growth in our personal lives and communities. Meet the artists and hear about their creative process and response to the theme of regeneration.

“Wondrous Strange” SFMOMA Artists Gallery, Fort Mason Building A, Fort Mason, Marina at Buchanan, SF; (415) 441-4777. 2pm, free. Attend the closing event for the exhibit, “Wondrous Strange: A Twenty-first Century Cabinet of Curiosities,” featuring works by more than a dozen Bay Area artists and including photography, sculpture, and painting, the exhibition explores themes such as evolutionary biology and history, progress and decadence, and the carnal and the intellectual.

SUNDAY 29

“Paint Out” Presidio Officer’s Club, 50 Moraga, SF; (415) 561-5500. 11am-5pm; free, $15 to enter. All artists working in any medium are invited to participate in this California Watercolor Association outdoor painting competition, where each artist has four hours to Select a subject and paint any scene visible from the grounds of the Presidio. Each artist can exhibit one completed work to be voted on for a chance to win cash prizes.

MONDAY 30

“Pint Sized Plays” Café Royale, 800 Post, (415) 441-4099. 8pm, free. Grab a beer and enjoy a series of original short plays by local writers presented in a range of tones and styles that involve people drinking beer and end once the beer is gone. Cheers!

“Up All Night” Hemlock Tavern, 1131 Polk, SF; (415) 923-0923. 7pm, free. Join in this Porchlight Storytelling Series Open Door event, where attendees are invited to tell their own five minute story about whatever it is that they were doing all night when they should have been in bed. Sign up sheet for participants will be available shortly before 7pm.

Furballs ahead

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le.chicken.farmer@gmail.com

CHEAP EATS It’s hard to believe that Walt Whitman never ate a kimchi burrito. Maybe this is for the best, from the point of view of American literature, but that’s no help to me at 4:30 a.m.

Don’t worry, I’m getting a kitten. Not that having a kitten in the house will help me sleep, but it should provide a more cuddly, playful, and cute excuse for not being able to.

This kitten, the kitten that will be my kitten starting tomorrow (hawks and coyotes permitting), was born feral on a farm outside of Petaluma. My blackberry friend NFC and me were there on Sunday, picking blackberries. NFC, she knows the farmers from the farmers market in Berkeley. They are cheese farmers, and they’d said, “Come pick blackberries!”

So we did.

It was beautiful there. I got about three-quarters of a gallon of berries, then made the mistake of showing them to the Chunks de la Cooter next morning. By dinnertime, I didn’t have any berries. Just a kitten.

How my kitten came to be named Stoplight … well, anyone with a name-needing cat and three-year-old friends would be a fool not to ask the latter for help with the former.

So I did, I asked C. Chunk, and with great seriousness, admirable enthusiasm, and some thought, she said, “Um. Um. Um. Um … Stoplight!”

Bing, a cat was named. A litter box was bought, and the Chunks each picked out a toy for Stoplight, who will join my little hovel of horrors tomorrow. Today, besides cat-proofing the place, I am craving kimchi burritos, naps, and, of course, hot and hopeful sex. Did I mention I have given all the way up on dating?

Yay! Maybe my favorite advantage, besides the Return of Self-esteem, is that I now have more time than ever to organize the wires behind my desk. The tangle back there had gotten downright jungular ever since I started recording music again.

So I needed new glasses, so I went downtown with a buy-one-pair-get-one-free coupon in one pocket and a treasure map for kimchi burritos in the other. The map was courtesy of my new favorite fanmail sender, who had written me a little pick-me-up back in January, then a Welcome Home in March in which he’d mentioned, as Reason No. 1,498,234 for being happy to be back in San Francisco, a little place in the Financial District that was (then) offering their allegedly super-spicy Kimchi Burrito of death (or suicide burrito, or some such scary name) for free, if you could eat it in the store.

It took me two tries to find the place because my fanmailer didn’t know the name or exactly even the street, and I was expecting something more interesting sounding than “John’s Snack & Deli.” It’s on Battery Street, not far off Market, way the hell down there.

The Financial District, as you may know, is not my stomping grounds, so you will forgive me please for not headsing you up to the existence of such a thing as a kimchi burrito any sooner than this.

What do you think? It’s fan-fucking-tastic. Imagine: Korean-style barbecued beef, or bulgogi, with spicy kimchi, rice, and bits of tomato, onion, cilantro, and lettuce, all rolled up burrito-style in a flour tortilla.

I don’t want to start any riots in my own neighborhood, but … never mind.

Suffice to say, it almost ain’t fair how juicy and delicious this kimchi burrito is. If I had been eating over a mug, I could have had a nice cup of kimchi burrito tea to wash down my new favorite burrito with. As it is, I ate on the sidewalk. The real reason they can get away with a promotion like the one mentioned above: it’s takeout only, tiny, and not unpopular (not surprisingly) already.

My intention was to take one bite, then bring the rest home. Yeah, right. I finished it in one standing, straddling my bike, which afterward needed repainting. And my clothes too, and my respect for American poetry … ruined!

Everything.

JOHN’S SNACK & DELI

Mon.–Fri. 6 a.m.–6 p.m.

40 Battery, SF

(415) 434-4634

Cash only

No alcohol

 

Brilliant essay on the state of California

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Vast treatises have been written about the California mess and how we got where we are today. But a professor at UC Berkeley’s school of public policy sums the whole thing up in one brilliant, short letter to his students. You can read the whole thing here (thanks, Calitics), but the gist is that today’s generation of California kids is the collective victim of a massive swindle:


Swindle–what happened? Well, before you were born, Californians now dead or in nursing homes made a remarkable deal with the future.  (Not from California? Keep reading, lots of this applies to you, with variations.) They agreed to invest money they could have spent on bigger houses, vacations, clothes, and cars into the world’s greatest educational system, and into building and operating water systems, roads, parks, and other public facilities, an infrastructure that was the envy of the world. They didn’t get everything right: too much highway and not enough public transportation. But they did a pretty good job.


Young people who enjoyed these ‘loans’ grew up smarter, healthier, and richer than they otherwise would have, and understood that they were supposed to “pay it forward” to future generations, for example by keeping the educational system staffed with lots of dedicated, well-trained teachers, in good buildings and in small classes, with college counselors and up-to-date books.  California schools had physical education, art for everyone, music and theater, buildings that looked as though people cared about them, modern languages and ancient languages, advanced science courses with labs where the equipment worked, and more. They were the envy of the world, and they paid off better than Microsoft stock. Same with our parks, coastal zone protection, and social services.


This deal held until about thirty years ago, when for a variety of reasons, California voters realized that while they had done very well from the existing contract, they could do even better by walking away from their obligations and spending what they had inherited on themselves.  “My kids are finished with school; why should I pay taxes for someone else’s?  Posterity never did anything for me!”  An army of fake ‘leaders’ sprang up to pull the moral and fiscal wool over their eyes, and again and again, your parents and their parents lashed out at government (as though there were something else that could replace it) with tax limits, term limits, safe districts, throw-away-the-key imprisonment no matter the cost, smoke-and-mirrors budgeting, and a rule never to use the words taxes and services in the same paragraph.


That about sums it up, and I hate to say it, but my generation — the baby boomers who were supposed to change the world in such a wonderful way — is guilty of just the opposite. If the WWII folks were the Greatest Generation, then the boomers are the Selfish Generation.

The Performant: The Witching Hour — Puritan girls gone wild and midnight museum marauders

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Checking out the local arts and culture scene …

There’s no doubt about it—San Franciscans love a rock opera. From the faux-real heavy metal anthems of “Live Evil” to the afterlife explorations of “Exit Sign,” the suicide art movement of “Thanatics” to the human sacrifices of “Wicker Man,” we like our rock operas loud, messy, and tinged with darkness and humor both. So an original rock opera about the Salem Witch Trials seems an obvious pairing between our love of the darkside plus power chords. Appropriately held at the Temple nightclub on Howard, “Abigail the Rock Opera” straddles the SF rock opera line between serious and silly.

There’s some damn fine singing, particularly from Alexis Lane Jensen who plays Betty Parris, and Daniel Knop, who plays her father Samuel Parris as well as a curiously fey Giles Corey in a silver mop-top/Andy Warhol wig and every 60’s British Invasion mannerism to ever make it onto the Ed Sullivan show. There’s some really solid rocking out thanks to the band, particularly guitarist Kurt Brown (who not coincidentally co-wrote the music with Knop). Plus there are dead babies, bloody aprons, moonlit excursions in the woods, goth-y girls in leather corsets and modest bonnets, and angry men wearing glittery facepaint, Thanksgiving pageant hats, and smug patriarchal entitlement.

There are some downsides too—namely over-reliance on video projection, hard-to-follow lyrics, and not enough campy abandon. I’d have liked to see the goth angle played up more as well as the glam. Perhaps a Klaus Nomi or Gary Numan homage tucked in between the standard rock anthems, or even a little synthesized EBM and some serious stomping. But for now they’ll be performing every Thursday at 9 p.m. through September, and one hopes they’ll make it at least to Halloween, with or without a darkwave makeover.

Meanwhile, it may have been midnight, but the YBCA was far from dark during the DIYbca party last Saturday. People dressed in hand-crafted costumes floated through the hallways of the museum like so many neon-colored moths, drawn to the flames of creative crowd-sourcing and hi tech/lo brow design hacks. In the Forum, reality television was getting a send-up with the Drinking and Dancing competition featuring fun-guy trio Adonisaurus, while in the gallery, old-school industrial noisemakers Kwisp jammed on bicycle parts, metal sheets and springs, and bits of old electronics before leading a hands-on, build-your-own thumb piano workshop (the best use for bobby pins and cigar boxes ever!).

A stencil workshop with queer street artist Jeremy Novy, creative cobbling with Mrs. Vera and SCRAP, a Puma shoe design competition, and a create your own techno music lab hosted by LoveTech rounded out the midnight hour, blurring the line between performer and participant to its most malleable degree. In other words, even the fun was being crowd-sourced, and pretty successfully so. Party promoters take note. You can hire all the big brand bands and fog machines and light-show designers you want, but for a really memorable event, you might want to consider adding a crafting circle to your lineup. Just saying. [Editor’s Note for craft aficionados — there is a wild Haute Gloo craft table every Friday night at the Stud‘s Some Thing drag party! And it totally works.]

Appetite: 2 delicious food events on the horizon

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8/21 LA COCINA SF STREET FOOD FESTIVAL: Everyone who was there last year recalls the nightmare that was the SF Street Food Festival: three hour waits for a bite, only to find much of it gone by the time you reached the front of the line. I went at the 11am start time last year, yet still only got to try two vendors in two hours. At least I was able to hang out in the cocktail and beer garden awhile, as I heard that, too, was an impossible wait before long.

The organizers of the event are intent on making it different this year. Only time will tell, but the physical space is seven times larger, with four times as many vendors. I have long been a fan of La Cocina as a community treasure, and there are some new people behind the scenes this year who have a good track record with organizing large events. I’m hopeful… but you’ll still find me there at 11am, just in case.

Yes, beer, wine and spirits gardens have returned. You know I’m looking forward to cocktails by bartenders from Rye, The Alembic, and Beretta. There’s an eating contest hosted by none other than Pepto-Bismol (oh, the irony!) How about a scavenger hunt and silent auction? Or an after party at Cocomo with live salsa, dancing and street food? La Cocina will host the first annual San Francisco Street Food Conference on August 22-23 following the festival, with panelists discussing the political, economic, and social impact of street food vending.

At the festival, expect 40 food vendors and restaurants, plenty of drink and a celebration of all things street food in SF. Whether you’re eating street food treats from stellar restaurants like Aziza, Nombe or Flour+Water, from actual street carts and trucks like Curry Up Now or Kung Fu Tacos, or La Cocina greats such as Kika’s and El Huarache Loco, you should not leave hungry.

Saturday, August 21, 11am-7pm
In the Mission at Folsom from 24th-26th Sts., 25th from Shotwell-Treat Sts., Treat St. from 25th-26th Sts.; Garfield Park
Passports for eating range from $25-$150 can be purchased in advance, or bought a la carte the day of
www.sfstreetfoodfest.com

8/27-29 EAT REAL FESTIVAL IN JACK LONDON SQUARE: I also attended Oakland’s three-day Eat Real Festival last year and, being in a much bigger space with more vendors, it was considerably easier to navigate than the SF Street Food Festival. In fact, I tried well over a 15 vendors last year, finding many exciting eats and drinks from SF and East Bay purveyors. About five hours into Saturday, the heat and lines became unbearable, but I got in five great hours of eating first, with no body-to-body crowds.

Eat Real Fest focuses on sustainably produced products and regional food producers and farmers. With 80 street food trucks and carts comes a limitless amount of eating possibilities. There’s also an Urban Homesteading Zone highlighting DIY food acts like canning and preserving, cheesemaking, animal husbandry, and vertical gardening – with contests, in case you want to enter your own wares. Try fermentation tasting stations with kombucha, wine, handcrafted beer, iced teas and lemonades. There’s an outdoor short film fest, a literary portion of the festival with Bay Area writers talking food, and an entertainment stage with music, sure, but also pizza tossing, noodle pulling and a Flying Knives butchery contest.

Friday-Sunday, 8/27-29, 2pm-9pm (Fri), 10:30am-9pm (Sat), 10:30am-5pm (Sun)
Jack London Square, Oakland
Food and drink tickets will be sold on-site
www.eatrealfest.com

Hot sexy events Aug 18-24

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Two words to understand why sex at Burning Man requires some amount of pre-playa study: alkaline dust. You do not want the stuff getting in while you do, lemme tell ya. So it is a very, very nice thing that Pink, one of Mission Control’s pansexy sex parties, is providing a primer on playa pussy (Fri/20). Subjects covered in the course? How to look for sexy in the barely clothed insta-city, tips for romping through the heat and psychedelia, and the importance of spray bottles when you’re getting with that neon fur-clad bunny you met by the ice stand.

 

Queer, Poly, and Under 30

So, what’s that like? Apparently, enough are interested in the successful maneuverings in the world of polyamory by the under-30 set that the Center for Sex and Culture planned a panel on the subject. Your experts? Among others, Jiz Lee, genderqueer porn star; Allison Moon, former mayor of Burning Man’s Camp Beaverton’s Home for Wayward Girls, and moderator Reid Mihalko, sex-help web guru. 

Thurs/19 7-9 p.m., $10 suggested donation

Center for Sex and Culture

1519 Mission, SF

(415) 255-1155 

www.sexandculture.org


Spunk

You know us youngsters, always listening to them iPod contraptions. Well now there’s a way for the gay men among us to shuffle up the tunes and their partners at the same time. I’m talking about Spunk, the weekly party for 18-29 year old members at Eros, which promises that the evening’s soundtrack will be comprised of “music most often heard on ipods, and swapped among friends.” Mmmm racy vagueness… 

every Thursday 4 p.m.- 12 a.m., $8

Eros 

2051 Market, SF

(415) 255-4921 

www.erossf.com


Pre-Pink Playa Sex Playshop

Pay good attention to your teachers – Doctor Friendly and Miss Pringle know what they’re talking about when it comes to Black Rock booty. Stay after the course for a little pre-fest warmup: the Pink party is on directly after. Come gussied up in next week’s costume to inject an extra hit of playa pizazz.

Fri/20 9-10:15 p.m., $20-30 members only

Mission Control 

2519 Mission, SF

www.missioncontrolsf.org


The Mystery and Seduction of Electro Play

Lady Ripplee Severin has this to say about her first, electrifying BDSM experience: “I found myself seduced and lured to the sound, sent and feel of this visceral form of BDSM play. The first time that violet wand touched my skin, I knew then I was hooked.” She sure sells the shock, no? Bring your electrical device if you’re well-versed in this kind of play – and curious bottoms, come prepared to be turned on. 

Sat/21 6-8 p.m.

Email BigPinkHouseSF@gmail.com for location and price

www.soj.org/calendar

 

Keeping It Hot in an LTR

It sounds like a sexy sportscar, no? But Lisa Skye Carle is actually using “LTR” to refer to a “long term relationship” – shhh don’t let the secret get out! Sometimes, the fact that you and your sweetie have been together forever can seem like a fact you want to forget in the bedroom. But it just doesn’t have to be like that. This course promises to show you lust and laviciousness, even in eyes you know as well as your own. 

Tues/24 6-8 p.m., $25-30

Good Vibrations

1620 Polk, SF

(415) 345-0400

www.goodvibes.com

 

The Eyes Have It/Swap It Out!

So you’ve got your Folsom Street Fair outfit picked out, but that black eyeliner is hard to apply! And come to think of it, the black platforms you have aren’t quite the same black as your bustier and cape… man, something just isn’t right. No worries, my leather love, the Citadel’s got you covered. Bethie Bee is presenting a two part course on makeup and fashion this week. Makeup is Tues, when basic looks are covered, and on Wednesday a clothing swap is being held to make sure you’re fly for the Fair.

Tues/24 8-10 p.m., $20

Weds/25 7:30-9:30 p.m., free if you bring 5 items or more

SF Citadel 

1277 Mission, SF

(415) 626-1746

www.sfcitadel.org

 

Rep Clock

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Schedules are for Wed/18–Tues/24 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $3-6. “OpenScreening,” Thurs, 8. For participation information, contact ataopenscreening@atasite.org. “Other Cinema Digital and Alternative Digital Domain present Kwik Gigs 66: Time,” works by Cal Volner-Dison, Hannah Ruskin, and more, Sat, 9. “ATA Sunday Salon,” live music with ASSS, Jesse Kudler and Chandan Narayan, and Particle Board, Sun, 4.

CANNERY 2801 Leavenworth, SF; (415) 771-3112, www.thecannery.com. Free. Sister Act (Ardolino, 1992), Sun, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “Double Stanwyck:” •The Bitter Tea of General Yen (Capra, 1933), Wed, 2:30, 5:40, 8:55, and Baby Face (Green, 1933), Wed, 4:15, 7:30. •Greenberg (Baumbach, 2010), Thurs, 3, 7, and Please Give (Holofcener, 2010), Thurs, 5:05, 9:10. “Midnites for Maniacs: Bullies Getting Bullied:” •Revenge of the Nerds (Kanew, 1984), Fri, 7:30; The Outsiders: The Original Cut (Coppola, 1983), Fri, 1983; and Class of 1984 (Lester, 1982), Fri, 11:45. “Harryhausen 90: Day One:” •The 7th Voyage of Sinbad (Juran, 1958), Sat, 1:30, 7:30; Jason and the Argonauts, (Chaffey, 1963), Sat, 3:20, 9:15; and The Golden Voyage of Sinbad (Rózsa, 1973), Sat, 5:25. “Harryhausen 90: Day Two:” •Earth vs. the Flying Saucers (Sears, 1956), Sun, 1:30, 7; 20 Million Miles to Earth (Juran, 1957), Sun, 3:10, 8:45; and It Came From Beneath the Sea (Juran, 1957), Sun, 5:15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. The Girl Who Played With Fire (Alfredson, 2009), call for dates and times. Lebanon (Maoz, 2009), Aug 20-26, call for times. Everything Strange and New (Bradshaw, 2009), Sun, 6:30. With filmmaker Frazer Bradshaw and star Jerry McDaniel in person.

“FILM NIGHT IN THE PARK” This week: Creek Park, 451 Sir Francis Drake Blvd, San Anselmo; (415) 272-2756, www.filmnight.org. Donations accepted. Notorious (Hitchcock, 1946), Fri, 8; Coraline (Selick, 2009), Sat, 8.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Forbidden Planet (Wilcox, 1956), Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100 (reservations required). $10. “CinemaLit: Musicals With a Message:” Chicago (Marshall, 2002), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Akira Kurosawa Centennial:” Dersu Uzala (1972), Wed, 7; The Quiet Duel (1949), Thurs, 7; Ran (1985), Sat, 5:30 and Sun, 7:30. “Viva La Revolución: Celebrating the Hundredth Anniversary of Mexico’s Revolution:” Let’s Go With Pancho Villa! (de Fuentes, 1935), Fri, 7; La soldadera (Bolaños, 1966), Fri, 9. “Modernist Master: The Cinema of Francesco Rosi:” To Forget Palermo (1990), Sat, 8:30. “Film on Film Foundation Presents:” Endless Lvoe (Zeffirelli, 1981), Sun, 4.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-9. The Killer Inside Me (Winterbottom, 2010), Wed-Thurs, 7, 9:20 (also Wed, 2). Joan Rivers: A Piece of Work (Stern and Sundberg, 2010), Fri-Sat, 7:15, 9:15 (also Sat, 2). Blank Slate Sun, 4 (free admission). Get Him To the Greek (Stoller, 2010), Sun-Tues, 7, 9:20 (also Sun, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-11.50. Alamar (González-Rubio, 2009), Wed-Thurs, 7:15, 8:45. Lourdes (Hausner, 2009), Wed-Thurs, 7, 9. “Not Necessarily Noir:” The Creeping Unknown (Guest, 1956), Fri, 5:45, 9:15; Invasion of the Body Snatchers (Siegel, 1956), Fri, 7:30, 11; 13 West Street (Leacock, 1962), Sat, 2:15, 6:15, 10; Mirage (Dmytryk, 1965), Sat, 4, 8; The Strange One (Garfein, 1957), Sun-Mon, 8 (also Sun, 4); Something Wild (Garfein, 1961), Sun-Mon, 6, 10 (also Sun, 2); Terror in a Texas Town (Lewis, 1958), Tues, 6:15, 9:50; Day of the Outlaw (De Toth, 1959), Tues, 8. VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10. “Bay Area Filmmakers Series Vol. 2: Junichi Suzuki War Documentaries:” Toyo’s Camera (2008), Wed-Thurs, 12:50 and 5; 442: Live With Honor, Die With Dignity (2010), Wed-Thurs, 2:50 and 7. “Kurosawa On Sword Battles: Samurai Saga Vol. 2:” Seven Samurai (1954), Fri, 7; Sat, 1; Sun, 3:30; Rashomon (1950), Sat and Mon, 7; Sun, 1; Aug 24-25, 5; Yojimbo (1961), Mon, Aug 27, and Aug 31, 4:30; Tues and Aug 26, 7; Aug 28, 1:30. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Something From Nothing: Films on Design and Architecture:” Rem Koolhaas: A King of Architecht (Heidingsfelder and Tesch, 2008), Sun, 2.

Our Weekly Picks: August 18-24, 2010

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WEDNESDAY 18

THEATER

Macbeth

Cal Shakes follows its recent production of MacHomer with the original Macbeth — and proof that pop culture is but a palimpsest. This company always manages to inject new life into any well-known or overdone Shakespeare play and here, the troupe remains loyal to the dark side of everyone’s favorite regicidal maniac. The website boasts that this version doesn’t “shy away from the brutal, violent nature of the work,” so it would be imprudent of you to bring your children. Macbeth, with all its insoluble blood stains, C-sections, and beheadings will remind you of how fucked up the theater really could be back in the 1600s. (Ryan Lattanzio)

Through Sept. 12

Tues-Sun, performance times vary, $20–$65

California Shakespeare Theater

100 California Shakespeare Theater Way, Orinda

(510) 548-9666

www.calshakes.org

 

EVENT

“Tick-Tock: Linear and Visceral Expressions of Time”

In conjunction with its Now and When exhibition (on view through Sept. 4), the San Francisco Arts Commission is hosting a discussion on time between Jeannene Przyblysk, executive director of the San Francisco Bureau of Urban Secrets, and Alexander Rose, executive director of the Long Now Foundation. Time, they will argue, doesn’t just operate on a linear schedule: the past and future can be bent, juxtaposed, and collaged into other events and moments that allow the malleability of memory and untethering of tomorrow. The effects of this loosening carry a visceral register. Baby, this is moving too fast, can we slow it down a bit to figure things out? (Spencer Young)

6:30-8 p.m., free (reservations required)

SFAC Main Gallery

401 Van Ness, SF

(415) 554-6080

www.sfartscommission.org

 

MUSIC

WAVVES

Twentysomething Nathan Williams has had a pretty unbelievable couple of years, teeter-tottering between indie blog success and proud poster child for a recent glut of lazy-sounding DIY bands. Williams does little to sway critics from seeing him only as the latter — most of his lyrics glorify either weed or “being bored” — but there has always been a charming immediacy to his lackadaisical approach. Having stumbled on a winning blueprint like that, it comes as a surprise to listen to Williams’ latest album, King of the Beach, and find that the musician appears to have grown weary of making that same record over and over again. In dropping a lot of the scuzz and picking up the late Jay Reatard’s solid backing band, Beach primes Williams as the poster child for something completely different: the party record of the summer. (Peter Galvin)

With Young Prisms

7:30 p.m., $14

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

THURSDAY 19

THEATER

“Solo Performance Workshop Festival”

From under the radar comes this showcase of new and recently acclaimed solo performance, as the Solo Performance Workshop celebrates five years developing original work in StageWerx’s sub–Sutter Street lair. The venue may be underground, but shows spawned under direction of founders Bruce Pachtman (Don’t Make Me Look Too Psychotic) and performer-director W. Kamau Bell (The W. Kamau Bell Curve) have gone on to far-flung success. Some of these — including Jennifer Jajeh’s I Heart Hamas and Enzo Lombard’s Love, Humiliation, and Karaoke — return for the two-week fest, which also launches Bell’s latest venture: AAAAAAAAAARGH!: A Solo Comedy About How Frustrating Frustration Can Be. All of which stands to be pretty satisfying, actually. (Robert Avila)

Through Aug. 29

Thurs.–Sat., 8 p.m.; Sun., 7 p.m., $20–$30

StageWerx Theatre

533 Sutter, SF

www.stagewerx.org

 

VISUAL ART

“Photographer: unknown

Photography has served a casual or practical purpose in countless lives ever since cameras were widely available to the public. Still, most amateur photographers in years past probably never expected their work to be up on a gallery wall. Taking the opposite approach, Robert Tat Gallery seeks out vernacular photographs (photos not intended as art) worthy of appreciation in a new context. Their “accidental art” photos are “generally acquired at flea markets, antique stores, estate sales, or literally just ‘found.'” The gallery’s press release traces the appreciation of such found photos back to the Dada movement. But since we still haven’t fully realized the wealth of art around us, it’s exciting to see a gallery celebrating the supposedly mundane. (Sam Stander)

Through Nov. 27

Tues.–Sat., 11 a.m.–5:30 p.m. and by appointment, free

Robert Tat Gallery

49 Geary, Suite 211, SF

(415) 781-1122

www.roberttat.com

 

FRIDAY 20

DANCE

Stepology’s 2010 Bay Area Rhythm Exchange

It’s time to tap into the spirit of Gregory Hines and Fred Astaire. Stepology (the nonprofit tap organization founded by renowned tap dancer John Kloss) makes it easy to channel the tap masters with the annual Bay Area Tap Festival. Inspiring dancers and nondancers alike, Stepology’s week-long tap extravaganza brings some of the nation’s most talented tappers together to lead classes, workshops, and demonstrations. The festival culminates with the Bay Area Rhythm Exchange, an annual concert performance. Acclaimed musicians and tap artists Channing Cook Holmes, John Kloss, Mark Mendonca, Jason Rogers, Dormeshia Sumbry-Edwards, Sam Weber, and Lukas Weiss (to name a few) grace the stage at this year’s Rhythm Exchange. (Katie Gaydos)

Through Aug. 21

8 p.m., $25

Herbst Theatre

401 Van Ness, SF

(415) 392-4400

www.stepology.com

 

SATURDAY 21

FILM

Bassem Yousri

Catch two experimental documentaries by Bassem Yousri, a recipient of a 2009-10 Kala Fellowship, as part of the ongoing series “Residency Projects,” featuring works by all the fellowship artists. Yousri’s films, Keep Recording (2009) and Still Recording, are set in Cairo and Philadelphia, respectively. His premise is the same for each: use a low-budget video camera and record footage of the city and its people. In Godfrey Reggio fashion, Yousri navigates unfamiliar urban contexts, and the films’ meanings arise through this kind of episodic assembling where artist is at the mercy of environment. (Lattanzio)

2 p.m., free

Kala Gallery

2990 San Pablo, Berk

(510) 841-7000

www.kala.org

 

MUSIC

“Joe Strummer Tribute”

A tribute show can be a dicey prospect, especially if the artist being honored isn’t alive to comment. Sometimes it’s better to leave a dead legend’s legacy well enough alone instead of trying to embroider it posthumously. Still, when it comes to someone like Joe Strummer, different rules apply. Annual tributes to the punk pioneer have been held in SF for the past seven years, and something tells me that their focus on local bands would have gibed well with Strummer’s music-to-the-people ethos. This year’s show features the Armagideons, the Hooks, Monkey, Sistas in the Pit, Stigma 13, and Interecords, and its proceeds benefit Strummerville, a charity that provides funds and support to struggling musical talents the world over. (Zach Ritter)

9 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

DANCE

“House Special 2010”

ODC Theater’s “House Special” gives selected choreographers two weeks to create new dance works before premiering them in the intimate ODC Dance Commons. Now the two weeks are up and the show is ready. Although vastly different in terms of choreographic styles and interests, the three artists in residence all share a common passion for social activism. Brazilian native Tania Santiago and her dance company Aguas Da Bahia explore the deep roots of Afro-Brazilian traditions; Jesselito Bie’s Steamroller Dance Company’s newest work Big Homo Love Explosion explores sexuality, gender, and race; while Pearl Ubungen’s SF Bardo Project investigates the cultural landscape of the city while contemplating death and dying from a Tibetan Buddhist perspective. (Gaydos)

8 p.m., $15

ODC Dance Commons

351 Shotwell, SF

(415) 863-9834

www.odctheater.org

 

EVENT

Art and Soul Festival

No “adjectives on the typewriter” can quite sum up why Cake was a perfect soundtrack for the 1990s, and an even better one for the shift into the aughts and beyond. This year, for the 10th anniversary of Oakland’s Art and Soul Festival, John McCrea and his fellow fellas bring rockable irony to the Main Stage. Don’t remember “Shadow Stabbing” or “Never There”? Fear not. Cake hasn’t released a studio album since 2004, so this show will definitely jog your memory with the hits — and very few of the songs in their canon aren’t hits. Hailing from Sacramento, this band seems to understand West Coast sensibilities of spliffs, catchy riffs, and kicking it with friends to some music under a Saturday sunset. (Lattanzio)

Sat/21, 12:30 p.m. (Cake plays at 4:30 p.m.);

Sun/22, 12:45 p.m., $8–$15

12th and Broadway, Oakl

www.artandsouloakland.com

 

SUNDAY 22

FILM

Endless Love

Critically mauled at the time, this 1981 adaptation of Scott Spencer’s acclaimed novel is being offered up for “rediscovery and reevaluation” by the ever-idiosyncratic local Film on Film Foundation. Martin Hewitt plays David, a high school senior who finds the warm family vibe he lacks at home at the Butterfields, where 15-year-old daughter Jade (Brooke Shields, still wet from 1980’s The Blue Lagoon) is his girlfriend. But his passion for her runs a little too hot, even for this very free-thinking clan, and when he’s banned from future contact, he concocts a scheme to restore his status that turns disastrous. An amour fou melodrama further inflamed by director Franco Zeffirelli’s customary gauzy romanticism — and providing him with opportunity for more exposed boy butt than 1968’s Romeo and JulietEndless Love likewise swoons over roiling teenage libidos with a near-gaga intensity. There is a certain amount of adult actor hysteria and overripe sweetness, as well as only semi-convincing eroticism. But Shields is perfectly adequate in her last adolescent part, and Hewitt, whose career didn’t last, is excellent as the obsessed BF whose love is maybe a little too endless. Other attractions include a very young James Spader as Jade’s snarky older brother and Tom Cruise (his first role) as one of their friends. Yes, the book was better (if also a little overripe). But belying its camp reputation, this movie is actually pretty good. (Dennis Harvey)

4 p.m., $8

Pacific Film Archive

2757 Bancroft, Berk.

www.filmonfilm.org

 

TUESDAY 24

MUSIC

Bad Brains

Ever since their seminal 7-inch debut, 1980’s Pay to Cum, the Bad Brains have hewed a truly bizarre path through the musical landscape, perfecting punk rock and reggae on the strength of jazz fusion-honed technical ability and a commitment to speed. Their career (and that of unpredictable singer H.R.) has been peripatetic for many years now, but despite the profusion of Jah-loving jam-outs at recent shows, there’s only one Bad Brains, and they’re not getting any younger. Go to see — without hyperbole — one of the most unique bands to ever play rock ‘n’ roll. (Ben Richardson)

With Broun Fellinis

9 p.m., $26

Slim’s

333 11th St, SF

(415) 255-0333

www.slims-sf.com 

 

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

 

Listen to the animals

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MUSIC Moira Scar is from the Bay Area, but it would be better to put it this way: from a time and space at the edge of one of Jack Smith’s 15-hour performances in a crustacean imaginative nethersphere, the musical entity that is Moira Scar has arrived. The duo’s self-released vinyl debut Slink to Intensity is made up of seven songs. Some manifest in frenetic outer space garage sounds. Others conjure sprawling free-jazz fantasy lands just beyond the negative space of a film frame. Slink to Intensity also features three photos of the group’s LuLu Gamma Ray and Roxy Monoxide in nakedly wild attire. The spirit of Mary Daly would approve. I recently asked Moira Scar about itself.

SFBG Moira Scar moves, but not in a typical running or walking way. it meanders or sallies forth, wiggles like a wildebeest, dances or slinks to intensity. What kind of human or animal actions do you find inspiring, and what reactions do you want people to have to your music?

Roxy Monoxide To become your own mystical beast. Still influenced by the made-up animal friends of childhood, along with the ideal that we can somehow stand up with the wild animals of the world and learn to coexist as animals again. But then again, stuck between predator and prey, the tiger mouth chews on her own zebra hinds, kind of like ouroboros.

LuLu Gamma Ray Haunting tones of the waddell seals inspire, along with loud boomings of the Lyrebird, which has two sound sources and can produce a far greater variety of sounds than human beings. Animals and plants have wide ranges of emotions, vast intelligence, and can impart important information if only we’d listen.

SFBG Can you tell me a bit about the vintage-horror film analog sounds in "You Make Me Scream" and how you made them?

LLGR The eerie entrancing sounds are made with a CAT SRM2 70’s analog synth’s pulse width modulation. I play electronic music and musique concrete in the lineage of Delia Derbyshire, Ruth White, Sun Ra, and David Tudor, as well as other courageous musical astronauts.

SFBG What is Moira Scar’s favorite Nino Rota score? For me, you also bring to mind the organ sounds in the movie Carnival of Souls.

LLGR Nina Rota’s cut-up method in Juliette of the Spirits is influential, and also the camp and beauty of organists Korla Pandit and Anton LaVey. Many spirits passed and future possess the vessel’s Pelvis and Saphoid, and are warped and distorted through our lens to create the Muse-ick

SFBG What do you like about Jean Vigo’s L’Atalante?

RM The bittersweet realism with poetic montage, the slacker anarchy and feebleness of our lives expressed through human and cat coexistence aboard barge on 1930s Seine and Paris backdrops, with antagonistic relationships and the wise drunken fool; Moira Scar can’t help but being romantic in spite of our psycho-depressive tendencies, or maybe because of them.

SFBG What drug is most recommended for listening to Moira Scar?

RM Moira is the drug. We have been told that we are like watching Forbidden Zone on acid, and some fans enjoy their lubricants while dancing to Scar. But for us the muse possession is the best high.

SFBG What is Moira Scar’s vision of the future?

RM A show with Bambi Lake, M. Lamar, the Deepthroats, and Omnivourous Sinsillium; and us as vegan witches in a world of cannibal zombies.

LLGR To wake the audience from corporate hypnosis with insect and alien soundscapes. Realign nutrinos and journey through the wormhole with us!

RM and LLGR Transmogrify!

MOIRA SCAR

With Tongue and Teeth, Deep Teens

Aug. 26, 9 p.m., 21 and over

The Stud Bar

399 Ninth St., SF

www.studsf.com


Aug. 31, 10 p.m., all ages

SubMission

2183 Mission, SF

www.sf-submission.com

Stage Listings

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

THEATER

OPENING

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Previews Fri/20-Sun/22, 8pm. Opens August 28, 8pm. Runs Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Opens Sat/21, 3pm. Runs Sat-Sun, 3pm (also Sept 5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by ian tracy.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Previews Wed/18-Fri/20, 8pm. Opens Sat/21, 8pm. Runs Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). California Shakespeare Theater presents the tale of unbridled ambition and its consequences, directed by Joel Sass.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Previews Fri/20-Sat/21 and Tues/24, 8pm; Sun/22, 2pm. Opens August 26, 8pm. Run Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

 

ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Thurs/19, August 26, 9pm. Through August 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Divalicious New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-28. Wed-Sat, 8 p.m.; Sun, 2pm. Through Sun/22. Leanne Borghesi takes on the music of legends ranging from Garland to Midler.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun, 8pm. Through August 29. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through August 29. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory (“Peaceweavers”), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of “Esta es Nuestra Lucha” passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

Sex Tapes for Seniors Victoria Theatre, 2961 16th; (800) 838-3006. $20-40. Fri-Sat, 8pm; Sun, 2pm. Through Sun/22. Older people have sex. It’s a revelation, incredibly, for the new, blandly do-goody yoga instructor (Erin Reis) at a retirement village called Shambhala Springs in the premiere of Mario Cossa’s sweet, sassy, but somewhat sterile and long-winded new musical. It’s maybe an eye-opener too for anyone in the audience too young to remember doing it in the Sixties—let alone in your sixties—and by eye-opener we mainly mean the ability to keep at least one eye open the entire show. Older audiences may find more to appreciate here. The odd cast of characters includes three couples—one straight (Charmaine Hitchcox and Terry Stokes), two gay (Phillipe Coquet and John Hutchinson; Rebecca Mills and Carolyn Zaremba), and a single widow (Nancy Helman Shneiderman) who dates but keeps another marriage at bay. (I promised myself I wouldn’t use the word feisty, but she is, as are several of the others.) They come up with a plan to make and sell the titular product, much to the horror of relatives and some other residents. But the storyline has more do to with individual relationships and the challenges of aging gracefully and living well. Performances are uneven, entrances routinely late, but there’s a built-in charm to that. Tyler Flanders’ music, however, generally limps along (despite dutiful treatment by a three-piece band) and Cossa’s lyrics only rarely stir. Although at least once all hell breaks loose: in the rousing, if not exactly arousing, number devoted to the fellatic benefits of dentures. Indeed, this play should probably have an NC-71 rating. (Avila)

*Show and Tell Thick House, 1695 18th St; (800) 838-3006, www.symmetrytheatre.com. Thurs-Sat, 8pm; Sun, 5:30 pm. Through Sun/22. $25. Symmetry Theatre Company, an impressive new group dedicated to addressing gender disparity in the casting of professional actors, makes a memorable debut with this expertly crafted, sinuous drama about the psychological aftermath—and tangled social roots—of a bombing in a small-town schoolroom from playwright (and former SF rez) Anthony Clarvoe (Control+Alt+Delete). The sole survivor of the horrific and mysterious attack is the stunned, deeply perplexed teacher (an affecting, quietly intense Chloe Bronzan), soon surrounded by grief-stricken parents demanding their childrens’ remains and a tight-knit, jaded forensics team led by a gradually smitten FBI agent (a suavely imposing Robert Parsons). Julia Brothers, Wylie Herman, Jessica Powell, and Erika Salazar round out a strong ensemble under the assured direction of Laura Hope, whose engaging production leaves much to think about in the realm of private turmoil and public chaos—including the nature of grief, modernity’s systemic violence, and the disorder generated and managed by the self-same state. Kate Boyd’s lush, strikingly ambiguous video design (featuring a set of evocative childrens’ drawings) and Cliff Caruthers’ beautifully spare and haunted sound (featuring a delicate stream of child voices) add measurably to the expanse of the play’s existential and political universe. (Avila)

Skin Tight CounterPULSE, 1310 Mission; www.counterpulse.org. $20 ($35 for gala opening). Thurs-Sat, 8pm. Through August 28. Rapid Descent Physical Performance Company presents the SF premiere of Gary Henderson’s play.

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sept 4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ “A Streetcar Named Desireincludes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in “Cat on a Hot Tin Roof,” Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sept 4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

This World Is Good Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Thurs-Sat, 8pm. Through August 28. $18-24. The 1990s are giving way to a millennial moment of anti-climax known as Y2K, but the anxiety and dread are real, and the bloodiest century in human history looks poised to be outdone by the doom-drones of the next. Making at least academic sense of all that angst is Ally (Dina Percia), a brilliant young Latina writing her doctoral dissertation on Grunge and its landscape of youth alienation. Her best friend and occasional lover is a smitten young English prof (Damian Lanahan-Kalish), a dork with a degree and the pet name Scrotum Face. But as she delves into the world of ideas, Ally loses track of her family: single mother Emmy (Tessa Koning-Martinez) and, more tragically, talented but emotionally tortured younger brother Sam (Shoresh Alaudini), whose battered mind and compassionate heart craft a graphic story around a new “super hero” with no costume, no parallel identity, and indeed no special powers. When her family collapses, Ally reassembles the pieces from a new vantage, outside the ivory tower, where she makes art from a sort of crystalline “ordinariness” that complements her brother’s all-too-ordinary super hero. This World Is Good is the opening gambit in a new trilogy by local playwright J.C. Lee called This World and After, all being presented by Sleepwalkers Theatre this season. Artistic director Tore Ingersoll-Thorp helms a competently acted production, which helps lend Lee’s ambitious scope its tangible human proportions, though in truth the characters do not always feel fully drawn. There’s a fine monologue from Sam, both chilling and exhilarating, but also a proclivity throughout for awkwardly poetical speeches over dialogue. Still, there’s subtlety and real humor in the best parts, and enough here to want to see more. (Avila)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Blithe Spirit Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkely.org. $12-15. Fri-Sat, 8pm; also Thurs/19, 8pm. Through Sat/21. Actors Ensemble of Berkeley essays the eternal Noel Coward comedy, about a (naturally) Coward-esque writer (Stanley Spenger) who for the purposes of research and any passing amusement it may provide invites over a celebrated medium (an amusingly puffed-up Chris Macomber), only to have her inadvertently summon the ghost of his ex-wife (Erin J. Hoffman), who mischievously begins to drive a wedge between him and his new wife (Shannon Veon Kase). Director Hector Correa’s not-always-fitting casting choices contribute to a drearily perfunctory tone at the outset, which makes the first scenes somewhat painful going. However, Spenger proves admirably dry and restrained in the lead, and things pick up measurably with the arrival of the titular ghost, played with playful, bounding energy and notable grace by Hoffman. (Avila)

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Sept 12. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*Machiavelli’s The Prince Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centralworks.org. $14-25. Thurs-Sat, 8 p.m.; Sun, 5pm. Through Sun/22. Set in an intimate salon-space in the Berkeley City Club, this stage adaptation of one of the most famous documents on political power ever written gains a certain conversational quality. In fact, the script, penned by Gary Graves, is really just one long conversation—an imagined encounter between Nicolo Machiavelli and the man he dedicated his treatise to, Lorenzo de Medici II. Machiavelli (Mark Farrell) has been called by de Medici (Cole Alexander Smith) to possibly regain favor in his court after a long banishment. With him he brings a notebook of his musings on gaining and retaining political power, which he bestows on Lorenzo for him to read. As the Duke of Florence, Smith plays his character with the measured dignity and watchful countenance of a career mobster. He protests the extremism of his former teacher’s philosophy of rule even as he is casually seduced by its implications. Farrell’s Machiavelli tries to play his position with calculated Mephistopheles cool. However, he cannot escape the obvious taint of his own failures, and eventually, for all his talk of power, he is revealed to be ultimately powerless, though his ideas remain with de Medici, long after he himself is let go. (Gluckstern)

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Dates and times vary. Through Sept 5. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

PERFORMANCE/DANCE

Bay Area Rhythm Exchange War Memorial and Performing Arts Center, Herbst Theatre, 401 Van Ness; 392-4400, www.stepology.com. Fri/20-Sat/21, 8pm. $17-25. Bay Area Tap Festival artists perform.

“Disoriented” Stage Werx Theater, 533, Sutter; www.brownpapertickets.com. Thurs/19, 8pm, $20. A trio of solo performances by Zahra Noorbakhsh, Colleen “Coke” Nakamoto, and Thao P. Nguyen.

“House Special” ODC Dance Commons, 351 Shotwell; www.odctheater.com. Sat/21, 8pm, $15. New work by Pearl Ubungun, Jesseilto Bie, and others.

Landscape With the Fall of Icarus Climate Theater, 470 Florida; www.brownpapertickets.com. Fri/20-Sat/21, 8pm, $15. Samauel Topiary presents an evening-length performance work.

“Sinners and Salivation-Themed Drag King Contest” DNA Lounge, 375 11th; www.sfdragkingcontest.com. Fri/20, 8pm (band) and 10pm (show), $20-35. The 15th annual contest, with special guest Jane Wiedlin, benefiting PAWS.

BAY AREA

“New Works Festival” Lucie Stern Theatre, 1355 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Dates and times vary. Through August 22. $15-25 ($75 for festival pass). TheatreWorks presents its ninth annual festival.

On the Cheap Listings

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On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 18

“El Grito de la Mission” Southern Exposure, 3030 20th St., SF; (415) 863-2141. 6pm, free. Join Southern Exposures and the youth, artists, and community partners who participated in the Mission Voices Summer program for a final exhibition featuring new work, installations, interactive performance, food, and refreshments.

Hear It Local 111 Minna Gallery, 111 Minna, SF; (415) 974-1719. 6:30pm, free. Celebrate the San Francisco launch of www.hearitlocal.com, which provides a community-building platform for the local, independent music scene. Featuring performances by the Nice Guy Trio, Quinn Deveaux, and Kelly MacFarling, a music photography exhibit by Niall David and Audra Marie Dewitt, and more.

NASA Space Telescope Randall Museum, 199 Museum Way, SF; (415) 554-9600. 7:30pm, free. Astrophysicist Bryan Mendez will tell all there is to know about NASA’s new Wide-field Infrared Survey Explorer (WISE) telescope, launched unmanned in 2009 to search for asteroids, stars, the origins of stellar and planetary systems, and anything else the galaxies could reveal.

THURSDAY 19

Chrome Chrome Retail, 580 4th St., SF; (415) 820-5070. Noon, free. All Chrome products will be 30% off all day while all proceeds from the Noon-3 BBQ and the 4pm-8pm dollar beer happy hour will benefit the San Francisco Bike Kitchen.

Drunken Dish Asian Art Museum, 200 Larkin, SF; (415) 581-3500. 5pm, $10. Head to this month’s installment of Matcha, the Asian Art Museum’s monthly late night discounted party, for a talk and demonstration on Shanghai cuisine, specifically, how to make drunken chicken. Also featuring special gallery tours, cocktails, DJ music, and more.

Jaws Hyde Street Pier, 2905 Hyde, SF; (415) 561-6662. 7:30pm, $5 suggested donation. If you thought Jaws was frightening to watch on land, see if you can survive watching it on the Eureka, “the longest floating wooden ship on Earth.” Part of the San Francisco Maritime Nat’l Park Association’s film series to raise money to benefit their education and preservation programs.

“Persistent Voices” Magnet, 4122 18th St., SF; (415) 581-1600. 8pm, free. Inspired by the anthology, Persistent Voices: Poetry by Writers Lost to AIDS, poets will read and perform works from the anthology in addition to some new pieces inspired by the book. Featured readers include Judy Grahn, Kevin Killian on Steve Abbott, Jaime Cortez, Thandiwe Thomas, and more.

SF Jazz Summerfest Union Square, Geary at Powell, SF; www.sfjazz.org. 6pm, free. Heat up your foggy summer blues with a free jazz concert in the park with Lavay Smith and Her Red Hot Skillet Lickers, known for performing classic jazz and blues mixed with big band, salsa grooves.

SATURDAY 21

Dahlias Hall of Flowers, 9th Ave. at Lincoln, SF; (415) 994-2448. Sat. 10am-5pm, Sun. 10am-4pm; free. Did you know that the Dahlia is San Francisco’s official flower? The Dahlia Society of California, responsible for the planting and upkeep of Golden Gate Park’s Dahlia Dell, is holding it’s annual show and exhibition of these fantastic flowers.

Hello Kitty Must Die San Francisco Public Library, Chinatown branch, 1135 Powell, SF; (415) 355-2888. 2:30pm, free. Hear author Angela S. Choi read from and discuss her new book, that rips into stereotypes about the well-groomed, well-behaved Asian wife with a tale about a serial killer happy to teach others how to get rid of unwanted fiancés and bosses.

Hot Glass Cold Beer Public Glass, 1750 Armstrong, SF; (415) 671-4916. 6pm; $25 donation, includes glass and beer. Take in an evening of glassblowing demonstrations by artists Paul DeSomma, Marsha Blaker, and Jeff Rogers while listening to live music and enjoying cold beer in your new one-of-a-kind, hand blown drinking glass.

SF Street Food Fest Folsom between 25th and 26th St., SF; (415) 824-2729 ext. 303. 11am-7pm, free. Enjoy some casual, affordable, delicious food made by San Francisco food entrepreneurs. Hosted by La Cocina, this Street Food Festival aims to further advocate for the creation of policies that support the formalization of mobile food vending to connect communities to a food from all classes and cultures.

BAY AREA

Art and Soul Frank H. Ogawa Plaza, City Center, 14th St. and Broadway, Oakl.; (510) 444-CITY. Sat.-Sun. noon-6pm, $10. Celebrate the past, present and future music of Oakland at this two-day concert and marketplace featuring music performances by Cake, En Vogue, Tony! Toni! Toné!, MC Hammer, Pete Escovedo, The Bittersweets, Lenny Williams, and more. Also featuring an Artisan Marketplace, with crafts and art for purchase, food vendors offering multicultural menus, dance performances, and activities.

SUNDAY 22

Sunday Streets John F. Kennedy Drive and MLK Drive, Golden Gate Park, SF; Great Highway from Lincoln to SF Zoo, SF; www. sundaystreetssf.com. 10am-3pm, free. Take to the streets for a day of healthy, family-friendly activities. This month’s street closure is “Penguins to penguins,” or Golden Gate Park to the SF Zoo.

TUESDAY 24

“Microscopic Giant” Space Gallery, 1141 Polk, SF; www.bucktoothmechanics.blogspot.com. 8pm, free. A night of local creativity with spoken word performances, storytelling, and poetry by Tracy Jones, April Wolfe, Steven Gray, Charlie Getter, and the host of NPR’s Snap Judgment Glynn Washington, open mic, live painting by artists Aaron Lawrence, Nolan Yelonek, and Noa- , and live music by DigDug.

Music Listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 18

ROCK/BLUES/HIP-HOP

Black Francis, Roy Zimmerman Great American Music Hall. 9pm, $21.

Bodeans, Dan Navarro Independent. 8pm, $20.

Brothers Comatose, Escalator Hill, We Is Shore Determined Hotel Utah. 9pm, $6.

Casiokids, Light Pollution, K. Flay, Einar Stokka Café Du Nord. 9pm, $10.

Greg Davis, Aures, Mololy-Nagy Hemlock Tavern. 9pm, $7.

Ha Ha Tonka, Red Light Mind, Buxter Hoot’n Elbo Room. 9pm, $8.

Craig Horton Biscuits and Blues. 8 and 10pm, $15.

Brian McKnight Yoshi’s San Francisco. 8 and 10pm, $35-45.

Rantouls, Lateenos, Larry and the Angriest Generation, Jinxes Thee Parkside. 8pm, $8.

Wavves Amoeba, 1855 Haight, SF; www.amoeba.com. 6pm, free.

Wavves Rickshaw Stop. 7:30pm, $14.

Woven Bones, Sandwitches, Splinters Bottom of the Hill. 9pm, $10.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Breezin Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. With DJs Amy A and Brynnie Mac spinning rock and 70s.

45 Club Knockout. 9pm, $6. Rock n’ soul with Honey, Blasted Canyons, and DJs dX the Funky Granpaw, Dirty Dishes, and English Steve.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 19

ROCK/BLUES/HIP-HOP

Abriel, Imperfect Deity, To Memory and Me DNA Lounge. 5:30pm, $12. With the Light Iris, Our Living Memory, Falling to Pieces, Mirros, Apothesary, and A Moment of Clarity.

Catholic Radio, Smile Brigade, Spiral Agnew Kimo’s. 9pm.

Clipd Beaks, Moccretro, Hollow Hearth, Hans Keller Café Du Nord. 9pm, $10.

Darker My Love, Sonny and the Sunsets Independent. 8pm, $14.

Brandon Flowers Slim’s. 9pm, $27.50.

Grand Lodge, Lijie Hotel Utah. 8pm, $7.

Hot Hot Heat, 22-20s, Hey Rosetta! Rickshaw Stop. 8pm, $15.

Hunx and His Punx, Shannon and the Clams, Okmoniks, Goochi Boiz, Miss Chain and the Broken Heels Thee Parkside. 9pm, $10.

Ida, Michael Hurley, Westwood and Willow Bottom of the Hill. 9pm, $12.

Lickets, Odd Owl, Tied to the Branches Hemlock Tavern. 9pm, $7.

Brian McKnight Yoshi’s San Francisco. 8 and 10pm, $35-45.

Darrell Scott, Elliot Randall Great American Music Hall. 8pm, $21.

Wild Things, Lens, Greg Ashley Knockout. 9:30pm, $7.

FOLK/WORLD/COUNTRY

Estamos Ensemble New Frequencies, YBCA Sculpture Court, 701 Mission, SF; (415) 978-2787. 8pm, $25

Hot Club of Cowtown, Whiskey Richards, B Stars Amnesia. 8:30pm, $10.

Claudio Santomé and Marcello Puig Red Poppy Art House. 8pm, $12-15.

Steel Pulse Fillmore. 9pm, $35.

Tipsy House Plough and Stars. 9pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-7. DJs Pleasuremaker and Señor Oz spin Afro-tropical, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Electric Feel Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

SOL Club 525, 525 Harrison, SF; www.sol2010.eventbrite.com. 9pm, $15. With DJs Andy P., Skander and Sohrab, Rhetoric, Sepehr, and more spinning house, tech, and tribal.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

Tropicana Madrone Art Bar. 9pm, $5. With DJs Don Bustamante, Apocolypto, Sr. Saenz and guests spinning salsa, cumbia, reggaeton, and merengue.

FRIDAY 20

ROCK/BLUES/HIP-HOP

Blisses B, Be Brave Bold Robot, Grownup Noise Kimo’s. 9pm.

Crooked Still, Jesse DeNatale Great American Music Hall. 8pm, $16.

Excuses for Skipping, Cliks, Killola, Hunter Valentine Milk. 8:30pm, $10.

Gentleman Jesse and His Men, Personal and the Pizzas, Barreracudas, Wrong Words, Meercaz Thee Parkside. 9pm, $10.

Ghostland Observatory Warfield. 9pm, $25.

Jogger, We Are the World, Shlohmo, Matthewdavid Rickshaw Stop. 8:30pm, $12.

Morlocks, Hot Lunch Hemlock Tavern. 9:30pm, $10.

New Orleans Bingo! Show, Kim Boekbinder Independent. 9pm, $15.

Persephone’s Bees, Soft White Sixties, Angel Island, DJ Omar Café Du Nord. 9:30pm, $12.

Pinkerton, Hot Toddies, As A People Bottom of the Hill. 10pm, $10.

Polkacide, Khi Darag, Loop Station, Space Blaster Blue Macaw, 2565 Mission, SF; (415) 920-0577. 9pm, $10.

Johnny Rawls Biscuits and Blues. 8 and 10pm, $20.

Still Time, Shamblers, John Howland Slim’s. 9pm, $15.

Ttotals, Diego Gonzalez Hemlock Tavern. 6pm, $5.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

David Belove Trio Art Tap, Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787, www.ybca.org. 6pm, free.

Eleven Eyes Coda. 10pm, $10.

Jacqui Naylor Quartet Rrazz Room, Hotel Nikko, 222 Mason, SF; www.therrazzroom.com. 9pm, $35.

Lisa Engelken Band Red Poppy Art House. 9pm, $12-20.

Marlena Teich and group Savanna Jazz. 7:30pm, $8.

FOLK/WORLD/COUNTRY

Charanga Habanera Yoshi’s San Francisco. 8 and 10pm, $20-26.

“Cuba Afro Rock Revolution” Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 8pm, $28-$50. With X Alfonso, Osamu, and special guest Pedro Calvo.

Toshio Hirano Mercury Café, 201 Octavia, SF; (415) 252-7855. 7:30pm, free.

Hot Club of Cowtown, Lady A and the Heel Draggers, Betty Soo Amnesia. 9pm, $10.

Lagos Roots Afrobeat Ensemble Elbo Room. 9:30pm, $12. With DJ Shawna, Tribal Fusion Bellydance, and Deb Rubin.

Summer Samba Party Il Pirata, 2007 16th St., SF; (415) 626-2626. 10pm, $10. With Pagode de Mesa, Jorge Alabe, Claudinho Sorriso, Brian Moran, and guests.

Bucky Walters, Snap Jackson, The Knock on Wood Players Plough and Stars. 9pm.

DANCE CLUBS

Afrobeat No Go Die Madrone Art Bar. 9:30pm, $5. With DJs Jeremiah and the Afrobeat Nation and Jose Rivera.

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Dirty Bird Mezzanine, 444 Jessie, SF; (415) 625-8880. 9pm, $20. With DJs Claude Von Stroke, Juston Martin, Christian Martin, and Worthy.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

Episco Disco Grace Cathedral, 1100 California, SF; (415) 869-7817. 7pm, free. With live music by Coconut, Paradise Now, and Aero-Mic’d and art by Land and Sea and Sean McFarland.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Oldies Night Knockout. 9pm, $2-4. One-hit wonders and scratchy soul with DJs Primo, Daniel, and Lost Cat.

Radioactivity 222 Hyde, SF; (415) 440-0222. 6pm. Synth sounds of the cold war era.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

“SF Drag King Contest” DNA Lounge. 9pm, $25-35. With MCs Fudgie Frottage and Sister Roma, plus special guest Jane Wiedlin.

Sisters of the Underground Club Six. 9pm, $5. With DJs Shortee, Lady Fingaz, Pony P, Celskii and Deeandroid, and many more spinning hip hop.

Some Thing The Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

SATURDAY 21

ROCK/BLUES/HIP-HOP

Chris Cain Band Biscuits and Blues. 8 and 10pm, $20.

Cool Water Canyon, Vintage Music Collective Independent. 9pm, $15.

Hepcat, Inciters, Selecter DJ Kirk Slim’s. 9pm, $23.

“Joe Strummer Tribute” Bottom of the Hill. 9pm, $10. With Armagideons, Hooks, Monkey, Sistas in the Pit, Stigma 13, and Interecords.

Man/Miracle, Slang Chickens, Yellow Dress Hemlock Tavern. 9:30pm, $7.

No Alternative, VKTMS Bender’s, 806 S. Van Ness, SF; www.bendersbar.com. 10pm, $5. Benefit for the Haight Ashbury Homeless Youth Alliance.

Nobunny, Mean Jeans, Anomalys, Charlie and the Moonhearts Thee Parkside. 9pm, $10.

Return to Mono, Foreign Cinema, Sentinel, Bring the Tiger Red Devil Lounge. 8pm, $10.

Sons of Doug, Steve Pile Band, Jeremy D. Antonio Hotel Utah. 9pm, $7.

Sputterdoll, Pedro Gil, Skyflakes, Rocking Kids Sing-A-Long, Keenwild Thee Parkside. 3pm, free.

Tussle, Sword and Sandals, ASSS Amnesia. 9pm, $5.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Ensemble Mik Nawooj Red Poppy Art House. 9pm, $15-20.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Giovenco Project Coda. 7pm, free.

Jacqui Naylor Quartet Rrazz Room, Hotel Nikko, 222 Mason, SF; www.therrazzroom.com. 9pm, $35.

Lucky Stars, B Stars Verdi Club, 2424 Mariposa, SF; www.oldtimey.net. 9:30pm, $12.

Suzanna Smith and group Savanna Jazz. 7:30pm, $8.

FOLK/WORLD/COUNTRY

Charanga Habanera Yoshi’s San Francisco. 8 and 10pm, $20-26.

“Cuba Afro Rock Revolution” Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 8pm, $28-$50. With X Alfonso, Osamu, and special guest Pedro Calvo.

Maurice Tani, Jenn Courtney, 77 El Deora, Misispi Rider Noe Valley Ministry, 1021 Sanchez, SF; (415) 454-5238. 8:15pm, $17.

Tito Garcia y su Orquesta Internacional The Ramp, 855 Terry Francois, SF; (415) 621-2378. 5pm.

Tornotics Plough and Stars. 9pm, $6-$10 sliding scale.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Bootie DNA Lounge. 9pm, $6-12. Mash-ups with DJ Ajax vs. Ryan Lendt, plus residents Adrian and Mysterious D.

Booty Bassment Knockout. 10pm, $5. Hip-hop with DJs Ryan Poulsen and Dimitri Dickenson.

Club 1994 Paradise Lounge. 10pm, $10. Presented by Jeffery Paradise and Ava Berlin, featuring 90’s music, themed photo booth, fashion show, and more.

Cock Fight Underground SF. 9pm, $7. Gay locker room antics galore with electro-spinning DJ Earworm.

Fire Corner Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.

Fringe Madrone Art Bar. 9pm, $5. With DJs Blondie K and subOctave spinning indie music videos.

Full House Gravity, 3505 Scott, SF; (415) 776-1928. 9pm, $10. With DJs Roost Uno and Pony P spinning dirty hip hop.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Non Stop Bhangra Rickshaw Stop. 9pm, $15. Bhangra beats with Dholrhythms Dance Troupe.

Paint Factory Club Six. 9pm, $5. With DJs Romanowski, Centipede, and Mr. Robinson spinning house, downtempo, and hip hop and live painting by Nome Edonna and Ian Ross.

Prince vs. Michael Madrone Art Bar. 8pm, $5. With DJs Dave Paul and Jeff Harris battling it out on the turntables with album cuts, remixes, rare tracks, and classics.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Saturday Night Soul Party Elbo Room. 10pm-2am, $5. DJs Lucky, Paul Paul, and Phengren Oswald spin butt-shakin’ ’60s soul.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Wet and Wild Club 8, 1151 Folsom, SF; (415) 431-1151. 10pm, $8. With DJs Techminds and Kipp Glass.

SUNDAY 22

ROCK/BLUES/HIP-HOP

“Battle of the Bands” DNA Lounge. 5:30pm, $12. With Boondock Squad, Thanks for Leaving, Out for Blood, and more.

“Bay Vibes Summer Musicfest 3” Café Cocomo. Noon-2am, $35. Two stages of music with Isabella, Native Elements, Dogman Joe, My Peoples, Afrolicious, and more.

Butlers, Only Sons, Burnt House Bottom of the Hill. 5:30pm, $8.

Mike Coykendall and the Golden Shag, Brian Belknap, Tom Heyman Make-Out Room. 8pm, $8.

Horde and the Harem, Aimless Never Miss, Buttercream Gang, And I Was Like, What? Rickshaw Stop. 7pm, $10.

Sarah Jaffe, Glassines, Kristy Kruger Hemlock Tavern. 8pm, $8.

Lazy Loper, Con Brio, Shake Well Amnesia. 9:30pm, $8-10.

Moonlight Orchestra, Stormy California Thee Parkside. 8pm, $7.

“Rock Make Street Festival” Treat and 18th St, SF; www.rockmake.com. 11am-6pm, free. With Tartufi, AB and the Sea, Still Flyin’, Leopold and His Fiction, and more.

Summer Twins, Twinks, Danger Babes, Omni, DJ Neil Martinson Knockout. 9pm.

They Might Be Giants, Rogue Wave Sigmund Stern Grove, 19th Ave at Sloat, SF; www.sterngrove.org. 2pm, free.

JAZZ/NEW MUSIC

Ernie Small Memorial Big Band Savanna Jazz. 7:30pm, $5.

Sunday Sessions Madrone Art Bar. 6pm, free. With organist Will Blades leading a jazz jam session.

FOLK/WORLD/COUNTY

Annete A. Aguilar and Stringbeans Coda. 8pm, $10.

Back 40, Carburetors Thee Parkside. 4pm, free.

Charanga Habanera Yoshi’s San Francisco. 6 and 8pm, $20.

Charity and the JAMband, Elizabeth Mitchell Park Chalet, 1000 Great Highway, SF; (415) 386-8439. 3pm, free. An outdoor family concert.

Crow Quail Night Owls Amnesia. 6-9pm, $8-10.

Gente do Samba The Ramp, 855 Terry Francois, SF; (415) 621-2378. 5pm.

Queen Makedah Café Cocomo. 5pm, $25-$60.

John Sherry, Kyle Thayer and friends Plough and Stars. 9pm.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Ludachris, and guest Bella.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 23

ROCK/BLUES/HIP-HOP

Crowded House, Lawrence Arabia Warfield. 8pm, $45-62.50.

Decapitated, Faceless, All Shall Parish, Red Chord, Veil of Maya, Cephanic Carnage Fillmore. 3:30pm, $25. With Decrepit Death, Carnifex, Animals as Leaders, and Vital Remains.

Girl in a Coma, Gringo Star, Agent Ribbons Bottom of the Hill. 9pm, $12.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

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

Karaoke Killed the Cat Elbo Room. 9pm, $5. Karaoke.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 24

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8 and 10pm, $15.

Audacity, Todd C and the Clown Sound, Mill Valley’s Most Honest Men Hemlock Tavern. 6pm, $5.

Bad Brains, Broun Fellinis Slim’s. 9pm, $26.

La Corde, Cat Party, Dadfag, DJs Deadbeat and Yule Be Sorry Knockout. 9:30pm, $5.

Eastern Conference Champs, Voxhaul Broadcast Hemlock Tavern. 9pm, $6. Grand Lake, It’s for Free Grace, Sean Smith and the Present Moment, James and Evander Café Du Nord. 9pm, $10. Psalm One, Open Mike Eagle, League510 Elbo Room. 9pm, $8. Scene of Action, Paper Sons, Pebble Theory Bottom of the Hill. 9pm, $8. Shaimus, Star Anna and the Laughing Dogs Hotel Utah. 8pm, $8. Something Corporate Warfield. 8:30pm, $30. DANCE CLUBS Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ D-runk and D. Jake. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx

Bunny business

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arts@sfbg.com

FILM The overlapping causes of liberating women and liberating sexuality have long been frenemies. There is no reconciling how the sexual revolution forwarded both women’s independence and their exploitation as sexual objects by industries overwhelmingly focused on male desire and purchasing power.

Nobody figures higher in that saga than Hugh Hefner. Fair to say he probably played as big a role in triggering said revolution (at least for men) as the pill. Yet he also cemented Slim-Waisted Young Blonde With Big Tits (real or factory-ordered) as the prevailing straight-male standard for desirability. An image that, decades later, strangleholds popular imaginations and private insecurities more than ever.

Brigitte Berman’s new Canadian documentary Hugh Hefner: Playboy, Activist, and Rebel acknowledges that conflict without seriously exploring it. Instead, her focus is on "Hef"’s admittedly under-appreciated role as force for progressive change. Not just in expected arenas like censorship and sex laws, but also in public-spirited concerns from racial equity to film preservation. Hef has put his money where his editorial mouth is, with a passion probably equal to (if for many incongruous with) his need to be surrounded by glossy babes now one-fourth his octogenarian age.

One can fault Berman, as the purported first outsider "granted full access" to peek past Playboy‘s corporate gates, for not being tough enough. Hefner’s personal life (such as it’s been for a lifelong, briefly speed-addicted workaholic) isn’t much touched on. First wife and family simply vanish from the narrative once our protagonist decides to become his publication’s suave, anything-but-monogamous "playboy" archetype.

No ex-wives are heard from, no kids aside from Christie Hefner, who became her absentee father’s empirical second-in-command. No ex-girlfriends either, apart from Playmate-turned-B-movie-regular Shannon Tweed, who admits that being his "No. 1 girl" still wasn’t enough because "I don’t share well."

Casting him as a First Amendment and civil rights champion, the film skimps on the full breadth of artistic-slash-business involvements, from two decades’ worth of softcore video Playmate "portraits" (do I own the 1994 La Toya Jackson one? Does it contain a gauzy music vid implying sexual abuse by Papa Joe? Double yes!) to prior dabblings producing regular movies. (The regular dabblings included Roman Polanski’s 1971 post-Manson Macbeth and Peter Bogandovich’s fine 1979 Saint Jack, not to mention hard-to-find 1973 flop The Naked Ape, a sketch-format riff on Desmond Morris’ pop anthropology tome. Its awkward, touching mix of wink-wink smut and crusading good intentions distill peak-years Playboy.) Nor does it acknowledge the Playboy empire’s latter-day struggles as the Internet has rendered print erotica a quaint antiquity.

Beyond these omissions, Berman still strains to encompass a very colorful life in two full hours. Even if it eventually feels like a very long Wikipedia bio, her film is never boring. And Hefner remains notably articulate, despite all eccentricities. (Natch, he’s interviewed throughout in silk pajamas or velvet bathrobes, currently cohabiting with just three drastically younger blondes — down from a post-second marriage harem of seven.)

Playboy (initially to be called Stag Party) started in 1953 as a direct response to Hefner’s coldly unaffectionate family background and dissatisfaction with his prematurely boring home-career respectability. Raising funds himself, he gained enormous attention with a first issue featuring pre-stardom nude photos of Marilyn Monroe that everyone had heard about but few had seen.

Promoting "a healthier attitude toward sex," not to mention the shocking notion that "nice girls like sex too" — Playboy then sought to pedestal "girls next door" rather than pro models or strippers — swiftly brought a backlash. A successful fight against the U.S. Postal Service was just its first legal battle. As noted in the film, the most morally righteous opponents often proved the most hypocritical, including Charles Keating — who pronounced pornography "part of the Communist conspiracy," then decades later went to prison for 1980s Savings and Loan fraudulence — and fundamentalist Christians like late loon Jerry Falwell.

Meanwhile Hefner used the enormously popular periodical (and syndicated TV variety-show spin-offs Playboy’s Penthouse and Playboy After Dark) to articulate a "Playboy philosophy" stretching way beyond hedonistic libertarianism. He employed Red Scare-blacklisted talent; showcased African Americans in hitherto segregated contexts; and campaigned for abortion and birth control rights and against draconian punishments for sodomy and marijuana. The girly mag gave voice to countercultural and anti-Vietnam War sentiments, deliberately stirring controversy via in-depth interviews such as Roots author Alex Haley’s with American Nazi Party leader George Lincoln Rockwell.

Hefner got an eventual NAACP award, among other kudos. But as Dr. Ruth (or is it Bill Maher? Sorry, there are too many celebrities sampled to keep track) says, the "escapist" side that spun Bunny boobs into bazillions overshadowed the earnest intellectual. Veteran feminist Susan Brownmiller is cast as the unsexy scold who loses points for labeling Playboy‘s often extraordinary taste in literary and critical voices (Updike, Mailer, Bradbury, etc.) a mere clever ruse to legitimize its jismy gist. Yet who can argue with her vintage challenge that Hefner demonstrate true gender equality by going public "with a cotton-tail on your rear end"?

It would be nice to hear from more critical voices — not just the odd ludicrous one, like born-again MOR crooner and repentant former Playboy subscriber Pat Boone. Blaming Hefner for "breaking the moral compass" of our nation, he’s the sole interviewee photographed against a wall of vainglorious mementos — apart from KISS’ aviator-shaded Gene Simmons, presumably grumpy because for once he’s discussing someone else’s slutty serial cocksmanship. (These two have more in common than they’ll acknowledge: see Boone’s unforgettable 1997 CD In a Metal Mood.)

By any fair appraisal, Hefner looms large among 20th-century societal game-changers. This undeniably entertaining documentary celebrates his heroism. Yet it can’t help getting across on cheesier snapshots. Who can resist glimpses of Playboy’s Roller-Disco and Pajama Party, a 1979 prime-time network WTF featuring the combined talents of Richard Dawson, Chuck Mangione, the Village People, and Wayland Flowers and Madame? Plus jiggling Playmates on wheels, of course. Now that is a Rorschach of American "liberation" as fucked-up perfect as you’ll never find.

HUGH HEFNER: PLAYBOY, ACTIVIST, AND REBEL opens Fri/20 in Bay Area theaters.

Orgone heats up the Independent with fresh funk, 8/6/10

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It was freezing (as usual) outside SF’s Independent last Friday. Thankfully, Orgone kept the packed venue warm and sweaty inside with funky rhythms, thick bass lines, sexy vocals, and swanky brass melodies. On stage, like old friends jamming together, the nine-member band emulated the upbeat enthusiasm and down to earth cool (that’s not too cool to get down) that their unique sound embodies. Merging old-school funk and jazzy hip swaying grooves with experimental psychedelic undertones, Orgone delivered upbeat funk with a mellow modern swagger.

With such a large instrumental band (guitar, keys, bass, percussion, trombone, trumpet, saxophone, drums) Orgone manages to create a complex sound that engages and yet never overwhelms. Striking the perfect balance between driving grounded sounds and more airy, free flowing vibrations, the ensemble definitely knows how to get people dancing. Their passion for feel-good, dance-y music is no more apparent then in the way they play together. Vibing off each other, their contagious energy ignited an on-stage fire that lit up their audience of glowing, dancing fans. 

While each band member played an equally integral part in Friday night’s show, the smooth, passionate voice and fiery stage presence of lead vocalist Fanny Franklin, the only female on stage, deserves special mention. With sexy ease and captivating charisma, this goddess knows how to command a stage. If you’re feeling nostalgic for the good ‘ol days, when live instruments trumped laptop beats, Orgone’s got what you want. 

Video: http://www.youtube.com/watch?v=o0bMoDUyRxk 

Jamie Stewart on orange juice, armpits, bird calls, and ambient music

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On Friday 8/13, Berkeley Art Museum is hosting a project that is threefold: the visual art of David Wilson, short films curated by Max Goldberg, and the music of Jamie Stewart (Xiu Xiu). To find out more about this unusual collaboration, I spoke to Mr. Stewart on the phone about his contribution and how he anticipates the night will go down.

SFBG The BAM website says that you’re debuting a “new composition in field recording inspired by the night, animal calls, and quietness.” This is a little vague, so could you tell me more about what your performance is going to be?
Jamie Stewart I’ve always been really impressed with people who went to art school but I’ve never had any opportunity. Probably in the past six or seven years I’ve become a really avid birdwatcher and one of the things that I initially, having been so involved in music, enjoyed about birdwatching is that it was something completely visual for me. Most bird calls are completely bizarre so I had since become almost focused on listening to bird calls but almost in a way that’s detached from the birds itself. In the middle of this increased interest I find myself inexplicably in North Carolina and a big part of the recreational culture here is hunting. There’s a lot of hunting stores and being a vegan obviously, I’m not totally interested in hunting. In these stores there were rows and rows of different animal calls and a lot of these are really horrifying-sounding. If you blow into them, you hear some of the most harsh noise music ever imaginable. A lot of the hunting bird calls sound like the environment completely exploding. So I’ve racked up a pretty hardy collection of these.

SFBG How might you categorize this work into a genre?
JS It’s an ambient piece. I have a really extensive collection of gongs and animal calls and I will be using these together but with long periods of silence. It’s an attempt to incorporate ideas of 1950s minimalist composition insofar as focusing on the pauses in sound, animal sounds, and a certain amount of physicality.

SFBG How are you going to do it?
JS I think I’ll be running mostly. It will end up utilizing a fair amount of space. So far, there will be gongs placed on two different sides of the room and I have these two gongs I got in Korea recently, and various bird calls will be placed throughout the room. Part of the idea is to have [the piece] be in relative darkness and move as quickly as possible at predetermined intervals with each of the items that can make sound, to have a combination of intense rustling and physicality, and intense sounds, in addition to certain electronica. Short periods of super intense activity and miserable, intense sound, and then no source of sound.

SFBG How is this similar or different to Xiu Xiu?
JS It has absolutely nothing to do with Xiu Xiu at all. That has a specific aesthetic and philosophy, whereas this is more about being less defined, about subconscious experiences, and to be more experiential, whereas Xiu Xiu is an attempt to be about something that is very linear. I can feel what it is about but it is difficult to say what it is about. I think it will be emotionally clear but I think to put it into words will be more difficult, which is something I appreciate because usually I have to be as clear as possible.

SFBG Is this your first venture into museums and visual art?
JS When I was growing up, I used to do a lot of disruptive performance art –– we would shave our armpits into orange juice, the dumbest things possible. It wasnt a performance, I think we were just trying to irritate people. I’ve played the Gameboy occasionally. I’ve composed a fair amount of ambient music. I recorded a 13-disc series [available with a subscription]. I didn’t put it online, so I guess it was available to 50 people on Earth. This piece is probably more minimalist than some of that.

SFBG Who are some ambient artists that have inspired you in the making of this work?
JS A couple (like Rhys Chatham) but it was really inspired by natural sounds and more of a coming to terms with different ways in how people regionally deal with ideas of nature. [Being from California] I have a hippie-ized idea of what nature is for. Rhys Chatham is so preposterously minimalist. Chestnut and I saw how long we could endure listening to it. It’s called “Two Gongs” but my piece plays differently. Two gongs for an hour, very limited changes in the tonal shading. A lot of ambient music that I find difficult to endure or that is unpleasant I find particularly fascinating. It ends up being less of a musical experience and more of a psychological and physical experience. Its a combination of being inspired by the sonic tools that people use to destroy nature. Hopefully it’s just interesting. I don’t think Rhys Chatham was trying to do anything unpleasant either.

Edgar Wright vs. the World

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Go here to read Sam Stander’s review of Scott Pilgrim vs. the World in this week’s Guardian. What follows is Stander’s complete interview with director Edgar Wright.

San Francisco Bay Guardian: What is your favorite visual effect or sight gag in all of Scott Pilgrim?

Edgar Wright: Oh my god. There’s so much … I probably have to pick, off the top of my head, I like watching the twins scene because it was only very recently finished, so I’d have to pick that.
 
SFBG: How did you originally get involved in adapting Scott Pilgrim?

EW: I was given the book six years ago, when the first volume came out, by … the producers who had kind of leapt on the rights to it before it was even in bookstores. And I really loved the book, and I thought it would be a really interesting thing to try and adapt. At that point there was only the one book. [We] began a five-year process of working on it as [author Bryan Lee O’Malley] continued to develop the books, so the development of the film and the books kind of went in tandem in places. So it’s kind of been, six years ago I was given the book, and now the final book just was released, and the film is coming out, too.
SFBG: How many books were there when the film was in production? Were there four?

EW: By the time we started filming, there were five and the sixth book had been kind of half-written. But over the course of the production, I’m thinking of various stages where we stalled for time as much as we could, so that we could get as much material as possible. But there was a decision made early on that the two things would have to be different beasts, and Bryan was certainly aware of that, and understood that that would be the case. In a way, I think he actually preferred there being two different versions, that the film could be an alternate-reality version of the comic.
 
SFBG: But you still definitely kept a lot of the details of the comic. I was curious what inspired the choice to visually represent sound effects.

EW: I kind of figured that, you know, it’s a huge part of comics that most people completely jettison, because usually comic book adaptations are striving for reality. I thought, as well, it made sense within Scott Pilgrim that the character would choose to live his life like that, that Scott Pilgrim, as a character who’s grown up on a diet of Saturday morning cartoons and gaming, would actually choose to live his life that way if he could, and have points pop up and sound effects pop out when the doorbell rings. Because the books are funny and imaginative, it was just a way of embracing that kind of imagination within the artwork. It wasn’t a film where we had to strive for absolute realism like The Dark Knight. We had a chance to embrace the bubblegum, pop art nature of the artwork.

SFBG: It reminded me in places of the opening titles to ’60s Batman, which I enjoyed.

EW: Oh, I was always a fan of that show as a kid. I like some of those ’60s comic book adaptations that would embrace the form of the comics a little more. I guess, you know, in the ’80s, with the Tim Burton Batman, comic book movies started to strive for legitimacy, but we didn’t really have to do that with this. It was something where we could actually have fun with the form.
 
SFBG: I was wondering if the characters of Shaun from Shaun of the Dead or Tim from Spaced — how you see them in relation to Scott as a protagonist, or even Ramona?

EW: I think Scott Pilgrim has some things in common with Shaun and Tim Bisley. Tim Bisley and Shaun are both older than Scott Pilgrim, and I think maybe, you know, Tim is in his mid-20s, so he’s a bit more frustrated than Scott Pilgrim is. I think Scott Pilgrim is still in that sort of stage in his life where he’s powered by blind optimism, and I don’t think he’s necessarily a character who’s been worn down by the harsh realities of life yet, and that kind of effects everything he does, in terms of — the way that he pursues Ramona is like the way you pursue a shiny object in a videogame. I don’t think he’s really had his hard knocks yet, and this film is slightly about him getting his karmic comeuppance. I think Shaun is Scott Pilgrim plus about ten years, where he’s kind of settled into a slightly more lazy, depressed state. He’s kind of given up, slightly.
 
SFBG: I was curious, who came first: Gideon or Jason Schwartzman?

EW: Gideon came first. There was a drawing of Gideon back in 2004. I remember when I first read the first book, there was the first book and the script for the second book, but then there were also sketches of all the other exes and their stats that Bryan had drawn. So he’d drawn all of them way back in 2004. But the Gideon sketch back in 2004 looks uncannily like Jason and what he eventually drew for the sixth book.
 
SFBG: In light of having just made a movie entirely referencing videogames, what do you have to say to Roger Ebert’s constant claim that videogames aren’t a form of art?

EW: I think that the film shows both the good and the bad, in a way, in terms of, there’s elements of Scott Pilgrim’s character as maybe a slightly thoughtless person in the way that he powers through life and doesn’t necessarily think about the feelings of the people around him, and even treating them sometimes like bit players on his quest, that that shows maybe a downside to being lost in the world of gaming, and he’s forced to face the consequences later in the film. But then, I think sometimes the criticism about videogames stems from games that are pretty generic, because there is art and brilliant design and amazing ideas at work in gaming and game design, and I think that that would be difficult to deny, in a sense, that there are artists as good as the people working at Pixar working in games today.

But I think that some of the negative articles that are written about games are usually referring to games that are more generic and just concentrate on violence and destruction, that are kind of Xeroxes of films. So I think sometimes there are probably some games that undo the good work done by others, maybe. I’m sure that’s part of it. And then you get videogame adaptations … that are Xeroxes of a Xerox. I can see where that criticism comes from, I don’t necessarily agree with it, because I feel like … on a design level, Nintendo has become sort of the Walt Disney for our era, in a way. I mean, the characters are so identifiable and so beloved. And you get some games that are just works of beauty and interaction, so I can see it go both ways, you know. I would hope Roger Ebert would enjoy this film on the basis that we namechecked Beyond the Valley of the Dolls, so I would hope we could score brownie points even if he didn’t like the videogame stuff in it.
 
SFBG: With the development of the characters, certainly a lot of the comedy of the characters in the comics comes from playing with various stereotypes — of the way people behave in relationships, also jokes about Knives’ Chinese heritage and Wallace being gay, and different characters coming from different contexts like that. I was curious what level of depth do you perceive these characters having, as opposed to being sort of absurd caricatures?

EW: Well, I think a lot of those people came from friends and colleagues of Bryan Lee O’Malley, because Toronto is a very multicultural society, and Bryan himself is half Irish and half Japanese. The two characters you just mentioned, I know Knives and Wallace are based on real people. In the books at least, and certainly in the film, it’s an attempt to show actually a very ethnic community. We tried, in terms of the gay characters in the film to kind of, in hopefully a progressive way, not make a big deal about it. I’m actually quite proud that we have a PG-13 rating when sometimes that has been, you know — depicting homosexual relationships is sometimes frowned upon by the MPAA, or given a more restrictive rating. So it’s actually nice in a studio comedy to have characters who are gay and out, and there’s no stigma about it whatsoever.
 
SFBG: Definitely, in the United States, Shaun of the Dead and Hot Fuzz are really seen as archetypally very English comedies. Were you trying to work as a Canadian comedy director with Scott Pilgrim, or how do you see it relating to that?

EW: I don’t know, I’ve always found that question difficult to answer because I don’t really know how my sense of humor or what I find funny particularly relates to Britain, because I grew up on comedy from all around the world. Obviously, I really like a lot of British comedy, but a lot of my favorite comedy films are American. I wouldn’t like to thing that my sense of humor is completely defined by where I’m from. So I didn’t try and put a Canadian hat on to direct Scott Pilgrim. I tried to just be myself.
 
SFBG: I was curious about the music in the movie. I thought it was really interesting that you got some of the bands that it seemed like Bryan Lee O’Malley was sort of lampooning in the comic to do the actual music, and I was wondering what the process was for picking those bands and getting them involved.

EW: Basically, we had an embarrassment of riches in terms of the people that came on to collaborate. I know that Bryan had drawn Envy Adams based on a live shot of Metric in performance … but I think that most of the bands are a mélange of bands that he played with when he was in a band himself. I think some of the bands in Scott Pilgrim are kind of lampooning his own efforts, and other bands that were doing that circuit at the time. But, you know, in terms of the artists coming on board, everybody was really excited to be a part of it. And I think in the case of the bands, they got to also play a part, they’re sort of almost cast as characters in the film. I mean, Broken Social Scene’s songs in the film don’t sound anything like Broken Social Scene, and Beck was channeling his earlier, fuzzier roots. So I think people had fun playing a part rather than playing themselves. Even the Metric track that’s in the film is them almost doing a pastiche of themselves. In that case, with the track “Black Sheep,” [Metric frontwoman] Emily Haines had said it was a track they left off the last album because they thought it maybe sounded like somebody doing an impression of Metric. And so when I heard that, I said, ‘Well, that’s the song that we want!’”
 
SFBG: You also worked on the screenplay for the upcoming Tintin film, right?
EW: I did. Not for very long, sadly, because I got busy on Scott Pilgrim, but I worked on a couple of drafts, and it was very exciting to work on.
 
SFBG: Was that adaptation-of-a-comic experience similar to Scott Pilgrim or notably different?

EW: Well, different in the sense that [Tintin creator] Hergé is dead, so you don’t get a chance to — in that case, radically different, because you’re only going on his work and his life, rather than actually being able to talk to the creator himself. Unlike with Scott Pilgrim, I couldn’t call Hergé every day, so I could only go on reading those books and trying to recapture how I felt about them when I was eight when I read them.
 
SFBG: All right, anything else you want to say about the film?

EW: Go and see it in theaters.

Scott Pilgrim vs. the World opens Fri/13 in Bay Area theaters.

Te Vaka paddles up with news from the South Pacific

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Opetaia Foa’i’s mother’s ancestral home is sinking into the ocean. And he’s not supposed to talk about it. Tuvalu, comprised of four South Pacific Islands whose combined mass comes to a grand total of ten square miles, has its own language, a distinct cultural heritage like many of its neighbors. But what struck Foa’i (who was born on Samoa and raised in an islander community on New Zealand) saw when he went back was that rising ocean levels had reached up the air strip his plane landed on. So he wrote a song about it. His music and dance group, Te Vaka (which comes to Great American Music Hall Fri/13) plays music that evokes not only the ancient tales of those faraway seas, but also the fact that they matter, here and now.

“I was in the bad books of my parents,” Foa’i tells me. We’re sitting with his wife, band manager Julie Foa’i, at a table in the courtyard of the Phoenix Hotel on Eddy Street. At the start of a whirlwind two year tour, the band is a bit boggled by their first view of the U.S. on this pass through. “We’re like, is the rest of our American tour going to look like this?” Julie tells me of the group’s quick trip out for supplies in the textured Civic Center-Tenderloin area before today’s drive to Santa Cruz. Her bewilderment is fetching, but it belies the fact the band has been touring the world for the last 15 years, during which time they’ve performed in Peter Gabriel’s WOMAD world music concert series, and in a whole passel of festivals the world over.

But back, for a moment, to the whole ocean taking over ancestral home thing. Opetaia wasn’t supposed to talk about it because in Tuvalu culture to speak of the rising waters, attributed scientifically to the dissipation of the polar ice caps, was to give them power. Simply not done. But Opetaia is a man who wanted a voice. One doesn’t go from doing covers in New Zealand bars to assembling a ten-piece ensemble of talented young island musicians, touring the world with them, and even recording with Peter Gabriel without a desire to be heard.

Not that he did it alone — there is a much loved story in the group of Julie quietly writing on a piece of scrap paper at a meeting “Take this music to the world”: she continues to be a driving force behind the group’s conquests. Te Vaka’s name comes from the word for “canoe,” paying tribute to the ancients that Opetaia says “sailed the ocean in a simple canoe using the environment to guide them. These guys, they populated the islands and they carried on — that’s why there’s this thread of culture connecting all the islands.” One senses the group thrives on that connection between cultures, cannot believe their luck when a new city is picking up what they’re putting down.

The song about the rising waters, “Toko Matua,” went on “Nukukehe,” Te Vaka’s third album. Subsequent releases have turned a gaze on AIDS, over fishing in the South Pacific — as well as the joys of island life. In addition to traditional music, Opetaia cites the artists that impressed him when he first went to the New Zealand mainland as a child with his parents for formal education: Jimi Hendrix, Joan Armatrang, Joni Mitchell. The band’s repertoire is now vast enough that they can tailor shows to their audience, upbeat for dancing crowds, slowed down for the times when a more traditional sound is appropriate.

And oh, those joys of island life. 

I mention an observation from many a review I’ve read of Te Vaka’s stage show: that it is undeniably, hip-thrustingly sensual. Is that a conscious effort on the part of the band? “We actually underdo everything!” laughs Opetaia. “If they call that sensual… If you want something sexy, go to Tahiti and the Cook Islands. The ritual of shaking hips, it has sexual connotations. That’s the original meaning, courting.” He smiles. “It’s not done on purpose.” “Although the girls do wear coconut bras,” Julie tells me. Apparently, the band has a boatload of costume changes at a typical show.

Which tends to confounds customs. Between the skins and feathers of the costumes to the backbone of the group’s percussion, the traditional log drums, they tend to get hassled a bit in the airport. Not to mention those drums are heavy. “We can’t do without them,” muses Opetaia. “But I can understand why other bands have ditched them.”

That’s not all that other groups from their region have ditched, either. The couple can’t name a single other band who has successfully brought the traditional sounds to the rest of world. “We’re the first that delivered it more South Pacific than any other group,” Opetaia says. Julie adds “we’re not vaguely related to what’s happening in Australia and New Zealand, most groups are doing reggae.” “It’s really sad,” Opetaia chimes in “I thought a lot of people would follow, there’s a lot of great musicians out there — but you’ve got to have patience” to make it big on the international scene “I think that’s what they need.” Of those who have turned to the fallback of modern island cultures everywhere, reggae, he says “they make more money than we do, but we don’t do this to be rock stars.”

But that patience that he was talking about is beginning to pay off for Te Vaka. Earlier this week, the group was selected to play the after-party for the Edmonton Folk Music Festival, a packed, high energy affair in a cavernous hotel ballroom. They were under the impression they’d be background music to the crowd, but were surprised when the floor started shaking beneath them. “You see that at rock parties — but people were jumping!” says Opetaia, aglow with the way the South Pacific’s sounds are resonating far beyond the reach of even the most intrepid canoe paddler.

Te Vaka

Fri/13 9 p.m., $26

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

The Photo Issue: Parker Tilghman

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SFBG Your website is more cunningly organized than a lot of photographer’s or artist’s sites. How does it relate to your photography?
Parker Tilghman I feel like my site isn’t fully representative of what I’m doing now. I’m in this weird exploration phase. I’m enjoying the medium as much as possible while I have access to tools at CCA. My website began as a creative outlet and a place to show my photography. It started with nightlife photography, but I got over it quickly. Once school started I didn’t have time to go out and I stopped working in that way to focus on my studies.

SFBG One of my favorite photos from the “night.” series on your site is of Fauxnique.
PT That was from [her show] Faux Real. It was such a cool number. I took that the last or second to last night [of the run]. I just happened to be in the front of the stage, and I was really excited when I got it. I showed it to Marc [Kate], her husband, and he was all about it. She’s so talented and I’m really thrilled about the success she has been achieving. 

SFBG “night.” also includes a photo of Veronica Klaus.
PT Veronica is probably one of my favorite women in SF. She’s amazing – so sweet and full of life and energy. One photo of her is from a big gay wedding that I shot shortly after Prop 8 passed. The other is of her and Joey Arias. Joey and Veronica were co-hosting Tingel Tangel that month. We did it really quick and dirty in the downstairs basement of The Great American Music Hall. The people behind the event wanted it to be done that night and I said if I was going to do it I wanted to take the time to do it right. I chose a spot and I set up all of my lights, but didn’t realize I was in front of the bathroom – someone took a major shit and it smelled really bad. Joey had to go on in about 15 minutes. I shot a few rolls and prayed for the best. It was classic.

SFBG Some of the bedroom and intimate interior shots from “lover no longer.” remind me a bit of the Boston School – Mark Morrisroe, David Armstrong, Nan Goldin – but they are mixed with outdoor scenes. Can you tell me a bit about that series and its subject?
PT He was this boy I was absolutely in love with. One of the first I felt I was actually in love with. He was living in NY and in graduate school at Columbia getting his MFA. Our time together was intense and very in the moment. He was here this time last year visiting me for a few weeks. The interior shots were taken in my apartment with a Polaroid Spectra. I would shoot without the flash in order to get these blurry, creepy images. I realized after we broke up that I never had a full head-on shot of him. It made sense because he was so far away both literally and emotionally. I was totally heartbroken but I  didn’t want to be a bitchy queen about it. I wanted to honor him in some way.
There are a lot of nude portraits of boys I don’t have on my site because everyone does that now. I have a beautiful collection of images of boys that I’ve encountered throughout my life. The images are a reminder of those relationships, sexual and otherwise.

SFBG You’ve made triptychs, and also series’ of related but varying images. What attracts you to that approach?
PT I’m obsessed with repetition – and how it can express obsession. People are drawn to form connections when they are confronted with multiple images in the same work. I’m interested in forming a communication between the images, whether they have something visually in common or not. In life I tend do the same stupid things over and over again. The repetition is an aesthetic choice, but it also forms a rhythm I become comfortable with and great things happen in that cycle.

SFBG What was it like to photograph Daniel Nicoletta?
PT I love Danny. He is such an idol to me and when I met him I was starstruck in a way. I think about it now and it seems silly because he is such a sweet man. I grew up queer in a small town in South Carolina. He was one of the first gay photographers I learned about through reading about Harvey Milk. He doesn’t have the recognition as a photographer that he deserves outside of SF. I feel that he has that potential now and I am very excited for him.
We spent a wonderful day together at Danny’s house when I photographed him. Danny was a bit of a bossy bottom — he tried to tell me what to do, but soon realized what he was doing and said, “I’m sorry, I’ll stop.” That image was the one moment where he let his guard down. He was fantastic and I still remain in close contact with him.
Recently, I’ve been spending some time with Arthur Tress. I photographed him last week. These photographers are coming into my life and I feel I can learn so much from them. They were there through the AIDS crisis and the Stonewall riots. They paved the way for me to make the work I am doing now.

SFBG “RGB” might be the most striking series on your site, both because of the colors and the sudden bursts of motion.
PT The original installation is on three separate televisions screens turned on their sides.  It’s fully dimensional and takes on aspects of 2-D, 3-D, and 4-D based mediums. They’re animated GIFS. I took the photographs with a stereoscopic lens and compiled the images in Photoshop to make them 3-D.
Stereoscopic imagery has been around since photography’s inception and you can still get these cheap stereoscopic lenses from Japan for about $100. At the time that I was heavily immersed in color theory- and constantly thinking about red, green, and blue. I wanted to play with those ideas on top of underlying notion of digital identity.

SFBG “marshall’s beach.” is different from some of the other series’ on your site in that it isn’t populated. Instead, you photograph detritus. It made me think of a time when I was on a beach with friends in Bolinas, and everyone was shell collecting, and I was most attracted to this bright yellow plastic bottle of Joy dishwashing liquid.
PT That series is more or less a placeholder for my site, although I do find the images to be beautiful. I was out at the beach on my birthday. The best thing I found in the sand that day was a deflated Mylar “Happy Birthday” balloon. I came back three days later and it was still there, so I kept it.
I saw this shirt on the pathway down to the water and thought, “Oh, someone’s cruising.” I walked through the bushes, but they were gone. All that was left were their condoms and lube on the ground. I began noticing that all the trash was in pairs around the area. I don’t think I’m the kind of photographer who just goes out and shoots rolls of film in hopes of finding something. That’s a boring task to me, but I like the idea of queer documentation in whatever form that takes.

SFBG That story makes me think about the waterfront and different photographers who’ve used it either to create gay photography, or documented gay life in that kind of zone. Alvin Baltrop did so in the Piers in New York, and his photos are also now a record of a Manhattan that doesn’t exist anymore. The other night I met an artist, Doug Ischar, who has a book of mid-1980s photos [Marginal Waters] of a sunbathing and cruising space in Chicago that also is no longer around. SF Camerawork had a show devoted to Alan B.Stone, who took pre-Stonewall photos of the Montreal coastline. And here in SF Denny Denfield was doing 3-D physique photography on the beaches.
PT Have you see Arthur Tress’s images from the New York piers in the ’70s? They’re fucking stunning – beautiful and violently sexual. He wouldn’t have sex with his subjects. The way he got off was by photographing these beautiful men in sexy, compromising spaces.
I like work like that because, while I’m a pervy gay boy at heart, I don’t want sex to be the overwhelming projection. I love Mapplethorpe, but more for the technical perfection and beautiful tones achieved in his prints than the blatantly sexual subject matter. I don’t want overwhelming sexuality to be present in my work because some people can’t get past it and it hinders further exploration.
For me, it’s more about having subtle undertones that are a little uncomfortable. You can feel its presence, but aren’t quite sure what is off. I think the magenta in the “Untitled.” color series is a good example of that. It has this underlying tone of strange eroticism that isn’t immediately recognizable.

SFBG There’s a specific alphabet on your main page, and around half of the letters aren’t attached to images yet. What’s to come?
PT I’m going to fill them up eventually. Knowing me, in a year’s time the entire site will be completely different. I like the format – if you get it, you get it. I live in the Tenderloin and within two days I got called a faggot twice walking down the street. I’ve been called a faggot my whole life, but I was in my own fucking neighborhood and I was just wearing boots and flannel! I didn’t even look that gay. I wanted to do something with the word ‘faggot’ and liked the idea of removing it from the alphabet completely. I like making people confused.

SFBG The image in the Guardian’s Photo Issue comes from “untitled (transparencies).” Can you tell me a bit about that series?
PT For this project I spent hours in the darkroom and sometimes forgot to eat or sleep. For me, it always starts as an aesthetic choice. I know a lot of people don’t like that idea, but I need something beautiful to work from as a point of departure. I wanted to play with pure color and investigate it was much as could within the photographic medium. I knew I wanted deep, rich color. I tried a bunch of crazy experiments with my film like pushing and pulling 5 or 6 stops at a time. I began using positive transparency film and printing it on normal color paper in order to produce a negative image. They’re double-exposed and manipulated in-camera. I can’t give away all my secrets.  There were tons of problem solving moments where I thought I would have a nervous breakdown, but it was fun to run with and work through.
The images themselves are horrific if you really look at them. I was reading a lot of Julia Kristeva, especially her writings about abjection and the duality of horror. She really defined what I was doing. I think in terms of queer art and culture she has so much to say, without even realizing it. There are so many connecting channels, even though her writing can be excruciatingly painful to read.
I was excited about making something beautiful and ugly at the same time by mutilating the figures. It’s something I’m proud enough to show, which is a big thing for me.

SFBG Your portraits of women have a mix of directness and depth.
PT Nude female portraiture is something straight male photographers do all the time. Being a gay male, the sexual tension was completely removed, which makes the gaze and the pose of the women very different.
A portrait shoot with me is like a two hour-long conversation. People ask about my camera because it’s big and imposing and it freaks them out sometimes.
I was interested in showcasing these queer women and normalizing them in a way. One person told me it’s like Cathy Opie without everything that makes them who they are. She’s concerned with all the surroundings that make them queer, while I’m interested in them when they are most vulnerable.

SFBG You’ve combined photography with different forms, from installation to bookmaking. What do you like about changing formats?
PT This is going to sound arrogant, but I don’t want to be just a photographer. I’m excited by having the opportunity to change and explore other mediums to achieve what I want. I don’t even really foresee that stopping in the near future. At the same time I’m interested in refining and focusing on what I’m trying to say and getting past making things just because they’re pretty.

SFBG What’s next?
PT I’m still playing with processes and have recently begun shooting directly onto color paper with an 8×10 camera to make paper negatives. I’m creating large wall installations of several small images. The color and detail I have been achieving is simply out of this world.