Music

A big Oscar contender opens! Plus: two politically charged docs, ‘Diana,’ and more new movies

Sue Vaughan
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A big Oscar contender opens! Plus: two politically charged docs, ‘Diana,’ and more new movies

The movie you need to see this weekend, ASAP, is 12 Years a Slave — one of the most important releases of the year, and a likely contender for all possible awards, including Best Actor and Best Picture. (Review here.) Also new to theaters is the Cannes-winning, controversy-stirring Blue is the Warmest Color. (Review here.)

Read on for more short takes on today’s new releases, plus a 1979 cult classic that’s ripe for rediscovery.

http://www.youtube.com/watch?v=Q2Ir5LsraA4

About Time Richard Curtis, the man behind 2003’s Love Actually, must be enjoying his days in England, rolling in large piles of money. Coinciding with the 10-year anniversary of that twee cinematic love fest comes Curtis’ latest ode to joy, About Time. The film begins in Cornwall at an idyllic stone beach house, as Tim (Domhnall Gleeson) describes his family members (Bill Nighy is dad; Richard Cordery is the crazy uncle) and their pleasures (rituals (tea on the beach, ping pong). Despite beachside bliss, Tim is lovelorn and ready to begin a career as a barrister (which feels as out of the blue as the coming first act break). Oh! And as it happens, the men in Tim’s family can travel back in time. There are no clear rules, though births and deaths are like no-trespass signs on the imaginary timeline. When he meets Mary (Rachel McAdams), he falls in love, but if he paves over his own evening by bouncing back and spending that night elsewhere, he loses the path he’s worn into the map and has to fix it. Again and again. Despite potential repetition, About Time moves smoothly, sweetly, slowly along, giving its audience time enough to feel for the characters, and then feel for the characters again, and then keep crying just because the ball’s already in motion. It’s the most nest-like catharsis any British film ever built. (2:03) (Sara Maria Vizcarrondo)

http://www.youtube.com/watch?v=8oOG3vUkKUM

A.K.A. Doc Pomus “All greatness comes from pain.” The simple statement comes from Raoul Felder, brother of legendary R&B songwriter Doc Pomus, in the beautiful, crushing mediation on his brother’s life, A.K.A. Doc Pomus, opening theatrically this week after serving as the closing-night film of the 2012 San Francisco Jewish Film Festival. Doc wrote some of the greatest music of a generation: R&B and early rock’n’roll standards such as “This Magic Moment,” “A Teenager in Love,” “Save the Last Dance For Me,” and “Viva Las Vegas” — songs made famous by the likes of Dion, the Drifters, and Elvis Presley. Jewish, debilitated by polio, and vastly overweight, Doc defied expectations while struggling with a lifetime of outsider status and physical pain. William Hechter and Peter Miller’s doc offers a revealing look at his remarkable life. (1:38) Vogue. (Emily Savage)

http://www.youtube.com/watch?v=axLcfpj7xeU

Diana The final years of Diana, Princess of Wales are explored in what’s essentially a classed-up Lifetime drama, delving into the on-off romance between “the most famous woman in the world” (Naomi Watts) and heart surgeon Hasnat Khan (Naveen Andrews). Relationship roadblocks (his Muslim family, back home in Pakistan, is hesistant to accept a divorced, Christian Brit as their son’s partner) are further complicated by extraordinary circumstances (Diana’s fame, which leads to paparazzi intrusions on the very private doctor’s life), but there’s real love between the two, which keeps them returning to each other again and again. By the third or fourth tearful breakup — followed by a passionate reunion — Diana’s story becomes repetitive as it marches toward its inevitable tragic end. Still, director Oliver Hirschbiegel (2004’s Downfall, another last-days-in-the-life biopic, albeit of a slightly different nature) includes some light-hearted moments, as when a giggling Diana smuggles Hasnat through the palace gates (past guards who know exactly what she’s up to). As you’d expect, Watts is the best thing here, bringing warmth and complexity to a performance that strives to reach beyond imitation. (1:52) (Cheryl Eddy)

http://www.youtube.com/watch?v=2UNWLgY-wuo

Ender’s Game Asa Butterfield (star of 2011’s Hugo), Harrison Ford, and Ben Kingsley appear in this adaptation of Orson Scott Card’s sci-fi novel. (1:54)

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

Free Birds Owen Wilson and Woody Harrelson lend their voices to this animated turkey tale. (1:31)

http://www.youtube.com/watch?v=m3_hKv4pEM4

God Loves Uganda Most contemporary Americans don’t know much about Uganda — that is, beyond Forest Whitaker’s Oscar-winning performance as Idi Amin in 2006’s The Last King of Scotland. Though that film took some liberties with the truth, it did effectively convey the grotesque terrors of the dictator’s 1970s reign. But even decades post-Amin, the East African nation has somehow retained its horrific human-rights record. For example: what extremist force was behind the country’s Anti-Homosexuality Bill, which proposed the death penalty as punishment for gayness? The answer might surprise you, or not. As the gripping, fury-fomenting doc God Loves Uganda reveals, America’s own Christian Right has been exporting hate under the guise of missionary work for some time. Taking advantage of Uganda’s social fragility — by building schools and medical clinics, passing out food, etc. — evangelical mega churches, particularly the Kansas City, Mo.-based, breakfast-invoking International House of Prayer, have converted large swaths of the population to their ultra-conservative beliefs. Filmmaker Roger Ross Williams, an Oscar winner for 2010 short Music by Prudence, follows naive “prayer warriors” as they journey to Uganda for the first time; his apparent all-access relationship with the group shows that they aren’t outwardly evil people — but neither do they comprehend the very real consequences of their actions. His other sources, including two Ugandan clergymen who’ve seen their country change for the worse and an LGBT activist who lives every day in peril, offer a more harrowing perspective. Evocative and disturbing, God Loves Uganda seems likely to earn Williams more Oscar attention. (1:23) Roxie. (Cheryl Eddy)

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

Kill Your Darlings Relieved to escape his Jersey home, dominated by the miseries of an oft-institutionalized mother (Jennifer Jason Leigh) and long-suffering father (David Cross), Allen Ginsberg (Daniel Radcliffe) enters Columbia University in 1944 as a freshman already interested in the new and avant-garde. He’s thus immediately enchanted by bad-boy fellow student Lucien Carr (Dane DeHaan), a veteran of numerous prestigious schools and well on the road to getting kicked out of this one. Charismatic and reckless, Carr has a circle of fellow eccentrics buzzing around him, including dyspeptic William S. Burroughs (Ben Foster) and merchant marine wild child Jack Kerouac (Jack Huston). Variably included in or ostracized from this training ground for future Beat luminaries is the older David Kammerer (Michael C. Hall), a disgraced former academic who’d known Carr since the latter was 14, and followed him around with pathetic, enamored devotion. It’s this last figure’s apparent murder by Carr that provides the bookending crux of John Krokidas’ impressive first feature, a tragedy whose motivations and means remain disputed. Partly blessed by being about a (comparatively) lesser-known chapter in an overexposed, much-mythologized history, Kill Your Darlings is easily one of the best dramatizations yet of Beat lore, with excellent performances all around. (Yes, Harry Potter actually does pass quite well as a somewhat cuter junior Ginsberg.) It’s sad if somewhat inevitable that the most intriguing figure here — Hall’s hapless, lovelorn stalker-slash-victim — is the one that remains least knowable to both the film and to the ages. (1:40) (Dennis Harvey)

http://www.youtube.com/watch?v=IMnr-R7BkkU

Last Vegas This buddy film may look like a Bucket List-Hangover hybrid, but it’s got a lot more Spring Breakers in it than you’d expect — who beats Vegas for most bikinis per capita? Four old friends reunite for a wedding in Vegas, where they drink, gamble, and are confused for legendary men. Morgan Freeman sneaks out of his son’s house to go. Kevin Kline’s wife gave him a hall pass to regain his lost sense of fun. Kline and Freeman trick Robert De Niro into going — he’s got a grudge against Michael Douglas, so why celebrate that jerk’s nuptials to a 30-year-old? The conflicts are mostly safe and insubstantial, but the in-joke here is that all of these acting legends are confused for legends by their accidentally obtained VIP host (Romany Malco). These guys have earned their stature, so what gives? When De Niro flings fists you shudder inside remembering Jake LaMotta. Kline’s velvety comic delivery is just as swaggery as it was during his ’80s-era collaborations with Lawrence Kasdan. Douglas is “not as charming as he thinks he is,” yet again, and voice-of-God Freeman faces a conflict specific to paternal protective urges. Yes, Last Vegas jokes about the ravages of age and prescribes tenacity for all that ails us, but I want a cast this great celebrated at least as obviously as The Expendables films. Confuse these guys for better? Show me who. (1:44) (Sara Maria Vizcarrondo)

http://www.youtube.com/watch?v=-v5ZXAxTGHg

Let the Fire Burn In 1985 a long-simmering conflict between Philadelphia police and the local black liberation group MOVE came to a catastrophic conclusion. Ordered to leave their West Philly building after numerous neighborhood complaints about unsanitary conditions, incessant noise, child endangerment and more, the commune refused. An armed standoff came to a halt when a helicopter dropped two FBI-supplied water gel bombs on the roof, killing 11 MOVE members (including five kids) and creating an uncontrollable fire that destroyed some 60 nearby homes. It’s hard to deny after watching Jason Osder’s powerful documentary that MOVE then looked like one crazy cult — its representatives spouting extreme, paranoid rhetoric in and out of court; its child residents (their malnutrition-bloated stomachs nonsensically explained as being due to “eating so much”) in visibly poor health; its charismatic leader John Africa questionably stable. But whatever hazards they posed to themselves and the surrounding community, it’s also almost undeniable here that city law enforcement drastically overreacted, possibly in deliberate retaliation for an officer’s shootout death seven years earlier. The filmed and amply media-reported trials that ensued raised strong suspicions that the police even shot unarmed MOVE members trying to escape the blaze. This outrageous saga, with numerous key questions and injustices still dangling, is an American history chapter that should not be forgotten. Let the Fire Burn is an invaluable reminder. (1:35) (Dennis Harvey)

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

Man of Tai Chi Keanu Reeves directs and plays a supporting role in this contemporary Beijing-set martial-arts drama. (1:45)

http://www.youtube.com/watch?v=N6lImifpiZM

The Pin Canadian film about a romance between two Eastern European youths, in hiding during World War II. (1:23)

The Visitor Directed by “Michael J. Paradise” (aka Giulio Paradisi), this 1979 Italian-US. co-production is belatedly starting to acquire a cult following. Joanne Nail is Barbara, mother of Katy (Paige Conner), a seemingly normal little girl with a disconcerting tendency to swear like a longshoreman when out of ma’s earshot. Also unbeknownst to mom is that her boyfriend (Lance Henriksen, no less), as well as characters played by Mel Ferrer, Glenn Ford, John Huston, Sam Peckinpah, and the inimitable Shelley Winters are all very interested — on the good and the evil side — in Katy, a “miracle of nature” with “immense powers.” Those powers apparently include making Kareem Abdul-Jabbar’s basketball explode at the hoop, and sending teenage boys through plate glass at an ice rink. Some of the adults nosing around Katy really, really want Barbara to give her a similarly gifted baby brother, others do not. It all involves some kind of interplanetary conspiracy to … well, beats me, frankly. Its utter senselessness part of the charm, The Visitor includes any number of bizarre moments, including Winters’ evident enjoyment of slapping some sense into Katy (the child thesp later confirmed that the Oscar winner went a little too Method in that scene), and crusty old Huston intoning the line “I’m, uh, the babysitter.” This glossy sci-fi horror mess. which the Roxie is showing in a new digital transfer, borrows elements freely from 1977’s Exorcist II: The Heretic (a fiasco that inspired very little imitation), 1976’s The Omen (or rather 1978’s Damien: Omen II) and, strangely, Orson Welles’ 1947 The Lady from Shanghai (directly ripping off its famous hall of mirrors scene). Yet there’s a certain undeniable originality to its incoherence. (1:48) Roxie. (Dennis Harvey)

The art of dialogue

Jesse Hawthorne Ficks
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The art of dialogue

arts@sfbg.com

THEATER Maybe there’s no better way to grasp your own time and place than by leaving it — in this case, trading San Francisco for Wroclaw, Poland, and Pacific Standard Time for a whiplashing case of jet lag. Wroclaw was home base for a little more than a week during the recent Dialog Festival (Oct. 11–18; dialogfestival.pl/en), which was in its seventh season as a major biennial international theater festival created and programmed by Krystyna Meissner, a force in Polish and European theater for decades.

Joining a cohort of Americans, including several from the Bay Area, most of whom had been invited to the festival by the Center for International Theatre Development (an organization with which I’ve recently become formally associated), we were treated to work by artists from Poland, Germany, Holland, South Africa, Rwanda, Estonia, Iran, Canada, Mexico, Spain, and Hungary. The topic this year, “Violence makes the world go ’round,” was a proposition answered variously and often ingeniously by the productions on offer. The best of these expertly delivered that consciousness-altering blow you want from theater or any art form, as well as much food for thought — not only about the reality of violence in the world today, but the place in it all of the artist, the individual, the public, the spectator, and the theater itself.

For now, one example will have to suffice: a staging of British playwright Sarah Kane’s 1998 play, Cleansed, by Polish director Krzysztof Warlikowski. This was actually one of two separate stagings of the same play in the festival this year; the other was by renowned Dutch director Johan Simons, working with Germany’s Münchner Kammerspiele, who offered three Kane plays in a single evening. (It was also one of two pieces from Warlikowski at the festival, the other being his latest work, Warsaw Cabaret.)

Warlikowski is widely known as one of the masters of the Polish theater today, and his staging of the Kane play is still in demand 12 years after its controversial premiere in 2001. Seeing this legendary production was an extraordinary opportunity, and its impact was in no way diminished by the hype.

Cleansed comprises a discrete set of scenes in which a sadistic “doctor” named Tinker perpetrates vicious humiliations and atrocities on a group of inmates. Among the latter is a grieving woman who has entered the doctor’s wicked sanatorium to commune with the spirit of her dead brother, a heroin addict murdered gruesomely by Tinker in an early scene. There is also a gay couple whose commitment to each other is brutally tested by the awful interventions of Tinker.

Warlikowski’s production unfolds as a harrowing yet gorgeously languid fever dream. Set on a small stage, with an institutional bathroom wall at the back, the strikingly crisp and potent images throughout distort in the reflective surfaces bounding the space. Often drowned in a shifting sea of garish light, accentuated with piercingly beautiful music (the songs derived from the text are sung in the original English), the stage nevertheless leaves ample room for brilliant performances. These deftly created characters and relationships speak eloquently to the deep compassion and understanding there throughout Kane’s penetrating nightmare. (In a seductive and telling move, Warlikowski tacks on a monologue about desperate love, taken from Kane’s Crave, at the outset of the evening.)

Kane’s own productive extremes as a playwright — her cool formal intelligence and invention, as well as her anguished, aching, and uncompromising vision — were served perfectly by the precise and enveloping aesthetic of this exquisite production. But what was it that brought this play and this director together in the first place? And what was the nature of its early impact? In a talkback with the director the following day, a Polish journalist and critic helped set the scene.

“I saw Cleansed many years ago,” he remembered, “at a time when the LGBT movement in Poland was just coming out of the closet. At the time, it was truly a shocking piece. Now it’s a piece that I’m proud of. I’m proud to see how much has changed. Back in the day, the mayor of Warsaw tried to ban the Pride parade and there was only one politician who dared to show up. I remember there being several hundred of us, separated by a double line of police officers — mind you, the demonstration was legal — and above the heads of the police officers, stones were flying at us.”

Warlikowski recalled, “After the first reading we gave up on it. I decided we wouldn’t do Cleansed but do Hamlet instead. It’s a little difficult to imagine now, but I was really shattered by the stones flying at participants of the LGBT Pride Parade. We were working on Angels in America in some dingy little basement. I felt excluded. I felt like I was underground. Groups of women would roam the streets and tear down the posters for Cleansed. Director Krystyna Meissner would go around town to keep them from being torn down.

“I added the monologue from Crave because I thought that would be the only way to get Polish theatergoers to see the piece. The first response was horrible. Whereas people saw the dismemberment as theatrical and acceptable, they were more offended by two guys kissing, and people would get up and leave the room. That’s not something we can really understand today. So there had to be this ten-minute monologue, speaking of love, to trick you into staying for the rest.

“I remember watching the show sitting next to a couple, probably a yuppie couple, new middle-class, in their late 30s. During the first monologue, the woman never looked up. I felt I was embarrassing her. And for the Catholic nation that we still are, it was a lot to expect. Hence all the embellishments, everything that brings in a dimension that makes the dialogue possible — dialogue with the piece and dialogue with society.” *

 

For more on the Dialog festival, visit www.sfbg.com/pixel_vision.

Music Listings: Oct. 30-Nov 5

Tony Robles
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WEDNESDAY 30
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. Oceanography, Timothy Robert Graham, Buzzmutt, 9 p.m., $8.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Cellar Doors, Mr. Elevator & The Brain Hotel, The Spiral Electric, DJs Joel Gion & Darragh Skelton, 9 p.m., $6-$10.
Cafe Du Nord: 2170 Market, San Francisco. Lee DeWyze, Jeff Conley, 8 p.m., $18-$60.
El Rio: 3158 Mission, San Francisco. Big Baby Guru, Just People, The Beggars Who Give, 8 p.m., $8.
Elbo Room: 647 Valencia, San Francisco. Nobunny, Mongoloid, Shannon & The Clams with Russell Quan, 9:30 p.m., $8.
Hemlock Tavern: 1131 Polk, San Francisco. Battle of the Network Cover Bands, w/ The Booze Brothers, Lady Stardust, Th Mrcy Hot Sprngs, 8:30 p.m., $6.
Hotel Utah: 500 Fourth St., San Francisco. Fast Romantics, Mise en Scene, Bears for Sharks, 8 p.m., $8-$10.
The Knockout: 3223 Mission, San Francisco. Dancer, Crez DeeDee, Jerks, DJ Ryan Smith, 9:30 p.m., $6.
Rickshaw Stop: 155 Fell, San Francisco. Kevin Devine & The Goddamn Band; Now, Now; Jonah’s Onelinedrawing; Harrison Hudson, 8 p.m., $13-$15.
DANCE
The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Bondage A Go Go,” w/ DJs Damon, Tomas Diablo, & guests, 9:30 p.m., $5-$10.
Club X: 715 Harrison, San Francisco. Electro Pop Rocks: CarnEvil, 18+ dance party with St. John, Jays One, Harris Pilton, Sound It Out, Linx, more, 9 p.m.
The EndUp: 401 Sixth St., San Francisco. “Tainted Techno Trance,” 10 p.m.
F8: 1192 Folsom St., San Francisco. Housepitality Halloween, w/ Daniel Bell, Tyrel Williams, Miguel Solari, Joel Conway, Fil Latorre, 9 p.m., $5-$10.
Harlot: 46 Minna, San Francisco. “Qoöl,” 5 p.m.
Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10 p.m.
Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9 p.m., free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10 p.m., free.
Milk Bar: 1840 Haight, San Francisco. Powwoww, Witowmaker, Bubblegum Crisis, The Early Days of Aviation, 8:30 p.m., $5.
Monarch: 101 6th St., San Francisco. The Overlook 3D, w/ Meikee Magnetic, Brycie Bones, DJ Fact.50, 9:30 p.m., $5-$10 (free before 10:30 p.m.).
Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9 p.m., $3.
Ruby Skye: 420 Mason, San Francisco. Freak Circus: Day 4, w/ Arty, 9 p.m., $25-$30 advance.
Slide: 430 Mason, San Francisco. Gatsby: Halloween at Slide, w/ Crazibiza, 9 p.m.
HIP-HOP
Double Dutch: 3192 16th St., San Francisco. “Cash IV Gold,” w/ DJs Kool Karlo, Roost Uno, and Sean G, 10 p.m., free.
Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9 p.m., $5.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Acoustic Guitar Showcase, w/ Teja Gerken, 7 p.m.
Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7 p.m., free.
Club Deluxe: 1511 Haight, San Francisco. Happy Hour Bluegrass, 6:30 p.m., free.
Johnny Foley’s Irish House: 243 O’Farrell St., San Francisco. Terry Savastano, Every other Wednesday, 9 p.m., free.
Plough & Stars: 116 Clement, San Francisco. The Toast Inspectors, Last Wednesday of every month, 9 p.m.
JAZZ
Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Cafe Royale: 800 Post, San Francisco. Negative Press Project, 9 p.m.
Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7 p.m., free.
Martuni’s: 4 Valencia, San Francisco. Tom Shaw Trio, Last Wednesday of every month, 7 p.m., $7.
Oz Lounge: 260 Kearny, San Francisco. Hard Bop Collective, 6 p.m., free.
Pier 23 Cafe: Pier 23, San Francisco. Macy Blackman, 6 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. “Cat’s Corner,” 9 p.m., $10.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Sebastian Parker Trio, 8 p.m.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30 p.m., $5.
Zingari: 501 Post, San Francisco. Linda Kosut, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. Timba Dance Party, w/ DJ WaltDigz, 10 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10.
Make-Out Room: 3225 22nd St., San Francisco. “International Freakout A Go-Go,” 10 p.m., free.
Pachamama Restaurant: 1630 Powell, San Francisco. 15th Annual Halloween Party with Freddy Clarke & Wobbly World, 8 p.m.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. The Hound Kings, 7 & 9 p.m., $15.
The Saloon: 1232 Grant, San Francisco. Jose Simioni, 9:30 p.m.
Tupelo: 1337 Green St., San Francisco. Chris Cobb, 9:30 p.m.
EXPERIMENTAL
Meridian Gallery: 535 Powell, San Francisco. Maria Chavez, Beauty School, 7:30 p.m.
SOUL
The Royal Cuckoo: 3202 Mission, San Francisco. Freddie Hughes & Chris Burns, 7:30 p.m., free.
THURSDAY 31
ROCK
Boom Boom Room: 1601 Fillmore, San Francisco. Talking Heads Halloween Bash with Naive Melodies, 9:30 p.m., $8-$10.
Bottom of the Hill: 1233 17th St., San Francisco. Halloween Show with La Plebe, The Re-Volts, Ruleta Rusa, Bum City Saints, 9 p.m., $12.
Cafe Du Nord: 2170 Market, San Francisco. The Shondes, Naive Americans, The Galloping Sea, 8:30 p.m., $7.
The Chapel: 777 Valencia St., San Francisco. Bobb Saggeth, Haight Breeders, 9 p.m., $12-$16.
Connecticut Yankee: 100 Connecticut, San Francisco. Halloween Party with Steel Hotcakes, The Insufferables, plus a costume contest, 9:15 p.m., free.
Hemlock Tavern: 1131 Polk, San Francisco. Ultra Bide, Lord Dying, Tiger Honey Pot, 8:30 p.m., $8.
Hotel Utah: 500 Fourth St., San Francisco. The Beards, The Wave Commission, Wild Ass, 9 p.m., $12-$15.
The Knockout: 3223 Mission, San Francisco. Kill Yr Idols, Kiss Me on the Butt, Jesus Fuck, Pyl-It-On, 9:30 p.m., $6.
Rickshaw Stop: 155 Fell, San Francisco. Popscene: Popscream Halloween 2013, w/ North American Scum, Bang On, plus DJs, Aaron, Omar, and Miles, 9:30 p.m., $10.
Thee Parkside: 1600 17th St., San Francisco. Hallorager II, w/ Glitter Wizard, Twin Steps, Mr. Elevator & The Brain Hotel, more, 9 p.m., $8.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. Mad Hatters Ball, w/ R.L. Grime, Tourist, DJ Funeral, Gladkill, Noah D, Sugarpill, DJ Dials, Goldrush, Astronautica, more, 10 p.m., $20 advance.
Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10 p.m., free.
Audio Discotech: 316 11th St., San Francisco. Halloween Night with Marcus Schössow, Tall Sasha, 9:30 p.m., $15 advance.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9 p.m., $5-$7.
Beaux: 2344 Market, San Francisco. Heklina’s Halloween Costume Contest, w/ DJ Kidd Sysko, 9 p.m.
The Cafe: 2369 Market, San Francisco. Sugar: All Hallows’ Eve, 9 p.m.
Cat Club: 1190 Folsom, San Francisco. “Throwback Thursdays,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9 p.m., $6 (free before 9:30 p.m.).
The Cellar: 685 Sutter, San Francisco. Dungeon, w/ Romeo Reyes, J-Trip, St. John, 10 p.m., $15-$30; “XO,” w/ DJs Astro & Rose, 10 p.m., $5.
Chambers Eat + Drink: 601 Eddy, San Francisco. Ritual x Haus: A Halloween Party, w/ Bixu, Azin Ash, Siouxsie Black, Chrissie Six, 9 p.m., $5 (free with costume).
Club X: 715 Harrison, San Francisco. “The Crib,” 9:30 p.m., $10, 18+.
DNA Lounge: 375 11th St., San Francisco. All Hallow’s Eve, 18+ dance party with DJs Zach Moore, KidHack, A+D, Santa Muerte, Blondie K, subOctave, Shindog, Mitch, BaconMonkey, Decay, Joe Radio, and Netik, 9 p.m., $13 advance.
F8: 1192 Folsom St., San Francisco. No Way Back + Honey Soundsystem Halloween, w/ Willie Burns, Split Secs, Robot Hustle, Conor, P-Play, Jason Kendig, Solar, Josh Cheon, 10 p.m., $5-$20.
Harlot: 46 Minna, San Francisco. Monster Mash, w/ DJ Spider & The Schmidt, 9 p.m., $10-$30 advance.
Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10 p.m., $10.
Lookout: 3600 16th St., San Francisco. The Drunk Tank: An Underwater Halloween Adventure, w/ DJ Russ Rich, 8 p.m., $8.
Madrone Art Bar: 500 Divisadero, San Francisco. Halloween Night Fever, w/ DJs Jerry Nice & Sonny Phono, 9 p.m., $5 after 10 p.m.
Manor West: 750 Harrison, San Francisco. Villains & Vixens, w/ J. Espinosa, The Les, 10 p.m., $20.
Mezzanine: 444 Jessie, San Francisco. Lights Down Low, w/ The Magician, Tensnake, Andre Bratten, Richie Panic, Sleazemore, 9 p.m., $25-$40.
Mighty: 119 Utah, San Francisco. Black Mammoth, w/ Gravity, Derek Hena, Galen, DJ Kramer, Josh Vincent, A.M. Rebel, Miguel Solari, Tyrel Williams, DJ Dane, DJ Alvaro, Mystr/Hatchet, Wobs, Christopher Charles, 9 p.m., $10 before 10 p.m.
Milk Bar: 1840 Haight, San Francisco. A Nightmare on Haight Street, w/ DJ Vin Sol., 9 p.m., $5.
Monarch: 101 6th St., San Francisco. Green Gorilla Lounge: The Monster Mash, w/ Heidi, DJ M3, Anthony Mansfield, Jimmy B, Sharon Buck, Greer, Mozhgan, Davi A, 9 p.m., $10-$20.
The Parlor: 2801 Leavenworth, San Francisco. Halloween Hoedown, w/ Chris Clouse, 9 p.m., $7-$15.
Project One: 251 Rhode Island, San Francisco. Back2Back: 9-Year Anniversary – Halloween Edition, w/ DJs Jenö & Garth, 8 p.m.
Public Works: 161 Erie, San Francisco. M-nus Monster Mash, w/ Gaiser, Matador, Hobo, 9 p.m., $15-$20.
Q Bar: 456 Castro, San Francisco. “Throwback Thursday,” w/ DJ Jay-R, 9 p.m., free.
Raven: 1151 Folsom St., San Francisco. “1999,” w/ VJ Mark Andrus, 8 p.m., free.
Ruby Skye: 420 Mason, San Francisco. Freak Circus: Day 5, w/ Jack Beats, Bones, 9 p.m., $20-$30 advance.
San Francisco Belle: 3 Pier, San Francisco. S.S. Crowdtilt, w/ Traviswild, DJ Purple, American Tripps ping-pong, open bars, more, 9 p.m., $65-$75.
Slide: 430 Mason, San Francisco. Gatsby: Halloween at Slide, w/ DJ Midnight SF, Zhaldee, Grandwizard, Duy Pham, 9 p.m.
Supperclub San Francisco: 657 Harrison, San Francisco. Beautiful Nightmare, w/ DJ Chris White, 10 p.m., $15 advance.
Temple: 540 Howard, San Francisco. Detonate: Halloween Thriller, 18+ dance party with Goshfather & Jinco, Indo, Tigran, GLSS, 10 p.m., $15.
The Tunnel Top: 601 Bush, San Francisco. “Tunneltop,” DJs Avalon and Derek ease you into the weekend with a cool and relaxed selection of tunes spun on vinyl, 10 p.m., free.
Underground SF: 424 Haight, San Francisco. “Bubble,” 10 p.m., free.
Vessel: 85 Campton, San Francisco. Base: Halloween, w/ Pete Tong, 10 p.m.
W San Francisco: 181 Third St., San Francisco. Saints and Sinners, 10 p.m.
HIP-HOP
111 Minna Gallery: 111 Minna St., San Francisco. My Boo, w/ Neil Armstrong, DJ Shortkut, Ry Toast, Prince Aries, Royce, Chauee, 9 p.m., $10.
Atmosphere: 447 Broadway, San Francisco. Thriller on Broadway: Halloween Night Extravaganza, w/ DJs Mind Motion, Supreme, and Momix, 10 p.m., $10 advance.
Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9 p.m., free.
The EndUp: 401 Sixth St., San Francisco. “Cypher,” w/ resident DJ Big Von, 10 p.m., $5-$10.
Park 77 Sports Bar: 77 Cambon, San Francisco. “Slap N Tite,” w/ resident Cali King Crab DJs Sabotage Beats & Jason Awesome, free.
Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10 p.m., free.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Freaks & Beats 2013, w/ DJs D-Sharp, Apollo, Sake One, Mr. E, and Ruby Red I (in Yoshi’s lounge), 10:30 p.m., $10 advance.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. Halloween with Rube Waddell, Sour Mash Hug Band, The Barbary Ghosts, 9 p.m., $10-$15.
Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7 p.m.
The Independent: 628 Divisadero, San Francisco. Elephant Revival, Allie Kral & The Morrison Brothers, 8 p.m., $16-$18.
Plough & Stars: 116 Clement, San Francisco. Halloween Costume Party with Crooked Road, 9 p.m.
Slim’s: 333 11th St., San Francisco. Boograss 2013: Hillbilly Halloween Hoedown, w/ The Pine Box Boys, The Fucking Buckaroos, The Harmed Brothers, Kemo Sabe, 9 p.m., $15.
JAZZ
Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30 p.m., free.
Bottle Cap: 1707 Powell, San Francisco. The North Beach Sound with Ned Boynton, Jordan Samuels, and Tom Vickers, 7 p.m., free.
Cafe Claude: 7 Claude, San Francisco. Alex Conde Trio, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30 p.m.
Pier 23 Cafe: Pier 23, San Francisco. Snakebite & Friends, 7 p.m., free.
The Royal Cuckoo: 3202 Mission, San Francisco. Charlie Siebert & Chris Siebert, 7:30 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with Eddy Ramirez, 7:30 p.m., $5.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30 p.m., $10.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. Special Halloween Night with N’Rumba, DJ Good Sho, DJ Hong, 8 p.m., $12.
Pachamama Restaurant: 1630 Powell, San Francisco. Flamenco Halloween Party, 8 p.m.; “Jueves Flamencos,” 8 p.m., free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Latin Breeze, 8 p.m.
Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9 p.m., $10-$15.
REGGAE
Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9 p.m., free.
BLUES
50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30 p.m., free.
Biscuits and Blues: 401 Mason, San Francisco. R.J. Mischo, 7 & 9 p.m., $15.
Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bohemian Knuckleboogie, 7:30 p.m., free.
The Saloon: 1232 Grant, San Francisco. Freddie Roulette, 4 p.m.; Carlos Guitarlos, 9:30 p.m.
EXPERIMENTAL
Center for New Music: 55 Taylor St., San Francisco. Ken Ueno, Tim Feeney, and Matt Ingalls, 7:30 p.m., $10-$15.
FUNK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Soul Discipilz, The Hogan Brothers, Extra Ordinary Astronauts, 9 p.m., free.
Elbo Room: 647 Valencia, San Francisco. Afrolicious: A Super Fly Halloween, w/ Afrolicious Band (performing Curtis Mayfield’s Super Fly soundtrack), plus DJs Still Life, Boogiemeister, Pleasuremaker, and Señor Oz, 9:30 p.m., $10-$15.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Cameo’s Funky Halloween, 8 & 10 p.m., $46.
SOUL
Cigar Bar & Grill: 850 Montgomery, San Francisco. Halloween Party with Big Blu Soul Revue, 7:30 p.m., free.
FRIDAY 1
ROCK
50 Mason Social House: 50 Mason, San Francisco. Lemme Adams, Coo Coo Birds, Not Sure. Not Yet, Tall Fires, 8 p.m.
Amnesia: 853 Valencia, San Francisco. Ash Reiter, FpodBpod, Li Xi, 9 p.m., $7-$10.
Amoeba Music: 1855 Haight, San Francisco. Golden Void, 6 p.m., free.
Bottom of the Hill: 1233 17th St., San Francisco. Pirates Press Ninth Anniversary Weekend, w/ Street Dogs, Harrington Saints, Custom Fit, Sydney Ducks, 9 p.m., $15 (or $45 for 3-day pass).
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Satan’s Pilgrims, The Gregors, The Deadbeats, 9 p.m., $12-$15.
Cafe Du Nord: 2170 Market, San Francisco. Battlehooch, Just People, Guy Fox, 9:30 p.m., $8-$10.
El Rio: 3158 Mission, San Francisco. Friday Live: The Dead Ships, DJ Emotions, 10 p.m., free.
Hemlock Tavern: 1131 Polk, San Francisco. Early Graves, Narrows, Glaciers, 9:30 p.m., $10.
Hotel Utah: 500 Fourth St., San Francisco. Lady Zep, Sordid Humor, Mental 99, 9 p.m., $10.
Red Devil Lounge: 1695 Polk, San Francisco. Stroke 9, Jackson Rohm, 9 p.m., $15.
Rickshaw Stop: 155 Fell, San Francisco. American Tripps Halloween/Día de los Muertos Party, w/ Still Flyin’ (as New Order), Honeymoon in Canada, DJ Beauregard, 8 p.m., $10-$12.
Sub-Mission Art Space (Balazo 18 Gallery): 2183 Mission, San Francisco. Inferno of Joy, Beast of England, Gozzard, Asada Messiah, Szandora LaVey, Miss Bella Trixx, 8 p.m., $7.
Thee Parkside: 1600 17th St., San Francisco. The Memorials, Gigantis, Bite, Gotaway Girl, 9 p.m., $10.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. “Witness 4.0,” w/ Cyril Hahn, Ryan Hemsworth, XXXY, Oneman, Henry Krinkle, Letherette, DJ Dials, Sleazemore, Richie Panic, Popgang, Pedro Arbulu, Kevvy Kev, 9 p.m., $17.50-$20 advance.
Amnesia: 853 Valencia, San Francisco. “Brass Tax,” w/ resident DJs JoeJoe, Ding Dong, Ernie Trevino, Mace, First Friday of every month, 10 p.m., $5.
Audio Discotech: 316 11th St., San Francisco. Amine Edge & Dance, Quinn Jerome, J. Remy, Glade Luco, 9 p.m., $20.
Balancoire: 2565 Mission St., San Francisco. “Haçeteria: 3-Year Anniversary,” w/ Sapphire Slows, Magic Touch (DJ set), Bobby Browser (DJ set), Roche (DJ set), 10 p.m., $5-$8.
Cafe Flore: 2298 Market, San Francisco. “Kinky Beats,” w/ DJ Sergio, 10 p.m., free.
The Cafe: 2369 Market, San Francisco. “Boy Bar,” w/ DJ Matt Consola, 9 p.m., $5.
Cat Club: 1190 Folsom, San Francisco. Strangelove: Día de los Muertos, w/ DJs Tomas Diablo, Sage, Prince Charming, and Fact.50, $7 ($3 before 10 p.m.).
The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10 p.m.
The EndUp: 401 Sixth St., San Francisco. “Fever,” 10 p.m., free before midnight.
F8: 1192 Folsom St., San Francisco. “Vintage,” w/ DJ Toph One & guests, 5 p.m., free.
The Grand Nightclub: 520 4th St., San Francisco. “We Rock Fridays,” 9:30 p.m.
Infusion Lounge: 124 Ellis, San Francisco. “Escape Fridays,” 10 p.m., $20.
Lookout: 3600 16th St., San Francisco. “HYSL,” 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Dirty Rotten Dance Party,” w/ Kap10 Harris, Shane King, guests, First Friday of every month, 9 p.m., $5.
Manor West: 750 Harrison, San Francisco. “Fortune Fridays,” 10 p.m., free before 11 p.m. with RSVP.
MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9 p.m.
Mezzanine: 444 Jessie, San Francisco. “Future Fridays,” w/ One More Time: A Tribute to Daft Punk, 9 p.m., $15-$20.
Mighty: 119 Utah, San Francisco. French Express Label Night, w/ Jonas Rathsman, Moon Boots, Isaac Tichauer, 10 p.m., $15 advance.
Milk Bar: 1840 Haight, San Francisco. Spooktasm 2.0, w/ Falcons, Light Echo, GHz Funk, 9:30 p.m., $12-$14 advance.
Monarch: 101 6th St., San Francisco. Día de los Muertos, w/ 8Ball, Aaron Pope, Clarkie, Ding Dong, Kapt’n Kirk, Matt Kramer, Tamo, ViaJay, Shooey, Mace, Ethan, John Schiffer, 9 p.m., $10-$15.
OMG: 43 6th St., San Francisco. “Release,” 9 p.m., free before 11 p.m.
Powerhouse: 1347 Folsom, San Francisco. “Nasty,” First Friday of every month, 10 p.m., $5.
Public Works: 161 Erie, San Francisco. As You Like It: Freaky Friday, w/ Maya Jane Coles, Cosmin TRG, Bells & Whistles, Brian Knarfield, Mossmoss, Mike Bee, Nackt, William Wardlaw, more, 9 p.m., $20 advance.
Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9 p.m., $3.
Region: 139 Steuart St., San Francisco. Hollywood Halloween, w/ DJs Rufio, Rose, and Feldy, 9 p.m., $38 advance.
Ruby Skye: 420 Mason, San Francisco. Aly & Fila, 9 p.m., $20 advance.
Underground SF: 424 Haight, San Francisco. “Bionic,” 10 p.m., $5.
Vessel: 85 Campton, San Francisco. “Blitz,” w/ Festiva, Traviswild, Kean B, Aditiv, Loud Mouth, 10 p.m., $10-$30.
Wish: 1539 Folsom, San Francisco. “Bridge the Gap,” w/ resident DJ Don Kainoa, Fridays, 6-10 p.m., free; “Depth,” w/ resident DJs Sharon Buck & Greg Yuen, First Friday of every month, 10 p.m., free.
HIP-HOP
EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9 p.m.
F8: 1192 Folsom St., San Francisco. “Cash4Gold: Some Kind of Way,” w/ Cellus, Pony P, Phleck, Roost Uno, Kool Karlo, 9 p.m., $5.
Nickies: 466 Haight, San Francisco. “First Fridays,” w/ The Whooligan & Dion Decibels, First Friday of every month, 11 p.m., free.
Slate Bar: 2925 16th St., San Francisco. Thriller: Post-Halloween/Pre-Día de los Muertos Costume Dance Party, w/ DJs Sean G & Mackswell, 10 p.m.
ACOUSTIC
The Chapel: 777 Valencia St., San Francisco. Jonathan Wilson, Extra Classic, 9 p.m., $15.
The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10 a.m., $5.
St. Cyprian’s Episcopal Church: 2097 Turk, San Francisco. First Fridays Song Circle, First Friday of every month, 7 p.m., $5-$10.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Johnny Smith, 8 p.m., free.
Bird & Beckett: 653 Chenery, San Francisco. Don Prell’s SeaBop Ensemble, First Friday of every month, 5:30 p.m., free.
Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9 p.m., $10.
Zingari: 501 Post, San Francisco. Joyce Grant, 8 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30 p.m., $15 (free entry to patio).
Elbo Room: 647 Valencia, San Francisco. La Gente, Bayonics, Emcee Infinite, 10 p.m., $10.
The Emerald Tablet: 80 Fresno St., San Francisco. Brazil Beat, 8 p.m., $15 suggested donation.
Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15 p.m., $15-$18.
Roccapulco Supper Club: 3140 Mission, San Francisco. “Viva la Cumbia,” w/ Aniceto Molina, Los Hermanos Flores, Orquesta San Vicente, 8 p.m., $55-$60 advance.
REGGAE
Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30 p.m., free.
Neck of the Woods: 406 Clement St., San Francisco. Thicker Than Thieves, Perro Bravo, Midnight Sun Massive, Burnt, 8 p.m., $10.
Showdown: 10 Sixth St., San Francisco. “How the West Was Won,” w/ Nowtime Sound, First Friday of every month, 10 p.m., free.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Sonny Rhodes, 7:30 & 10 p.m., $22.
Tupelo: 1337 Green St., San Francisco. Jinx Jones & The KingTones, First Friday of every month, 9 p.m.
EXPERIMENTAL
Center for New Music: 55 Taylor St., San Francisco. Ouroboros, Distant Intervals, poetry/music hybrids, 7:30 p.m., $10-$15.
FUNK
Amnesia: 853 Valencia, San Francisco. Swoop Unit, First Friday of every month, 6 p.m., $3-$5.
Boom Boom Room: 1601 Fillmore, San Francisco. Funk Revival Orchestra, The Bumptet, DJ K-Os, 9:30 p.m., $10-$15.
Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, & Tom Thump, 10 p.m., $5.
SOUL
Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10 p.m., free.
The Independent: 628 Divisadero, San Francisco. Hiatus Kaiyote, Martin Luther, Oscar Key Sung, Ghost & The City, 9 p.m., $20.
The Knockout: 3223 Mission, San Francisco. “Oldies Night,” w/ DJs Primo, Daniel, Lost Cat, friends, First Friday of every month, 10 p.m., $5.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Avant, 8 & 10 p.m., $29-$33.
SATURDAY 2
ROCK
Amnesia: 853 Valencia, San Francisco. Día de los Muertos with Novos Beaches, Sugar Candy Mountain, Jared Saltiel, 9 p.m., $7-$10.
Bender’s: 806 S. Van Ness, San Francisco. Altamont, Frehley’s Vomet, Stone Chimp, 10 p.m., $5.
Bottom of the Hill: 1233 17th St., San Francisco. Pirates Press Ninth Anniversary Weekend, w/ Street Dogs, The Interrupters, Druglords of the Avenues, Bishops Green, 9 p.m., $15 (or $45 for 3-day pass).
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Tracorum, JeConte, The Sleeping Giants, 9 p.m., $12-$15.
Cafe Du Nord: 2170 Market, San Francisco. Midnight Cinema, 8:30 p.m., $12-$15.
El Rio: 3158 Mission, San Francisco. Black Cobra, Hot Lunch, Owl, 10 p.m., $10.
Hemlock Tavern: 1131 Polk, San Francisco. The Shape, Buzzmutt, Appendixes, 8:30 p.m., $6.
Hotel Utah: 500 Fourth St., San Francisco. Dax Riggs, 9 p.m., $15.
Milk Bar: 1840 Haight, San Francisco. Down Dirty Shake, Mr. Elevator & The Brain Hotel, The Love Dimension, We Are the Men, 8:30 p.m., $5.
Neck of the Woods: 406 Clement St., San Francisco. Subkulture: Eternal Death Wake XI, w/ Peeling Grey, Roadside Memorial, Sorrow Church, Dominion, DJs Xiola & 1369 (on the upstairs stage), 8 p.m., $8.
Rickshaw Stop: 155 Fell, San Francisco. Total Trash Halloween Bash, w/ The Sonics, Roy Loney, Dukes of Hamburg, Wounded Lion, Chad & The Meatbodies, The Rantouls, Midnite Snaxxx, Thee S’Lobsters, 7 p.m., $35-$45.
Slim’s: 333 11th St., San Francisco. Little Comets, Starsystem, 9 p.m., $13-$15.
Thee Parkside: 1600 17th St., San Francisco. Blaak Heat Shujaa, Buffalo Tooth, Wicked Goddess, 9 p.m., $8.
DANCE
Audio Discotech: 316 11th St., San Francisco. Amtrac, Dr. Fresch, Anoctave, 9:30 p.m.
BeatBox: 314 11th St., San Francisco. “Chaos,” w/ DJs Stephan Grondin & Tristan Jaxx, 10 p.m., $20 ($5 before 11 p.m.).
Cafe Flore: 2298 Market, San Francisco. “Bistrotheque,” w/ DJ Ken Vulsion, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Leisure,” w/ DJs Aaron, Omar, & Jetset James, First Saturday of every month, 10 p.m., $7.
DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ DJ Tripp, Faroff, Billy Jam, DJ Fox, Kool Karlo, John!John!, more, 9 p.m., $10-$15.
The EndUp: 401 Sixth St., San Francisco. “Play,” w/ DJ Three, Francis Harris, Michael Perry, Will Spencer, 10 p.m., $15-$20 (free before 11 p.m.).
F8: 1192 Folsom St., San Francisco. “Cult,” w/ Dubtribe, DJ Markie, DJ Jenö, Danja, Andre, Jason Douglas, Matt Holland, 10 p.m., $10-$15.
Infusion Lounge: 124 Ellis, San Francisco. “Volume,” First Saturday of every month, 10 p.m., $10-$20.
The Knockout: 3223 Mission, San Francisco. “Debaser: Day of the Dead – Nirvana Nirvana,” w/ DJs Jamie Jams & EmDee, 10 p.m., $5.
Madrone Art Bar: 500 Divisadero, San Francisco. “The Prince & Michael Experience,” w/ DJs Dave Paul & Jeff Harris, First Saturday of every month, 9 p.m., $5.
Mezzanine: 444 Jessie, San Francisco. “Lights Down Low,” w/ Jamie Jones, Dax, Richie Panic, Sleazemore, 9 p.m., $15-$25.
Mighty: 119 Utah, San Francisco. “Deep Blue,” w/ Guti, DJ Rooz, DJ Bo, more, 10 p.m., $13 advance.
Monarch: 101 6th St., San Francisco. Night Moves: Day of the Disco, w/ Doctor Dru, J-Boogie, Deejay Theory, Papa Lu, Joey Alaniz, 9 p.m., $10-$20.
Public Works: 161 Erie, San Francisco. LTJ Bukem, MC Armanni Reign, Bachelors of Science, 10 p.m., $20-$22.
Q Bar: 456 Castro, San Francisco. “Homo Erectus,” w/ DJs MyKill & Dcnstrct, First Saturday of every month, 9 p.m., $5.
Ruby Skye: 420 Mason, San Francisco. Cazzette, 9 p.m., $30-$40.
The Stud: 399 Ninth St., San Francisco. “Go Bang!: I-Beam Tribute,” w/ Lester Temple, Kenneth L. Kemp, Sergio Fedasz, Steve Fabus, 9 p.m., $7 (free before 10 p.m.).
Underground SF: 424 Haight, San Francisco. “Push the Feeling,” w/ residents Yr Skull & Epicsauce DJs, First Saturday of every month, 9 p.m.
Vessel: 85 Campton, San Francisco. “One Night in Morocco,” w/ Pheeko Dubfunk, Kada, Nile, Lorentzo, 10 p.m., $10-$30.
HIP-HOP
John Colins: 138 Minna, San Francisco. “N.E.W.: Never Ending Weekend,” w/ DJ Jerry Ross, First Saturday of every month, 9 p.m., free before 11 p.m.
Slate Bar: 2925 16th St., San Francisco. “Touchy Feely,” w/ The Wild N Krazy Kids, First Saturday of every month, 10 p.m., $5 (free before 11 p.m.).
ACOUSTIC
Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco & Meredith Axelrod, Saturdays, 4-6 p.m., free.
Bazaar Cafe: 5927 California, San Francisco. Fourth Annual Mary Elizabeth Beckman Memorial Concert, 7 p.m.
Plough & Stars: 116 Clement, San Francisco. “Americana Jukebox,” w/ Spidermeow, Doug Blumer & The Bohemian Highway, 9 p.m., $6-$10.
Revolution Cafe: 3248 22nd St., San Francisco. Seth Augustus, First Saturday of every month, 9 p.m., free/donation.
Tupelo: 1337 Green St., San Francisco. Shantytown, 9 p.m.
JAZZ
The Emerald Tablet: 80 Fresno St., San Francisco. Clairdee with the Ken French Trio, 8 p.m., $5-$10.
Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9 p.m.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 8 p.m., free.
INTERNATIONAL
1015 Folsom: 1015 Folsom St., San Francisco. “Pura,” 9 p.m., $20.
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Boom Boom Room: 1601 Fillmore, San Francisco. Lagos Roots, Cha-Ching, 9:30 p.m., $10-$15.
Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5.
Pachamama Restaurant: 1630 Powell, San Francisco. Peña Eddy Navia & Pachamama Band, 8 p.m., free.
Qi Ultra Lounge: 917 Folsom St., San Francisco. Brazilian Halloween Ball 2013: Back to the ‘80s, w/ 20V Band, Energia do Samba, Roberto Martins, The Les, DJ Kblo, DJ Hanik, 10 p.m., $15 advance.
REGGAE
The Independent: 628 Divisadero, San Francisco. John Brown’s Body, Stick Figure, Alific, 9 p.m., $20.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Sista Monica, 7:30 & 10 p.m., $22.
The Lucky Horseshoe: 453 Cortland, San Francisco. Dr. Mojo, 9 p.m., free.
EXPERIMENTAL
Center for New Music: 55 Taylor St., San Francisco. Ray-Kallay Duo, 7:30 p.m., $10-$15.
Hyde Street Pier: 499 Jefferson St., San Francisco. “Vessels for Improvisation,” Featuring the Rova Saxophone Quartet with dancer Shinichi Iova-Koga (aboard the history ferryboat Eureka)., 6 p.m., $12-$20.
The Lab: 2948 16th St., San Francisco. A Benefit for the Lab with Rodger Stella, Heartworm, Erors, Malocculsion, Pink Gaze, Omer Gal, 7:30 p.m., $8+.
FUNK
Red Devil Lounge: 1695 Polk, San Francisco. Big Sam’s Funky Nation, 9 p.m., $15.
SOUL
El Rio: 3158 Mission, San Francisco. “Hard French,” w/ DJs Carnita & Brown Amy, First Saturday of every month, 2 p.m., $7.
Elbo Room: 647 Valencia, San Francisco. “Saturday Night Soul Party,” w/ DJs Lucky, Phengren Oswald, & Paul Paul, First Saturday of every month, 10 p.m., $10 ($5 in formal attire).
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Avant, 8 & 10 p.m., $29-$33.
SUNDAY 3
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. Pirates Press Ninth Anniversary Weekend, w/ FM359, The Ratchets, Downtown Struts, Lenny Lashley’s Gang of One, 8 p.m., $15 (or $45 for 3-day pass).
The Knockout: 3223 Mission, San Francisco. The Bloodtypes, Blammos, The Custom Kicks, Whoosie What’s It’s, 4 p.m., $6.
Thee Parkside: 1600 17th St., San Francisco. He Is Legend, Name, When Earth Awakes, 8 p.m., $10.
DANCE
The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9 p.m., free.
The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8 p.m.
Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ DJ Beset, DJ Sep, J-Boogie, 9 p.m., $6 (free before 9:30 p.m.).
The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.; “BoomBox,” First Sunday of every month, 8 p.m.; “Sunday Sessions,” 8 p.m.
F8: 1192 Folsom St., San Francisco. “Stamina Sundays,” w/ DJs Lukeino, Jamal, and guests, 10 p.m., free.
The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10 p.m., free.
Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8 p.m., $2.
MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10 p.m.
Monarch: 101 6th St., San Francisco. “Black Magic Disko,” w/ Finnebassen, Bob Campbell, NDK, 9 p.m., $10-$20.
Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9 p.m., $5 (free before 11 p.m.).
The Parlor: 2801 Leavenworth, San Francisco. DJ Marc deVasconcelos, 10 p.m., free.
Q Bar: 456 Castro, San Francisco. “Gigante,” 8 p.m., free.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30 p.m., free.
El Rio: 3158 Mission, San Francisco. “Swagger Like Us,” First Sunday of every month, 3 p.m.
Skylark Bar: 3089 16th St., San Francisco. “Shooz,” w/ DJ Raymundo & guests, First Sunday of every month, 10 p.m., free.
ACOUSTIC
The Chapel: 777 Valencia St., San Francisco. Zoë Keating, You Are Plural, 9 p.m., $20-$22.
The Lucky Horseshoe: 453 Cortland, San Francisco. Sunday Bluegrass Jam, 4 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Spike’s Mic Night,” Sundays, 4-8 p.m., free.
Make-Out Room: 3225 22nd St., San Francisco. Dave Dondero, Virgil Shaw, Tom Heyman, 7:30 p.m.
Milk Bar: 1840 Haight, San Francisco. Parlor Tricks, Grand Lake Islands, 3 p.m., free.
Neck of the Woods: 406 Clement St., San Francisco. “iPlay,” open mic with featured weekly artists, 6:30 p.m., free.
St. Luke’s Episcopal Church: 1755 Clay, San Francisco. “Sunday Night Mic,” w/ Roem Baur, 5 p.m., free.
Tupelo: 1337 Green St., San Francisco. “Twang Sunday,” 4 p.m., free.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Makana, 7 p.m., $17-$23.
JAZZ
Amnesia: 853 Valencia, San Francisco. Kally Price Old Blues & Jazz Band, First Sunday of every month, 9 p.m., $7-$10.
Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10 p.m., free.
Musicians Union Local 6: 116 Ninth St., San Francisco. Noertker’s Moxie, 7:30 p.m., $8-$10.
Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4 p.m., free/donation.
The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30 p.m., free.
Tupelo: 1337 Green St., San Francisco. The Joe Cohen Show, 9 p.m.
Zingari: 501 Post, San Francisco. Lisa Lindsley, 7:30 p.m., free.
INTERNATIONAL
Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($15-$20 with dance lessons).
Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30 p.m., free.
Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30 p.m.
BLUES
Cafe Du Nord: 2170 Market, San Francisco. Girls Got the Blues, Salamander 6, 8 p.m., $12-$15.
Revolution Cafe: 3248 22nd St., San Francisco. HowellDevine, 8:30 p.m., free/donation.
The Saloon: 1232 Grant, San Francisco. Blues Power, 4 p.m.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8 p.m., free.
Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9 p.m.
COUNTRY
The Riptide: 3639 Taraval, San Francisco. “The Hootenanny West Side Revue,” First Sunday of every month, 7:30 p.m., free.
EXPERIMENTAL
Artists’ Television Access: 992 Valencia, San Francisco. Ollie Bown & Raven with Bill Hsu, Tim Perkis, 8 p.m., $6-$10.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Fred Frith Trio, Surplus 1980, 9 p.m., $8-$10.
SOUL
Delirium Cocktails: 3139 16th St., San Francisco. “Heart & Soul,” w/ DJ Lovely Lesage, 10 p.m., free.
MONDAY 4
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. The Cliks, KVSK, Hot Peach, 9 p.m., $10.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Social Studies, Upstairs Downstairs, Tartufi, 9 p.m., $6.
The Independent: 628 Divisadero, San Francisco. Destroyer, Pink Mountaintops, 8 p.m., $15-$17.
Slim’s: 333 11th St., San Francisco. The Chariot, Glass Cloud, Birds in Row, To the Wind, 8 p.m., $13.
DANCE
DNA Lounge: 375 11th St., San Francisco. “The Party Strikes Back,” w/ Mega Ran & K-Murdock, D&D Sluggers, Amanda Lepre, Professor Shyguy, 8:30 p.m., $8-$11; “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30 p.m., $3-$5.
Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9 p.m., free.
Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10 p.m., free.
HIP-HOP
Elbo Room: 647 Valencia, San Francisco. “Bass Is Great,” w/ PremRock, Zilla Rocca, Curly Castro, DJ Halo, 9 p.m., $5.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. Front Country, First Monday of every month, 9 p.m., free.
The Chieftain: 198 Fifth St., San Francisco. The Wrenboys, 7 p.m., free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30 p.m., free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Open mic with Brendan Getzell, 8 p.m., free.
Milk Bar: 1840 Haight, San Francisco. Jeff Desira, Kitten Grenade, Hart Bothwell, Tate Tousaint, 8 p.m., free.
Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7 p.m., free.
The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4 p.m.
Tupelo: 1337 Green St., San Francisco. The Barren Vines, 9 p.m.
JAZZ
Cafe Divine: 1600 Stockton, San Francisco. Rob Reich, First and Third Monday of every month, 7 p.m.
Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7 p.m., free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8 p.m.
The Union Room at Biscuits and Blues: 401 Mason, San Francisco. The Session: A Monday Night Jazz Series, pro jazz jam with Mike Olmos, 7:30 p.m., $12.
Zingari: 501 Post, San Francisco. Nora Maki, 7:30 p.m., free.
REGGAE
Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10 p.m., free.
BLUES
Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. Bohemian Knuckleboogie, 7:30 p.m., free.
The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30 p.m.
EXPERIMENTAL
Make-Out Room: 3225 22nd St., San Francisco. Dyemark, Hora Flora, Voicehandler, 8 p.m., free.
SOUL
Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8 p.m., free.
Mezzanine: 444 Jessie, San Francisco. K. Michelle, Sevyn Streeter, 9 p.m., $26.
TUESDAY 5
ROCK
Amnesia: 853 Valencia, San Francisco. French Cassettes, Black Cobra Vipers, Ash Reiter, 9:15 p.m., $7.
Bottom of the Hill: 1233 17th St., San Francisco. Deerhoof, LXMP, Solos, 9 p.m., $17.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. “Wood Shoppe,” w/ Strange Talk, Battleme, Aan, 9 p.m., free.
DNA Lounge: 375 11th St., San Francisco. Soulfly, Havok, 8 p.m., $20-$25.
Elbo Room: 647 Valencia, San Francisco. PSSNGRS, Red Light, Cry, DJs Robert Spector & Sky Madden, 9 p.m., $5.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. Neon Indian (DJ set), Matrixxman, Avalon Emerson, Manics, 10 p.m., $12-$15.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10 p.m., $2.
Laszlo: 2532 Mission, San Francisco. “Beards of a Feather,” Enjoy classy house records, obscuro disco, and laid-back late-’80s jams with DJ Ash Williams and guests, First Tuesday of every month, 9 p.m., free.
Monarch: 101 6th St., San Francisco. “Soundpieces,” 10 p.m., free-$10.
Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9 p.m., $3.
Underground SF: 424 Haight, San Francisco. “Shelter,” 10 p.m., free.
Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8 p.m., free.
HIP-HOP
Skylark Bar: 3089 16th St., San Francisco. “True Skool Tuesdays,” w/ DJ Ren the Vinyl Archaeologist, 10 p.m., free.
Slim’s: 333 11th St., San Francisco. SoMo, PropaneLv, Kid Slim, 8 p.m., $16.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Andy Padlo, 7 p.m. Starts . continues through Nov. 26.
Hotel Utah: 500 Fourth St., San Francisco. Jon Dee Graham, Mike June, Colonels of Truth, 8 p.m., $10-$12.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7 p.m.
Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7 p.m.
Jazz Bistro At Les Joulins: 44 Ellis, San Francisco. M.B. Hanif & The Sound Voyagers, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m.
Oz Lounge: 260 Kearny, San Francisco. Emily Hayes & Mark Holzinger, 6 p.m., free.
Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free; Conscious Contact, First Tuesday of every month, 8 p.m., free.
Tupelo: 1337 Green St., San Francisco. Mal Sharpe’s Big Money in Jazz Band, 6 p.m.
Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9 p.m., $10-$12.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8 p.m., $22.
Zingari: 501 Post, San Francisco. Brenda Reed, 7:30 p.m., free.
INTERNATIONAL
Cafe Cocomo: 650 Indiana, San Francisco. “Descarga S.F.,” w/ DJs Hong & Good Sho, 8 p.m., $12.
The Cosmo Bar & Lounge: 440 Broadway, San Francisco. “Conga Tuesdays,” 8 p.m., $7-$10.
Elbo Room: 647 Valencia, San Francisco. Benefit to Help Roberta with Bayonics, Grupo da Sete, Fogo Na Roupa, BrazilVox, Gringa, DJ Lucio K, DJ Carioca, 8 p.m., $10-$20.
F8: 1192 Folsom St., San Francisco. “Underground Nomads,” w/ rotating resident DJs Cheb i Sabbah, Amar, Sep, and Dulce Vita, plus guests, 9 p.m., $5 (free before 9:30 p.m.).
REGGAE
Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10 p.m.
BLUES
The Saloon: 1232 Grant, San Francisco. Lisa Kindred, First Tuesday of every month, 9:30 p.m., free.
EXPERIMENTAL
Center for New Music: 55 Taylor St., San Francisco. sfSoundSalonSeries, 7:49 p.m., $7-$10.
Hemlock Tavern: 1131 Polk, San Francisco. Les Rhinocéros, Glimr, Lost Animal, 8:30 p.m., $7.
FUNK
Biscuits and Blues: 401 Mason, San Francisco. Fat Tuesday Band, 7 & 9 p.m., $15.
Madrone Art Bar: 500 Divisadero, San Francisco. “Boogaloo Tuesday,” w/ Oscar Myers & Steppin’, 9:30 p.m., free.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. The JRo Project, First Tuesday of every month, 9:30 p.m., $5.
Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free. 

Haunted! Halloween and Day of the Dead events and parties

Jesse Hawthorne Ficks
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4
Haunted! Halloween and Day of the Dead events and parties

Oh hi, spooky. It’s the Bay Area’s favorite time of year, with both candy and muerte on our minds. here’s a handy guide to what’s going down on Hallow’s Eve and boo-weekend.

THURSDAY 31

Afrolicious Super Fly Halloween Elbo Room, 647 Valencia, SF; www.elbo.com. 9:30pm-2am, $10-15. Get retro-spooky with the Latin funk and super-groovy sounds of the Afrolicious party crew. Style out in ’70s-inspired costumes and get down: the live Afrolicious house band will be covering legendary Blaxploitation masterwork soundtrack Super Fly by Curtis Mayfield in its entirety. Far out!

All Hallows’ Eve DNA Lounge, 375 11th St, SF; www.dnalounge.com. 9pm, $13 advance. The annual party at the DNA Lounge is a showcase of its party talent, with DJs from club nights Bootie, Meat, Death Guild, New Wave City, Fringe, 120 Minutes, and more spinning goth and New Wave dance favorites and mashups. Plus an airborne performance by the high-flying Vau de Vire Society. 

Back2Back Halloween Project One, 251 Rhode Island, SF; www.p1sf.com. 8pm-2am, $10. Beloved Wicked crew DJs Jeno and Garth celebrate nine years of their Back2Back party with some psychedelic house gems.

Black Mammoth Mighty. 119 Utah, SF; www.mighty119.com. 9pm-3am, $13-15. Buoyant Burning Man juggernaut Pink Mammoth gets dark for another one of its enormous blowouts, with DJs Galen, Kramer, Miguel Solari, Tyrel Williams, Gravity, and more.

“Creatures of the NightLife” California Academy of Sciences, 55 Music Concourse, Golden Gate Park, SF; www.calacademy.org. 6-10pm, $12. NightLife teams up with the Bay Area Science Festival for this spooky night hosted by Peaches Christ. Highlights include tips on how to survive a zombie attack, the latest on bioengineering (for any aspiring Dr. Frankensteins out there), monster make-up application, and more.

The Flaming Lips’ Halloween Blood Bath Bill Graham Civic Auditorium, 99 Grove, SF, www.apeconcerts.com. Retiring elements that came close to being trademarks. (No space bubble, kids. Go see Diplo, who ripped it off, as he does every gimmick.) With their latest, The Terror, Oklahoma City psych rockers the Flaming Lips seem to be on their own private dark side of the moon, and the current tour promises to be a different kind of spectacle.

“Hacienda Halloween” Peralta House Museum of History and Community, 2465 34th Ave, Oakl; www.peraltahacienda.org. 5-7pm, free. Visit the Peralta Hacienda Historical House for a unique Halloween party, with stories of California’s early years, autumn vegetables, and maybe even an East Bay spirit or two.

Halloween at the Chapel The Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm-2am, $15. Bobb Saggeth, the female-fronted Black Sabbath tribute band, headlines this black mass with Haight Breeders (covering Misfits songs, natch).

Honey Soundsystem + No Way Back Halloween F8, 1192 Folsom, SF; www.eventbrite.com. 9pm-4am, $15. Two of SF’s sharpest DJ collectives combine forces to bring in the dark-edged house of NYC DJ Willie Burns and Split Secs. Should draw a great mixed crowd ready to dance.

House of Babes Halloween Holy Cow, 1535 Folsom, SF; www.thehouseofbabes.com. 9pm-2am, $10-$13. A young, fun shindig featuring a queer rainbow of hip-hop flavors from DJs Rapidfire, Pink Lightning, Dav-O, Boyfriend, and Jenna Riot, plus drag performances Amo A Nia, Rheal’Tea, and Vain Hein. Proceeds go to St. James Infirmary.

Lights Down Low Halloween Mezzanine, 444 Jessie, SF; www.mezzaninesf.com. 9pm-late, $30. Two amazing house headliners: The Magician, from France, who truly has a magic touch, and Germany’s Tensnake, genius of disco-tinged tunes. Should be bonkers stuff from the ever-reliable Lights Down Low party crew.

Minus Monster Mash Public Works, 161 Erie, SF; www.publicsf.com. 9pm-3am, $18. A spooky showcase of classic techno label M-nus, now based in Berlin, with gaiser and matador performing live and DJ Hobo warming up.

Monarch Monster Mash Monarch, 101 Sixth St, SF; www.monarchsf.com. 9pm-3am, $20. The Green Gorilla party DJs celebrate 18 years of Gorillaness with awesome house DJ Heidi from the UK.

The Monster Show The Edge, 4149 18th St, SF; qbarsf.com/EDGE. 9pm-2am, $5. Loveable drag queen Cookie Dough’s weekly drag show takes a killer turn, with blood-soaked performances by Mutha Chicka, Sugah Betes, Sue Casa, and more. Music by MC2. Will Cookie do her infamous Carrie number?

My Boo 111 Minna Gallery, SF. www.111minnagallery.com. 9pm-2am, $10. “The illest Halloween party” — well that’s to be expected from downtown hip-space 111. This costume party includes hip-hoppy DJs Shortkut and Neil Armstrong, plus a ton of cool, arty giveaways.

Nerd-O-Ween Churchill, 198 Church, SF; www.eventbrite.com. 8pm-2am, $20. It’s a nerd party, duh! Dress up as your favorite Poindexter and join the Motown on Mondays and San Franpsycho crews for some soulful hits and coke-bottle glasses.

SFJazz Halloween SFJazz, 201 Franklin, SF; www.sfjazz.org. 7:30pm, $35-55. Join jazz wiz Maceo Parker and his band for an upbeat concert, followed by a dance party with DJ Dancy Pants and a costume contest presented by drag dears Lil Miss Hot Mess and VivvyAnne ForeverMore.

Total Trash Halloween Bash Stork Club, 2330 Telegraph, Oakl; www.totaltrashfest.com. 9pm, $5-10. NoBunny as Bo Diddley! Shannon and the Clams as The Saicos! Monster Women as the Go-Gos! Yogurt Brain as Weezer! The fantastic annual four-day garage-rock Total Trash Fest kicks off this year with a great concept: rockers as other rockers.

Tubesteak Connection Halloween Aunt Charlie’s Lounge, 133 Turk, SF; www.auntcharlieslounge.com. 10pm-2am, $7. DJ Bus Station John’s great gay weekly party pays tribute to the bathhouse disco parties of the past. And the naughty spirits of those days will rise again on Halloween, with a $100 midnight costume contest hosted by the gorgeous Miss Donna Persona and a full dance floor of horribly cute boys.

FRIDAY 1

“Resurrect Sex Workers Fundraiser Day of the Dead Celebration” Fireside, 1453 Webster, Alameda; www.esplerp.org. 9pm, $15 single, $25 couple. All proceeds from this burlesque show benefit the Erotic Service Provider Legal, Educational and Research Project’s legal battles.

SATURDAY 2

“La Llorona: Weeping for the Life and Death of the Mission District” Mission Cultural Center for Latino Arts, 2868 Mission, SF; www.missionculturalcenter.org. The Mission Cultural Center for Latino Arts’ 36th Day of the Dead exhibit. Surrounding the Day of the Dead celebration and exhibit, the center is hosting a series of workshops and events including a gala reception Sat/2 at 6pm ($6), a Dia De Los Muertos “Moda y Ofrendas” Fashion Show also Sat/2 at 9:30pm ($5), and a “Mole to Die For” tasting contest Nov. 13.

San Francisco Day of the Dead/Dia de los Muertos Celebration Procession begins 7pm at 22nd St and Bryant, SF, ends at Garfield park for alter viewing. www.dayofthedeadsf.org. SF’s beloved marking of this Mexicn holiday includes music and a huge parade to Garfield Park, where eye-popping altars and offerings to dead loved ones are on display. A can’t-miss cultural event.

 

 

Lit up

Jesse Hawthorne Ficks
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0
Lit up

arts@sfbg.com

DANCE This past weekend, two dance companies showed premieres inspired by fiction writers. Alonzo King’s imagination was stirred by Irish author Colum McCann (Let the Great World Spin) for Writing Ground, commissioned in 2010 by the Monte Carlo Ballet. For Jenny McAllister, it was mystery novelist and screenwriter Raymond Chandler, whom she has read and loved since she was a little girl.

In the work’s San Francisco premiere, King’s LINES Ballet dancers dived into Writing’s complexities with their accustomed passion and competence. It was gratifying to see new company member Robb Beresford, and apprentices Babatunji Johnson and Jeffrey Van Sciver, already comfortable with the stylistic demands of King’s intricate choreography.

Fierce presence is what King asks of his dancers. For Writing, he placed them into an environment of spiritual music from around the globe, which has moved beyond its historical sources into a quasi-mythic arena. Rarely has a King work — divided into small scenes, as is his habit — conveyed such a fluid sense of unity.

Of course, Writing was full of struggles, disrupted connections, broken lines, and extensions that curled in on themselves. Van Sciver, in a long brown skirt, periodically whipped across the stage like some preternatural force, perhaps generating, or perhaps destructive to, the duet between Kara Wilkes and Beresford. A trio for women in pointe shoes — which suggest defiance of gravity — had them groveling in a crouch. Yet Yujin Kim serenely stretched, apparently indifferent to the violent physical struggle between Meredith Webster and David Harvey. For all their volatility, Kim and similarly tall partner Courtney Henry created visual anchors on the stage.

Writing moved toward its climactic final scene with a clear trajectory, perhaps starting with Harvey and Johnson’s contentious duet that ended with them walking upstage like brothers. They were followed by Kim’s solo to the spiritual “Over my Head.” For the finale, a door opened upstage, and an anguished Wilkes squeezed in, manipulated and supported by four men. She struggled, collapsed, and resurged again and again. Perhaps something was trying to be born out of incredible pain. And yet what compassion these men brought to whatever needed to be done.

LINES also presented the world premiere of King’s Concerto for Two Violins in D-minor, set to Bach’s much-acclaimed score. It just might be this eminent dance maker’s most musically astute choreography to Western classical music. The work opened with Johnson stretching his limbs as if trying to expand space beyond the horizon. The choreography emphasized variations within symmetry, such as the trios that chased each other or peeling stacks of double lines. Webster, Wilkes, Harvey, and Michael Montgomery danced the middle section as a double duet in a beautiful synthesis of edginess and lyricism.

McAllister’s nicely timed and entertaining Being Raymond Chandler, a one-hour dance theater piece for her 13th Floor Dance Theater, looks at the mystery icon (David Silpa) struggling with writer’s block, ambition, a messy almost-marriage, and a love for the bottle. But he was also portrayed as a serious writer, separate from the hack image that sticks to him.

The choreography, mostly social dances from the 1940s, was not particularly original, but these sequences set up a relaxed counterpoint to the staccato dialogs that keep racing from one fictional disaster to the next. There were moments when Being dragged — perhaps drowning in language — but it picked up speed and closed with a flourish.

Ever heard of a novel’s characters coming to life? In this piece, Chandler’s did, fighting with the muddle-headed writer for a different identity and desperately trying to stay in the story (hopefully, in a major part). Yet they also pitched in, with disastrous results, rewriting what was clearly a mess. The whole thing might as well be a backstage look at a soap opera.

Patric Cashman wanted to die — again and again; Erin Mei-Ling Stuart was hilarious as both Chandler’s almost-wife and the seductress who, she insists, needs to be a brunette. The versatile Blane Ashby had so many roles — a noisy neighbor, a crook, a former husband — that I couldn’t keep them apart. The weakest character in this entertainment was Eric Garcia’s sleepy Philip Marlowe, who only came to life halfway through.

Good comedy has an ability to draw you in even as you stay at arm’s length. McAllister at her best — and she is good here — has that gift of playing with perspectives and focus, while keeping the audience off balance McAllister has also learned from Chandler: Out of all those misfiring plot twists, she pulled together a lickety-split mystery that took off like a rocket. *

 

ALONZO KING LINES BALLET

Wed/30-Thu/31, 7:30pm; Fri/1-Sat/2, 8pm; Sun/3, 5pm, $30-$65

Yerba Buena Center for the Arts

700 Howard, SF

www.linesballet.org

13TH FLOOR DANCE THEATER

Sat/2-Sun/3, 8pm, $18-$23

ODC Dance Commons

351 Shotwell, SF

www.13thfloordance.org

Cover me bad

Jesse Hawthorne Ficks
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0
Cover me bad

MUSIC Halloween’s like Christmastime for crafty weirdoes. But for me, crudely sewn, elaborate costumes are only half the fun. Around these parts, creativity seems to peak during what is arguably the most wonderful time of the year. The Bay Area particularly steps it up by honoring the punk band tradition of the Halloween cover show (where legendary bands are paid tribute through song and dress).

This year’s Total Trash Halloween Bash (www.totaltrashproductions.com) offers some of the usual suspects when it comes to rockers delivering camouflaged covers. However, with Nobunny channeling Bo Diddley as “Nodiddley” and Russell Quan joining Shannon and the Clams as Los Saicos, we step out of the box that usually brings us Cramps and Misfits covers. While those shows are completely appropriate (along with the typical homage to bands like the Ramones, the Damned, and Alice Cooper) and have proven popular, Oakland’s sentimental-grunge act, Yogurt Brain, has opted to take on Weezer this year. Rest assured — fans of the Blue Album and Pinkerton won’t be disappointed.

“I can’t wait to hear them do ‘Buddy Holly’ live,” Nobunny emails back in anticipation. Figuring it’s not the masked-man’s first time at the rodeo, I asked him and a few others about the origins of this tradition. No one seemed to be able to pinpoint exactly when and where it started, but Mark Ribak from Total Trash Productions quipped Thee Oh Sees’ John Dwyer “probably invented it” as an alternative to seeing the Cramps on Halloween (Bill Graham Presents booked an annual Cramps Halloween show in SF starting in the mid-1980s).

Ironically, Nobunny’s first, full-cover set would be the Cramps back in 2009; the same year front man Lux Interior died. I asked far and wide and got scattered remnants of Halloween parties past (like the time a member of Chicago’s Functional Blackouts recalled his previous band dressing in drag, billing themselves as Pretty Pretty Pretty Princess, and doing Bikini Kill songs in 1999).

“Here it definitely seems like more of an event than other cities I’ve lived in, but cover shows seem to happen everywhere in every city,” says Stephen Oriolo, Yogurt Brain’s guitarist and songwriter. He’s gotten into the theatrical spirit so much that by press time he’ll already have done a couple of shows as TRAWGGZ (a Troggs cover band) with members of the now defunct Uzi Rash. “Halloween is a time to be something you’re not. Merging that idea with parties or shows naturally makes sense to do a cover set.”

LA Burger bands like Pangea and Audacity have covered Nirvana and Adolescents respectively. Closer to home, the Clams, who are repeat offenders, have done Devo and Creedence Clearwater Revival (which by all accounts was something you had to see to believe), and Uzi Rash made minds melt with a searing interpretation of Monks songs, shaved heads included (Thee Parkside’s Hallorager II, another Halloween show, will have a different Monks cover band this year. www.theeparkside.com).

As for some of Nobunny’s favorite Halloween tricks: “I like the pranksters, like Ty Segall doing the Spits when they were scheduled to be the Gories. Or my absolute favorite was when Uzi Rash, who were scheduled to play as the Fall, soundchecked as the Fall, and then came out at showtime and performed as the Doors. Great swindle!”

So put on your costume (you might even win a contest if it’s good) and have an old fashioned sing-along with a room full of equally pumped people at one of these shows. I just pray my chances of hearing “The Good Life” live doesn’t end up being a prank. The room is sure to erupt as the tradition thrives in the Bay.

 

Perma-teens

Jesse Hawthorne Ficks
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1
Perma-teens

arts@sfbg.com

MUSIC It’s entirely debatable what year this current wave of the garage rock revival broke out.

But for all intents and purposes, let’s just say the genre came back into vogue yet again around 2009: the year Total Trash Productions came into existence. For the past five years, the booking company has served up dozens of garage rock shows and fests in the Bay Area.

And this year, on their fifth anniversary, the folks behind Total Trash are bringing a relic from the first wave: The seminal Washington-based 1960s garage rock band, the Sonics, will play a string of shows for the annual Total Trash Halloween Bash.

The Sonics were there in the very beginning. They got their start in a time when the British Invasion was in full swing. Rejecting sugary-sweet mop-topped bands, the Sonics idolized Jerry Lee Lewis and Little Richard.

“We thought, to heck with wearing suits and neckties," keyboardist-vocalist Gerry Roslie says. "Playing love songs felt wrong — we could only play music with power. We played loud and we played how we felt: like animals.”

The band released a string of albums in the ’60s, with a mixture of rock n’ roll covers such as "Have Love Will Travel," "Louie, Louie," and "Roll Over Beethoven" and edgier, screaching original numbers like “Strychnine” and “Psycho.”

Many credit the Sonics as a proto-punk band of sorts, but Roslie says he saw the band as an outlet to live out his rock ‘n’ roll fantasy until the grips of adulthood came.

“I didn’t know we were garage rock or proto-punk, because those terms didn’t exist at the time we were playing,” Roslie says. “I just knew that we liked being crazy and wanted to play something different than what was out there at the time.”

Roslie left the band in 1967 and started an asphalt-paving business. For decades he had no idea of the influence that his band had left, with future acts such as the Cramps, the Mummies, and the Fall all performing Sonics covers at one point or another.

During that time, Roslie lived a quiet life. That is, until the band was approached in 2007 to play Cavestomp!, a garage rock festival in Brooklyn. That was the first time the band played in well over 30 years.

“We were so nervous — we decided that we would only start playing shows again if people still liked us,” Roslie says.

And sure enough, the Sonics were received with great fanfare, and continued on to play shows in Europe. The one thing that still amazes Roslie is the enthusiasm of new and old Sonics fans alike.

“We’re still scratching our heads going ‘wow’ — I feel that we’re finally getting the attention we deserved,” Roslie says. “We played for teenagers and 20-somethings back in the day, and we’re still playing for that kind of audience. A lot of the kids look the same as they did back then.”

Like many bands that reunite, the Sonics are playing songs made when they were quite young themselves, for the most part covering issues surrounding teenage culture. But as it stands today, all of the members of the band are old enough to be card-carrying AARP (American Association of Retired Persons) members.

“I’m a teenager inside of some wrinkled old body,” says Roslie. “The songs that we made back then are still relatable because we’ve maintained our attitude. We’ve still got that.”

And the Sonics mojo is still intact. So much so that the band is creating a new album. According to Roslie, fans can expect it around late December or early 2014. The release isn’t titled yet, and the label is yet to be determined.

“We didn’t want to go off in a different direction like many bands that have been around for a while do,” Roslie says. “We’re keeping to what we know and do best — loud, crazy rock n’ roll.”

Perma-teenagers or not, the Sonics still have attitude and candor aplenty, spreading the underground rock ‘n’ roll gospel (actively or not) since before you were born.

TOTAL TRASH HALLOWEEN BASH WITH THE SONICS
With Phantom Surfers, Legendary Stardust Cowboy
Fri/1, 7:30pm, $35
New Parish
579 18th St, Oakl.

With Roy Loney, Dukes of Hamburg, Wounded Lion, Chad & the Meatbodies
Sat/2, 7pm, $35
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.totaltrashfest.com

In the year of worms

Jesse Hawthorne Ficks
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In the year of worms

emilysavage@sfbg.com

TOFU AND WHISKEY That voice. Those eerie, singular vocals that are somehow both alien and intimately familiar. They sound like electric Tesla coils wrapped in whipped silk. San Francisco’s Hannah Lew is most often heard harmonizing by three with her striking post-punk trio Grass Widow. With newer project Cold Beat, it’s her vocals alone above the needling guitars and anxious synths of a different band.

Lew has been writing songs as Cold Beat for some time, in between Grass Widow releases and tours, but this week she releases her first EP under the moniker: Worms/Year 5772, with songs inspired by the trauma of Lew’s father passing away a few years back. While Cold Beat is mainly a Lew production, she enlisted many local rock ‘n’ roll luminaries to both play on the album and back her up at shows.

The record’s sound is rounded out by guitarist Kyle King, drummer Lillian Maring, and Shannon and the Clams’ Cody Blanchard on guitar and synths. The live band features King, the Mallard’s Greer Mcgettrick on guitar, and Erase Errata’s Bianca Sparta on drums. That live version will celebrate the release of the EP with a show at the Night Light in Oakland Tue/5.(Cold Beat also plays Great American Music Hall on Nov. 14.) But before that, Lew spoke with the Bay Guardian about the origins of Worms/Year 5772, her DIY record label and music video projects, and the songs she played at her wedding last week:

SF Bay Guardian What inspired you to write new music as Cold Beat, outside of Grass Widow?

Hannah Lew I always write songs and sometimes they just didn’t totally feel like Grass Widow songs. I just kept collecting them and not really knowing if I should release them. As the tunes started accumulating I decided I should get a band together and figure out a way to share the songs. When Kyle King and I started playing — his energy really enabled the songs to come to fruition.

SFBG Can you tell me a bit about the songwriting process with Worms/Year 5772 and how the themes of “death, Internet surveillance, paranoia and science fiction” translated into the music?

HL “Worms” was written as a response to my grief about my father’s death in 2009. I couldn’t help but imagine worms eating his corpse — which was a very visceral image I couldn’t get out of my head…I think the horror of this was something I couldn’t really share with anyone, and in taking time to write more songs on my own I started realizing that it was good for me to have an outlet for some other concepts that were a bit more personal.

I always turn to science fiction when I am trying to understand or relate my feelings. It gives me a change to explore depths of doom and hope that I can more easily imagine not on this earth. In writing all the lyrics alone for Cold Beat there is a little more of me just in my own head which can be great and sometimes paranoid or depressed. I get really bad insomnia and many Cold Beat songs were demoed at 5 or 6am.

Grass Widow lyrics are always more of a conversation where as Cold Beat lyrics are more like an interior dialogue. It’s kind of like describing a dream to someone.

SFBG Does “Year 5772” refer to the Jewish calendar? Why did you make this connection?

HL My late father was a rabbi and I was raised very religious. I was writing Year 5772 about a dystopian post-apocalyptic dream I had that seemed to take place in some distant future and I started thinking about how the Jewish calendar is already in Year 5772 — actually a couple years later now since the song was written a few years ago — and how our concept of the future is based in what point in time we imagine ourselves in — but the concept of linear time is very relative.

I guess being Jewish is kind of futuristic and ancient simultaneously. I like the idea of collapsing time and writing a song that takes place in a landscape outside of time. I also like thinking about existing in many times simultaneously.

SFBG Did you find the solo songwriting process freeing or more complicated without the group’s input?

HL Some of the Cold Beat songs were written during the time Grass Widow was writing our last record — Internal Logic. Somehow they just seemed more personal and better spoken from one voice instead of related by three people. I think the complicated part for me was deciphering which songs were Cold Beat songs and which ones to give to Grass Widow.

Grass Widow is a great space where the three of us would relate and abstract our feelings and dreams together. But there were some things I was going through that I couldn’t synthesize with anyone else and just had to express on my own. I like having conversations about concepts with bandmates, but I also like working alone.

Luckily I can do both! I think it is important to be able to do things on your own so you know who you are and have something to offer a collaborative project. Just like in love.

SFBG You got married last weekend — what key songs were on your playlist? Are you willing to give up any other details?

HL It’s all kind of a blur. but it was so much fun! Some friends of ours put together a wedding band with Kyle King as the band leader. My husband (whoa!) and I put together a set list for the band to play of all our favorite dancing songs. I think the party really went crazy during the Dick Dale version of “Hava Nagila” and we got lifted up in chairs and everything, but also [the Flamin’ Groovies song] “Shake Some Action” was pretty epic too.

My friend Henson Flye made giant clamshells and Raven Mahon made a moon photo backdrop. We had a choir of friends sing “I’ll Be Your Mirror” while I walked down the aisle. It was really beautiful and a beautiful way for all our friends to express their love and friendship and show us support and for us to throw a fun party for everyone. We’re lucky to have a lot of love. Still buzzing from it!

SFBG As with Grass Widow (HLR), you’re putting Cold Beat out on your own label, Crime On The Moon. Can you tell me about the label, and why you’re sticking with DIY?

HL I really enjoy doing everything myself. HLR has been a great experience and we really took the time to make critical decisions about how we wanted to do business. I figured I could easily do it myself with Crime On The Moon since I had the experience of putting out the last few Grass Widow releases. One drawback is that when you put music out on a label you have an instant fan, publicist, and advocate — so when you’re on your own you have to manufacture your own confidence for what you are doing. But having good bandmates and support from your friends goes a long way!

SFBG You also make music videos — will you make any for Cold Beat? Are you working on any others currently?

HL Mike Stoltz, who made the Grass Widow “11 of Diamonds” video and collaborated with me on “Give Me Shapes,” is in the process of editing a Cold Beat video for “Worms.” So that will be out in the next couple of weeks! I am always updating my site (www.hannahlew.com) with new finished videos I make for other bands.

SFBG Anything else you want people to know about Cold Beat or about other upcoming projects?

HL Well I’m excited for our EP to be released November 5. We’ll have copies at our record release show at the Night Light in Oakland with Screature and Pure Bliss. Then we’ll be touring the West Coast to follow that.

I’m also releasing a seven-inch [that] Raven and I recorded with Jon Shade on drums under the name Bridge Collapse. We recorded with Kelley Stoltz and I’m looking forward to releasing those songs along with a compilation of SF bands writing songs as a response to the tech boom. So a lot of exciting Crime On The Moon projects ahead!

COLD BEAT

Tue/5, 9pm, $6

Night Light

311 Broadway, Oakl.

www.thenightlightoakland.com

The Selector: October 30-Nov. 5, 2013

Jesse Hawthorne Ficks
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WEDNESDAY 30

The Nightmare Before Christmas

“Boys and girls of every age, wouldn’t you like to see something strange?” If so, (and especially if you recognize these lyrics), then come with us and you will see Tim Burton’s The Nightmare Before Christmas (1993) at SoMa StrEat Food Park, where this week’s StrEat Flicks features everyone’s favorite stop-motion musical fantasy. Trick or treat, grown-up style, between the food trucks with a cup of beer or sangria. Next, grab a bag of popcorn and plop down under the heat lamps and get ready to sing along, because “this is Halloween.”(Kaylen Baker).

7pm, free

SoMa StrEat Food Park

428 11th St, SF

www.somastreetfoodpark.com

 

Psycho with the San Francisco Symphony

Alfred Hitchcock is still rightfully considered the master of suspense in film, and he often used music to help achieve his desired results, frequently with composer Bernard Herrmann. Fans are in for a special treat this Halloween season as the San Francisco Symphony will perform the scores to several movies live while the films are projected on a large screen behind the musicians — from the shrieking strings of Psycho (Wed/30, 8pm) and the sweeping score of Vertigo (Fri/1, 8pm), to an organ accompaniment for the silent classic The Lodger (Thu/31, 7:30pm) and a “Greatest Hits” medley (Sat/2, 8pm) featuring guest host actress Eva Marie Saint, who starred in North by Northwest (1959).

(Sean McCourt)

Through Sat/2, $20–$156

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

THURSDAY 31

Halloween ComicFest

Fill your little jack-o’-lantern buckets with candy and free comics at Mission: Comics & Art, which will be participating in this year’s Halloween ComicFest. But free goodies are just the tip of the iceberg. The comic shop will also be hosting Ben Catmull for a signing of his new, eerie book Ghosts and Ruins. In this coffee table art book from Fantagraphics, Catmull has illustrated an array of haunted houses and written stories about the origins of each of their hauntings. Don’t say Shelley’s name 13 times while looking into the pond by the house where she was drowned, or you may suffer the same fate in your sleep. Don’t miss this chance to pick the author’s brain about Shelley’s story and more! (Kirstie Haruta)

5pm, free

Mission: Comics & Art

3520 20th St, Suite B SF

(415) 695-1545

www.missioncomicsandart.com

 

 

The Flaming Lips’ Halloween Blood Bath

Oklahoma City psych rockers the Flaming Lips’ mold-breaking performances are as varied as the band’s back catalog. Motorcycle exhaust filled punk orgies, dazzling Christmas light powered spectacles, car stereo orchestras, and for at least the last decade, the technicolor, eyeball melting, heart swelling celebrations of pure weirdo pop, accented by confetti cannons and costumed menagerie. Now it’s switching up again, retiring elements that came close to being trademarks. (No space bubble, kids. Go see Diplo, who ripped it off, as he does every gimmick.) With their latest, The Terror, the Lips seem to be on their own private dark side of the moon, and the current tour promises to be a different kind of spectacle. (Ryan Prendiville)

With Tame Impala, White Denim

7pm, $47.50

Bill Graham Civic Auditorium

99 Grove, SF

www.apeconcerts.com

 

 

The Shondes

If you love to dance, can whip up a mean zombie costume, and have a feminist fire in your heart, Café du Nord is the place to be this Halloween. Touring on their powerful fourth release, The Garden, Brooklyn-based the Shondes make a San Francisco stop just in time for some spooky, queer-friendly festivities, bringing their bright klezmer-pop-rock and hopeful, anthemic lyrics — chants that will likely be bouncing around in your head for the rest of the weekend. The Shondes are joined by Bay Area rockers Naïve Americans and the Galloping Sea for a dance-worthy show and a ’90s zombie-themed costume contest. That interpretation is up to you, just make it good and scary, because there will be judges and prizes. (Haruta)

8:30pm, $7

Café du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

FRIDAY 1

 

American Indian Film Festival

Now in its 38th year, the American Indian Film Festival continues its tradition of spotlighting films by and about Native Americans, with an emphasis on unique and independent works. Opening night unspools Chasing Shakespeare, a magical-realism family drama starring Danny Glover and two of the most prolific First Nation acting legends: Tantoo Cardinal and Graham Greene (both of whom also appear in closing-night film Maina). The rest of the fest brings a screening of Star Wars (1977) with Navajo subtitles; The Lesser Blessed, with SF-born Benjamin Bratt; and, at the SFJazz Center, the star-studded American Indian Motion Picture Awards Show. (Cheryl Eddy)

Through Nov. 9, $7–$20

Delancey Street Theatre

600 Embarcadero, SF

www.aifisf.com

 

“Bad Dads: Wes Anderson Tribute”

Bask in the cloying quirkiness of the worlds created by filmmaker Wes Anderson at Spoke Art’s fourth annual art show tribute to Anderson’s films. “Bad Dads” will feature works by artists like Joshua Budich and Rich Pellegrino, celebrating everything from The Royal Tenenbaums (2001) to Moonrise Kingdom (2012). Of the newest film, there’ll be Budich’s pulpy screenprint of Moonrise Kingdom‘s main cast divided by a jag of lightning and Michael Ramstead’s lifelike oil painting of “Suzy” as a raven. The exhibit’s opening weekend kicks off with an all-ages Halloween costume party on Fri/1, and continue on through Sunday, when the celebrations move to the Castro Theatre for a triple feature showing of Bottle Rocket (1996), The Royal Tenenbaums, and Moonrise Kingdom. Dress up to channel your inner Gwyneth Paltrow or Bill Murray and immerse yourself in tribute art and film for the weekend. (Haruta)

Through Nov. 23

Exhibition, 6pm, free; Sunday movie screening, 1pm, $12

Spoke Art

816 Sutter, SF

(415) 796-3774

www.spoke-art.com

 

AYLI Presents Freaky Friday with Maya Jane Coles

During previous appearances in the city, London artist Maya Jane Coles has come dangerously close to being outpaced by her popularity. Pressed to the sides of Monarch during her set last year, my extensive catalog of deep struts and funky steps was reduced to a little heady bobbing for lack of space. It’s a relief that AYLI is bringing her to the more spacious venue of Public Works, particularly now that Coles released her Comfort LP, a vocally-oriented bit of silky house, featuring guest appearances by Kim Ann Foxman and Karin Park. (The track with Park, “Everything,” is the album’s standout.) Still, given how packed this party is on the lineup side, including co-headlining Romanian-born techno producer Cosmin TRG, it may be wise to stake prime floor space early. (Prendiville)

With Bells & Whistles, Brian Knarfield, Cubik & Origami LIVE, more

9pm-4am, $20 presale

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SUNDAY 3

“Zombie Love”

The signs are all there: After dates you feel a dull numbness where your heart should be, you move in slow motion while life around you runs away, and late at night you’re knocking on your ex’s door. Face it: You’ve contracted Zombie Love. Since there’s no cure, you may as shuffle down to the Make-Out Room with other reanimated life forms for a night of flesh-decaying stories from the Portuguese Artists Colony. Guest readers include Camille T. Dungy, Joe Loya, Sylvie Simmons, and Christopher Worrall, while Three Times Bad regenerates the mood with alternative bluegrass wailings. Additionally, four live writers (friends, not food) scratch out and read aloud stories on some romantically undead prompt for a chance to perform at the next PAC event. (Baker)

5pm, $5-10

Make-Out Room

3225 22nd St, SF

(415) 647-2888

www.portugueseartistscolony.com

 

MONDAY 4

“Words On Dance with Ashley Wheater & Joanna Berman”

Joanna Berman was born in San Rafael; Ashley Wheater in Bigger, Scotland. Berman spent her entire career with the San Francisco Ballet. Wheater joined after his stints with the London Festival Ballet, Australian Ballet, and the Joffrey Ballet. At SFB they excelled in classical as well as contemporary roles. He retired from dancing in 1996; she in 2002. Both were 36. He did so because of a neck injury; she because she wanted to start a family. Following a format “Words On Dance” has successfully developed over the last 20 years — their conversation together offers an intriguing insider perspective on the world of ballet. The evening includes archival footage of Wheater’s performance career and a film showing him in his new role as artistic director with the Joffrey Ballet which he rejoined in 2007. (Rita Felciano)

7pm, $30

ODC Theatre

3153 17th St., SF

www.odctheater.org

 

TUESDAY 5

Blitzen Trapper

Blitzen Trapper exists in a parallel universe. The world frontperson Eric Earley has created though Blitzen Trapper’s 13 years and seven albums is filled with magical realism and a detached, fantastical worldview (in which life is a Western and classic rock is still king). Earley’s close relationship with the unreal extends further than his lyrics — the first sentence of the band’s bio reads, in complete earnest, “When I was 23, I had a waking vision of a creature trying to get inside my apartment,” an experience that pushed Earley to quit school and form a band. Blitzen Trapper’s history is an incredible one — its first two albums were self-released during a period of homelessness — and its success as an alt-country band in an indie rock world is even more incredible. (Haley Zaremba)

With Alialujah Choir

8pm, $23

Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

 

Stage Listings Oct. 30-Nov. 5, 2013

Jesse Hawthorne Ficks
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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

Driving Miss Daisy Buriel Clay Theater at the African American Art and Culture Complex, 762 Fulton, SF; www.african-americanshakes.org. $12.50-37.50. Opens Sat/2, 8pm. Runs Fri-Sat, 8pm; Sun, 3pm. Through Nov 17. African-American Shakespeare Company performs Alfred Uhry’s Pulitzer-winning drama.

I Married an Angel Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Previews Wed/30-Thu/31, 7pm; Fri/1, 8pm. Opens Sat/2, 6pm. Runs Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also Nov 9, 1pm), Sun, 3pm. Through Nov 17. 42nd Street Moon performs the Rodgers and Hart classic.

The Jewelry Box: A Genuine Christmas Story The Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-40. Opens Fri/1, 8pm. Runs Fri, 8pm; Sat, 5pm. Brian Copeland performs the world premiere of his new, holiday-themed work, an Oakland-set autobiographical tale that’s a prequel to his popular Not a Genuine Black Man.

Peter and the Starcatcher Curran Theatre, 445 Geary, SF; www.shnsf.com. $40-160. Opens Tue/5, 8pm. Runs Tue-Sat, 8pm (also Wed and Sat, 2pm; no show Nov 28); Sun, 2pm. Through Dec 1. Fanciful, Tony-winning prequel to Peter Pan.

BAY AREA

A King’s Legacy Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Previews Thu/31, 8pm. Opens Fri/1, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Nov 24. Pear Avenue Theatre performs Elyce Melmon’s world premiere, a drama about King James VI of Scotland.

A Little Princess Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $17-60. Previews Thu/30, 7pm and Sat/2, 1pm. Opens Sat/2, 6pm. Runs Thu-Fri, 7pm (Nov 28, shows at 1 and 6pm); Sat, 1 and 6pm; Sun, noon and 5pm (no 5pm show Dec 1). Through Dec 8. Berkeley Playhouse opens its sixth season with Brian Crawley and Andrew Lippa’s musical adaptation of the Frances Hodgson Burnett story.

Social Security Muriel Watkin Gallery, 1050 Crespi Drive, Pacifica; (650) 359-8002. $10-25. Opens Fri/1, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through Nov 24. Pacifica Spindrift Players performs Andrew Bergman’s classic comedy.

ONGOING

The Barbary Coast Revue Stud Bar, 399 Ninth St, SF; eventbrite.com/org/4730361353. $10-40. Wed, 9pm (no show Nov 27). Through Dec 18. Blake Wiers’ new “live history musical experience” features Mark Twain as a tour guide through San Francisco’s wild past.

Bengal Tiger at the Bagdad Zoo SF Playhouse, 450 Post, SF; www.sfplayhouse.org. $30-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Nov 16. In Rajiv Joseph’s Pulitzer-nominated Bengal Tiger at the Bagdad Zoo, the dead quickly outnumber the living, and soon the stage is littered with monologist ghosts lost in transition. In Joseph’s world, at least, death is but another phase of consciousness, a plane of existence where a man-eating tiger might experience a crisis of conscience, and a brash young soldier with a learning disability might suddenly find himself contemplating algebraic equations and speaking Arabic —knowledge that had eluded his comprehension in life. Will Marchetti’s portrayal of the titular tiger is on the static side, though his wry intelligence and philosophical awakening comes as a welcome contrast to the willfully obtuse world view of the American soldiers (Gabriel Marin and Craig Marker) guarding him. But it’s Musa (Kuros Charney), a translator for the Americans and a former gardener and topiary “artist,” who eventually emerges as the play’s most fully realized character and also the most tragic, becoming that which he dreads the most, a beast in a lawless land, egged on by the ghost of his former employer, the notoriously sadistic Uday Hussein (Pomme Koch). At times, director Bill English’s staging feels too understated and contained for a play that’s so muscular and expansive (an understatement not carried over into Steven Klems’ appropriately jarring sound design) focused less on its metaphysical implications than on its mundane surface, but however imperfect the production and daunting the script, it remains a fascinating response to an unwinnable war — the war against our own animal natures. (Gluckstern)

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Dec 17. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Carrie: The Musical Victoria Theatre, 2961 16th St, SF; www.rayoflighttheatre.com. $25-36. Wed/30-Sat/2, 8pm (also Sat/2, 2pm). Teen bullying is très topical at the moment, making Stephen King’s terrifying tale of a telekinetic girl pushed to the breaking point by her unsympathetic classmates ripe for revival. Although it flopped on Broadway in 1988, Carrie: The Musical has aged more gracefully than you might expect, thanks to the timeliness of its overarching theme and a judicious 2012 facelift of its script and score. In Ray of Light Theatre’s slam-dunk production, Carrie unfolds a bit like an after-school special on scapegoating, except with show tunes and, of course, the stratospheric consequences of the final, tragic revenge sequence. The songs themselves are mainly forgettable in terms of hooks and lyrics, but the vibrant young cast makes the most of them, with excellent harmonizing and powerful range. Amanda Folena’s tight choreography borrows the sinuous hip rolls and stomp of a Janet Jackson routine and just a touch of twerk, while Joe D’Emilio’s lighting and Erik Scanlon’s video design work in unholy symbiosis to create the supernaturally charged ambience of Carrie’s world. As Carrie, Cristina Ann Oeschger really shines, embodying the heartbreaking fragility of a lonely outcast whose optimism has not yet been entirely crushed, while Heather Orth as her frighteningly pious mother, Margaret White, reveals the vulnerability of her equally lonely character that many portrayals miss altogether. Standouts among the solid supporting cast include Jessica Coker as a compassionate gym teacher and Riley Krull as the ultimate mean girl. (Gluckstern)

Dirty Little Showtunes New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Nov 10. Lyricist-performer Tom Orr and director F. Allen Sawyer’s sassy but loving remix of iconic Broadway songs returns in another iteration, this one at the New Conservatory Theatre Center, complete with a willing and able cast of five (Rotimi Agbabiaka, David Bicha, Jesse Cortez, Randy Noak, Orr), piano accompaniment by musical director Scrumbly Koldewyn, and some rudimentary if evocative choreography by Jayne Zaban. Truly silly, sometimes inspired, the show mixes favorite parodies from past productions with some new ones. Orr’s wit shines throughout, even if it does not necessarily outshine every borrowed theme. Gilbert and Sullivan, for example, are hardly upstaged as much as celebrated with Bicha belting out, “I Am the Very Model of a Modern Homosexual.” More sentimental numbers about T cell counts or gay marriage, while an understandable part of the landscape of gay life explored here, can feel a little strained in the context of the generally ribald. But the high-spirited nature of this whimsical show makes pardonable even the less-dirty parts. (Avila)

Drowning Ophelia Mojo Theatre Space, 2940 16th St, #217, SF; www.repurposedtheatre.com. $20. Thu/31-Sat/2, 8pm. Jane (Katharine Otis) is a young woman teetering on the verge of a breakdown who plays period dress-up with would-be suitor Edmund (Will Trichon) but can’t avoid the character at her back: Hamlet‘s Ophelia (Kirsten Dwyer), chiding and chilling from her bathtub in the middle of the room. As Jane’s attention gets drawn back to her alter ego, scenes from the past with recently deceased brother Adam (Ryan Hayes) replay themselves with Ophelia as her stand-in. These go from innocent to menacing, as meanwhile Jane’s almost endlessly patient boyfriend finally seems to have had enough of the clash between their playful pretending and the unforeseen visitors in Jane’s head. While a promising gambit from newcomer Repurposed Theatre, the world premiere of Pennsylvania-based playwright Rachel Luann Strayer’s slightly unwieldy play makes less of this intriguing situation than one might hope. The literary and theatrical bent to Jane’s split personhood is apt on more than one level — she’s not only desperate to secure a sense of order for her disordered mind, but a scripted basis for a romantic ideal forever tarnished by her relationship with her brother (vaguely creepy in his boyish confidence in Hayes’s alert performance). But there’s little sense of a larger psychosocial reality — whether of patriarchal misogyny, or violence more generally — and, as a result, little to be gained from the too-obvious and too emphatic incest-madness theme, outside of an impressive performance from Otis, whose somewhat hampered character is nevertheless a powerful presence throughout. Capable supporting turns, including Dwyer’s intense and vital Ophelia, and director Ellery Schaar’s generally sharp staging (under Julien Elstob’s moody lighting) contribute to making a nicely atmospheric production. (Avila)

First Stage Werx, 446 Valencia, SF; www.firsttheplay.com. $25-35. Thu/31-Sat/2, 8pm; Sun/3, 2pm. Altair Productions, the Aluminous Collective, and PlayGround present the world premiere of Evelyn Jean Pine’s play, which imagines a 20-year-old Bill Gates’ experiences at a 1976 personal computer conference.

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

444 Days Z Below, 470 Florida, SF; www.goldenthread.org. $10-45. Thu/31-Sat/2, 8pm (also Sat/2, 3pm); Sun/3, 3pm. Golden Thread Productions presents the world premiere of founding artistic director Torange Yeghiazarian’s drama about the reunion between a former Iranian revolutionary, Laleh (Jeri Lynn Cohen), and a former American diplomat from the American embassy in Tehran, Harry (Michael Shipley) — her captive in more ways than one during the 444 days of the 1979-81 Iran hostage crisis. Some 25 years after this international “affair,” Laleh and Harry meet again at the bedside of their critically ill and comatose daughter, Hadyeh (Olivia Rosaldo-Pratt), whose non-biological father Amin (an offstage character) is Laleh’s longtime comrade and another of the onetime hostage takers. If it sounds like a politically loaded situation, it is, which is as much a problem as a virtue in director Bella Warda’s production. Yeghiazarian laces her dialogue with light humor, irony, and romance throughout, but the play allows little room for its characters to really breathe — indeed, Laleh’s first words to Harry after 25 years are, unlikely enough, a well-rehearsed screed. In the contortions its characters must speak (to which a friendly nurse, played by Sheila Collins, adds something like the average American’s perspective), the play remains too intent on delivering a political message about the intractable relationship, then and now, between the US and Iran — and the unnatural sacrifice of the generation that has come up since the severing of US-Iranian diplomatic ties after the revolution of 1979. (Avila)

Gruesome Playground Injuries Tides Theatre, 533 Sutter, SF; www.tidestheatre.org. $20-40. Wed-Sat, 8pm. Through Nov 9. Tides Theatre performs Rajiv Joseph’s drama about two people who first meet as eight-year-olds in the school nurse’s office.

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

Lovebirds Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-100. Thu-Fri, 8pm; Sat, 8:30pm. Through Nov 9. Workshop performances of Marga Gomez’s 10th solo show, about different characters seeking romance in the 1970s.

Randy Roberts Live! Alcove Theatre, 414 Mason, SF; www.randyroberts.net. $40. Thu/31-Sat/2, 9pm. The famed female impersonator performs.

Shakespeare Night at the Blackfriars (London Idol 1610) Phoenix Arts Association Annex Theatre, 414 Mason, SF; www.subshakes.com. $20-25. Fri-Sat, 8pm; Sun, 7pm. Through Nov 17. Subterranean Shakespeare performs George Crowe’s comedy about a playwriting contest between Ben Jonson, Thomas Middleton, Francis Beaumont, and the ghost of Christopher Marlowe.

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Thu-Sat and Wed/30, 8pm. Through Nov 23. It’s lucky 14 for the Thrillpeddlers’ annual Halloween-tide Shocktoberfest, and while there are few surprises in this year’s lineup, there’s plenty of reliable material to chew on. Opening with A Visit to Mrs. Birch and the Young Ladies of the Academy, a ribald Victorian-era “spanking drama,” the fare soon turns towards darker appetites with a joint Andre De Lorde-Pierre Chaine work, Jack the Ripper. Works by De Lorde — sometimes referred to as the “Prince of Fear” — have graced the Hypnodrome stage over the years, and this tense Victorian drama, though penned in the 30s, is suitably atmospheric. Although it becomes pretty evident early on who dunnit, it’s the why that lies at the heart of this grim drama, and in the course of that discovery, the play’s beleaguered lawmen reveal themselves to be no less ruthless than the titular Ripper (John Flaw) in pursuit of their quarry. Norman Macleod as Inspector Smithson particularly embodies this unwholesome dichotomy, and Bruna Palmeiro excels as his spirited yet doomed bait. Inspired by Oscar Wilde’s Salome, the Thrillpeddlers’ piece by the same name is perhaps the weak link in the program, despite being penned by the ever-clever Scrumbly Koldewyn, and danced with wanton abandon by Noah Haydon. Longtime Thrillpeddlers’ collaborator Rob Keefe ties together the evening’s disparate threads under one sprawling big top media circus of murder, sex, ghosts, and sensationalism with his somewhat tongue-in-cheek, San Francisco-centric The Wrong Ripper. (Gluckstern)

Sidewinders Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 17. Cutting Ball opens its 15th season with the world premiere of Basil Kreimendahl’s absurdist romp through gender queerness. In a cartoonish, desolate wasteland (designed by Michael Locher), Dakota (Sara Moore), a bleached-blonde gunslinger in buckskin fringes, and Bailey (DavEnd), a possibly AWOL soldier rocking high-heeled boots and a single drop earring, wrestle with the conundrum of what to call their respective genitals. And more to the point, what to do with them after they figure it out. Or as Bailey bluntly puts it, “Who am I supposed to fuck?” But there’s more to being stranded in the uncharted wilderness at stake than “organ confusion,” and soon they must channel their uncommon alliance into finding a way back out. What they find instead include a regal figure of indeterminate gender possessed of extra limbs (Donald Currie), a suicidal servant with surgical skills (Norman Muñoz), and a growing realization that wilderness, like identity, is relative. Moore and DavEnd make a good comedic team, their endless banter, circular logic and exaggerated facial gymnastics giving them the philosophical gravitas of a Looney Tunes episode, while Currie’s turn as mutated muse is unexpectedly moving. Recent winner of the prestigious Rella Lossy award, this intriguing world premiere marks playwright Basil Kreimendahl’s first professional production, though it seems safe to say that it won’t be the last. (Gluckstern)

BAY AREA

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

Don’t Dress For Dinner Center REPertory Company, 1601 Civic, Walnut Creek; www.centerrep.org. $33-52. Wed, 7:30pm; Thu-Sat, 8pm (also Nov 23, 2:30pm); Sun, 2:30pm. Through Nov 23. Center REP performs Marc Camoletti’s sequel to his classic farce Boeing-Boeing.

I and You Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Wed/30, 7:30pm; Thu/31-Sat/2, 8pm (also Sat/2, 2pm); Sun/3, 2 and 7pm. Lauren Gunderson’s world premiere explores how Walt Whitman’s words affect the lives of two teenagers.

Lettice and Lovage Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-38. Thu/31-Sat/2, 8pm; Sun/3, 2pm. Hillbarn Theatre, now in its 73rd season, performs Peter Shaffer’s raucous comedy.

Metamorphoses South Berkeley Community Church, 1802 Fairview, Berk; www.infernotheatre.org. $10-25. Thu and Sat-Sun, 8pm; Fri, 9pm (no show Nov 9). Through Nov 23. Additional performance Nov 9, 8pm, $5-20, Laney College, 900 Fallon, Oakl. Inferno Theatre performs a multimedia, contemporary adaptation of Ovid’s classic.

The Pianist of Willesden Lane Berkeley Repertory Theatre, Thrust Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Opens Wed/30, 8pm. Runs Tue and Thu-Sat, 8pm (also Nov 7, Dec 5, and Sat, 2pm; no matinee Nov 9; no show Nov 28); Wed and Sun, 7pm (also Sun, 2pm). Through Dec 8. Mona Golabek stars in this solo performance inspired by her mother, a Jewish pianist whose dreams and life were threatened by the Nazi regime.

Red Virgin, Louise Michel and the Paris Commune of 1871 Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through Nov 24. Central Works presents a new play (with live music) by Gary Graves about the Paris Commune uprising.

Rich and Famous Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $15-35. Thu/31-Sat/2, 8pm; Sun/3, 2pm. Dragon Theatre performs John Guare’s surreal musical comedy.

strangers, babies Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 17. Shotgun Players present Linda McLean’s drama about a woman confronting her past.

Swing Shift Onboard the SS Red Oak Victory, 1337 Canal, Berth 6A, Richmond; www.galateanplayers.com. $18-20. Fri-Sat, 8pm; Sun, 3pm. Through Nov 10. Galatean Players Ensemble Theatre perform Kathryn G. McCarty’s adaptation of Joseph Fabry’s novel, performed aboard a ship in the yards where Fabry once worked.

Warrior Class Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Wed/30, 7:30pm; Thu/31-Sat/2, 8pm (also Sat/2, 2pm); Sun/3, 2 and 7pm. TheatreWorks performs Kenneth Lin’s incisive political drama.

PERFORMANCE/DANCE

Alonzo King LINES Ballet Fall Home Season 2013 Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.linesballet.org. Wed/30-Thu/31, 7:30pm; Fri/1-Sat/2, 8pm; Sun/3, 5pm. $30-65. Featuring the SF premiere of Writing Ground, a collaboration with writer Colum McCann, and a world-premiere new work set to Bach.

“Best of the 2013 San Francisco Fringe Festival” Exit Studio, 156 Eddy, SF; www.theexit.org. Fri/1-Sat/2, 8pm. $15-25. This week: Genie and Audrey’s Dream Show! (“Best of” series continues through Nov. 23)

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

CounterPULSE 1310 Mission, SF; www.counterpulse.org. This week: “After the Tone,” performed by Cara Rose DeFabio, Sat/2-Sun/3, 8pm, $20. “Beware the Band of Lions (They’re Dandy Lions),” with Bandelion, Sun/3, Nov 10, and 17, 3pm, free (reservations required as space is extremely limited; to request an invitation, email info@dandeliondancetheater.org).

“Crones Meet Bride of Lesbostein” Garage, 715 Bryant, SF; www.crackpotcrones.com. Wed/30-Thu/31, 8pm. $18. Crackpot Crones perform.

“An Evening with Hal Holbrook” Jewish Community Center of SF, 3200 California, SF; www.jccsf.org. Thu/31, 7pm. $25-35. The veteran actor discusses his memoir, Harold: The Boy Who Became Mark Twain.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: “An Evening with Rita Wilson,” Thu/31-Fri/1, 8pm; Sat/2, 7pm, $40-60.

“Grand Guignol” Z Space, 450 Florida, SF; www.grandguignolsf.com. Wed/30-Sat/2, 7 and 10pm; Sun/3, 2pm. $15-195. Horror play inspired by Paris’ legendary splatterhouse Theatre du Grand Guignol.

“The Handsomest Drowned Man in the World” Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. Fri/1, 9pm; Sat/2, 9:30pm; Sun/3, 7pm. Free. SF State’s Rainbow Theatre performs a stage adaptation of Gabriel Garcia Marquez’s short story.

“Layla Means Night” ODC Theater, 3153 17th St, SF; www.odctheater.org. Wed/30-Sun/3, 7 and 9pm. $35-50. Rosanna Gamson/World Wide’s dance theater work transforms the ODC building into a 1,001 Arabian Nights-inspired fantasyland.

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

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat, 4:30 and 7pm. $20-30 (free aquarium ticket with show ticket). Extended through Dec 28. Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Fri/1, Dec 6, and Jan 3, 7:30 and 11pm. $25-50. Interactive interpretation of Kathryn Bigelow’s 1991 classic. (Some tickets include meatball sandwiches!)

“Project Nunway V: Dissident Futures” Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Sat/2, 8pm. $15-99.99. The Sisters of Perpetual Indulgence’s annual gala benefits local nonprofits and features high-fashion looks crafted from recycled materials. Related events (check website for details) include an altar project, “Angel of the Future Dead;” an after-party; and a screening of 1983’s Yentl.

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.pacoromane.com. Wed/30, 7:30pm. $10. Special Halloween edition of Paco Romane’s popular monthly stand-up showcase.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony. Seasonal alert: the show takes on a “spook-tacular” bent this week, with special shows Thu/31-Sat/2, 8pm.

13th Floor Dance Theater Studio B at ODC Dance Commons, 351 Shotwell, SF; www.13thfloordance.org. Sat/2, 8pm. $18-23. Jenny McAllister’s company performs the world premiere of Being Raymond Chandler.

Zaccho Dance Theatre Zaccho Studio, 1777 Yosemite, Studio 330, SF; www.zaccho.org. Fri/1-Sun/3, 1-5pm. Free. The company performs Joanna Haigood’s Between Me and the Other World, a performance installation exploring W.E.B. Dubois’ concept of double consciousness.

Zhukov Dance Theatre SFJazz Center, 201 Franklin, SF; www.zhukovdance.org. Wed/30, 8pm. $25-55. The company marks its sixth annual season, “Product 06,” with world premieres by Yuri Zhukov and guest choreographer Idan Sharabi.

“What Stays” Turquoise Yantra Grotto, 32 Turquoise Way, SF; www.performancelab.org. Fri/1-Sat/2, 8pm. $20-50. Home-theater performance by Right Brain Performancelab. Visit website for information on Nov 8-9 shows at a private home in Oakland.

BAY AREA

Mariachi Vargas de Tecalitlán Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk; www.calperfs.berkeley.edu. Sun/3, 7pm. $18-48. Celebrate Day of the Dead with the veteran Mexican folk ensemble’s traditional and popular tunes. Show up early (5-7pm) for free face painting and folkloric dance performances outside the venue, in Lower Sproul Plaza.

“Rapunzel” Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. Sat-Sun, 10am and 12:30pm. $15-20. Through Nov 10. Marin Theatre Company performs a fairy-tale play for all ages.

Shanghai Ballet Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk; www.calperfs.berkeley.edu. Fri/1-Sat/2, 8pm. $30-92. The company performs The Butterfly Lovers, choreographed by Xin Lili. *

 

Film listings and reviews Oct. 30-Nov.5, 2013

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

OPENING

About Time Richard Curtis, the man behind 2003’s Love Actually, must be enjoying his days in England, rolling in large piles of money. Coinciding with the 10-year anniversary of that twee cinematic love fest comes Curtis’ latest ode to joy, About Time. The film begins in Cornwall at an idyllic stone beach house, as Tim (Domhnall Gleeson) describes his family members (Bill Nighy is dad; Richard Cordery is the crazy uncle) and their pleasures (rituals (tea on the beach, ping pong). Despite beachside bliss, Tim is lovelorn and ready to begin a career as a barrister (which feels as out of the blue as the coming first act break). Oh! And as it happens, the men in Tim’s family can travel back in time. There are no clear rules, though births and deaths are like no-trespass signs on the imaginary timeline. When he meets Mary (Rachel McAdams), he falls in love, but if he paves over his own evening by bouncing back and spending that night elsewhere, he loses the path he’s worn into the map and has to fix it. Again and again. Despite potential repetition, About Time moves smoothly, sweetly, slowly along, giving its audience time enough to feel for the characters, and then feel for the characters again, and then keep crying just because the ball’s already in motion. It’s the most nest-like catharsis any British film ever built. (2:03) (Vizcarrondo)

A.K.A. Doc Pomus “All greatness comes from pain.” The simple statement comes from Raoul Felder, brother of legendary R&B songwriter Doc Pomus, in the beautiful, crushing mediation on his brother’s life, A.K.A. Doc Pomus, opening theatrically this week after serving as the closing-night film of the 2012 San Francisco Jewish Film Festival. Doc wrote some of the greatest music of a generation: R&B and early rock’n’roll standards such as “This Magic Moment,” “A Teenager in Love,” “Save the Last Dance For Me,” and “Viva Las Vegas” — songs made famous by the likes of Dion, the Drifters, and Elvis Presley. Jewish, debilitated by polio, and vastly overweight, Doc defied expectations while struggling with a lifetime of outsider status and physical pain. William Hechter and Peter Miller’s doc offers a revealing look at his remarkable life. (1:38) Vogue. (Emily Savage)

Blue is the Warmest Color See “Hot and Cool.” (2:59) Embarcadero.

Diana Naomi Watts stars in this exploration of the last two years in the life of Princess Diana. (1:52) Shattuck.

Ender’s Game Asa Butterfield (star of 2011’s Hugo), Harrison Ford, and Ben Kingsley appear in this adaptation of Orson Scott Card’s sci-fi novel. (1:54) Presidio.

Free Birds Owen Wilson and Woody Harrelson lend their voices to this animated turkey tale. (1:31)

God Loves Uganda Most contemporary Americans don’t know much about Uganda — that is, beyond Forest Whitaker’s Oscar-winning performance as Idi Amin in 2006’s The Last King of Scotland. Though that film took some liberties with the truth, it did effectively convey the grotesque terrors of the dictator’s 1970s reign. But even decades post-Amin, the East African nation has somehow retained its horrific human-rights record. For example: what extremist force was behind the country’s Anti-Homosexuality Bill, which proposed the death penalty as punishment for gayness? The answer might surprise you, or not. As the gripping, fury-fomenting doc God Loves Uganda reveals, America’s own Christian Right has been exporting hate under the guise of missionary work for some time. Taking advantage of Uganda’s social fragility — by building schools and medical clinics, passing out food, etc. — evangelical mega churches, particularly the Kansas City, Mo.-based, breakfast-invoking International House of Prayer, have converted large swaths of the population to their ultra-conservative beliefs. Filmmaker Roger Ross Williams, an Oscar winner for 2010 short Music by Prudence, follows naive “prayer warriors” as they journey to Uganda for the first time; his apparent all-access relationship with the group shows that they aren’t outwardly evil people — but neither do they comprehend the very real consequences of their actions. His other sources, including two Ugandan clergymen who’ve seen their country change for the worse and an LGBT activist who lives every day in peril, offer a more harrowing perspective. Evocative and disturbing, God Loves Uganda seems likely to earn Williams more Oscar attention. (1:23) Roxie. (Eddy)

Kill Your Darlings Relieved to escape his Jersey home, dominated by the miseries of an oft-institutionalized mother (Jennifer Jason Leigh) and long-suffering father (David Cross), Allen Ginsberg (Daniel Radcliffe) enters Columbia University in 1944 as a freshman already interested in the new and avant-garde. He’s thus immediately enchanted by bad-boy fellow student Lucien Carr (Dane DeHaan), a veteran of numerous prestigious schools and well on the road to getting kicked out of this one. Charismatic and reckless, Carr has a circle of fellow eccentrics buzzing around him, including dyspeptic William S. Burroughs (Ben Foster) and merchant marine wild child Jack Kerouac (Jack Huston). Variably included in or ostracized from this training ground for future Beat luminaries is the older David Kammerer (Michael C. Hall), a disgraced former academic who’d known Carr since the latter was 14, and followed him around with pathetic, enamored devotion. It’s this last figure’s apparent murder by Carr that provides the bookending crux of John Krokidas’ impressive first feature, a tragedy whose motivations and means remain disputed. Partly blessed by being about a (comparatively) lesser-known chapter in an overexposed, much-mythologized history, Kill Your Darlings is easily one of the best dramatizations yet of Beat lore, with excellent performances all around. (Yes, Harry Potter actually does pass quite well as a somewhat cuter junior Ginsberg.) It’s sad if somewhat inevitable that the most intriguing figure here — Hall’s hapless, lovelorn stalker-slash-victim — is the one that remains least knowable to both the film and to the ages. (1:40) Shattuck. (Harvey)

Last Vegas This buddy film may look like a Bucket List-Hangover hybrid, but it’s got a lot more Spring Breakers in it than you expect — who beats Vegas for most bikinis per capita? Four old friends reunite for a wedding in Vegas, where they drink, gamble, and are confused for legendary men. Morgan Freeman sneaks out of his son’s house to go. Kevin Kline’s wife gave him a hall pass to regain his lost sense of fun. Kline and Freeman trick Robert De Niro into going — he’s got a grudge against Michael Douglas, so why celebrate that jerk’s nuptials to a 30-year-old? The conflicts are mostly safe and insubstantial, but the in-joke here is that all of these acting legends are confused for legends by their accidentally obtained VIP host (Romany Malco). These guys have earned their stature, so what gives? When De Niro flings fists you shudder inside remembering Jake LaMotta. Kline’s velvety comic delivery is just as swaggery as it was during his 80s era collaborations with Lawrence Kasdan. Douglas is “not as charming as he thinks he is,” yet again, and voice-of-God Freeman faces a conflict specific to paternal protective urges. Yes, Last Vegas jokes about the ravages of age and prescribes tenacity for all that ails us, but I want a cast this great celebrated at least as obviously as The Expendables films. Confuse these guys for better? Show me who. (1:44) Presidio. (Vizcarrondo)

Let the Fire Burn In 1985 a long-simmering conflict between Philadelphia police and the local black liberation group MOVE came to a catastrophic conclusion. Ordered to leave their West Philly building after numerous neighborhood complaints about unsanitary conditions, incessant noise, child endangerment and more, the commune refused. An armed standoff came to a halt when a helicopter dropped two FBI-supplied water gel bombs on the roof, killing 11 MOVE members (including five kids) and creating an uncontrollable fire that destroyed some 60 nearby homes. It’s hard to deny after watching Jason Osder’s powerful documentary that MOVE then looked like one crazy cult — its representatives spouting extreme, paranoid rhetoric in and out of court; its child residents (their malnutrition-bloated stomachs nonsensically explained as being due to “eating so much”) in visibly poor health; its charismatic leader John Africa questionably stable. But whatever hazards they posed to themselves and the surrounding community, it’s also almost undeniable here that city law enforcement drastically overreacted, possibly in deliberate retaliation for an officer’s shootout death seven years earlier. The filmed and amply media-reported trials that ensued raised strong suspicions that the police even shot unarmed MOVE members trying to escape the blaze. This outrageous saga, with numerous key questions and injustices still dangling, is an American history chapter that should not be forgotten. Let the Fire Burn is an invaluable reminder. (1:35) Opera Plaza, Shattuck. (Harvey)

Man of Tai Chi Keanu Reeves directs and plays a supporting role in this contemporary Beijing-set martial-arts drama. (1:45) Metreon.

The Pin Canadian film about a romance between two Eastern European youths, in hiding during World War II. (1:23) Opera Plaza.

12 Years a Slave See “To Hell and Back.” (2:14) California, Embarcadero.

The Visitor Barbara (Joanne Nail) Directed by “Michael J. Paradise” (aka Giulio Paradisi), this 1979 Italian-US. co-production is belatedly starting to acquire a cult following. Joanne Nail is Barbara, mother of Katy (Paige Conner), a seemingly normal little girl with a disconcerting tendency to swear like a longshoreman when out of ma’s earshot. Also unbeknownst to mom is that her boyfriend (Lance Henriksen, no less), as well as characters played by Mel Ferrer, Glenn Ford, John Huston, Sam Peckinpah, and the inimitable Shelley Winters are all very interested — on the good and the evil side — in Katy, a “miracle of nature” with “immense powers.” Those powers apparently include making Kareem Abdul-Jabbar’s basketball explode at the hoop, and sending teenage boys through plate glass at an ice rink. Some of the adults nosing around Katy really, really want Barbara to give her a similarly gifted baby brother, others do not. It all involves some kind of interplanetary conspiracy to … well, beats me, frankly. Its utter senselessness part of the charm, The Visitor includes any number of bizarre moments, including Winters’ evident enjoyment of slapping some sense into Katy (the child thesp later confirmed that the Oscar winner went a little too Method in that scene), and crusty old Huston intoning the line “I’m, uh, the babysitter.” This glossy sci-fi horror mess. which is the Roxie is showing in a new digital transfer, borrows elements freely from 1977’s Exorcist II: The Heretic (a fiasco that inspired very little imitation), 1976’s The Omen (or rather 1978’s Damien: Omen II) and, strangely, Orson Welles’ 1947 The Lady from Shanghai (directly ripping off its famous hall of mirrors scene). Yet there’s a certain undeniable originality to its incoherence. (1:48) Roxie. (Harvey)

ONGOING

All Is Lost As other reviewers have pointed out, All Is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. (1:46) Albany, SF Center, Sundance Kabuki. (Eddy)

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

Captain Phillips In 2009, Captain Richard Phillips was taken hostage by Somali pirates who’d hijacked the Kenya-bound Maersk Alabama. His subsequent rescue by Navy SEALs came after a standoff that ended in the death of three pirates; a fourth, Abduwali Abdukhadir Muse, surrendered and is serving a hefty term in federal prison. A year later, Phillips penned a book about his ordeal, and Hollywood pounced. Tom Hanks is perfectly cast as Phillips, an everyman who runs a tight ship but displays an admirable ability to improvise under pressure — and, once rescued, finally allows that pressure to diffuse in a scene of memorably raw catharsis. Newcomer Barkhad Abdi, cast from an open call among Minneapolis’ large Somali community, plays Muse; his character development goes deep enough to emphasize that piracy is one of few grim career options for Somali youths. But the real star here is probably director Paul Greengrass, who adds this suspenseful high-seas tale to his slate of intelligent, doc-inspired thrillers (2006’s United 93, 2007’s The Bourne Ultimatum). Suffice to say fans of the reigning king of fast-paced, handheld-camera action will not be disappointed. (2:14) Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Eddy)

Carrie Is the world ready for a candy-covered Carrie? It’s a sad state of affairs when the best thing about a movie, particularly a wholly superfluous remake like this, is its creepy poster. That’s the closest thing this Carrie has to offer next to that retina-scorching, iconic 1976 image of blood-saturated Sissy Spacek that continues to lend inspiration to baby Billiths everywhere. Nonetheless, like a shy violet cowering in the gym showers, this Carrie comes loaded with potential, with Boys Don’t Cry (1999) director Kimberly Peirce at the helm, the casting of Julianne Moore and Chloe Grace Moretz in the critical mother-daughter roles, and the unfortunately topical bullying theme. Peirce makes a half-hearted attempt to update the, um, franchise when the tormented Carrie (a miscast Moretz) is virally videoed by spoiled rival Chris (Portia Doubleday), but the filmmaker’s heart — and guts — aren’t in this pointless exercise. We speed through the buildup — which unconvincingly sets up Carrie’s torments at home, instigated by obviously mentally ill, Christian fundamentalist mom Margaret (Moore), and at school, where the PE teacher (Judy Greer) pep-talks Carrie and Sue Snell (Gabriella White) is mysteriously hellbent on paying penance for her bullying misdeeds — to the far-from-scary denouement. Let’s say mean-spirited reflexive revenge-taking is no real substitute for true horror and shock. Supposedly drawn to Carrie for its female-empowerment message, Peirce nevertheless isn’t cut out to wade into horror’s crimson waters — especially when one compares this weak rendition with Brian De Palma’s double-screen brio and high-camp Freudian passion play. (1:32) Metreon, 1000 Van Ness. (Chun)

Cloudy With a Chance of Meatballs 2 (1:35) Metreon, 1000 Van Ness.

The Counselor The reviews are in, and it’s clear Ridley Scott has made the most polarizing film of the season. Most of The Counselor‘s detractors blame Cormac McCarthy’s screenplay, the acclaimed author’s first that isn’t drawn from a prexisting novel. To date, the best film made from a McCarthy tale is 2007’s No Country for Old Men, and The Counselor trawls in similar border-noir genre trappings in its tale of a sleek, greedy lawyer (Michael Fassbender) who gets in way over his head after a drug deal (entered into with slippery compadres played by Brad Pitt and Javier Bardem) goes wrong. Yes, there are some problems here, with very few unexpected twists in a downbeat story that’s laden with overlong monologues, most of them delivered by random characters that appear, talk, and are never seen again. But some of those speeches are doozies — and haters are overlooking The Counselor‘s sleazy pleasures (many of which are supplied by Cameron Diaz’s fierce, feline femme fatale) and attention to grimy detail. One suspects cult appreciation awaits. (1:57) Four Star, Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Don Jon Shouldering the duties of writer, director, and star for the comedy Don Jon, Joseph Gordon-Levitt has also picked up a broad Jersey accent, the physique of a gym rat, and a grammar of meathead posturing — verbal, physical, and at times metaphysical. His character, Jon, is the reigning kingpin in a triad of nightclubbing douchebags who pass their evenings assessing their cocktail-sipping opposite numbers via a well-worn one-to-10 rating system. Sadly for pretty much everyone involved, Jon’s rote attempts to bed the high-scorers are spectacularly successful — the title refers to his prowess in the art of the random hookup — that is, until he meets an alluring “dime” named Barbara (Scarlett Johansson), who institutes a waiting period so foreign to Jon that it comes to feel a bit like that thing called love. Amid the well-earned laughs, there are several repulsive-looking flies in the ointment, but the most conspicuous is Jon’s stealthy addiction to Internet porn, which he watches at all hours of the day, but with a particularly ritualistic regularity after each night’s IRL conquest has fallen asleep. These circumstances entail a fair amount of screen time with Jon’s O face and, eventually, after a season of growth — during which he befriends an older woman named Esther (Julianne Moore) and learns about the existence of arty retro Swedish porn — his “Ohhh&ldots;” face. Driven by deft, tight editing, Don Jon comically and capably sketches a web of bad habits, and Gordon-Levitt steers us through a transformation without straining our capacity to recognize the character we met at the outset — which makes the clumsy over-enunciations that mar the ending all the more jarring. (1:30) 1000 Van Ness, SF Center, Sundance Kabuki. (Rapoport)

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

Escape From Tomorrow Escape From Tomorrow acquired cachet at Sundance this year as a movie you ought to see because it probably wouldn’t surface again. The reason was its setting, which composites two of the most photographed (and “happiest”) places on Earth. They’re also among the most heavily guarded from any commercial usage not of their own choosing. That would be Disney World and Disneyland, where Escape was surreptitiously shot — ingeniously so, since you would hardly expect any movie filmed on the sly like this to be so highly polished, or for its actors to get so little apparent attention from the unwitting background players around them. That nobody has pulled the fire alarm, however, suggests Disney realized this movie isn’t going to do it any real harm. While its setting remains near-indispensable, what writer-director Randy Moore has pulled off goes beyond great gimmickry, commingling satire, nightmare Americana, cartooniness, pathos, and surrealism in its tale of 40-ish Jim (Roy Abramsohn), which starts on the last day of his family vacation — when his boss calls to fire him. What follows might either be hallucinated by shell-shocked Jim, or really be a grand, bizarre conspiracy, with occurrences appearing to be either imaginary or apocalyptic (or both). Lucas Lee Graham’s crisp B&W photography finds the grotesquerie lurking in the shadows of parkland imagery. Abel Korzeniowski’s amazing score apes and parodies vintage orchestral Muzak, cloying kiddie themes, and briefly even John Williams at his most Spielbergian. All the actors do fine work, slipping fluidly if not always explicably from grounded real-world behavior to strangeness. But the real achievement of Escape From Tomorrow is that while this paranoid fantasy really makes no immediate sense, Moore’s cockeyed vision is so assured that we assume it must, on some level. He’s created a movie some people will hate but others will watch over and over again, trying to connect its almost subliminal dots. (1:43) Roxie. (Harvey)

Escape Plan It’s fascinating how ruined faces and silvered goatees can lend an air of, uh, gravitas to even the most muscle-bound action-movie veterans. The logic: Sylvester Stallone and Arnold Schwarzenegger have been around so long that they must possess more than a few brain cells to rub together. And rub they do — to surprisingly pleasing effect in this cut-above-the-next-Expendables-sequel meeting of blockbuster behemoths. Stallone’s Ray Breslin is a prison security specialist so nerdily devoted to his work that he gets himself locked up to test his clients’ jails. He gets in over his head when he’s thrown into the most secure private prison in the world, which happens to be run by former Blackwater mercenaries. It’s essentially the next, rather permanent-looking step after your not-so-friendly rendition flight. Breslin befriends security man Rottmayer (Schwarzenegger), who’s in the clink on behalf of his “digital Robin Hood” boss. Menaced by warden Hobbs (Jim Caviezel) and brawny Drake (Vinnie Jones), the two prisoners kick off a changeable game, Muslim prisoner Javed (Faran Tahir) in tow. Director Mikael Håfström lays out the plans with geeky enthusiasm by way of zippy point-of-view shots that are supposed to let you into Breslin’s noggin. Shockingly, after Stallone’s recent brain-dead exercises (2012’s Bullet to the Head), it’s not an unhappy experience in this smarter-than-it-looks post-9/11 prison-break drama that wears its complicated feelings about War on Terror-era crime and punishment — and torture — on its sleeve. Still, matters never get too bleeding-heart liberal here, at the risk of alienating the stars’ audiences. Sly obviously embraces this opportunity to play smarter than usual, while the ex-Governator sinks his choppers into his role with glee, trotting out a Commando-style slo-mo gun-swinging move that will have his geek brigade cheering. (1:56) 1000 Van Ness, SF Center. (Chun)

The Fifth Estate After being our guide through the world of 1970s Formula One racing in Rush, Daniel Brühl is back serving that same role — and again grumbling in the shadows cast by a flashier character’s magnetism — for a more recent real life story’s dramatization. Here he’s German “technology activist” Daniel Domscheit-Berg, who in 2007 began collaborating with the enigmatic, elusive Julian Assange (Benedict Cumberbatch) on WikiLeaks’ airing of numerous anonymous whistleblowers’ explosive revelations: US military mayhem in Afghanistan; Kenyan ruling-regime corruption; a Swiss bank’s providing a “massive tax dodge” for wealthy clients worldwide; ugly truths behind Iceland’s economic collapse; and climactically, the leaking of a huge number of classified U.S. government documents. It was this last, almost exactly three years ago, that made Assange a wanted man here and in Sweden (the latter for alleged sexual assaults), as well as putting US Army leaker Chelsea (née Bradley) Manning in prison. The heat was most certainly on — although WikiLeaks was already suffering internal woes as Domscheit-Berg and a few other close associates grew disillusioned with Assange’s megalomania, instability, and questionable judgment. It’s a fascinating, many-sided saga that was told very well in Alex Gibney’s recent documentary We Steal Secrets: The Story of WikiLeaks, and this narrative feature from director Bill Condon (2004’s Kinsey, 2006’s Dreamgirls, the last two Twilights) and scenarist Josh Singer feels disappointingly superficial by contrast. It tries to cram too information in without enough ballasting psychological insight, and the hyperkinetic editing and visual style intended to ape the sheer info-overload of our digital age simply makes the whole film seem like it’s trying way too hard. There are good moments, some sharp supporting turns, and Estate certainly doesn’t lack for ambition. But it’s at best a noble failure that in the end leaves you feeling fatigued and unenlightened. (2:04) 1000 Van Ness, SF Center, Sundance Kabuki. (Harvey)

Gravity “Life in space is impossible,” begins Gravity, the latest from Alfonso Cuarón (2006’s Children of Men). Egghead Dr. Ryan Stone (Sandra Bullock) is well aware of her precarious situation after a mangled satellite slams into her ship, then proceeds to demolition-derby everything (including the International Space Station) in its path. It’s not long before she’s utterly, terrifyingly alone, and forced to unearth near-superhuman reserves of physical and mental strength to survive. Bullock’s performance would be enough to recommend Gravity, but there’s more to praise, like the film’s tense pacing, spare-yet-layered script (Cuarón co-wrote with his son, Jonás), and spectacular 3D photography — not to mention George Clooney’s warm supporting turn as a career astronaut who loves country music almost as much as he loves telling stories about his misadventures. (1:31) Balboa, Metreon, 1000 Van Ness, Presidio, Sundance Kabuki, Vogue. (Eddy)

Informant Local filmmaker Jamie Meltzer’s complex, compelling Informant makes its theatrical bow at the Roxie a year and a half after it premiered at the 2012 San Francisco International Film Festival (it’s been playing festivals nearly nonstop since). The doc explores the strange life of Brandon Darby, a lefty activist turned FBI informant turned Tea Party operator who helped send two 2008 Republican National Convention protestors to jail. He’s a polarizing guy, but the film, which is anchored by an extensive interview with Darby, invites the audience to draw their own conclusions. (Side note: if you conclude that you want to yell at the screen and give Darby a piece of your mind, chances are you won’t be alone.) (1:21) Roxie. (Eddy)

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

Jackass Presents: Bad Grandpa (1:32) Metreon, 1000 Van Ness, Presidio.

Machete Kills Herewith we have the first sequel to a film (2010’s Machete) spawned from a fake trailer (that appeared in 2007’s Grindhouse). Danny Trejo’s titular killer has been tasked by the POTUS (Charlie Sheen, cheekily billed by his birth name, Carlos Estevez) to take down a Mexican madman (Demian Bechir) who’s an enemy of both his country’s drug cartels and the good ol’ USA. But it’s soon revealed (can you have plot spoilers in a virtually plotless film?) that the real villain is weapons designer Voz (Mel Gibson), a space-obsessed nutcase who’d fit right into an Austin Powers movie. The rest of Machete Kills, which aims only to entertain (with less social commentary than the first film), plays like James Bond lite, albeit with a higher, bloodier body count, and with famous-face cameos and jokey soft-core innuendos coming as fast and furious as the bullets do. As always, Trejo keeps a straight face, but he’s clearly in on the joke with director Robert Rodriguez, who’d be a fool not to continue to have his exploitation cake and eat it too, so long as these films — easy on the eyes, knowingly dumb, and purely fun-seeking — remain successful. (1:47) Metreon, 1000 Van Ness. (Eddy)

Metallica: Through the Never The 3D IMAX concert film is lurching toward cliché status, but at least Metallica: Through the Never has more bite to it than, say, this summer’s One Direction: This is Us. Director Nimród Antal (2010’s Predators) weaves live footage of the Bay Area thrash veterans ripping through hits (“Enter Sandman,” “For Whom the Bell Tolls,” etc.) into a narrative (kinda) about one of the band’s roadies (The Place Beyond the Pines‘ Dane DeHaan). Sent on a simple errand, the hoodie-wearing hesher finds himself caught in a nightmarish urban landscape of fire, hanging bodies, masked horsemen, and crumbling buildings — more or less, the dude’s trapped in a heavy metal video, and not one blessed with particularly original imagery. The end result is aimed more at diehards than casual fans — and, R-rated violence aside, there’s nothing here that tops the darkest moments of highly personal 2004 documentary Metallica: Some Kind of Monster. (1:32) Metreon. (Eddy)

Muscle Shoals Hard on the heels of Dave Grohl’s Sound City comes another documentary about a legendary American recording studio. Located in the titular podunk Northern Alabama burg, Fame Studio drew an extraordinary lineup of musicians and producers to make fabled hits from the early 1960s through the early ’80s. Among them: Percy Sledge’s “When a Man Loves a Woman,” a slew of peak era Aretha Franklin smashes, the Rolling Stones’ “Brown Sugar,” and those cornerstones of Southern rock, Lynyrd Skynyrd’s “Freebird” and “Sweet Home Alabama.” Tales of how particular tracks came about are entertaining, especially when related by the still-lively likes of Etta James, Wilson Pickett, and Keith Richards. (Richards is a hoot, while surprisingly Mick Jagger doesn’t have much to say.) Director Greg Camalier’s feature can be too worshipful and digressive at times, and he’s skittish about probing fallouts between Fame’s founder Rick Hall and some long-term collaborators (notably the local in-house session musicians known as the Swampers who were themselves a big lure for many artists, and who left Fame to start their own successful studio). Still, there’s enough fascinating material here — also including a lot of archival footage — that any music fan whose memory or interest stretches back a few decades will find much to enjoy. (1:51) Opera Plaza. (Harvey)

Runner Runner Launching his tale with a ripped-from-the-headlines montage of news reports and concerned-anchor sound bites, director Brad Furman (2011’s The Lincoln Lawyer) attempts to argue his online-gambling action thriller’s topicality, but not even Anderson Cooper can make a persuasive case for Runner Runner‘s cultural relevance. Justin Timberlake plays Richie Furst, a post-2008 Wall Street casualty turned Princeton master’s candidate, who is putting himself through his finance program via the morally threadbare freelance gig of introducing his fellow students to Internet gambling. Perhaps in the service of supplying our unsympathetic protagonist with a psychological root, we are given a knocked-together scene reuniting Richie with his estranged gambling addict dad (John Heard). By the time we’ve digested this, plus the image of Justin Timberlake in the guise of a grad student with a TAship, Richie has blown through all his savings and, in a bewildering turn of events, made his way into the orbit of Ben Affleck’s Ivan Block, a shady online-gambling mogul taking shelter from an FBI investigation in Costa Rica, along with his lovely adjutant, Rebecca (Gemma Arterton). Richie’s rise through the ranks of Ivan’s dodgy empire is somewhat mysterious, partly a function of the plot and partly a function of the plot being piecemeal and incoherent. The dialogue and the deliveries are also unconvincing, possibly because we’re dealing with a pack of con artists and possibly because the players were dumbfounded by the script, which is clotted with lines we’ve heard before, from other brash FBI agents, other sketchily drawn temptresses, other derelict, regretful fathers, and other unscrupulous kingpins. (1:31) Metreon. (Rapoport)

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

Torn An explosion at a mall throws two families into turmoil in this locally-shot drama from director Jeremiah Birnbaum and scenarist Michael Richter. Maryam (Mahnoor Baloch) and Ali (Faran Tahir) are Pakistani-émigré professionals, Lea (Dendrie Taylor) a working-class single mother. Their paths cross in the wake of tragedy as both their teenage sons are killed in a shopping center blast that at first appears to have been caused by a gas-main accident. But then authorities begin to suspect a bombing, and worse, the principals’ dead offspring — one as a possible Islamic terrorist, another for perhaps plotting retaliation against school bullies. As the parents suffer stressful media scrutiny in addition to grief and doubt, they begin to take their frustrations out on each other. An earnest small-scale treatment of some large, timely issues, the well-acted Torn holds interest as far as it goes. But it proves less than fully satisfying, ending on a note that’s somewhat admirable, but also renders much of the preceding narrative one big red herring. (1:20) Opera Plaza, Shattuck. (Harvey)

The Trials of Muhammad Ali If you’ve seen an Ali doc before (or even the 2001 biopic), a lot of the material in The Trials of Muhammad Ali will feel familiar. But Bill Siegel’s lively investigation, which offers interviews with Louis Farrakhan and Ali’s former wife Khalilah, among others, does well to narrow its focus onto one specific — albeit complicated and controversial — aspect of Ali’s life: the boxing champ’s Nation of Islam conversion, name change, and refusal to fight in Vietnam. And as always, the young, firebrand Ali is so charismatic that even well-known footage makes for entertaining viewing. (1:26) Opera Plaza, Shattuck. (Eddy)

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

Zaytoun It’s 1982 in war-torn Beirut, and on the semi-rare occasion that streetwise 12-year-old Palestinian refugee Fahed (Abdallah El Akal) attends school, he’s faced with an increasing number of empty desks, marked by photos of the dead classmates who used to sit there. His own father is killed in an air strike as Zaytoun begins. When an Israeli pilot (Stephen Dorff — a surprising casting choice, but not a bad one) is shot down and becomes a PLO prisoner, Fahed’s feelings of hatred give way to curiosity, and he agrees to help the man escape back to Israel, so long as he brings Fahed, who’s intent on planting his father’s olive sapling in his family’s former village, along. It’s not an easy journey, and a bond inevitably forms — just as problems inevitably ensue when they reach the border. Israeli director Eran Riklis (2008’s Lemon Tree) avoids sentimentality in this tale that nonetheless travels a pretty predictable path. (1:50) Smith Rafael. (Eddy)

 

Heads Up: 7 must-see concerts this week

Tony Robles
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Ready to get weird? Naturally, as this is the week of All Hallows Eve (i.e. the best time of the year), the shows you must see are downright spooky: The Flaming Lips’ Halloween Blood Bath, Maya Jane Coles at Freaky Friday, the Hellraiser’s Ball series’ Terry Malts show, Total Trash’s extended Halloween bash, and so forth.

Go out goblins and ghouls of the Bay, raise some spirits and remember the dead. And never forget: Nilbog is Goblin backwards.

Here are your must-see shows: 

Terry Malts
Full disclosure: The Bay Guardian is co-sponsoring this event, the first in a series of Hellraiser’s Ball shows. But it deserves to be in Heads Up anyways, because Terry Malts are San Francisco pop punk perfection, and they’re back after touring off new full-length Realizes This is Nowhere (Slumberland), released last month.
With Violent Change
Tue/29, 8pm, $10
Brick and Mortar
1710 Mission, SF
www.brickandmortarmusic.com
http://www.youtube.com/watch?v=eXfyXo5KQDI

The Flaming Lips’ Halloween Blood Bath
“Oklahoma City psych rockers the Flaming Lips’ mold-breaking performances are as varied as the band’s back catalog. Motorcycle exhaust filled punk orgies, dazzling Christmas light powered spectacles, car stereo orchestras, and for at least the last decade, the technicolor, eyeball melting, heart swelling celebrations of pure weirdo pop, accented by confetti cannons and costumed menagerie. Now it’s switching up again, retiring elements that came close to being trademarks. (No space bubble, kids. Go see Diplo, who ripped it off, as he does every gimmick.) With their latest, The Terror, the Lips seem to be on their own private dark side of the moon, and the current tour promises to be a different kind of spectacle.” — Ryan Prendiville
With Tame Impala, White Denim
Thu/31, 7pm, $47.50
Bill Graham Civic Auditorium
99 Grove, SF
www.apeconcerts.com
http://www.youtube.com/watch?v=f2NCjcsgrbg

Halloween at the Chapel
Bobb Saggeth, the female-fronted Black Sabbath tribute band, headlines this black mass with Haight Breeders (covering Misfits songs, natch).
Thu/31, 9pm-2am, $15.
Chapel
777 Valencia, SF
www.thechapelsf.com

Total Trash Halloween Bash: Yogurt Brain as Weezer
“This year’s Total Trash Halloween Bash offers some of the usual suspects when it comes to rockers delivering camouflaged covers. However, with NOBUNNY channeling Bo Diddley as “Nodiddley” and Russell Quan joining Shannon and the Clams as Los Saicos, we step out of the box that usually brings us Cramps and Misfits covers. While those shows are completely appropriate (along with the typical homage to bands like the Ramones, the Damned, and Alice Cooper) and have proven popular, Oakland’s sentimental-grunge act, Yogurt Brain, has opted to take on Weezer this year. Rest assured — fans of the Blue Album and Pinkerton won’t be disappointed.” — Andre Torrez
With NOBUNNY as Bo Diddley, Shannon & the Clams as Los Saicos, more
Thu/31, 9pm, $15
Stork Club
2330 Telegraph, Oakl.
www.totaltrashfest.com
http://www.youtube.com/watch?v=ahW9D03XtLA

AYLI Presents Freaky Friday with Maya Jane Cole
“During previous appearances in the city, London artist Maya Jane Coles has come dangerously close to being outpaced by her popularity. Pressed to the sides of Monarch during her set last year, my extensive catalog of deep struts and funky steps was reduced to a little heady bobbing for lack of space. It’s a relief that AYLI is bringing her to the more spacious venue of Public Works, particularly now that Coles released her Comfort LP, a vocally-oriented bit of silky house, featuring guest appearances by Kim Ann Foxman and Karin Park. (The track with Park, “Everything,” is the album’s standout.) Still, given how packed this party is on the lineup side, including co-headlining Romanian-born techno producer Cosmin TRG, it may be wise to stake prime floor space early.” — Prendiville
With Bells & Whistles, Brian Knarfield, Cubik & Origami LIVE, more
Fri/1, 9pm-4am, $20 presale
Public Works
161 Erie, SF
(415) 932-0955
www.publicsf.com
http://www.youtube.com/watch?v=rB_rlsF83u4

Total Trash Halloween Bash: The Sonics
“The folks behind Total Trash are bringing a relic from the first wave: The seminal Washington-based 1960s garage rock band, the Sonics, will play a string of shows for the annual Total Trash Halloween Bash. The Sonics were there in the very beginning. They got their start in a time when the British Invasion was in full swing. Rejecting sugary-sweet mop-topped bands, the Sonics idolized Jerry Lee Lewis and Little Richard.  ‘We thought, to heck with wearing suits and neckties,” keyboardist-vocalist Gerry Roslie says. “Playing love songs felt wrong — we could only play music with power. We played loud and we played how we felt: like animals.'” — Erin Dage
With Phantom Surfers, Legendary Stardust Cowboy
Fri/1, 7:30pm, $35
New Parish
579 18th St, Oakl.

With Roy Loney, Dukes of Hamburg, Wounded Lion, Chad & the Meatbodies
Sat/2, 7pm, $35
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.totaltrashfest.com
http://www.youtube.com/watch?v=YXtuKsbORVY

Dance Party Boys
“OK, despite the name this isn’t a dance party, but let’s freak out! Gayish punk-metal outfit Dance Party Boys (which includes several members of the nightlife scene, including former Pansy Division back-up dancer Xavier Breff) hit the 924 Gilman stage with Brave Ulysses, Black Bones, and NslashA for some good ol-fashioned moshing.” — Marke B.
Fri/1, 8pm, $10
924 Gilman, Berk
www.924gilman.org

No shame: Activist-rockers the Shondes celebrate Halloween in SF

Tony Robles
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No shame: Activist-rockers the Shondes celebrate Halloween in SF

The Shondes are a dream come true for music-lovers with a political consciousness. The world can be a rough place, but doom-and-gloom is not this Brooklyn band’s style. With their bright klezmer-pop tunes and soaring, anthemic verses about love, perseverance, and messages of hope, the Shondes are out to better the world — or at least move their audiences to dance hard and sing-along.
 
Currently touring on their fourth album, The Garden, the Shondes are embracing the power of pop. Whether you’re an activist or just enjoy a good live show, give The Garden a listen and try to get “Nights Like These” or “Running Out of Time” out of your head.

http://www.youtube.com/watch?v=5LtRGkM86lg
 
I asked vocalist-bassist Louisa Solomon about the band’s latest album, the causes that are most important to the Shondes, and how their music connects them with their fans:
 
SFBG Can you start off by telling me about your band’s name? I read that it means “shameful” in Yiddish.
 
LS We wanted to give a nod to our Jewish lineage, and to reclaim a word that is sometimes used to brand outcasts. At the time, we were doing a lot of activism in Jewish communities, challenging some deeply entrenched norms, and we would sometimes get screamed at and spat on and all that good stuff. It was kind of like, “OK, if I’m a ‘shonde’ for standing up for what I believe in, so be it.” I think it tends to be much more immediately resonant for Jews who have grown up hearing it, but the idea is resonant for most people in one way or another.
 
SFBG How would you describe your music to someone who has never heard it?
 
LS Sing-along, spirited rock anthems! The most flattering thing in the world is when our fans say we make them dance and we make them cry; that our music is hopeful. When we are able to impart hope, I feel totally fulfilled. So think of a Springsteen show and a riot grrrl punk show combining their emotional pay off, and that’s what we are going for!
 
SFBG What was the process of writing and recording The Garden like?
 
LS We worked really hard on The Garden. When we were touring on the previous record (2011’s Searchlights), we were starting to work through the musical and lyrical themes that came to define The Garden.

“Nights Like These” was one of the first songs we wrote in the Garden song cycle, and it felt like an important step in our evolution. We were embracing the cathartic potential of pop. We went on to write love songs, songs about friendship, and songs about not giving up. We wanted these songs to help people keep going – we were trying to ride the line between sincerity and cheesiness. I think we did OK in the end!
 
SFBG Can you tell me about “Nights Like These” and what made you choose it as the first single for this album?
 
LS “Nights Like These” is a good entry point to the record. We’re talking about hopes and dreams and fears and all that poppy stuff, but we really mean it! And there’s also serious musicianship and craft going on.
 
SFBG Is there a song from The Garden that you particularly enjoy performing?
 
LS I love jumping up and down during “Nights Like These,” getting the audience clapping along in “On Your Side,” and singing along to “The Garden” and “Nothing More Whole.” I also love singing “The Promise,” which is basically a duet with Eli, and we get the chance to camp it up just a bit.
 
SFBG Activism is an important factor in the band. Are there any causes in particular that you’re supporting right now?
 
LS We want a better and more just world, where people have what they need. So there are a billion causes we support! Big ones like universal healthcare, ending the Israeli occupation of Palestine, trans justice, but also we always want to support community organizers as much as possible, who are fighting racism and economic oppression (and tons of other great stuff!) at the local level. So we try to keep our eyes open.
 
SFBG What is the crowd usually like at a Shondes show?
 
LS Our fans are completely amazing and inspiring. There tends to be a lot of organizers who come out, and we have a growing number of older folks these days, which I think is awesome! Multigenerational fanbases rule. People who are mostly into punk and people who are mostly into pop and rock; people who are excited about the Jewish stuff and people who just love the music. Everyone tends to be enthusiastic and ready to dance. People very regularly tell us that they are moved by our playing (even to tears). It means a lot to us. It means everything.
 
SFBG What are you looking forward to most about playing in San Francisco?
 
LS It’s always wonderful to visit the Bay and play for our awesome people there. Cafe du Nord is one of our favorite clubs in the country; they have a totally heimishe (homey) vibe but are also extremely competent, respectful folks. It’s the best of all worlds as far as I’m concerned. Not to mention it’ll be my first Halloween in SF and I have seriously high expectations! Costumes, people.
 
The Shondes
With Naïve Americans, the Galloping Sea
Thu/31, 8:30pm, $7
Café du Nord
2170 Market, SF
www.cafedunord.com

Promo: Win tickets to Nitin Sawhney: Past, Present, and Future Unplugged

Maria Poblet
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Promo: Win tickets to Nitin Sawhney: Past, Present, and Future Unplugged

Nitin Sawhney is one of the most distinctive and versatile musical voices alive. Firmly established as a world-class producer, songwriter, DJ, multi-instrumentalist, orchestral composer, and cultural pioneer, Sawhney has become a latter-day Renaissance man with his contributions to music, film, video games, dance, and theatre.

An acclaimed flamenco guitarist and classical jazz pianist, he has worked with a host of celebrated artists including Paul McCartney and Sting. This rare U.S. appearance mixes South Asian musical influences with a variety of other genres such as electronica and jazz. Sawhney presents an intimate trio that gave their debut performance on the heralded radio show, KCRW’s Morning Becomes Eclectic.

Get more info at ciis.edu and purchase advance tickets here. Enter to win tickets here!

Saturday, November 2 at 8pm @ Nourse Theatre, 275 Hayes St., SF

New movies! Including a few scary ones (no thanks to Hollywood)!

Sue Vaughan
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New movies! Including a few scary ones (no thanks to Hollywood)!

Incredibly, Hollywood is allowing this hallowed weekend to pass without releasing a single horror movie. (Unless you count Jackass Presents: Bad Grandpa, which I don’t.) Frights galore exist in local rep houses, however (right this way for a calendar), and for those who’d simply like turn off the lights, pretend nobody’s home, and eat all the Fun Size Snickers themselves, there’s some non-seasonal fare worth checking out (plus, two of those rep-house chillers!) in the below reviews.

All Is Lost As other reviewers have pointed out, All is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script  for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. (1:46) (Cheryl Eddy)

http://www.youtube.com/watch?v=6ML50I0mVHY

The Counselor Ridley Scott directs Cormac McCarthy’s script about a lawyer (Michael Fassbender) who gets involved in the drug underground. The supporting cast includes Javier Bardem, Cameron Diaz, and Brad Pitt. (1:57)

http://www.youtube.com/watch?v=C_O2OATk97k

I Am a Ghost In local director H.P. Mendoza’s latest, a young woman named Emily (Anna Ishida) wanders the claustrophobic corridors of a sumptuously decorated Victorian house, repeating her actions in each room in a perfunctory loop: frying eggs, flipping through old photographs, dusting the furniture, stretching in bed. Besides herself, the place initially appears to be uninhabited, until the house begins to creak and groan restlessly around her, and a disembodied voice begins to address her by name. It doesn’t give too much away to reveal at this point that Emily is a ghost, and the voice purportedly that of a professional medium (Jeannie Barroga) who has been hired to assist her out of the house and “into the light.” Unraveling who Emily is and what is keeping her from ascending to the next level takes up most of the rest of the film, and the eerie tension that builds as Emily’s memories return, filling in the unpleasant blanks, explodes at the end with a brutal chaos only otherwise hinted at in earlier scenes. Ishida’s Emily is full of complexity and confusion, and much of the movie’s real “horror” stems from her own sense of powerlessness and realization that the world that she’s inhabiting doesn’t appear to be one rooted in reality, or at least in other people’s realities. Experimental musician and Fringe Festival performer Rick Burkhardt makes a terrifying cameo as the presumed source of Emily’s inability to move on — and speaking of experimental music, the movie’s score, penned by Mendoza, does a lot to create the sense of creeping unease that characterizes most of the film. (1:14) Castro. (Nicole Gluckstern)

http://www.youtube.com/watch?v=sTlnlam8ZYM

Informant Local filmmaker Jamie Meltzer’s complex, compelling Informant makes its theatrical bow at the Roxie a year and a half after it premiered at the 2012 San Francisco International Film Festival (it’s been playing festivals nearly nonstop since). The doc explores the strange life of Brandon Darby, a lefty activist turned FBI informant turned Tea Party operator who helped send two 2008 Republican National Convention protestors to jail. He’s a polarizing guy, but the film, which is anchored by an extensive interview with Darby, invites the audience to draw their own conclusions. (Side note: if you conclude that you want to yell at the screen and give Darby a piece of your mind, chances are you won’t be alone.) (1:21) Roxie. (Cheryl Eddy)

http://www.youtube.com/watch?v=_MSrAwfagG4

Jackass Presents: Bad Grandpa Hidden-camera pranks with Jeff Tremaine, Johnny Knoxville, and other Jackass alums. (1:32)

Space Battleship Yamato The year is 2199, five years after mysterious aliens began bombarding Earth with radiation. The scrappy humans who’ve managed to survive by living underground are rapidly dying out — so a crew assembles for a deep-space “journey of hope” to a planet where a “radiation elimination device” might be acquired. Based on a 1974 Japanese anime series (it aired in the US under the name Star Blazers), this live-action adventure contains plenty of CG-enhanced battles and a cast stuffed with stock characters: the gifted, brash young pilot who’s haunted by a dark past (Takuya Kimura, whose flowing locks betray his teen-idol origins); the tough chick who gradually softens (Meisa Kuroki); the grizzled, wise captain (Tsutomu Yamazaki of 2009’s Departures), etc. Fans of the original series may gobble this up, but the casual viewer might find there’s not much to distinguish the overlong Space Battleship Yamato — saddled with a score that vacillates between bombastic and sentimental — from space operas (particularly Battlestar Galactica) that’ve come before. (2:18) Four Star. (Cheryl Eddy)

http://www.youtube.com/watch?v=xg5nvnUMbbg

Spine Tingler! The William Castle Story Other Cinema anticipates Halloween in vintage style with Jeffrey Schwarz’s 2007 documentary about the late, beloved Hollywood schlockmeister. After a mostly undistinguished early career in programmer mysteries, Westerns, and 3D features, William Castle found his métier in the late 1950s making horror thrillers with B budgets (and C scripts) but A-plus marketing gimmicks. Macabre (1958) offered life insurance policies to patrons who might die of fright; the next year’s The Tingler infamously gave patrons in select theater seats slight electric shocks; the same year’s House on Haunted Hill had ushers yank a plastic skeleton over the audience’s heads; Mr. Sardonicus (1961) gave ticket buyers a chance to vote on its title character’s fate. (It was so predictable that they’d vote for mortal punishment, an alternative “happy ending” never actually existed.) Straight-Jacket (1964) had Joan Crawford as a battle-ax axe murderess, a concept that could sell itself. Castle’s perpetual hopes to gain respect and make a “serious” picture were somewhat rewarded by Rosemary’s Baby, even if he wound up merely producing that 1968 smash. (He’d hoped to direct, but was smart enough to realize Roman Polanski was the more inspired choice.) This fond portrait includes input from various Castle collaborators, admirers and family members, as well as plenty of priceless clips. Guest host Christian Divine will offer additional retro horror goodies during this evening of cheap thrills. (1:22) Other Cinema at Artists’ Television Access. (Dennis Harvey)

http://www.youtube.com/watch?v=MjyJI2YTOm4

Torn An explosion at a mall throws two families into turmoil in this locally-shot drama from director Jeremiah Birnbaum and scenarist Michael Richter. Maryam (Mahnoor Baloch) and Ali (Faran Tahir) are Pakistani-émigré professionals, Lea (Dendrie Taylor) a working-class single mother. Their paths cross in the wake of tragedy as both their teenage sons are killed in a shopping center blast that at first appears to have been caused by a gas-main accident. But then authorities begin to suspect a bombing, and worse, the principals’ dead offspring — one as a possible Islamic terrorist, another for perhaps plotting retaliation against school bullies. As the parents suffer stressful media scrutiny in addition to grief and doubt, they begin to take their frustrations out on each other. An earnest small-scale treatment of some large, timely issues, the well-acted Torn holds interest as far as it goes. But it proves less than fully satisfying, ending on a note that’s somewhat admirable, but also renders much of the preceding narrative one big red herring. (1:20) Opera Plaza, Shattuck. (Dennis Harvey)

http://www.youtube.com/watch?v=XF_jh3_p_gw

The Trials of Muhammad Ali If you’ve seen an Ali doc before (or even the 2001 biopic), a lot of the material in The Trials of Muhammad Ali will feel familiar. But Bill Siegel’s lively investigation, which offers interviews with Louis Farrakhan and Ali’s former wife Khalilah, among others, does well to narrow its focus onto one specific — albeit complicated and controversial — aspect of Ali’s life: the boxing champ’s Nation of Islam conversion, name change, and refusal to fight in Vietnam. And as always, the young, firebrand Ali is so charismatic that even well-known footage makes for entertaining viewing. (1:26) (Cheryl Eddy)

Live Shots: Street Joy, the She’s, the Tambo Rays at Milk Bar

Tony Robles
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0

Wednesday night, three young, up-and-coming bands gathered at the Milk Bar, an intimate venue on the western edge of Haight Street, to lay down fun, unseasonably warm beats – a welcome contrast to the decidedly autumnal weather.
 
Street Joy, a LA-based rock trio comprised of Jason DeMayo (vocals, guitar), Scott Zimmerman (drums), and Mike Coleman (bass), kicked off the show with upbeat pop and punkish tunes. These musicians, who organized into a formal band in 2012, describe their songwriting as “that of the cassettes a dad would show his son on car rides to baseball practice.” Sigh, nostalgia.
 
The highlight was their spirited cover of “Hold Me Tight” — a Beatles release circa 1963 — and the dynamic on-stage rapport between Zimmerman and DeMayo kept me enthralled throughout their set.
 
The She’s — a teenage girl group whose crooning, feminine, summery sound is inspired by ‘60s girl groups and pop acts like the Beach Boys — followed. While many of their songs sound very similar (at times their set felt like a contagious throw-back daze), their multipart harmonies, which are the crux of their songwriting, felt expert. In addition to playing catchy tracks off of their 2011 release (Then It Starts To Feel Like Summer) such as “Jimmy” and “Fabian,” they played some newer songs, including “Anywhere But Here,” which is somewhat dark and subdued – at least in the She’s universe.
 
Bassist Sami Perez, guitarists Hannah Valente, and Eva Treadway, and drummer Sinclair Riley (they all sing) have been best friends since kindergarten, and it shows. On stage, they are incredibly in-sync; they even managed to all crouch down and grab their plastic water cups at once point in a synchronized sweep. Yes, their water cups — no booze yet.
 
By the time the Tambo Rays took the stage at 11:15pm, I was starting to feel pretty exhausted, but Sara DaMert’s spirit and spunk picked me right back up. The group’s alternative percussionist extraordinare, Sara, who at any given moment was either playing keys, drums, cymbals, tambo, or a combination of the four, was the heart of the “chill pop” foursome’s performance. Sara’s brother, Brian DaMert, perhaps the slightly subtler member of the family, laid down entrancing guitar riffs, engulfing the waning audience in a beautiful wall of sound.
 
The Tambo Rays showcased a surfy rock’n’roll (occasionally hippie-laced) sound onstage; their set was fluid and kept my attention. The highlight of their performance was “Take That,” whose enthused delivery, distinctly summery feel, and sardonic lyrics about Georgia the chicken instantly made me smile.

Music Listings: Oct. 23-29

Tony Robles
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0

WEDNESDAY 23

ROCK

Amoeba Music: 1855 Haight, San Francisco. Best Coast, 5 p.m., free.

Bottom of the Hill: 1233 17th St., San Francisco. Thunderegg, On Telegraph, Jared Cohen & The Future Proof, 9 p.m., $8.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Leagues, The Dig, 8 p.m., $10-$12.

DNA Lounge: 375 11th St., San Francisco. Supersuckers, Hellbound Glory, The Devil in California, 8 p.m., $15-$20.

Hemlock Tavern: 1131 Polk, San Francisco. Young Moon, Feelings, Sandy’s, 8:30 p.m., $6.

Hotel Utah: 500 Fourth St., San Francisco. Golden Youth, Venus Beltran, Books on Fate, Slow Cult, 8:30 p.m., $7.

The Independent: 628 Divisadero, San Francisco. Oh Land, Sun Rai, 8 p.m., $15.

Make-Out Room: 3225 22nd St., San Francisco. Chief, Major Lifts, Cougar on a Meth Binge, 7:30 p.m., $8.

Milk Bar: 1840 Haight, San Francisco. The Tambo Rays, The She’s, Street Joy, 8:30 p.m., $5.

Rickshaw Stop: 155 Fell, San Francisco. NoNoNo, Helado Negro, DJ Aaron Axelsen, 9 p.m., $13-$15.

Slim’s: 333 11th St., San Francisco. Au Revoir Simone, Genius, CALLmeKAT, 8 p.m., $16.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Leon Russell, 8 p.m., $39.

DANCE

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

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

Club X: 715 Harrison, San Francisco. Electro Fright Rocks V, 18+ dance party with Ookay, B33, Dead Sequitur, Krishna, more, 9 p.m., $10-$20.

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

Elbo Room: 647 Valencia, San Francisco. “Bodyshock,” w/ Ssleeper Hold, Troller, Justin Anastasi, DJ Crackwhore, DJ Unit 77, 9 p.m., $7.

The EndUp: 401 Sixth St., San Francisco. “Tainted Techno Trance,” 10 p.m.

F8: 1192 Folsom St., San Francisco. “Housepitality,” w/ Sety, Nick Williams, Sharon Buck, Jerry Nice, 9 p.m., $5-$10.

Harlot: 46 Minna, San Francisco. “Qoöl,” 5 p.m.

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

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

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

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

Monarch: 101 6th St., San Francisco. “Mushroom Jazz,” w/ Mark Farina, J-Boogie, 9:30 p.m., $10-$20.

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

HIP-HOP

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

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

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. William Robert & Esteban Warren, 7 p.m.

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

Cafe Du Nord: 2170 Market, San Francisco. Stephen Kellogg, Fort Atlantic, 8:30 p.m., $20.

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

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

Pier 23 Cafe: Pier 23, San Francisco. Todos Santos, 6 p.m., free.

JAZZ

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

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

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

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

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

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

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

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

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Jesse Foster, 8 p.m.

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

Zingari: 501 Post, San Francisco. Anya Malkiel, 7:30 p.m., free.

INTERNATIONAL

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

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

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

BLUES

Biscuits and Blues: 401 Mason, San Francisco. J.W. Jones, 7 & 9 p.m., $15.

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

EXPERIMENTAL

Center for New Music: 55 Taylor St., San Francisco. New Music from the Mills College Center for Contemporary Music, 8 p.m., $10-$15.

The Knockout: 3223 Mission, San Francisco. “Sing Out,” w/ Fred Frith/Patrice Scanlon Duo, Grex, Dominique Leone, 9:30 p.m., $7-$10.

THURSDAY 24

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Earthless, Joy, Hot Lunch, 9 p.m., $12.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Annie Girl & The Flight, Everyone Is Dirty, Lee Gallagher & The Hallelujah, 9 p.m., $7.

S.F. Eagle: 398 12th St., San Francisco. Thursday Nite Live: Ash Reiter, The Visibles, The Electric Magpie, 9 p.m., $7.

Hemlock Tavern: 1131 Polk, San Francisco. Cool Ghouls, Neighbors, Satan Wriders, 8:30 p.m., $6.

The Independent: 628 Divisadero, San Francisco. Rusted Root; Goodnight, Texas; Lorne & The Wayhighs, 8 p.m., $25.

The Knockout: 3223 Mission, San Francisco. The Welcome Matt, The Jaded, Your Cannons, 6:30 p.m., free with RSVP; Electric Shepherd, Wild Eyes, Mystery Ship, 10 p.m., $6.

Monarch: 101 6th St., San Francisco. O Presidente, Spider Heart, The Shape, Secret Town, 8 p.m., $8.

Rickshaw Stop: 155 Fell, San Francisco. “Popscene,” w/ Night Terrors of 1927, Parade of Lights, Basic Vacation, Aaron Axelsen, Miles the DJ, 9 p.m., $10-$12.

Thee Parkside: 1600 17th St., San Francisco. Tav Falco & The Panther Burns, Big Tits, Lonesome Shack, 9 p.m., $12.

DANCE

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

Audio Discotech: 316 11th St., San Francisco. “Phonic,” w/ Morten, Lucas Med, Lorentzo, Brenn Wilson, Zoe Parties, 9:30 p.m.

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

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

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

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

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

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

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

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

Make-Out Room: 3225 22nd St., San Francisco. “Crisco Disco,” w/ DJs 2shy-shy, Melt w/U, and Ka-Boom, 9 p.m., free.

Public Works: 161 Erie, San Francisco. “Future Perfect,” w/ Maria Minerva, Metal Mother, Cherushii, Marco de la Vega (in the OddJob Loft), 9 p.m., $5-$10.

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

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

Ruby Skye: 420 Mason, San Francisco. Freak Circus: Day 1, w/ Pendulum (DJ set), WhiteNoize, 9 p.m., $20-$30 advance.

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

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

Vessel: 85 Campton, San Francisco. “Base,” w/ Hot Since 82, Emanate, 10 p.m., $5-$10.

HIP-HOP

1015 Folsom: 1015 Folsom St., San Francisco. Riff Raff, UltraViolet, Napsty, DJ Dials, Trill Team 6, 9 p.m., $17.50 advance.

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

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

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

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

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

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Polecat, The Drifter Sisters, David Wagner, 7 p.m., $7-$10.

Atlas Cafe: 3049 20th St., San Francisco. Bluegrass & Old-Time Music Jam Session, 8 p.m., free.

Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7 p.m.

Plough & Stars: 116 Clement, San Francisco. Tipsy House, Fourth Thursday of every month, 9 p.m., free.

JAZZ

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

Boom Boom Room: 1601 Fillmore, San Francisco. Mike Dillon Band, 9 p.m., $10 (free before 9:30 p.m.).

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

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

Cigar Bar & Grill: 850 Montgomery, San Francisco. DU UY Quartet, 8 p.m.

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

Pier 23 Cafe: Pier 23, San Francisco. Vince Lateano Trio, 7 p.m., free.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Ralph Carney & Michael McIntosh, 8:30 p.m., free.

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

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

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

INTERNATIONAL

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

Cafe Cocomo: 650 Indiana, San Francisco. Julio Bravo y Su Orquesta Salsabor, DJ Hong, 8 p.m., $12.

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

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

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

REGGAE

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

BLUES

50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30 p.m., free.

Biscuits and Blues: 401 Mason, San Francisco. J.W. Jones, 7 & 9 p.m., $15.

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

The Saloon: 1232 Grant, San Francisco. P.A. Slim, 4 p.m.; Chris Cobb, 9:30 p.m.

Tupelo: 1337 Green St., San Francisco. G.G. Amos, 9 p.m.

EXPERIMENTAL

The Luggage Store: 1007 Market, San Francisco. Space Burn, Shanna Sordahl, 8 p.m., $6-$10.

SOUL

Mezzanine: 444 Jessie, San Francisco. Raheem DeVaughn, Khela, LB Muzac, Veronica Timms, 9 p.m., $25-$35.

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

Slim’s: 333 11th St., San Francisco. Sister Sparrow & The Dirty Birds, Cassoria, Insects vs. Robots, 8 p.m., $16.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Macy Gray, 8 & 10 p.m., $48.

FRIDAY 25

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. The Blow, Kisses, The Ian Fays, 9:30 p.m., $14-$16.

Cafe Du Nord: 2170 Market, San Francisco. The Icarus Line, Golden Veins, The Spyrals, Creeping Pink, DJ Al Lover, 9:30 p.m., $10-$12.

Connecticut Yankee: 100 Connecticut, San Francisco. Superjack, The Yes-Go’s, Stomping Grounds, 10 p.m., $10.

DNA Lounge: 375 11th St., San Francisco. Lebanon Hanover, Selofan, Screature, DJ Omar, 9:30 p.m., $8-$10.

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

Hemlock Tavern: 1131 Polk, San Francisco. Astro Zombies, He Who Cannot Be Named, 9:30 p.m., $6.

The Independent: 628 Divisadero, San Francisco. He’s My Brother She’s My Sister, Caught a Ghost, Song Preservation Society, 9 p.m., $15.

Neck of the Woods: 406 Clement St., San Francisco. Pomegranate, Tender Mercies, Be Brave Bold Robot, 9 p.m., $5-$8.

Rickshaw Stop: 155 Fell, San Francisco. Keep Shelly in Athens, Chad Valley, Spells, DJs Glenn Jackson & EOTB, 9 p.m., $15.

Thee Parkside: 1600 17th St., San Francisco. Halloween Costume Party Show with Posole, Bonnie & The Bang Bang, Growwler, Dot Punto, 9 p.m., $8 ($6 with costume).

DANCE

1015 Folsom: 1015 Folsom St., San Francisco. Third Annual Halloween Free Party, w/ Kaytranada, Maxim, Groundislava, Hard French DJs, Massive Selector DJs, Afrolicious DJs, Marco de la Vega, Bessed Drest, White Mike, Lé Swndle, Kevvy Kev, DJ Drome, DJ Dials, Shouts!, 10 p.m., free with RSVP (required).

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

Audio Discotech: 316 11th St., San Francisco. Halloween Masquerade Party, w/ Claptone, Galen, Papa Lu, 9:30 p.m., $10 advance.

BeatBox: 314 11th St., San Francisco. U-Haul: Halloween Animal Kingdom Edition, w/ DJs Von Kiss & China G, 10 p.m., $5 before 10:30 p.m.

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

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

Cat Club: 1190 Folsom, San Francisco. Monster Mash: Dark Shadows Howling Halloween Party, w/ DJs Daniel Skellington, Owen, Mz. Samantha, Melting Girl, Unit 77, and Netik, 9:30 p.m., $7.

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

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

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

F8: 1192 Folsom St., San Francisco. “Vintage,” w/ DJ Toph One & guests, 5 p.m., free.

The Factory: 525 Harrison, San Francisco. Eye Heart Halloween, w/ Tommie Sunshine, Tasty Treat, Traviswild, The Schmidt, DJ Zaq, El Cool J, Jay Ev, Justin Milla, TruthLive, 9 p.m., $25-$85 advance.

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

Harlot: 46 Minna, San Francisco. “Vivid: A UV Party,” 9:30 p.m.

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

Julia Morgan Ballroom: 465 California, San Francisco. Superfreaks, w/ Viceroy, Tropicool, Pacific Disco, 9 p.m., $35 advance.

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

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

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

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

Mezzanine: 444 Jessie, San Francisco. Vitalic, Nolan Gray, 9 p.m., $20.

Mighty: 119 Utah, San Francisco. Set: Halloween Edition, w/ John Digweed, Spesh, Quinn Jerome, 9 p.m., $40 advance.

Monarch: 101 6th St., San Francisco. Thugfucker, DJ Atish, Jimmy B, 9:30 p.m., $20 advance.

Old Mint: 88 Fifth St., San Francisco. The Haunted Ball, w/ DJ Donovan, Chris Clouse, Dave Kim, Hector Garza, Frenchy Le Freak, DJ Nader, DJ Hanik, DJ Lorentzo, 9 p.m., $49.99+ advance.

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

Project One: 251 Rhode Island, San Francisco. Rouge: Halloween Edition, w/ DJs Mike Parsons, R&D, and Danny Firpo, 9 p.m., $5 suggested donation.

Public Works: 161 Erie, San Francisco. Freakers Ball 2013: The Journey Begins, w/ Quantic (DJ set), Silkie, Love & Light, Christian Martin, Bogl, Skulltrane, Mozaic, Tony in Orbit, Stridah, Plantrea, Rob Monroy, Mitchy Manitou, Even Everyman, Aire Redtree, more., 9 p.m., $15-$30 advance.

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

Ruby Skye: 420 Mason, San Francisco. Freak Circus: Day 2, w/ Showtek, Trevor Simpson, 9 p.m., $45-$70 advance.

Slide: 430 Mason, San Francisco. Gatsby: Halloween at Slide, w/ DJs G-Roy, MoMentum, Lorenzo, and Gueco, 9 p.m.

Supperclub San Francisco: 657 Harrison, San Francisco. Reflections: A Mixed Masquerade & Halloween Extravaganza, w/ DJs Aaron Pope, Didje Kelli, and Nugz, 9 p.m., $5-$15.

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

Vessel: 85 Campton, San Francisco. Paris Blohm, Das Üntz, Feldy, 10 p.m., $10-$30.

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

Women’s Building: 3543 18th St., San Francisco. SF IndieFest Roller Disco Costume Party, w/ skate rentals and music provided by Black Rock Roller Disco, 8 p.m., $10.

HIP-HOP

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

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

Sloane: 1525 Mission, San Francisco. Fright Night, w/ Dee Sinatra, West Kraven, 10 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Halloween Monster’s Ball: Vixens, Heroes, and Villains, w/ DJs Big Von, Ivan, and Daddy Rolo (in Yoshi’s lounge), 10:30 p.m., $20+ advance.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Maddy Toy, 7 p.m.

The Chapel: 777 Valencia St., San Francisco. The Dustbowl Revival, The Defibulators, The Wild Reeds, 9 p.m., $15.

Hotel Utah: 500 Fourth St., San Francisco. The Giving Tree Band, The Lady Crooners, The Americans, 9 p.m., $8.

Old First Presbyterian Church: 1751 Sacramento, San Francisco. One Great City, 8 p.m., $14-$17.

Plough & Stars: 116 Clement, San Francisco. Benjamin Brown, 9 p.m.

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

JAZZ

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

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

Cafe Claude: 7 Claude, San Francisco. Jinx Jones Jazz Trio, 7:30 p.m., free.

Cafe Royale: 800 Post, San Francisco. The Glasses, 9 p.m.

Center for New Music: 55 Taylor St., San Francisco. Best Coast Jazz Composers Series #3: Aram Shelton, 7:30 p.m., $12-$15.

Feinstein’s at the Nikko: 222 Mason St., San Francisco. Tony DeSare, 8 p.m., $40-$50.

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

The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8 p.m., free.

The Royal Cuckoo: 3202 Mission, San Francisco. Steve Lucky & Carmen Getit, 7:30 p.m., free.

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

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

Verdi Club: 2424 Mariposa, San Francisco. San Francisco Zombie Prom: Haunted Hollywood, w/ music by Slim Jenkins & DJ Undead Jeff, plus a $200 costume contest, 8 p.m., $17-$20.

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

INTERNATIONAL

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

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

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

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

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

Pier 23 Cafe: Pier 23, San Francisco. Al Son de Mi Rumba, 8 p.m., free.

Space 550: 550 Barneveld, San Francisco. Club Fuego: Halloween Party Edition, w/ Sito Rocks, 9:30 p.m., $20 advance.

REGGAE

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

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Contino, 7:30 & 10 p.m., $20.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Robert “Hollywood” Jenkins, 8:30 p.m.

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

Sheba Piano Lounge: 1419 Fillmore, San Francisco. The O.G. Rhythm & Blues Band, 9 p.m.

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. Yo Mama’s Big Fat Booty Band, Topaz, HowellDevine, DJ K-Os, 9:30 p.m., $10-$15.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. George Porter Jr. & Runnin’ Pardners, Korty & Friends, 9 p.m., $20-$25.

Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, & Tom Thump, 10 p.m., $5; “Loose Joints: 5-Year Anniversary Party & All Star Jam Session,” w/ DJs Tom Thump, Damon Bell, Centipede, and guests, 10 p.m., $5-$10.

SOUL

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

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

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Howard Hewett, 8 & 10 p.m., $27-$31.

SATURDAY 26

ROCK

Bender’s: 806 S. Van Ness, San Francisco. Black Sabbitch, Grandma, 10 p.m., $5.

Bottom of the Hill: 1233 17th St., San Francisco. Haunted Hoedown IV, w/ Rin Tin Tiger, Vandella, Moxie Kids, 9:30 p.m., $12.

Hemlock Tavern: 1131 Polk, San Francisco. Sunbeam Rd., Timothy Robert Graham, 6 p.m., $5; Successors, Horrible Present, Burnt Palms, 9:30 p.m., $6.

Neck of the Woods: 406 Clement St., San Francisco. Deathtrap America, After Nations, Booker Long Duo, Brendan Hangauer, 9 p.m., $5.

Red Devil Lounge: 1695 Polk, San Francisco. Super Hella Halloween: A Rock & Roll Costume Party, w/ Stenner Glen, Smell the Glove, 9 p.m., $10.

The Riptide: 3639 Taraval, San Francisco. The Shitones, 9:30 p.m., free.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Halloween Party with The Barneys, 8 p.m., free.

Thee Parkside: 1600 17th St., San Francisco. Cobra Skulls, Jabber, ToyGuitar, Point of View, 9 p.m., $10.

DANCE

Audio Discotech: 316 11th St., San Francisco. Tanner Ross, Robert James, Keith Kraft, 9:30 p.m.

BeatBox: 314 11th St., San Francisco. Bears in the Dark: Halloween Underwear Edition, w/ DJ Steve Sherwood, 10 p.m., $5-$10.

Cafe Du Nord: 2170 Market, San Francisco. Dark Room 2.0: Third Annual Dark Drag Cadaveret, Lady Bear hosts shadowy drag performances by Peaches Christ, Phatima Rude, Johnny Rockitt, Drewnicorn, Per Sia, Jem Jehova, Rita Dambook, and Beatrix Carr, plus music by DJs Tori and Le Perv, 9:30 p.m., $15.

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

Cat Club: 1190 Folsom, San Francisco. Villainy: The Dance Club with a Dark Side – Horror Night, w/ DJs Tomas Diablo, Tripp, Sage, and Mz. Samantha, 9:30 p.m., $5-$8.

The Cellar: 685 Sutter, San Francisco. Wicked Halloween, w/ Brian V, The Les, DJ Oasis, 10 p.m., $15-$30.

DNA Lounge: 375 11th St., San Francisco. Halloween Booootie S.F., w/ A+D, Smash-Up Derby, DJ Dada, DJ Entyme, Meikee Magnetic, Joe Pickett, Ben Holder, DJ Decay, Joe Radio, Melting Girl, more, 9 p.m., $15-$30.

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

El Rio: 3158 Mission, San Francisco. The Devil Made Me Do It, w/ DJs “Bloody” Brown Amy & Jackie “Sheer Terror” Sugarlumps, 10 p.m., $10 ($5 in costume).

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

The Grand Nightclub: 520 4th St., San Francisco. Heaven & Hell: Halloween 2013, w/ DJs Arno Cost & John de Sohn, 9:30 p.m., $25-$50 advance.

Harlot: 46 Minna, San Francisco. Dead Sexy: Harlot Halloween, w/ DJs Posso, Bones, Troy Kurtz, Ryan Lucero, and Jakey, 10 p.m., $20-$50 advance.

Infusion Lounge: 124 Ellis, San Francisco. Stairway to Hell: Halloween ‘13, w/ DJ Ikon, 10 p.m., $15 advance.

The Knockout: 3223 Mission, San Francisco. The Smithfits Friends Club Halloween Monster Costume Party, w/ DJs Jamie Jams & Josh Yule, 10 p.m., $5.

Lexington Club: 3464 19th St., San Francisco. Wicked Gay Halloween, w/ DJs Jenna Riot & Pony Mane, 9 p.m., free.

Mezzanine: 444 Jessie, San Francisco. Remedy: Haunted Ruins Halloween Party, w/ Mark Farina, Miguel Migs, Fred Everything, Julius Papp, 9 p.m., $20.

Mighty: 119 Utah, San Francisco. Night of the Living Bass, w/ Stanton Warriors, Syd Gris, Melyss, Kimba, Hil Huerta, Influence, J:Miah, Vitamindevo, more, 9 p.m., $20-$25 advance.

Monarch: 101 6th St., San Francisco. Wolves Night Out, w/ Huxley, Shiny Objects, DJ M3, Nikola Baytala, Elz, Jaime James, Ryan Poulsen, 9:30 p.m., $10 advance.

Pier 40: Second St., San Francisco. Titanic Masquerade: S.F. Halloween Party Cruise, w/ DJ Zhaldee, 9 p.m., $85-$875.

Pier 70: 22nd St., San Francisco. Ghost Ship: The Abyss, w/ Space Cowboys & friends, 9 p.m., $25-$50.

Project One: 251 Rhode Island, San Francisco. No Trick, w/ DJs Charlotte the Baroness, Tee Cardaci, Mike Bee, Just, and guests, 8:30 p.m., $10.

Public Works: 161 Erie, San Francisco. Freakers Ball 2013: Become One with the Infinite, w/ Bonobo (DJ set), Pumpkin, Russ Liquid, Mihkal, Quade, Black 22s, Worthy, Shawna, Jenö, Little John, Dax Lee, Hypnotech, Dao & Pwny, Digital Honey, Buckner, Malarkey, more, 9 p.m., $15-$30+ advance.

Renaissance Parc 55 Hotel: 55 Cyril Magnin, San Francisco. Monster Manic, w/ Miles Medina, Enfo, J-Trip, E-20, Robot De Niro, Sk0step, Input Output, more, 9 p.m., $29-$105 advance.

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

Ruby Skye: 420 Mason, San Francisco. Freak Circus: Day 3, w/ Paul Oakenfold, Kissy Sell Out, 9 p.m., $40-$70 advance.

Slide: 430 Mason, San Francisco. Gatsby: Halloween at Slide, w/ The Rock-It! Scientists, 9 p.m.

Sloane: 1525 Mission, San Francisco. The Sloane Asylum, w/ DJs Cobra & Prestige, 10 p.m.

Supperclub San Francisco: 657 Harrison, San Francisco. Dark Forrest & Evil Fairies: Halloween 2013, w/ Tall Sasha, Mikey Tan, Rokrida, Alchemind, Darmor, Jason Kwan, Ks Thant, French Kiss, 10 p.m., $25+ advance.

Temple: 540 Howard, San Francisco. Nightmare on Howard Street: Part 2, w/ Suns of Temple, Niteppl, DJ IQ, Liam Shy, more, 10 p.m., $20.

Vessel: 85 Campton, San Francisco. Pleasurekraft, Kid Alien, 10 p.m., $10-$30.

W San Francisco: 181 Third St., San Francisco. Haunted Hotel, w/ The Disco Fries, Twin Spin, Feldy, 9 p.m., $25-$100.

HIP-HOP

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

Madrone Art Bar: 500 Divisadero, San Francisco. Haunted House Party, w/ DJs Spooky Bank, Bloody Knuckles, and Mummy Yeah, 9 p.m., $5.

Manor West: 750 Harrison, San Francisco. Rockstar S.F.: Halloween Edition, w/ DJs Klever & Thrawn, 10 p.m., $25-$45 advance.

Monroe: 473 Broadway, San Francisco. Erotic Exotic Halloween, w/ DJs K.C. & Gravity, 9 p.m., $20+ advance.

Slate Bar: 2925 16th St., San Francisco. A So Fresh Halloween, w/ DJs Audio1 & Tactics, 9:30 p.m., $10-$25.

Space 550: 550 Barneveld, San Francisco. Funhouse, w/ DJs Marcus Lee, JE, IllEfect, Beatknoxx, Alie Layus, Miles Medina, and Jazzy Jim, 9 p.m., $50-$100 advance.

ACOUSTIC

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

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

Hotel Utah: 500 Fourth St., San Francisco. Marty O’Reilly & The Old Soul Orchestra, Hana Kim, Frankie Boots & The County Line, 9 p.m., $10.

Plough & Stars: 116 Clement, San Francisco. Canyon Johnson, 9 p.m.

JAZZ

Cafe Claude: 7 Claude, San Francisco. Lori Carsillo, 7:30 p.m., free.

Feinstein’s at the Nikko: 222 Mason St., San Francisco. Tony DeSare, 7 p.m., $40-$50.

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

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

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

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

Slim’s: 333 11th St., San Francisco. Lake Street Dive, Miss Tess & The Talkbacks, 9 p.m., $15.

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

INTERNATIONAL

1015 Folsom: 1015 Folsom St., San Francisco. Pura Halloween, 10 p.m., $20.

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

Cafe Cocomo: 650 Indiana, San Francisco. Sixth Annual Salsoween Extravaganza, w/ Mazacote, Orquesta Evolución, more, 8 p.m., $15 advance.

Cigar Bar & Grill: 850 Montgomery, San Francisco. Orquesta Borinquen, 8 p.m.

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

Elbo Room: 647 Valencia, San Francisco. El Conjunto Nueva Ola, María del Pilar, 10 p.m., $10.

The Fairmont Hotel: 950 Mason, San Francisco. Halloween International Ball, w/ Julio Bravo y Su Orquesta Salsabor, plus DJs Trevor Simpson, Aykut, Kblo, Santero, TaTi, Dr. T, and Nitro, 9 p.m., $25-$75 advance.

Jerry Garcia Amphitheater: 45 Shelly, San Francisco. Bill Ortiz, La Mixta Criolla, 2 p.m., free.

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

Pachamama Restaurant: 1630 Powell, San Francisco. Ballet Flamenco, 6:15 p.m., $19-$39.95; Peña Eddy Navia & Pachamama Band, 8 p.m., free.

The Ramp: 855 Terry Francois, San Francisco. La Fuerza Gigante, 5:30 p.m.

Red Poppy Art House: 2698 Folsom, San Francisco. Mochi Parra & Ensemble, 7:30 p.m., $10-$15.

Roccapulco Supper Club: 3140 Mission, San Francisco. Super Halloween, w/ Fulanito, DJs, costume contest, more, 9 p.m., $25+ advance.

REGGAE

Pier 23 Cafe: Pier 23, San Francisco. Native Elements, Last Saturday of every month, 10 p.m., $10-$15.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Earl Thomas & The Blues Ambassadors, Last Saturday of every month, 7:30 & 10 p.m., $24.

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

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

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. Vinyl, The Humidors, DJ K-Os, 9:30 p.m., $12-$15.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. George Porter Jr. & Runnin’ Pardners, Swoop Unit, 9 p.m., $20-$25.

The Independent: 628 Divisadero, San Francisco. The Motet, Joy & Madness, 9 p.m., $20.

SOUL

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

San Francisco Belle: 3 Pier, San Francisco. 98.1 KISS FM Screamin’ Halloween Cruise, 7:30 p.m., $45.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Howard Hewett, 8 & 10 p.m., $27-$31.

SUNDAY 27

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. The Ocean Blue, The Orange Peels, DJ Rubberband Girl, 9 p.m., $12-$15.

DNA Lounge: 375 11th St., San Francisco. Periphery, Born of Osiris, Dead Letter Circus, Twelve Foot Ninja, 6:30 p.m., $18-$20.

Hemlock Tavern: 1131 Polk, San Francisco. Victory & Associates, Nervous Curtains, Helen Money, 8:30 p.m., $6.

Hotel Utah: 500 Fourth St., San Francisco. The Deadfly Ensemble, La Fin Absolute du Monde, Disanova, 8 p.m., $7.

Neck of the Woods: 406 Clement St., San Francisco. Aotearoa, Memory Motel, Hibbity Dibbity, 9 p.m., $7.

DANCE

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

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

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

Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ DJ Sep, Ludichris, Maneesh the Twister, 9 p.m., $6 (free before 9:30 p.m.).

The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.; “Elements of House,” w/ Lisa Rose, Joseph Lee, Keith Kraft, 8 p.m.

F8: 1192 Folsom St., San Francisco. “Stamina Sundays,” w/ DJs Lukeino, Jamal, and guests, 10 p.m., free.

The Independent: 628 Divisadero, San Francisco. Federico Aubele, Lisa Alma, 8 p.m., $17-$20.

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

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

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

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

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

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

San Francisco Belle: 3 Pier, San Francisco. Sunset Halloween Costume Boat Party, w/ Tiefschwarz, Kim Ann Foxman, Galen, Solar, J-Bird, 5-11 p.m.

The Stud: 399 Ninth St., San Francisco. “Cognitive Dissonance,” Fourth Sunday of every month, 6 p.m.

HIP-HOP

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

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

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Pete Rock & C.L. Smooth, Camp Lo, 9:30 p.m., $34-$39.

ACOUSTIC

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

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

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

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

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

Tupelo: 1337 Green St., San Francisco. “Twang Sunday,” 4 p.m., free.

JAZZ

Chez Hanny: 1300 Silver, San Francisco. Jon Mayer Trio with Vince Lateano & Robb Fisher, 4 p.m., $20 suggested donation.

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

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

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

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

Savanna Jazz Club: 2937 Mission, San Francisco. Macy Blackman, 7 p.m.

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

INTERNATIONAL

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

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

El Rio: 3158 Mission, San Francisco. “Salsa Sundays,” Second and Fourth Sunday of every month, 3 p.m., $8-$10.

Pachamama Restaurant: 1630 Powell, San Francisco. Riffat Sultana with Richard Michos, 8:30 p.m.

Pier 23 Cafe: Pier 23, San Francisco. Danilo y Universal, 6 p.m., free.

The Ramp: 855 Terry Francois, San Francisco. Grupo da Sete, 5:30 p.m.

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

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Sussan Deyhim, 7 p.m., $36-$40.

REGGAE

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

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Mitch Woods & His Rocket 88s, 7 & 9 p.m., $15.

Lou’s Fish Shack: 300 Jefferson St., San Francisco. Nat Bolden, 4 p.m.

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

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

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8 p.m., free.

Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9 p.m.

EXPERIMENTAL

The Lab: 2948 16th St., San Francisco. “Godwaffle Noise Pancakes,” w/ Negativwobblyland, Xo Xinh, Future Death Toll, Black Spirituals, Mother, v’Maa, noon, $5-$10.

FUNK

Cafe Du Nord: 2170 Market, San Francisco. Soul Bingo Halloween Masquerade Ball, w/ Katdelic, DJ I-Cue, Phil Harvey, 8 p.m., $10-$15.

Tupelo: 1337 Green St., San Francisco. The Love Gangsters, 9 p.m.

SOUL

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

MONDAY 28

ROCK

El Rio: 3158 Mission, San Francisco. Dinner with the Kids, The Fourth & King, Build Them to Break, 7 p.m., $5.

DANCE

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

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

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

HIP-HOP

Slim’s: 333 11th St., San Francisco. Earl Sweatshirt, Vince Staples, 9 p.m., $21.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. The Pick Bluegrass Jam, Fourth Monday of every month, 6 p.m., free; The Earl Brothers, Fourth Monday of every month, 9 p.m., free.

Cafe Royale: 800 Post, San Francisco. Django Mack, 9 p.m.

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

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

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

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

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

JAZZ

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

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

Tupelo: 1337 Green St., San Francisco. Kit Ruscoe, 9 p.m.

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

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

INTERNATIONAL

Elbo Room: 647 Valencia, San Francisco. Hot Blood Orkestar, Dusty Brough, 9 p.m., $8-$12.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Los Pericos, 8 p.m., $30-$40.

REGGAE

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

BLUES

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

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

SOUL

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

TUESDAY 29

ROCK

Amnesia: 853 Valencia, San Francisco. Major Powers & The Lo-Fi Symphony, Joshua Cook / The Key of Now, Linda Robertson, 9 p.m., $8-$10.

Bottom of the Hill: 1233 17th St., San Francisco. Halloween Boogie with Cumstain, Pookie & The Poodlez, Sex Snobs, 9 p.m., $8.

Elbo Room: 647 Valencia, San Francisco. Dimesland, Murder Murder, 9 p.m., $6.

Hemlock Tavern: 1131 Polk, San Francisco. The World War I’s, Gravys Drop, Mr. Elevator & The Brain Hotel, Tik Tok, 8 p.m., $7.

Hotel Utah: 500 Fourth St., San Francisco. The Dandy Lions, Sunhaze, The English Language, 8 p.m., $8.

The Knockout: 3223 Mission, San Francisco. The Trawggz, Gigi & The JBRS, Hampton Wicks, DJ Lightnin’ Jeff G, 9:30 p.m., $7.

Rickshaw Stop: 155 Fell, San Francisco. Kirin J Callinan, Seatraffic, All Your Sisters, Pro Fan DJs, 8 p.m., $12.

Slim’s: 333 11th St., San Francisco. Falling in Reverse, 7:30 p.m., $32.

DANCE

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

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

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

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

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

HIP-HOP

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

ACOUSTIC

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

Cafe Du Nord: 2170 Market, San Francisco. Therese Aune, Most Thieves, 8 p.m., $8.

The Independent: 628 Divisadero, San Francisco. Foy Vance, Rams’ Pocket Radio, 8 p.m., $12-$14.

Plough & Stars: 116 Clement, San Francisco. Song session with Cormac Gannon, Last Tuesday of every month, 9 p.m.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Toshio Hirano, 8:30 p.m., free.

JAZZ

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

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

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

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

El Rio: 3158 Mission, San Francisco. The Emergency Ensemble, 8 p.m., free.

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

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

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

Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free.

Tupelo: 1337 Green St., San Francisco. Mal Sharpe’s Big Money in Jazz Band, 6 p.m.

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

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8 p.m., $22; Patricia Barber, 8 p.m., $25.

Zingari: 501 Post, San Francisco. Brenda Reed, 7:30 p.m., free.

INTERNATIONAL

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

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

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

REGGAE

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

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Tia Carroll & Hard Work, 7 & 9 p.m., $15.

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

FUNK

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

SOUL

Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free. 2

Yeezus stares down yetis, climbs volcanoes, is born again at the Oracle Arena

Tony Robles
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2

Kanye West is at an enviable place in his career. Everyone knows who he is. He’s reached near iconic, almost mythic status. The problem is, everyone knows who Kanye West is, even if they don’t listen to his music. I’m fairly certain there are people I’m related to who are only familiar with him largely because he impregnated and proposed to a beautiful woman with a large, rich family, sextape, hard-working publicist, and contract with an unscrupulous cable TV network (in roughly that order). They likely also know him as an egotistical and crazy loudmouth, for reasons too long to detail here.

In sum, Mr. West’s celebrity has threatened to obscure and confuse his accomplishments. Luckily, his newest stage production, Yeezus, represents the history of Kanye West, according to Kanye West.

Stage production may not be the best term, but Yeezus is not a typical concert. Unless you want to consider it a prog-rock concert. Which it may be, in terms of elaborate structuring and an overwhelming amount of obvious symbolism. Also, it has a large mountain on stage. A sort of small-scale Matterhorn, which alternates as an iceberg and a volcano, depending on how it is video mapped, and if flash pots are going off.

Shot from the right angle (please see the photo here provided by West’s people) it was positively expressionistic. Otherwise ignore the rigging showing out the sides, or the crew members placing a box near the top for West to complete his summit, which he did, triumphantly, at points throughout.

http://www.youtube.com/watch?v=ar-sduhNbi4

Yeezus, the character Mr. West plays, a masked figure drawn out of obscurity by a group of cult-like robed women at the outset, reached a spotlight at the end of a long stage. Thus began the journey, which went through five distinct stages. They were easy to follow, listed on screen above the mountain: Fighting, Rising, Falling, Searching, Finding. The songs that followed were not a chronology, but rather represented his career in retrospect. For instance, the highlight of the Fighting section was  “New Slave,” the first single off  West’s current Yeezus album, but in this context a reflection on his entry into the music business, and a struggle to maintain freedom from corporations that attempt to control artists.

Rising began with the phrase “pride always preludes the crash…the bigger the ego the harder the fall.” Did you catch those references? If so, please mark another two boxes on your Yeezus Biblical Allusion Scorecard. You already marked one for Yeezus, right? Keep it handy because more followed, when Yeezus came down from the top of the mountain, appearing shirtless to the prog rock sounds of King Crimson’s “20th Century Schizoid Man.”

This was “Power” and Yeezus had it, confirmed moments later during the Foreigner-sampling “Cold,” when a girl in the audience gleefully showed her breasts to Yeezus not once, but twice. Given the black mask, there was little reaction from Yeezus. But in any case Tony Montana was right, and a song or two later the cultish women from the beginning returned in nude body-suits. Yeezus was literally swarmed by women.

For obvious reasons “I Am a God” has been one of the more controversial tracks on Yeezus and at first the performance of it was expectedly problematic, with Yeezus’s harem kneeling down before him. It was a criticism-baiting moment, until the menagerie awkwardly lifted him into the air as he screamed. It was the first sign of things going wrong for the play’s ‘hero’, and when he performed “Can’t Tell Me Nothing” from Graduation, the singer finally started to project a little emotion, mask and all; the catwalk in the middle of the crowd — despite the weight of the lyrics “To whom much is given, much is tested” — began to raise, as Yeezus was increasingly insulated from the world around him.

After a long dramatic pause (Yeezus took arguably way too many over the course of the evening, sometimes leaning against the mount, sometimes reclining in mock exhaustion) he stopped to speak and connect for the first time, detailing that the next song, “Coldest Winter” was written after his mother died, describing a crisis of faith, and a life that was “spiraling.” Fake snow falls from the ceiling of the Oracle Center. Depending on your sympathies, it could be the most touching moment of the night.

I found it short lived because it segued into the Falling section, which if meant to be bad, succeeded. By then the metaphors and imagery were so in my face that I feared the opening lines, “Who will give me wings, I ask, wings of a dove?” would actually cue West, er, Yeezus donning angel wings and flying around the room on wires. Instead, a red-eyed yeti simply crouched on one side of the mountain, until Yeezus stared it down and it retreated. There was a storm on the stage and some truly awful guitar shredding on “Hold My Liquor,” and I basically started tuning out.

http://www.youtube.com/watch?v=Co0tTeuUVhU

After staring down the yeti a second time and singing “Heartless,” it seemed like the sun was rising. Until then it had all been so rehearsed that when a mic suddenly crackled and Yeezus retreated back stage to fix the issue, all I could think was, “hey, we’re off our regularly scheduled programming, maybe something exciting will happen.”

But instead Yeezus returned to jump on the spring loaded part of the catwalk, triggering explosions and turning the mountain into a volcano. This was relatively restrained, compared to a few songs later, when the mountain cracked open for the Searching section, and a church procession of women emerged, bearing smoking thuribles, candles, the Virgin Mary, and motherfucking Jesus on the cross.

And Yeezus, now wearing a bulky trench and a white jeweled balaclava, was in pastor mode. Which he could do since he totally had the crowd eating out of the palm of his hand. Playing a single key on a controller lead to rapturous applause. (Never had a performer received so much applause for doing so little.) He paused to soak it in and repeated to the same effect. Twice, before leading into the celebratory and douche-shaming “Runaway.”

This lead to the wonkiest part of the night, with Yeezus on the pulpit running through a list of issues with misquotations and the media, which I won’t, for obvious reasons, attempt to summarize. I will say that at one point he asked people to put their hands in the air if they believe they could do anything, and if you are the kind of person who would have their hand up, you probably would have dug it.

The point is anything is possible through the power of prayer, and Yeezus prayed for his fiance. (Apparently she was at the show, or her mother, or Pharrell from N.E.R.D. In an embarrassing moment, the crowd got overly excited when they thought they recognized one of the three between sets.)

The audience went through some emotional transformatory Campbell-esque hero’s journey. (Made particularly intense for me by the guy two seats over trying to get his girl to not breakup with him during the entire show.)

We came to the final part, Finding, and the words “God arrives at the right time…” Yeezus performed “Harder” and the crowd was magically re-energized, probably in part by the lasers reflecting off his disco ball balaclava. Yeezus talked about how he feels like he got a second chance in life, and sings “Through the Wire,” the breakout song from The College Dropout. On cue…

…Jesus appeared.

And our Lord walked up to Yeezus, who exclaimed, “White Jesus!”

As if sensing something was amiss in this sudden display of humor, Jesus pulled off Yeezus’s mask to reveal that it was Kanye West all along. He went full circle, the nightmare was over, the trauma was over, etc.

http://www.youtube.com/watch?v=MYF7H_fpc-g

Obviously they played “Jesus Walks” and a whole slew of jams. West went on a spiritual discovery, stripping off all the bullshit and pretense, returning to a simpler era. (You couldn’t see his face because it was covered with opulent jewels, get it? It was symbolism.)

Presumably his next tour will be back to basics. Just a flat stage and a mic. In a sense, he’s born again, and all it took was the power of prayer, love, and a good woman. May they live happily ever after.

But, if they divorce then future albums will probably be better. And then he’ll perform “Gold Digger” again.

###

Opener: Kendrick Lamar

Pictured as a bat hanging upside down from a streetlamp was probably the perfect visual for opener Kendrick Lamar, the latest champion of West Coast hip-hop, who borrows the extraterrestrial imagination of ATLiens era Outkast and Lil’ Weezy’s, uh, wheeze. Already established with two solid albums, Lamar recently leapt in profile for a single enormous, lung bursting verse on Big Sean’s “Control.”

http://www.youtube.com/watch?v=SaMreUKk5Fk

As if the technicality alone wasn’t impressive, he also had the gall to mention that he’d like to kill all but about half a dozen other rappers, which upset more than that. On the Yeezus tour, Lamar also seems to be working on some myth building of his own, visualizing a Compton that’s as much a fantasy as the Oakland in “California Love,” that’s more Terence Malick than George Miller: horses riding down the city streets, living room floors practically covered with spent liquor bottles, slo-mo drumlines, foxy women hitting speed bags/traipsing down railroad tracks, and flashes of gun violence.

Backed up by a full band, Lamar was aggressive and energetic in a way that West only occasionally let himself reach, all the way from “Money Trees” off his exactly one year old album good kid, m.A.A.d city through to the end. Lamar seems to see himself as a successor to Tupac, particular in dread-filled terms, as an air of gun violence pervades a lot of his songs, augmented by the sound of shots. But midway through the set, after ripping ASAP Rocky’s “Fuckin’ Problem” he launched into the a signature track saying, “As long as I’m representing the West Coast, nobody — nobody — will kill the fuckin’ vibe.” We hope so.

Spinning a precise web

Jesse Hawthorne Ficks
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0
Spinning a precise web

arts@sfbg.com

DANCE Israeli-born choreographer Idan Sharabi pays meticulous attention to detail, but serendipity still has a place in his creative process. His Spider on a Mirror receives its world premiere as part of Zhukov Dance Theatre’s sixth season at the SFJAZZ Center this weekend. The work will be paired with Enlight, the latest piece by company artistic director Yuri Zhukov.

Take the way Sharabi chooses his music. For the last couple of years, romantic music — think Chopin — has “often been in the back of my mind when starting a new work,” he explains in a post-rehearsal conversation at the Zhukov studio space on Folsom Street. That’s how late 19th-century Russian maverick Alexander Scriabin popped up for Spider. But then Sharabi went clubbing and happened to encounter Robin Thicke’s “Blurred Lines.” The pop hit had good beat, melodies, and it was fun. “Besides,” he says, “it was all over the place.” So that’s how a Russian wild man met MTV.

Serendipity of a less entertaining kind also kicked in when Sharabi came to work with Zhukov’s dancers. On his first trip to San Francisco, he stayed in Pacific Heights. On his return, living south of Market Street, he got a much grittier vision of the streets of SF. Sharabi drew on this eye-opening experience for Spider. “I am not talking about the difference between rich and poor, but about not having a roof over your head, where people’s skins acquire the gray color of the streets,” he explains.

Trained at Juilliard, where he won the Zaraspe Prize for Best Juilliard Choreographer of 2006, Sharabi has spent his working life in Europe as a freelance choreographer, and as a dancer and choreographer for Nederlands Dans Theater and Israel’s Batsheva Dance Company.

Working on refining Spider — he put the bones together during a four-week residency in June — Sharabi is solicitous of, and aware of, the dancers’ individuality. Yet the process is very detail-oriented. Flailing on the floor, Doug Baum at first looks like a bug fallen on its back. But then trembles and shakes seem to throw him into death throes, tearing his body apart. Sharabi encourages a differently angled knee and fingers that extend into a line. Nick Korkos works on a dropping-wrist gesture that, as the choreographer demonstrates, releases energy to travel up the arm and down the side of the body to pull the dancer to the ground. A limb-entangling duet for Christopher Bordenave and Jeremy Neches finally breaks apart — except, as Sharabi insists, they stay glued together through their big toes.

The exactitude with which Sharabi puts Spider together seems to infuse a sinewy strength into fractured choreography that can look convulsive — sometimes to the point where one becomes conscious of how tenuously these wildly shaking body parts are connected to the skeletal structure.

At the end of the afternoon, the dancers are thoroughly spent. Yet they clearly have what Sharabi always looks for: passion and curiosity. Those are the qualities, he says, that allow superbly trained dancers to go beyond their training and step into unknown territory.

In his own life, Sharabi has encountered and worked with three choreographers who have inspired him to pursue his own path with passion and curiosity. In Jirí Kylián, Czech-born founder of Nederlands Dans Theater, he saw what he calls a “tragic vision.”

“Kylián’s choreography is often quite dark, dealing with death,” he says. “And yet it’s always so elegant. He can take garbage or cans being squashed on the floor, and make them look elegant.” Smiling broadly, he adds, “I am actually a dark person myself,” something he attributes to having suffered a serious injury, and one that may have affected his own perspective on the dancing body. One of the distinguishing marks of his choreography is the extensive and imaginative use of the floor. He views it as more than just something to hit and bounce off; instead, it offers a way to embrace what contact with the earth can offer.

The work of Ohad Naharin, the artistic director of Batsheva Dance Company, remains an intriguing puzzle. With just a touch of embarrassment, Sharabi admits “I still don’t know whether I am supposed to try to understand his work or just go with the sensations.” But about the American-born but Europe-based William Forsythe, who has been rethinking ballet’s fundamental principle, Sharabi is clear: “It’s the math. I love his mind, the clarity of his complex and never compromising thinking.”

What about artists outside dance? Without hesitation Sharabi answers “Quentin Tarantino.” While he is comfortable with Tarantino’s sense of time and even his films’ violence, Sharabi reveres the details (always the details), the sheen, the completeness of the design, the wholeness of the vision, and the absolute control Tarantino exerts over his product. “It’s not the amount of blood that counts,” he says. “It’s the way the blood flows.” *

ZHUKOV DANCE THEATRE

Oct 29-30, 8pm, $25-$55

SFJazz Center

201 Franklin, SF

www.zhukovdance.org

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