Preview

“Good Boys and True”

-
0

PREVIEW According to St. Joseph’s, an all-boys prep school, its students are expected "to be good boys and true. To strive towards competence, courage, and compassion always." Well — easier said than done, right? In Good Boys and True, scandal erupts at the Washington, D.C. prep school when a violent sex tape is discovered circuutf8g campus grounds. When Brandon, captain of the football team, is accused of being the faceless figure in the tape, his life and the lives of those closest to him are changed forever. Taking place in 1988 (long before sex vids became commonplace), the rumors of Brandon’s crime spread like wildfire and send ripples throughout the very rich, very white, and very proper community.

Written by Roberto Aguirre-Sacasa, a writer for HBO’s Big Love, the play explores the themes of wealth, privilege, and power. It follows the relationship between Brandon and his mother as she tries to reconcile with the heinous crime her son is accused of, as well as Brandon’s relationship with his best friend Justin, which is more than just platonic. What will become of the Dartmouth-bound football all-star as his life spirals out of control? What dirty secrets will be revealed about those around him? Good Boys and True makes its West Coast debut at the New Conservatory Theatre Center, where it is one in a collection of LGBT-themed plays featured during NCTC’s Pride season.

GOOD BOYS AND TRUE Aug. 14–Sept. 20. Wed.–Sat., 8 p.m.; Sun., 2 p.m., $18–$40. New Conservatory Theatre Center, 25 Van Ness, SF. (415) 861-8972, www.nctcsf.org

Crocodiles

-
0

PREVIEW A long line of lo-fi troubadours have come crawling over the horizon these past few years. Crocodiles fit right in, but also stand out in more ways than one. The San Diego duo’s got its tight, tattered jeans and Jesus and Mary Chain comparisons, its vocals that sound like they were recorded through blankets, and plenty of attitude.

Just like many of the duo’s garage-rat contemporaries, Crocodiles’ music is a tangle of all things hipper-than-thou. But there’s a menacing intrigue bubbling up from beneath the scaly synth rhythms and claustrophobic distortion — scrub away the requisite hazy feedback and you ‘ll find a pair of sardonic scowls.

The meticulously crafted set of songs on Crocodiles’ debut album Summer of Hate (Fat Possum) prove that frontman and beat programmer Brandon Welchez and guitarist Charles Rowell are junkies for juxtaposition. Diamond-cut hooks and Welchez’ defiant wails weave in and out of electronic drones, resulting in a seamless summer LP.

Both Welchez and Rowell were once part of the SoCal punk outfit The Plot to Blow Up the Eiffel Tower. After lineup metamorphoses and the death of a band member, the two found themselves writing shoegaze-punk songs tinged with glee and gloom. Ready-made for living room dance parties, "Refuse Angels" finds the Crocs slithering to a furious, acidic electro beat and sneering that they feel "just like Leon Trotsky." "Here Comes the Sky" is a lonely, sun-baked ballad with arpeggios straight out of a latter-day Beach Boys recording.

Crocodiles aren’t just riding the fuzzy, noisy wave that’s so very in vogue and au courant — they’re surfing it with attention to every pulsating beat and damaged guitar note.

CROCODILES With Pens, Graffiti Island. Wed/19, 7:30 p.m., $10–$12. Rickshaw Stop, 155 Fell, (415) 861-2011. www.rickshawstop.com

Whoop Click!

-
0

PREVIEW Like most superhero tales, actor-comedian James Judd’s story begins with a spider bite. He hopes the incident will give him superpowers (specifically the ability to manipulate ATM machines with his eyes), but it never comes. Instead, the nasty bite gives him an excuse to, well, sit on his butt. And it is in his treacherously hot Palm Springs home that our hero gains a lot of weight.

In his newest show, Judd tells the story of how a poisonous spider bite on his butt leads to a two-week holiday at a decrepit fat camp in Florida. Tricked by his parents, Judd accepts a birthday gift at a luxury spa ("You’ll really love it — it’s like rehab!" says "Judd’s mom) only to arrive at a weight-loss camp in the middle of a swamp in July. To make matters worse, Judd is accompanied by his four Mormon aunts, who were all made famous in his previous show 7 Sins. In his 45-minute set, the San Francisco resident takes on 10 hilarious personalities, from the doctor who is convinced Judd’s spider bite is a brain tumor to an aunt who can’t seem to part with her Bible trivia books. Laugh along at Judd’s pain as he relives how he survives the fat camp while trying to uncover the truth behind a dark family secret. Oh, and he reenacts a scene from a porno called Ass Artist 3 — intrigued yet?

WHOOP CLICK! Through Aug 22. Sat, 8 p.m., $20, Dark Room, 2263 Mission, SF; (415) 401-7987, www.darkroomsf.com

“Beyond ESPN: An Offbeat Look at the Sports Film”

-
0

PREVIEW Co-curated by Yerba Buena Center for the Arts’ Joel Shepard and the Guardian‘s Johnny Ray Huston, "Beyond ESPN" also goes beyond cinematic convention, offering up a scorecard of (mostly) uncommon picks cleverly corralled under the banner of sports films. In other words, there’s no Rudy (1993) here. The series kicks off Thursday, Aug. 6 with "Rare Films from the Baseball Hall of Fame" (including commercials featuring a pre-scandal but ever-cheeky Pete Rose) and continues throughout August with takes on professional cycling (1976 doc A Sunday in Hell); tennis (1982’s The French, a behind-the-scenes look at the 1981 French Open); and swimming (2006’s Agua). Plus: Visions of Eight (1973), a study of the tragic 1972 Munich Olympics by eight different directors (including Milos Forman, Arthur Penn, and John Schlesinger); and 1971’s Football as Never Before, an intimate, on-the-pitch portrait of luxuriously-maned soccer great George Best. Also included is Clair Denis’ 2005 Towards Mathilde, about contemporary choreographer Mathilde Monnier, and a trio of good-time flicks dubbed "Winning Isn’t Everything: A Tribute to the 1970s Sports Film" from Midnites for Maniacs programmer Jesse Hawthorne Ficks: Ice Castles (1978), The Bad News Bears (1976), and The Cheerleaders (1973). Go team!

BEYOND ESPN: AN OFFBEAT LOOK AT THE SPORTS FILM. Aug 6–30, $8. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org

Sale: Skingraft at Five & Diamond

-
0

By Molly Freedenberg

desertgirls2-web_medium.jpg

Long before “burner” and “circus” became official fashion sub-genres, the geniuses behind Skingraft were constructing leather into fairytale dresses and imaginative bags that would eventually define the burner bourgeoise aesthetic. Handmade, intricate, and of stellar quality, their clothing has always been gorgeous but just out-of-reach — both because the company’s centered in L.A. and because clothes that good cost a pretty penny to make, and therefore own.

But in recent years, Skingraft has turned some of its attention to more ready-to-wear, and easy-to-buy, options — starting with holsters made of leather and less expensive canvas, selling wares in local shops like Five and Diamond, peppering collections with simpler designs more appropriate for streetwear, and now, hosting a kickass sale.

Tonight, Five and Diamond hosts Skingraft’s designers and collaborators for a preview of the 2010 collection, discounts on the 2009 collection, and plenty of music, libations, and even fireworks. Considering the store’s opening culminated in an Extra Action Marching Band-led parade to the Elbo Room, it’s guaranteed this is an event not to miss – even if you don’t have the scrilla for an equestrian-inspired waistcoat.

Thurs, July 30
5-9pm, free
Five & Diamond
510 Valencia, SF
(415) 255-9747
www.fiveanddiamond.com
skingraftdesigns.com

Nosaj Thing

-
0

PREVIEW A delicate secret lies behind electronic producer Jason Chung’s musical alias, Nosaj Thing. I’ll break it down quickly. Invert Jason from front to back so that the sound rolls off the tongue in an ephemeral two-step hop from palate to teeth. Supplement that spacious beginning with a full-bodied surname, and the paradoxical nature of "Nosaj Thing" is complete. Corporeal sensuality whisked away in nebulous lightness. Might there be such an impossible thing? I point the nonbelievers in the direction of Chung’s full length debut, Drift (Alpha Pup), a brilliant soundscape still building in momentum since last month’s release. A lesson in the elegant aerodynamics of heavy objects, Drift reflects the harmonious relations of galactic bodies floating in space and the unbelievable lightness of human-made aircrafts soaring in the air.

The 24-year-old Chung’s committed but decidedly loose affiliation with the versatile Low End Theory collective has fueled his lift-off into ethereal robotics. But Chung has picked up a free range ethic of self-determination from the L.A. underground more than any ideological doctrine. On Drift, Nosaj Thing’s disembodied mind sets off on an odyssey through eerie, oil-spill melodies and cavernous rhythmic voids. Darkly harmonic sounds are submerged under the android lights of an indigo night sky. The result is a soundtrack for an ancient sci-fi film about a genetically engineered Moses drifting along a river between Virgil’s hell and a raver’s ecstatic heaven. Oh, I can keep going.

BLASTHAUS PRESENTS NOSAJ THING’S DRIFT ALBUM RELEASE PARTY

Fri/31, 9 p.m., $12.50. Mighty, 119 Utah Street, SF. (415) 762-0151, www.mighty119.com

Big Rich

-
0

PREVIEW Arriving outside Amoeba Music on Haight Street, Fillmore Rich — also known as the MTV2 rap star Big Rich — is stopped by a total stranger. "Yo! Big Rich. Man, I love "SF Anthem," and "That’s The Business," and all your music," the fan/rapper enthuses, quickly turning the chance sidewalk meeting into an impromptu audition. As the aspiring rapper — who shouldn’t be making any immediate plans to quit his day job — rattles into his second verse, large-framed Rich listens intently. Afterward he offers words of encouragement, and even his phone number, to the upstart.

Big Rich’s Heart of the City (3 Story Muzik) is one of Ameoba’s top-selling hip-hop albums. "I feel like it’s a part of my responsibility to give back to my community," Rich says. "That’s why I call myself Fillmore Rich. It’s not to glamorize anything. It’s just that’s how I feel. All the people I grew up with, they ain’t here no more. I feel like it’s my responsibility to stay here and represent and help where I can. I am the only San Francisco rapper that still has a residence in the neighborhood where they grew up."

This Saturday, Rich will be there when the SF youth AIDS education organization Get Live Stay Live puts on an event at the Bayview Opera House. "There’s [been] a lot of friction going on with my area and Hunters Point," he says. "I’m going to show there ain’t no friction." Rich has two other events booked the same day: he’ll be speaking on a panel at the Bay Area Producers Conference and performing at the car-themed Hot Import Nights mega-event at the Pleasanton Fairgrounds. Catch him if you can.

BAY AREA PRODUCERS CONFERENCE Sat/25, 8.a.m–11 p.m. (Big Rich is part of the "Beats and Rhymes" panel at 5 p.m.), $45. Cathedral Hill Hotel. 1101 Van Ness, SF.

www.bayareaproducersconference.com

Clutch

-
0

PREVIEW To survive two decades in the music business, a band must learn to tolerate change. Clutch has prospered by embracing it. Since its beginnings as a shotgun marriage between East Coast hardcore and Southern rock, the Maryland four-piece has constantly retooled its elastic, blues-metal sound. Easily bored and eager to explore their prolific, improvisatory talents, the band members never perform the same set twice — they take turns surprising each other.

This year’s Strange Cousins From the West (Weathermaker Music) abandons the harmonica and keyboard accents that proliferated on 2007’s From Beale Street to Oblivion (DRT Records). Though the band has been on a bluesy, mellow trajectory since 2004’s Blast Tyrant (DRT), the pendulum is now swinging in the other direction, back toward the muscular guitar rock that comprised its definitive mid-1990s output.

The stand-out track "Abraham Lincoln" sounds appropriately like a funeral march, and the lyrics showcase singer Neil Fallon’s talent for making American history into motor-mouthed rock and roll genius. The album’s lead single "50,000 Unstoppable Watts" boasts a trademark non sequitur sing-along ("Anthrax/ham radio/and liquor"), underpinned by one of Tim Sult’s inimitable guitar leads. Neither shredding nor chugging, the licks glide along with the assured, unpredictable grace of a hopscotch expert.

On tour, Clutch is supported by Lionize, Sult’s reggae side project — bored, prolific, remember? — along with Baroness, a group that rivals the headlining godfathers in combining distorted guitars with Southern flavor and a vast range of influences. Extemporaneous and explosive in concert, Clutch is only skipped by the unwise.

CLUTCH With Lionize, Baroness. Wed/22, 8 p.m., $23. Regency Ballroom, 1290 Sutter, SF.

(415) 673-5716. www.theregencyballroom.com

Sha Sha Higby

-
0

PREVIEW To achieve inner calm, you could do an hour of yoga, meditate on a seaside cliff, or pamper yourself at a spa retreat. But if you don’t have the time (or lack the funds), you could also attend a Sha Sha Higby performance to leave you feeling reflective, refreshed and inspired. Higby began her artistic career before she was even qualified to attend preschool. At age 3, a drawing of a single bird launched the artist into a new world of expression. Fast-forward to the present, and the internationally acclaimed performance artist insists she doesn’t have another option than to constantly create.

And boy, does this lady create. Using skills she acquired through her studies in Asia, the Marin County resident’s performances combine dance, puppetry, light, and sound to introduce a mysterious and haunting world of child-like wonders. She is perhaps best known for her elaborate structural costumes, which are handmade using old techniques and materials such as silk, gold leaf, wood, and paper. During her shows, Higby fully cocoons herself in these costumes, which she uses as evolving canvasses to animate stories of life, death, and rebirth.

For her latest show In Folds of Tea, Higby does it again. For two evenings, the Noh Space transforms into an enchanted pink forest as Higby takes the stage to work her unique brand of voodoo. See you there.

SHA SHA HIGBY Fri/24–Sat/25, 8 p.m., $10–$22. Noh Space, 2840 Mariposa, SF.

(415) 868-2409, www.shashahigby.com

SF International Poetry Festival

-
0

PREVIEW San Francisco is known internationally for many things, but top among them are parties, politics, and poetry. We’ve got plenty of events dedicated to the first two, but it’s surprising that we didn’t have a full-blown poetry festival until two years ago. Thankfully, the city, the public libraries, and the Friends of the library are back this year with four days of events dedicated to the medium that made Allen Ginsberg, Robert Duncan, and Lawrence Ferlinghetti famous — with an intention of continuing the tradition as a biennial gathering. This round features main stage readings by local heroes and international stars like Maram al-Massri, Daisy Zamora, SF Poet Laureate Diane di Prima, and Ferlinghetti himself. Other highlights include an exhibition of artwork and broadsides from participating poets, screening of a documentary about Jack Hirschman, a conversation about the art of translation, an event for youth moderated by California state Poet Laureate Carol-Muske-Dukes, workshops, parties, and a North Beach Poetry crawl that includes stopping in at Ferlinghetti’s City Lights bookstore and other famous haunts of the Beats. Best of all? Like creating poetry itself, all events are free and open to the public.

SAN FRANCISCO INTERNATIONAL POETRY FESTIVAL Thurs/23–Sun/26, Various times and locations. Free. www.sfipf.org

Vieux Farka Toure gets Afrofunky

-
0

By Tomas Palermo. Vieux appears on Sat/18 as part of the two-night 5th Annual Afrofunk Festival at The Independent. Fri/17 features the full-blown stylish sounds of Sila and the Afrofunk Experience.

429-musbbox.jpg

PREVIEW A torrent of questions arose amid the global mourning over Michael Jackson’s sudden passing. Was he addicted to prescription pain meds? How much was he actually worth? Did his father’s abuse scar the star beyond repair? Speaking of paternal influence, will 12-year-old Prince Michael Jackson follow his famous father’s musical calling? If he displays even an ounce of MJ’s talent, the pressure will be enormous.

A similar scenario played out in the African music world following the 2006 passing of Malian blues guitarist Ali Farka Touré from bone cancer. Farka Touré’s son Vieux expressed an early interest in music, but his father objected, hoping to shelter him from a professional musician’s grueling tour circuit. It didn’t work. Vieux picked up the guitar, releasing a self-titled debut on Modiba/World Village in late 2006, followed by the creative, youth-embracing Remixed: UFOs Over Bamako (Modiba) in 2007. With guidance from legendary Malian kora player Toumani Diabat, the younger Touré’s first two releases express a reverence for his father’s emotive, blues-soaked guitar style while exploring rock and electronic music interests.

These traditional and modern threads entwine so thoroughly that they fuse on the new Fondo (Six Degrees). Vieux gives voice to swirling Saharan dust storms on the energetic "Sarama," explores Mali’s quiet spirituality on "Paradise" (featuring Diabate’s kora solos) and ponders West African struggles in the 21st century on the reggae-tinged "Diaraby Magni." Like his father, Vieux’s music has taken him from Bamako, Mali to Bonnaroo, the massive Tennessee music festival where his American summer tour begins. As U.S. indie bands like Vampire Weekend and Fools Gold incorporate African rhythms into their repertoires, it’s worth hearing a talented African guitar hero whose taste for rock isn’t just skin deep, it’s in his DNA.

VIEUX FARKA TOURÉ With Luke Top, DJ Jeremiah. Sat/18, 8 p.m., $20. The Independent, 628 Divisadero, SF. (415) 771-1420. www.theindependentsf.com

Flyaway Productions

-
0

PREVIEW Imagine what it would be like to be working on the new span of the Bay Bridge — perilously dangling in the wind, high above freezing waters, would be just another day on the job. Inspired by the female ironworkers, laborers, crane operators, and other brave souls who’ve helped create and tend to local bridges since the 1970s, Jo Kreiter’s Flyaway Productions presents The Ballad of Polly Ann (named for the badass wife name-checked in "The Legend of John Henry’s Hammer"). Like all of Kreiter’s creations, Polly Ann is an "apparatus-based" performance; appropriately, the dancers will move about a bridge replica inspired by the suspension system used for the Alfred Zampa Memorial Bridge, which spans the Carquinez Strait. The Flyaway crew is used to being graceful in unlikely places (fire escapes, rooftops) and have no fear of heights (past pieces have hoisted dancers up to 100 feet over audiences) — so they’re the ideal company to mount this unique tribute. Polly Ann was created with help from labor historian Harvey Schwartz and musician Pamela Z, who weaves real-life bridgeworker tales into her accompanying soundscape.

Flyaway Productions Through July 25 Tues–Sat, 8 p.m., $25. Somarts Cultural Center, 934 Brannan, SF.

1-800-838-3006, www.flyawayproductions.com

Vieux Farka Toure

-
0

PREVIEW A torrent of questions arose amid the global mourning over Michael Jackson’s sudden passing. Was he addicted to prescription pain meds? How much was he actually worth? Did his father’s abuse scar the star beyond repair? Speaking of paternal influence, will 12-year-old Prince Michael Jackson follow his famous father’s musical calling? If he displays even an ounce of MJ’s talent, the pressure will be enormous.

A similar scenario played out in the African music world following the 2006 passing of Malian blues guitarist Ali Farka Touré from bone cancer. Farka Touré’s son Vieux expressed an early interest in music, but his father objected, hoping to shelter him from a professional musician’s grueling tour circuit. It didn’t work. Vieux picked up the guitar, releasing a self-titled debut on Modiba/World Village in late 2006, followed by the creative, youth-embracing Remixed: UFOs Over Bamako (Modiba) in 2007. With guidance from legendary Malian kora player Toumani Diabat, the younger Touré’s first two releases express a reverence for his father’s emotive, blues-soaked guitar style while exploring rock and electronic music interests.

These traditional and modern threads entwine so thoroughly that they fuse on the new Fondo (Six Degrees). Vieux gives voice to swirling Saharan dust storms on the energetic "Sarama," explores Mali’s quiet spirituality on "Paradise" (featuring Diabate’s kora solos) and ponders West African struggles in the 21st century on the reggae-tinged "Diaraby Magni." Like his father, Vieux’s music has taken him from Bamako, Mali to Bonnaroo, the massive Tennessee music festival where his American summer tour begins. As U.S. indie bands like Vampire Weekend and Fools Gold incorporate African rhythms into their repertoires, it’s worth hearing a talented African guitar hero whose taste for rock isn’t just skin deep, it’s in his DNA.

VIEUX FARKA TOURÉ With Luke Top, DJ Jeremiah. Sat/18, 8 p.m., $20. The Independent, 628 Divisadero, SF. (415) 771-1420. www.theindependentsf.com

Collision Fest, Convergence Fest, and “Faux Real”

-
0

PREVIEW Children, go where I send you. Seek out the wild women of the Mission Creek Music Festival Collision Fest.

Sure there are some sweet boys — any pleasure-seeker with eyes and ears should enjoy Mike Mantle of the Mantles (headlining July 22 at Hotel Utah), or Myles Cooper’s solo journey outside the Passionistas (opening a June 24 El Rio bill). But this year’s MCMF says here’s to the ladies who launch — the women who make new musical rules in order to break them.

Ryder Cooley reps recent Bay Area ingenuity on Thursday at the LAB. But the double bill bonanza crazier than any acid trip involving Tony Danza goes down same place, same time the next night, when Dynasty Handbag and Ann Magnuson take the stage. Dynasty girl Jibz Cameron is a treasure as classy as your mom’s favorite perfume — not even Lypsinka sinks her teeth into the art of lipsyncing with such ferocity. Try not pee yourself as she puts the p in performance and prepares you for the musical dramatics of Ms. Magnuson. What can be said about the queen of Bongwater, besides that on the cover of Power Of Pussy (Shimmy Disc, 1990), she was both outdoing and lampooning Burning Man before it even became a phenomenon?

Since Magnuson rubbed extremely pointy shoulders with Klaus Nomi back at the Mudd Club, it’s safe to assume she would be intrigued by the Nomi-esque stage theatrics of Fauxnique, a.k.a. Monique Jenkinson, who is bringing her recent show Faux Real back for a weekend stint outside of the Mission Creek rubric. Word has it that the show is brilliant — for real.

While Magnuson and Dynasty Handbag exemplify the Collision Fest’s cross-disciplinary antics, the Convergence Fest is a trip into filmdom. And in the case of Ira Cohen’s 1968 cinematic mirror-warp The Invasion of Thunderbolt Pagoda (Sun/19 at Artists’ Television Access), I do mean trip. Along with a documentary about Krautrock godheads Faust (Sat/18 at ATA), Cohen’s movie is one of MCMF’s screen gems.

FAUX REAL Thurs/16–Sat/18, 8 p.m. $20. Climate Theater, 285 Ninth St., SF.(415)704-3260, www.climatetheater.com

COLLISION FEST AND CONVERGENCE FEST www.mcmf.org

Partial Suspension for Complete Sadists and the Marquis Fetish Ball

-
0

PREVIEW As we working stiffs watch more and more of our peers enjoying their government-funded, sun-filled funemployment, it’s hard not to feel tied down by the weight of the work week. But remember: not all bondage is bad. Case in point: Mike West’s Partial Suspension for Complete Sadists and the Marquis Fetish Ball, both happening this week to remind us that being told what to do can be a treat. On Thursday, the Japanese rope bondage expert will host a course featuring theories on challenging ties, installation of overhead points at home or on the go, testing a suspension ring, and the advantages of partial suspension. (Couples and singles welcome, but all must participate.) Two days later, sex educator, author, and bondage model Midori will make an appearance at MarquisAmerica.com’s celebration of all things leather, latex, and laced-up. Still not convinced the leash that chains you to your job is sexy? Consider a career change and enter Marquis’ live model casting.

PARTIAL SUSPENSION FOR COMPLETE SADISTS Thurs/16, 7:30pm. $25–$30. Stormy Leather, 1158 Howard, SF. (415) 626-1672, www.stormyleather.com

MARQUIS FETISH BALL Sat/18, 9pm. $35–$65. Supperclub, 657 Harrison, SF. www.marquisamerica.com

San Francisco Silent Film Festival

-
0

PREVIEW According to (disputed) legend, the 1944 death of 36-year-old Lupe Velez was far from glamorous, yet had classic Hollywood form: face-down in the toilet, choked on the pills she was regurgitating in a suicide attempt that succeeded, albeit not as planned. That sad end — she was despondent over a married lover and their unborn child — provided high contrast with her live-wire persona on and off-screen. The latter included high-drama involvements with legendary hunks Gary Cooper and Johnny "Tarzan" Weissmuller. In movies, she both defined and transcended a "Mexican Spitfire" stereotype (the actual name of her popular B-flick comedy series) with manic comic energy reminiscent of a Latina Clara Bow on one hand and a blueprint for Charo on the other.

Two features in this year’s Silent Film Festival find her minus speaking voice, but hardly muzzled. She was just 18 (and a convent school dropout) when picked to star opposite superstar Douglas Fairbanks in 1927’s The Gaucho. As his highly temperamental, jealous sweetheart, she gave as good as she got, frequently engaging his rakish hero in knock-down fights — a rehearsal for notorious later public spats with short-term husband Weissmuller, perhaps? Two years later she’d assumed a title role herself in Lady of the Pavements, a very late silent (its added "part-talkie" sequences have been lost) and one of D.W. Griffith’s last films. She plays a 19th-century Parisian cafe dancer who gets the Pygmalion treatment by a duplicitous countess seeking to humiliate her ex-fiancée. Material better suited to Lubitsch or Von Stroheim, this sophisticated seriocomic fluff wasn’t ideal for stuffy Griffith; and he couldn’t (or didn’t want to) tap Velez’s natural rambunctiousness as Fairbanks had. But this rare antique is still worth a look.

Other festival program highlights include Josef von Sternberg’s Oscar-winning gangster tale Underworld (1927), Victor Sjostrom’s poetic melodrama The Wind (1928), Gustav Machaty’s scandalous Czech Erotikon (1929), early W.C. Fields vehicle So’s Your Old Man (1926), and delirious Russian sci-fi exercise Aelita, Queen of Mars (1924). Live music will accompany each program.

SAN FRANCISCO SILENT FILM FESTIVAL July 10–12, free–$20. Castro Theatre, 429 Castro, SF.

(415) 621-6120, www.silentfilm.org

Doug Biggert: “Hitchhikers and Other Work”

-
0

PREVIEW So. I find out about this show "Doug Biggert: Hitchhikers and Other Work," and it sounds and looks amazing. It’s all generated from a discovery that two friends of Biggert’s made in 2002: namely, that he’d taken a photograph of nearly every hitchhiker he’d ever given a ride to. The acquaintances, Xavier Carcelle and Chloe Colpe, organized the almost 400 images into an exhibition that began its own travels in Paris, as well as a monograph.

It turns out that a California show devoted to Biggert, like this one, is a special homecoming for a lifelong artist who was never a careerist. In the early 1970s, Biggert had a solo exhibition at the Newport Harbor Art Museum (now the Orange County Museum of Art) showcasing photos he’d taken at a sandal shop in Balboa Park. Liv Moe and the folks at Verge Gallery in Sacramento aren’t just presenting Biggert’s hitchhiker photos in their gallery space — they’ve also put together a "Sandalshop Wall" recreation of that 1,700-image early ’70s show, complete with rented furniture that matches the furniture of the original.

Another twist of the Biggert story is that the longtime Sacramento resident made a crucial contribution to the growth of the zine movement. He was responsible for getting "zine racks" into Tower Records shops throughout the world.

So. I want to see this show. And as I read about it, I found out that Verge Gallery just had an exhibition of work by Daniel Johnston. Damn. That one would have been worth hitching a ride to, too.

DOUG BIGGERT: HITCHHIKERS AND OTHER WORK Opens Thurs/9, 6–10 p.m., continues through Aug. 23. Wed.–Fri., 11 a.m.–6 p.m.; Sat., noon–5 p.m. Verge Gallery and Studio Project, 1900 V Street, Sacramento. (916) 448-2985. www.vergegallery.com

WestWave Dance Festival

-
0

PREVIEW The WestWave Dance Festival has been limping along for the last few years, but for most of its past, it has been a much-welcome venue for new and little-heard voices of Bay Area dance. For many artists, the opportunity to show that one new piece for which they have managed to scratch the money together, and to do so in a professional environment, has proved essential to keep going. WestWave now seems to be in a holding pattern, engaged in the process of rethinking itself — no mean endeavor considering the evaporation of funding sources. So the 2009 WestWave is about as small as it can get: a one-night stand. However, it boasts a good, fresh lineup that showcases quality artists who represent the richness that is Bay Area dance. Including world premieres by experienced artists is always a good programming decision, and these are judiciously chosen. The four new works will be by hula master Patrick Makuakane, ballet choreographer Amy Seiwert, modern dance collaborator Manuelito Biag (with Kara Davis and Alex Ketley), and dance theater artist Kim Epifano in a song cycle about her recent travels. The evening also includes film and live work by the excellent Benjamin Levy and Katie Faulkner. One-nighters can be a lot of fun and leave sweet memories. This one looks promising.

WESTWAVE DANCE FESTIVAL Sun/12, 8 p.m., $18–$25. Cowell Theater, Fort Mason Center, SF.

(415) 345-7575, www.westwavedancefestival.org

Kode 9, Spaceape

-
0

PREVIEW "The mainstream of dubstep is becoming such an abortion," Kode 9 complained to electronic music advocate (and former Bay Area writer) Philip Sherburne in an eMusic.com interview. It’s a curious statement from someone who is being marketed (along with Burial, Skream, Benga, and a handful of others) as leaders of the dubstep incursion, a hybridization of 2-step garage, jungle breaks at half-speed and good ol’ ragga. (It’s the amalgamation of "dub" and "step.") Only two years after Burial’s Untrue (Hyperdub) brought pop’s cool-hunters to this bastard genre, it seems, dubstep is already eating itself.

U.K. electronic music (and its Anglophile offshoot) is herded by theorists, and Steve "Kode 9" Goodman is one of them. He has a doctorate in philosophy, and recently received a commission from the New Museum of Contemporary Art’s Rhizome technology initiative for a forthcoming documentary, Unsound Systems, that explores the use of sound as psychological weapon. His record label, Hyperdub, started out as a Web site spotlighting futurists like Kodwo Eshun and was responsible for the aforementioned Untrue as well as Zomby’s recent spin on ’90s ‘ardkore dynamics, Where Were You in ’92? (Werk).

Kode 9’s first collection, 2006’s Memories of the Future, pairs bleak echoing tones with pummeling bass thuds. One popular track, "Sine," finds vocalist Spaceape reinterpreting Prince’s "Sign O’ The Times" as dread intonation: "Sign o’ the times mess with your mind, hurry before it’s too late."

Declaring that a scene is "over" just as the great unwashed embraces it — recent dubstep parties in San Francisco have packed dance floors — seems particularly snotty and perverse. But by disappearing into thicker brush, Kode 9 stays ahead of pop mediocrity. His new singles, particularly "Black Sun / 2 Far Gone," add melancholic melodies and popping bass, retracing a path back to 2-step. Accordingly, U.K. critics have made it an example of a silly new subgenre called "funky." (George Clinton would laugh at that one.)

All this ideological shoegazing shouldn’t distract you from enjoying Kode 9’s tunes. But it should tell you that U.K. electronic music has traveled very far up its own arse. "I think U.K. electronic music is a bit of a mess right now and very microsegmented, to be honest," said Kode 9 in the eMusic interview. "But there are some lines of intersection that are promising."

THE FUTURE: KODE 9, SPACEAPE, THE FLYING SKULLS Fri/10, 10 p.m., $10 (advance). 103 Harriet, 103 Harriet, SF. (415) 431-8609. www.1015.com/103harriet/events

Andy Votel, Gaslamp Killer, Free the Robots

-
0

PREVIEW A small portion of music nurtures body, mind, and soul. A minuscule subsect does so by ripping you magnificently out of your familiar musical safety zones with unpredictable and compellingly fresh organizations of sound. Some have baptized the songs that fall under this rarefied territory of music "face-melters," and for good reason. Assiduously dissolving toughened aural skin, face-melting music inspires knowledge of the outer galactic and inner expansive reaches of the embodied mind. Its dangerous allure has solicited varied responses from thinkers, poets, and musicians throughout history. Plato advises to obliterate such enigmatic revelry in The Republic. William Blake seeks to illustrate its destructive purity in Songs of Innocence and of Experience. More recently, Afrika Bambaataa’s "Searching for the Perfect Beat" embodies the infinite quest for mystical rhythms.

The DJ, producer, and deep crate-digger Andy Votel has made a career out of cultivating and archiving the face-melting phenomenon. Conducting the freaked-out, electronic psych epic Styles of The Unexpected (Twisted Nerve Records, 2000), and helping spearhead Finders Keepers Records to reissue international instances of obscure and intensely monstrous tracks from around the world, Votel is a leading expert on the limit zones of post-World War II music. Notable Finders Keepers reissues and compilations that will rewire your neural networks have emerged from Anatolia (Mustafa Özkent, Selda), France (Jean-Pierre Massiera, Jean-Claude Vannier), and Pakistan (this year’s comp Sound of Wonder).

One contemporary contributor to the Keepers catalog is Los Angeles’ feral beatsmith and DJ the Gaslamp Killer. A mad scientist of the Low End Theory collective, GLK psychedel-ifies hypnotic boom bap cuts and mutates vocals into chilling hums and fuzzed out screams locked toward another kind of prayer. But don’t believe me, peep his avant-garde corpse ringer mix I Spit On Your Grave (Obey, 2008). Once you’ve trained your ears on his radiated sewer funk, flip it fresh on Gaslamp’s collaboration with fellow Theorist, Free The Robots, for the jazzier side of the gutter on The Killer Robots (Obey, 2008).

To mark the third birthday of SF funk wizard DJ Centipede’s Catch the Beat party, Votel, GLK, and Free the Robots have come together for a face-melting good time. Leave your mask at home.

CHANGE THE BEAT 3RD YEAR ANNIVERSARY PARTY With Andy Votel, Gaslamp Killer, Free the Robots, DJ Mahssa, DJ Centipede, Citizen Ten. Fri/10, 10 p.m., $10. Paradise Lounge, 1501 Folsom, SF. (415) 252-5017. www.paradisesf.com

The Tallest Man on Earth

-
0

PREVIEW In strictly literal terms, the Tallest Man on Earth’s Kristian Mattson is not the tallest man on the globe. He is probably the Best Bob Dylanesque Tall Dude on Earth, and also perhaps the Tallest New Swedish Musical Talent on Earth, but I suppose those monikers wouldn’t have quite the same ring. Along with no-nonsense yet playful songwriting chops, one of the things I find most fetching about his debut album Shallow Grave (Gravitation, 2008) is its direct zest. Mattson fingerpicks melodies with sprinter’s speed but never loses a nimble grace. The Tallest Man on Earth toured the U.S. with the equally austere Bon Iver recently, but I have to say I prefer Mattsson’s energetic acoustic spirit to the comparative mope of Bon Iver leader Justin Vernon. Shallow Grave‘s gloomy title is a bit misleading — on one of its signature tunes, "I Won’t Be Found," the underground dwelling is a quite lively mole hole.

The keening nasality of Mattson’s vocals are his most overt link to the Dylan tradition. His songs traverse comparatively narrow territory though, bypassing societal commentary for explorations of emotion and more intimate human relationships. In lesser hands, such intent yields forgettable schmaltz — or worse yet, the kind of music you want to forget and can’t. But Mattson avoids sentimentality and vagary through earthy imagery and a vital energy that avoids easy softness. The sonic equivalent of a splash of ice-cold water on one’s face in the morning, his songs are a bracing alternative to the melancholy brooding of his countryman José Gonzalez. The Tallest Man on Earth is also a contender for the Handsomest Tall Man with a Ceiling-Scraping Pompadour on Earth, a factor that can’t possibly hurt him as a live draw.

THE TALLEST MAN ON EARTH With Nathaniel Rateliff and the Wheel. Thurs/2, 8 p.m., $12–$24. The Independent, 628 Divisadero, SF. (415) 771-1421. www.independentsf.com

Summer Slaughter Tour

-
0

PREVIEW Summer metal tours, notably Ozzfest, operate like feudal hierarchies. As night descends and the stages get bigger, lesser known vassals doing fealty in the parking lot give way to the landed headbanger aristocracy, who in turn cede the stage to some anointed monarch of metal.

In recent years, package deals like Summer Slaughter have taken a more republican approach, recruiting bands of middling stature to represent a vast array of black-hoodied constituents. Though the ticket buyer is not snared by the ermine-furred eminence of a Maiden or a Priest, a large number of quality upstarts can cast a wide net. Throw in three or four majority whips with reliable fanbases and good reputations, and you’ve got yourself a Congress of carnage.

Suffocation is the biggest name on the bill, and the veteran New York City death metal band will cater to the "never-too-brutal" crowd with its bludgeoning low-end assaults, including cuts off a new full-length, Blood Oath (Nuclear Blast). Death-heads will also be there for cult German tech outfit Necrophagist, whose impossible chops and mind-bending arrangements justifies its headlining spot.

D.C. thrashers Darkest Hour is embarking on its first U.S. run without departed lead guitarist Kris Norris, and will be eager to show its many detractors the fighting fitness of a new lineup and a new, Norris-less album, The Eternal Return (Victory Records). Folk-inflected Finnish battlers Ensiferum round out the tour’s Big Four, promising the best in war-kilts and anthemic, epic barrages. Whatever your particular poison, slaughter is imminent.

SUMMER SLAUGHTER TOUR With Winds of Plague, Dying Fetus, Born of Osiris, Origin, Beneath the Massacre, After the Burial, Decrepit Birth, Blackguard. Wed/1, 2:30 p.m. $30. Regency Grand Ballroom, 1290 Sutter, SF. (415) 673-5716. www.regencycentersf.com/grand

July 4 Dining Deals

-
0

PREVIEW Fourth of July tends to be a casual, low-brow, pre-packaged-potato-salad-and-cheap-beer kind of holiday. But it doesn’t have to be. This year, Bay Area foodies can celebrate our country without compromising their culinary standards. CAV Wine Bar and Kitchen will host a BBQ with ribs and fixins, as well as vegetarian options. ($35/person. 1666 Market, SF. 415-437-1770, www.cavwinebar.com). That Hayes Valley beacon of class and culture, Jardiniere, will sport red, white, and blue tablecloths and family-style dining while serving haute twists on classic dishes like
pickled watermelon, Berkshire pork ribs, and lobster rolls. ($55/person. 300 Grove, SF. 415-861-5555, www.jardiniere.com). For a bit of French flair (we are a melting pot, after all), La Folie will be open for the first time this July 4 (2316 Polk, SF. 415-776-5577, www.lafolie.com). Or check out Paul K, whose Dine About Town deal has been extended through July 5, for summer classics like heirloom tomato salad, pan-seared white seabass, or flatiron steak ($34.95/person. 199 Gough, SF. 415-552-7132, www.paulkrestaurant.com).

JULY 4TH DINING DEALS. Various times and locations. Check individual

Websites for information.

1...101112...24Page 11 of 24

48hills.org is the official publication of the non-profit San Francisco Progressive Media Center.
Contact us: info@48hills.org