SF

Stage Listings

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

THEATER

OPENING

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

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

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

BAY AREA

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

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

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

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

ONGOING

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

PERFORMANCE/DANCE

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

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

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

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

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

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

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

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

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

Music Listings

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

WEDNESDAY 3

ROCK/BLUES/HIP-HOP

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

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

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

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

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

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

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

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

Helen Reddy Yoshi’s SF. 8pm, $45.

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

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

Spring Standards Hotel Utah. 8pm, $8.

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

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

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

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

JAZZ/NEW MUSIC

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

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

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

FOLK/WORLD/COUNTRY

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

DANCE CLUBS

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

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

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

THURSDAY 4

ROCK/BLUES/HIP-HOP.

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

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

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

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

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

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

Stephen Marley Fillmore. 8pm, $29.50.

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

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

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

Helen Reddy Yoshi’s SF. 8pm, $45.

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

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

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

JAZZ/NEW MUSIC

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

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

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

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

FOLK/WORLD/COUNTRY

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

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

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

DANCE CLUBS

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

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

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

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

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

FRIDAY 5

ROCK/BLUES/HIP-HOP

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sole Johnny Foley’s. 9pm, free.

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

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

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

JAZZ/NEW MUSIC

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

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

FOLK/WORLD/COUNTRY

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

DANCE CLUBS

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

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

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

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

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

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

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

SATURDAY 6

ROCK/BLUES/HIP-HOP

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

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

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

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

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

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

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

Glen Hansard Fillmore. 9pm, $30.

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

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

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

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

Maccabees, Mwahaha Independent. 9pm, $20.

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

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

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

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

JAZZ/NEW MUSIC

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

FOLK/WORLD/COUNTRY

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

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

DANCE CLUBS

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

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

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

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

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

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

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

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

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

SUNDAY 7

ROCK/BLUES/HIP-HOP

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

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

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

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

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

Wayne Krantz Yoshi’s SF. 7pm, $20.

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

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

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

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

Soulit 50 Mason Social House. 8pm.

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

JAZZ/NEW MUSIC

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

FOLK/WORLD/COUNTRY

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

DANCE CLUBS

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

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

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

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

MONDAY 8

ROCK/BLUES/HIP-HOP

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

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

Damir Johnny Foley’s. 9pm, free.

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

Patti Smith Fillmore. 8pm, $39.50.

Richie Spice Independent. 9pm, $25.

JAZZ/NEW MUSIC

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

DANCE CLUBS

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

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

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

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

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

TUESDAY 9

ROCK/BLUES/HIP-HOP

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

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

Ben Howard Fillmore. 8pm, $25.

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

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

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

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

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

JAZZ/NEW MUSIC

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

On the Cheap Listings

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

WEDNESDAY 3

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

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

THURSDAY 4

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

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

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

FRIDAY 5

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

SATURDAY 6

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

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

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

SUNDAY 7

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

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

MONDAY 8

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

‘Fire’ insight: talking with David Wojnarowicz biographer Cynthia Carr

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The following interview took place with Cynthia Carr, author of Fire in the Belly: The Life and Times of David Wojnarowicz (Bloomsbury USA, 624 pp., $35), on an early fall afternoon at the old Odessa Restaurant on Avenue A in the Lower East Side, New York City — one of the few places left where you can still pretend you’re in the LES of Wojnarowicz’s day. Carr will be at the San Francisco Art Institute Wed/3 to discuss her book. Read Erick Lyle’s review of the book here.

San Francisco Bay Guardian Your book is the first real biography of David Wojnarowicz. Up until now, the best book on him I thought was that Semiotext(e) book, David Wojnarowicz: A Definitive History of Five or Six Years on the Lower East Side. Your book has a lot of that same feel, the layers and layers of neighborhood detail. But, of course, your book has the advantage of having all of David’s thoughts and perspective on the same events because you have his journals and his correspondence. How were you able to access all of that material?

Cynthia Carr All of his papers are at Fales Library at NYU — all of his journals and the letters he kept. And I did get letters from quite a few other people, like his boyfriend in Paris, Jean-Pierre. At the beginning of the relationship, David wrote to JP at least every other day and later at least once a week.

When I went to Paris I took a scanner with me and back home I printed them out. The stack was like four inches thick! It was filled with information about what he was doing or working on every day. While the journals from those times are mostly about him going to the piers for sex, which he didn’t tell his boyfriend too much about! [Laughs.] The letters, though, are all about where he was living or where he was working, or … really, most of the time, he was looking for work… I was very fortunate to get that.

SFBG How long have you been working on this?

CC Five years. I started in ’07.

SFBG One of the things I think is really great about the book is how you break down the reporter objectivity and place yourself into the narrative. And I think it works because it’s really a story in a way that only you could tell, because it has the rich detail that could only come from an observer who was really here in this place the whole time. What led you to take this on? What was your inspiration to tell the story of David or of the neighborhood through him?

CC Well, David’s last boyfriend, Tom Rauffenbart, actually mentioned to me that he would really like there to be a book about David and that he thought I should be the person to write it. I had written another book and when that came out in 2006, I wasn’t at the [Village] Voice anymore. I was freelancing, which is rough, as you know. And Tom had mentioned this to me, and I thought maybe I should give it a try, writing a book about David.

I wasn’t sure of all the details of David’s life, but I thought it seemed like a compelling life story. Over the years, too, people had questioned “the mythology,” — I mean, people didn’t believe his childhood stories, so I thought maybe there was a mystery there I could figure out. It was a period of time when I had lived in the same neighborhood as David and this would give me a chance to write about the East Village arts scene, the AIDS crisis, and the culture wars of the 80s all in one book, because he was a central player in all of those things.

SFBG In the end of the book, David approaches you and starts to tell you things about his life before he dies. Do you feel like in some way he knew you were a reporter and he was choosing you to do this book?

CC That might be a little too mystical to get credence, but he did open up to me and reach out. He started calling me to come over a lot. He also chose Amy Scholder who will be on stage with me in San Francisco. She was an editor at City Lights and he got to know her and chose her to edit his journals.

SFBG Those last couple years of his life — even though we know how it ends, that part of the book is so full of suspense Because it was amazing to see someone be so driven to do everything they wanted to die before they died and to actually almost do it all! It was really amazing to see how much art he was able to make across so many different media in such a short time.

CC David had tremendous inner strength and very solid will power that got him through all of this stuff. For the last year or really eight or nine months of his life he actually wasn’t really able to work, but he always talked about it. He always wanted to. I describe him as workaholic who had trouble holding a job. He worked constantly.

There was a trip he went on with Tom and their friend, Anita, near the end of his life that I describe in the book. One day, they find David just lying contentedly in a hammock and Tom says, “Look! He’s not working!” Because David was always working. Like, if he was walking with you on the beach, he’d also the whole time be picking up twigs or shells or driftwood that he thought he could use in a piece. It was like that.

SFBG So obviously you were already pretty far along with this when the latest controversy with David’s art happened at the “Hide/Seek” show at the Smithsonian. What were you thinking when that happened?

CC In a way, I liked that it happened because it drew attention to David and a lot of people didn’t know who he was, so I thought it would be helpful for the book. But in another way, it was shocking that he would get back into the news in this absurd way, which was for about 11 seconds of a film that he didn’t even finish that was completely misinterpreted by everybody. I mean, even the art world people who defended David by saying that the film was about AIDS didn’t have it right.

SFBG It was such a weird déjà vu … I first encountered Wojnarowicz as a teen during the era of that culture war controversy. There was his work, the Piss Christ, Karen Finley, Mapplethorpe, of course. That’s when I first heard about a lot of cool art! But I couldn’t believe it was happening all over again. Like, “Are we still HERE?” Not really, I guess, but they are. It’s really incredible.

CC It shows that David still has the power to be a lightning rod.

SFBG Why do you think that is?

CC David was very blunt in both his imagery and his feelings about things. He didn’t pull any punches. He used powerful symbols that are hard to explain as sound bites, so it’s easy for the Right to pick them up and take them out of context.

SFBG Personally, I’ve always felt like David’s writing is more timeless than his art. Some of the art is so linked to the time and place of the AIDS/culture war era that it sometimes seems dated to me, whereas the writing is this beautiful, timeless narrative of the outlaw in America, the outsider. But it was interesting that those artworks from that time and place are still so triggering, so perhaps they are timeless after all.

CC There are certain themes of his that really live on. His work is in major museums, of course.

SFBG You’re doing this panel tomorrow at the Brooklyn Book Festival. What is it? “The Creative City”?

CC Yeah, I think it’s about the 70s and 80s in NYC…

SFBG Here’s the notice: “The Creative City: The 70’s, 80’s, AND BEYOND”! [Laughs] Beyond? That must be like a blank, white space on the map…

CC Right! [Laughs]

SFBG In the past couple years there has been so much nostalgia for the NYC of the 70s and 80s in books and films. It’s coming from all sides. What do you think accounts for all of the interest in this lost time and place?

CC Well, the city has changed so much and the culture has changed so much. I think people look back to the freedom of that era when there was so much more uncolonized space, even in Manhattan, and it was cheaper to live here so people could just come here and try things. There was room to experiment. You didn’t have to make a lot of money immediately. You could just, say, go to a vacant lot between Avenue B and C and put on a performance with a cast of 30 or 40 people and no one would bother you. I saw many things like that then but there’s no way that could happen today. It’s starting to feel like everything has a stricture on it.

Not everybody looks back with longing for those days, of course. And when I look back with longing, I try to remember how dangerous it was then, because it really was very dangerous here. There was more crime, more rats, more garbage…

SFBG The price of freedom!

CC [Laughs] Right! But it starts to look like this golden age of Bohemia because there’s nothing like it now. Everyone’s so spread out. Williamsburg is completely gentrified. There are artists living all over the city from Red Hook, Brooklyn, all the way up to the Bronx. Also, people are starting out in MFA programs and artists are going to graduate school, so it’s a different way of coming up in the art world. David was so uneducated. I was thinking tomorrow on the panel I would read something about the piers. Not just the sex piers but the two art piers where David sometimes painted and took photos. There you had people making this art in this abandoned space with a total freedom and also working with the knowledge that it was not going to last, that it would be destroyed. David loved that part of it.

SFBG That’s one of the most poignant things about the book. David really identified with this idea that the Empire was falling, that the civilization was in ruins. Like the painting he titled, Some Day All of This Will Be Picturesque Ruins. But then it turned out that it was really just his own civilization or community that would soon crumble and disappear. And now a generation later, the inhabitants of this new Lower East Side are walking around on top of this lost civilization that has disappeared without a trace and is buried just under their feet. Could anyone at that time have imagined that the neighborhood would turn into what we have here today?

CC Oh, I think not. It was clear from as early as 1990 that the neighborhood was undergoing changes. The galleries had to leave because the rents were going up. I lived between Avenue A and B and I heard about someone buying an apartment for $250,000 on my block! I couldn’t believe it. But now you have luxury hotels up in the LES and every old parking lot has a high-priced condo on it. But when you’re younger, I guess, you don’t really think about what things will turn into.

SFBG Do you still live in the neighborhood?

CC Yes, I do. I can’t afford to move! I have a rent-stabilized apartment and have been there since the 70s. When I moved in there was only one bodega between Houston and 14th street on Avenue A – that and the Pyramid Club. Before that I lived between Avenues C and D, and people wouldn’t come over to visit me.

SFBG Where do you think your book fits into this flow of books full of nostalgia for that era, then? To me it’s almost a corrective to the nostalgia, since it’s not romantic at all. It shows the struggle and loss that happened from there to here.

CC I don’t know that those other books really went into what happened in the AIDS crisis. The AIDS epidemic is a shadow that was behind the East Village arts scene the entire time right from the beginning and no one knew it. I found news stories about people coming down with Kaposi’s Syndrome as early as the late 1970s. It was starting to spread then and no one knew it. And the people that died from AIDS were the biggest risk takers, the people who were most creative… the people who had the biggest impact on the arts scene. Losing all those people changed the world for the worse.

SFBG So, the building where David lived his last few years and where he died was his late best friend, Peter Hujar’s loft. Am I right that Hujar’s loft is now that multi- screen movie theater on Second Avenue at 12th?

CC Yeah.

SFBG Have you been to see movies there?

CC Oh yeah! It’s really weird! I haven’t seen a movie there in a few years, but I do think about, about David dying right upstairs. I’ve been told that the loft is now an office space. The first time I went to the theater part of the building was for Charles Ludlum’s memorial service. It was still being converted then from an old Yiddish theater into the cinema multiplex. It’s been a couple years, and I can’t remember what I saw there last, but, sure, I’ve gone to see films there.

SFBG Where was David’s room in the building? It’s such a strange layout for a theater.

CC Well, he was up on the Third floor. There are windows shaped like Old West tombstones that face 12th street and that was where his kitchen table was, where he sat and worked. Recently, I was thinking that out of all of us who were there taking care of David in those last months, none of us took a picture of the place. I wish now I could remember what all the piles of stuff were, because David was just such a pack rat. There were piles not just of art projects and supplies, but piles of paper, The NY Post — he liked using the tabloids in his collage pieces…

SFBG That Nan Goldin photo in the book is so great. What is he sitting with here? Like are those giant sperm?

CC Yeah, they are sperm — homemade props from his In the Shadow Of Forward Motion performance. And there is his baby elephant skeleton. And some movie posters he must have brought back from Mexico…

SFBG Well, let’s talk about David and San Francisco. For such a noted queer artist and activist, he seems to have surprisingly limited connection with San Francisco. But he did make it to the city a couple of notable times, right?

CC One of his early goals in life was to go to City Lights Books and he actually took a bus all the way across the USA just to go there.

SFBG Well, he’s not the only one. That’s so great!

CC And when he took this early hitchhiking and rail-riding trip in 1976, he went to SF and stayed there at the YMCA in the Tenderloin for awhile. He liked San Francisco.

SFBG Did he also appear at the SF Arts Institute?

CC I believe he performed In the Shadow Of Forward Motion there. But he also did a reading for Close To The Knives in SF at the bookstore, A Different Light. That was the only reading he did for that book tour. His first idea was to drive across the country and do readings here and there, but he just wasn’t feeling well enough. So he decided he would only do one reading and it would be in San Francisco. That same day, he joined in a march about AIDS awareness in SF.

SFBG What do you think is next for you?

CC It might be time for me to move my work out of the East Village. My first book was a collection of my Village Voice articles and now there’s this book, so maybe I’ve told all of my story here. I got so exhausted with this. I really worked every single day except Christmas Day, working around the clock, and I got really depleted. So I’m recovering from all of that work.

SFBG Well, that work really paid off! This book is very special. Is there anything you want to add to this?

CC Well, one thing I’ve noticed is that reviewers tend not to talk about the love stories in the book. The importance of Peter Hujar and Jean Pierre to David. And Tom Rauffenbart. And maybe it’s natural that people focus on the art and the AIDS crisis. But the love stories are to me really important.

SFBG I got that from the book. His life was so improvised. He never reached a place of safety or security where he had the luxury of saying, “OK, here’s what I’m going to do next.” It was like he was reacting all of the time to whatever came up. He had difficulty trusting in the future or in relationships with other people. I think all of that is common with people who have abuse histories and I think you got that across.

CC Yes, he always reacted to stuff. Like he found an obscene drawing on the street where someone had scrawled “Fuck you, faggot fucker!”. So he used it in a painting and based a whole work around the drawing and called it Fuck You Faggot Fucker! He was always responding. The things that troubled him became the subject of his work. That is what inspired him.

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

Impertinent questions for the PG&E 3 supervisors

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Note: The Guardian and I were delighted, after fighting PG&E since 1969 to enforce the public power mandates of the federal Raker Act,  to see the SF Board of Supervisors finally start the process rolling on a veto-proof 8-3 vote. Even the San Francisco Chronicle, after all these decades of opposition to public power, noted in its Monday story by John Cote:

“The move would effectively end Pacific Gas & Electric Co.’s decades-long monopoly on the consumer power market in San Francisco, and it would lay the groundwork for the city to generate its own power in the future.

“Public power has long been a goal of major contingent on the city’s political left.  The contract approval comes eight years after the city began setting up a community choice aggregation program, which allows municipalities to choose alternativve energy providers.”

 Two of the PG&E 3 are my supervisors–Sup. Sean Elsbernd and Carmen Chiu. (I live in West Portal in Elsbernd’s district and  a few blocks from Chiu’s Sunset district.) Sup. Mark Farrell was the third PG&E vote.  I  was curious how in 2012,  after PG&E’s misbehavior in the San Bruno blast and after its corporate shenanigans in San Francisco, after all the work that has been done by public power advocates and the  San Francsico Public Utilities Commission on CCA,  could Elsbernd, Chiu and Farrell  vote with PG&E and against public/clean/renewable power. I sent them emails asking some Impertinent Questions. Farrell and Chiu didn’t reply. Elsbernd to his credit did.  Here is the back and forth: . 

B3 to Sup. Elsbernd,

As a constituent, I  am  curious why you voted last week  with PG&E and against clean energy and public power on the PG&E vote and didn’t say anything during the discussion.  I am also curious why, as a neighborhood supervisor, you seem to always vote with the Chamber of Commerce (l00 per cent, according to its last score card) and did so again  on this vote. On what major vote have you differed with the Chamber and PG&E?
I will run your answer on my blog.  Thanks,   b3
http://www.sfbg.com/bruce/2012/09/18/stop-presses-cleanpowersf-8-pge-3
Sean to B3

I opposed the proposal because I have a real concern about the potential for a number of our neighbors becoming unwilling customers of this program.  I said nothing because I believe Supervisor Farrell and Chu expressed the point quite well.
Perhaps the biggest issue on which I differed from the Chamber was Proposition A in 2007, the MTA set aside sponsored by Supervisor Peskin.  I played a large role in supporting that measure, while the Chamber opposed it.

I am curious – on what issues has the Bay Guardian differed from SEIU 1021?
B3 to Sean
 
Thanks, supervisor.  Many issues with the SEIU and labor, and many involving their support of what we call Manhattanization and the over building of projects. The Guardian is friendly to SEIU and labor, but we often differ on endorsements of candidates and propositions, as you can see from Wednesday’s edition.    b3
Sean to B3

Interesting.  I have never seen SEIU 1021 support controversial building proposals; I have, of course seen the Building Trades and other labor support for such construction, just have not see SEIU.  I’ll take your word for it.

B3 to Sean

Thanks, supervisor. I like your idea of the new Goat Hill Pizza in West Portal  bringing us together.

You have always answered my Impertinent Questions. I appreciate it.  I’ll miss you. Good luck. B3

UK producer Max Cooper doesn’t want to see computers in tight skirts

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Over the course of a steady stream of heady mixes and original compositions, Max Cooper has been gaining attention in the electronic music world – and not just for his Ph.D in computational biology. With an unconventional sensibility that’s like Philip Glass for the dance floor, Cooper brings a cinematic touch and classical influence to cerebral concepts. We took the opportunity – in advance of a performance at Public Works’s two-year anniversary party – to probe Cooper’s brain.

SFBG How did reworking composer Michael Nyman come about?

http://www.youtube.com/watch?v=gFmAsoXkd2I
http://www.youtube.com/watch?v=Lp34YvGAzEY

Max Cooper My best remix work seems to happen when I get hold of some real world audio, be it vocal, instrumental or other forms such as field recordings. Maybe because when I work on a remix, I’m always looking for some small element to grab me and give me a feeling or concept to run with – real audio seems to push me in an interesting direction,  and even better, the live orchestral works of a great composer like Michael Nyman. So we approached him with the idea and he gave me the green light to break his recordings down.

http://www.youtube.com/watch?v=khlLc7NNOok

SFBG On the subject of words, your EP and track titles are notoriously intellectual – playing into your biology background. Are the labels a marking of what inspired you or a key to unlocking a deeper (nerdier?) conceptual understanding of the music?

MC More often than not the titles relate to something embedded in the music – The Nyman Deconstruction and Reconstruction for example, literally describing my technical approach to each remix, one taking the original into tiny parts to form something new, the next trying to build the original back up from the deconstructed parts. When I post my tracks on Soundcloud I usually provide an explanation of the concept of each track and how it relates to the music and the title, so that people can delve in a little deeper if they’re interested.

http://www.youtube.com/watch?v=ByYt8IplubE

The links can often be more cryptic than literal though, for example the track I posted up today from my forthcoming EP on Traum is called “Gravity Well” – which describes an area of space warped by a large mass, in which bodies, such as us feel the strong pull of gravity. I wanted to make a track that envelops the listener in a heavy soft feeling. I think a piece of music could be made to fit almost any concept or object – I’d love to do a project where I ask people to submit any idea, and then I have to make pieces of music to represent each one.

SFBG Will computer simulation and modeling be used in the future to make beautiful pieces of music with little to no human intervention?

MC Either someone clever who knows a lot about music makes the program that follows the rules of their knowledge or someone writes software to analyze existing human music and recreate based on machine-learned rules. Either way, the programs are just an extension of us. But yes, given my disclaimer, no doubt computer simulations can make beautiful pieces of music, there are already computer-composed albums out there today which some people find beautiful (David Cope‘s Emily Howell for example).

http://www.youtube.com/watch?v=lOjV5eDXkyc

But will computers ever be able to consistently outperform human composers? I’m not sure. I imagine even if they did capture all the subtleties required, people would still choose human-composed music, as hearing music has a lot more to it than just analyzing a sound wave in our heads. Every piece of information relating to a piece of music is important in how it is heard–just look at the link between promotional budgets and popularity of current music. It’s pretty evident that some objective form of musical merit isn’t what’s important in making a no.1 chart smash. (And you can’t dress a computer up in a tight skirt and make it dance around with all its fit mates. I’m thinking it will be awhile before we get to that stage, whatever weirdness it might entail.)

Public Works Two-Year Anniversary Party with Max Cooper
Thu/4, 8pm, free with RSVP; $10 without
Public Works
161 Erie, SF
(415) 932-0955
www.publicsf.com

Heads Up: 6 must-see concerts this week

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

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

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

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

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

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

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

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

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

The Spring Standards on genre jumping, Fleetwood Mac, and SF pizza

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The Spring Standards kids grew up together on the Delaware/Pennsylvania border and got their start playing small folk festivals and around the campfire back in high school. After a break from their collaboration, Heather Robb, James Cleare, and James Smith found themselves in Brooklyn, inspired to pick up where they left off. They’ve been playing together as the Spring Standards for four years and released double EP yellow//gold last spring.

SFBG So I understand you’ve been on tour for the majority of the past few years. What’s that like?

HR It’s demanding. The hardest part about it is realizing where your regular life is, but luckily touring comes naturally to us. We love getting out, seeing the country, meeting new people, and having weird experiences. We’re still at that level of touring where, on any given night, we could be crashing with complete strangers, which always makes for some great adventure or strange story.

https://www.youtube.com/watch?v=EfO3gB80M_o

SFBG How would you describe your genre?

HR It’s rock and roll in the sense that it’s free and liberated expression – it’s loud sometimes and raucous and rowdy sometimes – but we also have really deep roots in folk music, Americana, and bluegrass. We’re accessing old school harmony-driven folk rock that was big in the ‘70s. And every so often we decide to totally jump to a different genre and play a heart-wrencher ballad that has nothing to do with rock and roll or a really loud White Stripes song that has nothing to do with folk music.

SFBG Do you try to channel any specific musicians?

HR I think we do sometimes for specific songs. There’s definitely a track off of gold that’s very Fleetwood Mac and in “So Simple So True” I really tried to channel Crosby, Stills and Nash’s “Find the Cost of Freedom.” But, for the most part, I’d say we don’t. We have three songwriters, and I think we just sit down and try to follow what our hearts are telling us on a given day, which can really take us anywhere.

SFBG Can you explain the concept behind ‘yellow//gold’?

HR We hear a lot of different things from a lot of different people about what our sound is, but most consistently we hear that it’s all over the map, which we take as both constructive criticism and praise. The idea for yellow//gold came from wanting to have two opportunities to explore really different sides of our identity musically. We started with this idea of color because it felt intuitive, expressive, and not so limiting. Yellow’s more of the folk-based side of what we do, and gold is the rock-based side. We decided to release them together because they make the most sense when you look at them next to each other.

https://www.youtube.com/watch?v=Cn9LeVtpH0s

SFBG What excites you most about playing here in San Francisco?

HR We’re excited to follow up on our June show and love the whole San Francisco scene. And there was a pizza shop I was supposed to visit last time but didn’t get to, so I’ll be looking forward to that!

The Spring Standards
With Dylan Champagne, Ed & The Red Reds
Wed/3, 8pm, $8
Hotel Utah
500 Fourth St., SF
(415) 546-6300
www.hotelutah.com

Happy 50th birthday to tesseracts and Mrs Whatsit

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“You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children.” — Madeleine L’Engle

She was living proof that not all Christian young adult authors feel the need to concoct elaborate vampire metaphors decrying sexual intimacy. Madeleine L’Engle, in fact, counts as one of the most beloved writers among religious and secular readers of youn adult lit alike (well, some religious people — others condemned her depictions of crystal balls and treatment of Jesus as a learned man.) Her Wrinkle in Time turns the ripe old age of 50 this year, and the SF Public Library has drummed up a line-up of authors just as devoted to its tesseract-traveling plot as you are to commemorate its golden anniversary

For proof that Wrinkle‘s power has hardly taken that tesseract elsewhere, one need only head to 100 Larkin on Sat/13 to hear from a lineup of authors and artists who have been inspired by L’Engle’s most famous work. Rebecca Stead, Gennifer Choldenko, Lewis Buzbee, and Hope Larson, the latter of whom recently released a graphic novel adaptation of Wrinkle, will be talking about how the tale of Meg and Charles Wallace Murray helped guide their creative careers. 

L’Engle went from bit role player on Broadway, to celebrated author, to Connecticut general store owner when she and her partner moved to a dairy village to take a break from the hustle and bustle of NYC. Right as she was discovering her Christian faith, she found herself unable to drum up publishers’ interest in her 11th novel, Meet The Austins. That book began with a death, which apparently wasn’t an easy sell in the children’s lit scene in those days (as, one would think, it continues to be now.) She wrote another book, and then, Wrinkle in Time. In 1979, she told Christianity Today:

It was rejected and rejected. I would put the kids to bed, walk down the dirt road in front of the house, weep, and yell at God. I’d say, “God, why are you letting me have all of these rejection slips? You know it’s a good book. I wrote it for you.” 

Of course, it was eventually picked up. And, as you can see from the multitudinous book covers we dug up (above), it’s been republished again and again. We love centaurs, and we love Wrinkle. Plus, (as Larson reminds in a recent Huffington Post piece) who else wrote books in 1962 in which the female protagonist spent the entirety of the plot with a black eye? L’Engle’s Meg saved the universe, which we enjoy on a daily basis.

Wrinkle in Time 50th anniversary celebration

Sat/13 2pm, free

San Francisco Main Library

100 Larkin, SF

www.sfpl.org

Appetite: New whisk(e)y releases and WhiskyFest

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I’ll take whisk(e)y year round. But as summer evolves to fall, it seems all the more appropriate enjoyed on crisp nights, preferably fireside. Thankfully, WhiskyFest approaches this Friday/5, in the usual massive, underground Marriott ballrooms. Recapping past years, VIP early pours of rare whiskies and seminars tend to be highlights. There’s another seminar this week with the legendary, delightful Parker Beam, exploring Japanese Whisky with Suntory brand ambassador Neyah White, and I’m particularly looking forward to beer and single malt pairings with Highland Park brand ambassador Martin Daraz.

There’s a number of  new pours this year, including Glenfiddich’s Malt Master which I review below, Parker’s Heritage Collection release for 2012, the Master Distiller’s Blend of Mashbills (Parker Beam’s annual, limited edition releases are among the most exciting American whiskies made), and for the first time ever Nikka Japanese whisky, which I’ve long had to enjoy when in Europe, as you can’t get it here in the US… until this fall, thanks to SF’s very own Anchor Distilling here in SF. Anchor is importing Nikka with, as Anchor President David King told me recently, a few more Japanese whiskies to come — a huge win for whisky lovers like myself who’ve been longing for more imports from Japan. I sampled Taketsuru 12 year, which will also be poured at WhiskyFest, while Anchor will soon import their 17 yr and 21 yr whiskies.

If you aren’t going to WhiskyFest, or even if you are, here are three recently-released American whiskies and two Scotches worth seeking out:

AMERICAN WHISKEY

High West American Prairie Reserve Whiskey ($40; 46%/92 proof) – Besides being a real value at $40, I’d deem Prairie Reserve (named after the largest wildlife reserve in the lower 48 states, a 5000 square miles reserve in the works in northeastern Montana) another winner in High West’s Utah-distilled catalogue. With 10% of all sales going to this reserve, High West expresses its love of Western land through whiskey — a blend of two bourbons, to be exact: six-year-old Bourbon from the old Seagrams plant in Lawrenceberg, Indiana (a corn-dominant whiskey at 75% corn, 20% rye, 5% barley malt), and a 10-year-old Four Roses Bourbon (60% corn, 35% rye, 5% barley malt). Orange spice dominates on the nose, there’s the expected bourbon characteristics of vanilla caramel, and sweet, nutty, dark cherries to taste. Though not made from a High West mashbill, it is in keeping with their style, is an elevated cocktail base, yet also a joy sipped neat. 

Balcones “1” Texas Single Malt Whisky ($69; 52.7%/105.4 proof) — This new release from the always interesting Balcones Distilling feels Texan namely in its robust character. You could call it a Texas whiskey for the cowboy set but actually their Brimstone smoked corn whiskey, which goes down like a campfire of scrub oak, exhibits a greater ruggedness. The Single Malt, though bracing, is simultaneously smooth, even silky, unfolding with pear, cinnamon spice, even dusty earth. Even though I find Master Distiller Chip Tate’s Brimstone more grab-you-by-the-cojones fascinating, his Texas Single Malt is ultimately more sophisticated and balanced. 

WhistlePig TripleOne ($111; 55.5%/111 proof) – The splurge, out this month at a limited 1100 cases, is WhistlePig’s TripleOne from Master Distiller Dave Pickerell, who you may know as Maker’s Mark master distiller for 14 years. As Pickerell said, I was the very first to try TripleOne at Tales of the Cocktail in New Orleans this July. TripleOne is WhistlePig rye but at 111 proof (vs. 100), aged 11 years (vs. 10). The bracing TripleOne doesn’t boast quite as long a finish as the flagship rye, but it’s even more complex, surprisingly akin to applejack or Calvados at first sip, opening up into spicy rye body with citrus and chocolate notes. It’s a beauty showing the elegance possible in rye whiskies. 

SCOTCH WHISKEY

Balvenie DoubleWood 17 year ($130; 43%/86 proof) – Balvenie’s new DoubleWood release has been aging 17 years (vs. their classic 12 year), or essentially 17 years in bourbon casks (for 17 years) and 3 to 6 months in Oloroso sherry casks. I prefer  bourbon cask liveliness in my Scotch and with the sherry finish there’s merely a whisper of sweet muskiness. Nougat and apples unfold, caramel peeks out, but the body is light and smooth, while still standing up with a hint of briny robustness. 

Glenfiddich Master Malt Edition ($90; 43%/86 proof) – This brand new, limited-edition whisky was just released in September from the classic distillery, one of only four in Scotland still owned and run by the same family since the 1800’s. At merely 18,000 bottles, it’s small production for Glenfiddich, celebrating their 125th anniversary. Malt Master Brian Kinsman crafted their first double-matured whisky, which spent roughly 6 to 8 years in used Bourbon barrels, then 4 to 6 years in sherry casks. Sherry sweetness hits first on the nose but thankfully doesn’t overpower the whisky though sherry characteristics dominate (of course there are devotees on both sides of the bourbon or sherry cask-aged whisky spectrum). With whispers of brine, fruitcake and cinnamon, Mitch Bechard, Glenfiddich’s Brand Ambassador, West, said over lunch that it, “Goes down like a penguin in a wet suit”… that is to say, smooth.

If you find a way to taste it, I especially love the new, but already sold out in the States (only 1000 bottles) 1974 edition ($800; 46.8%/93.6 proof), a cask strength single malt, that is surprisingly bright for such age, with pear, vanilla, even passion fruit notes, and a long, spiced finish. A drop of water brings out briny, salty characteristics. 

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com 

 

This year, Banned Books Week matters more than ever

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Have you ever listened to KPFA’s “Flashpoints”? A friend described it to me, as we listened to an episode featuring San Francisco’s newest poet laureate – our first Latino laureate – Alejandro Murgía, as a “very pointed” radio show. The host, poet Dennis Bernstein, asked a very pointed question about Obama and Romney’s reactions to the anti-Muslim video that’s causing uproar in the Middle East. 

But Murgía changed the subject. What about the racism of the Tucson Unified School District, he asked? Why doesn’t its removal of the Mexican American studies program, and with it books like The Tempest and Pedagogy of the Oppressed, and other books that “emphasize students’ ethnicity rather than their individuality” get talked about more? The more he talked, the more I became convinced that yes, this was a very big deal. 

Luckily, the country has an opportunity to talk about the issue of free speech repression via next week’s 30th annual national celebration of Banned Books Week, Sun/30-Oct. 6.

Ethnic studies isn’t the only literature with targets on its back. The national Banned Books Week site has a handy list of the top 10 titles banned in 2011. People get riled up about Hunger Games? Whoa, we’re still incensed by To Kill A Mockingbird and Brave New World?

Free speech suppression is real! Here’s where you can go to break the ban next week. You’ll also want to keep your eyes on the City Lights blog, where you’ll see talks by famous authors on their fave banned books – we’re waiting eagerly for them to post the John Waters’ reading of Lady Chatterly. On a national level, check the Banned Books Week website for information on joining the country-wide “virtual read-out” that the group is organizing.

“Cracking the News with Project Censored”

Every year, the Guardian publishes Project Censored’s list of the top most suppressed stories in the news. (Because sometimes banning starts before publishing does.) On Monday, get a sneak peek with Mickey Huff from PC, who will break down the big events of the year that you didn’t get to hear about. 

Mon/1, 7:30pm, free

The Booksmith

1644 Haight, SF

www.booksmith.com

“Let’s Talk 50 Shades of Grey”

Perhaps, given the issues we’ve already discussed, the fact that the soccer mom version of a BDSM novel getting restricted in libraries across the country doesn’t seem quite so dire. But sexuality, of course, is still very much a part of us. The library’s conscripted Emily Morse, star of Bravo’s Miss Advised reality show and local self-styled sexpert, to lead a discussion of this bestselling, racy tale of a CEO and his virginal submissive. 

Tue/2, 6pm, free

San Francisco Main Library

100 Larkin, SF

www.sfpl.org

“Out of Print” art reception

The students at City College respond to free speech issues with their art at this Banned Books Week group show.

Tue/2-Wed/5, opening reception Tue/2, 5-8pm, free

Cesar Chavez Student Center gallery, City College of San Francisco 

1650 Holloway, SF

www.ccsf.edu

“Read Banned Books Naked”: Naked Girls Reading 

Ophelia Coeur de Noir, Carol Queen, and members of the Twilight Vixen Revue strip down and start turning pages for you from their favorite piece of restricted literature at the SF edition of this national network of nudie-bookworm readings. 

Tue/2, 8pm, $20-25/$35 for two

Stagewerx Theater

446 Valencia, SF

www.nakedgirlsreading.com

SFBC keeps its distance from Critical Mass anniversary ride

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Today’s 20th anniversary Critical Mass ride has received overwhelming media coverage in the last few days, including a surprisingly laudatory editorial in yesterday’s Examiner, so people are expecting the ride to be huge. But the talk of last night’s CM20 birthday celebration at CELLspace was about Quintin Mecke’s widely circulated letter blasting the San Francisco Bicycle Coalition for refusing to even put the event on its calendar or in its newsletter.

By contrast, even the San Francisco Planning & Urban Research Association (SPUR) – founded and funded by downtown players with little love for Critical Mass – listed today’s “special anniversary ride” and related events throughout the week in its calendar and on its newsletter, recognizing this “monthly bicycling event that began in San Francisco and inspired similar events throughout the world.”

As I wrote in this week’s cover story, SFBC and Critical Mass grew up together on a similar, symbiotic trajectory, effectively working an outside/insider strategy (think MLK/Malcolm X) that has won cyclists a recognized spot on the roadways. But SFBC always warily kept its distance from Critical Mass, worried about offending politicians, the mainstream media, or the driving public.

That’s an understandable strategy, given the persistent resentment many feel toward Critical Mass. But when considered in combination with SFBC’s increasingly corporate culture and sponsorships and its controversial recent decision to allegedly overrule its member vote in its District 5 supervisorial endorsements, SFBC is in danger of losing the allegiance of much of the cycling community (which remains a minority of road users, and thereby political outsiders almost by definition).

David Snyder — SFBC’s executive director through its biggest growth period, SPUR’s former transportation policy director, and currently the executive director of the California Bicycle Coalition — is reluctant to wade into the current controversy, but he does acknowledge the important role Critical Mass played in winning political acceptance for cyclists in San Francisco. 

“In the mid-’90s, when the San Francisco Bicycle Coalition was a couple thousand members, the brouhaha around Critical Mass [particularly the crackdown in ’97] increased our membership by 50 percent at one point,” Snyder told us. “At that time, we benefitted hugely form the attention Critical Mass paid to safe streets for bicycles. And I don’t think we need Critical Mass to do that anymore…The Bicycle Coalition’s goal these days isn’t to develop an awareness of unsafe streets, it’s to develop a bold agenda to fix them.”

I spoke with Mecke, who finished second in the 2007 mayor’s race, at last night’s event, and he was frustrated by his follow-up conversations with SFBC leaders, who seem to have taken a very defensive posture instead of welcoming this interesting conversation. I called SFBC Executive Director Leah Shahum to discuss these issues, and I’m waiting to hear back from her and I’ll update this post when I do.

But in the meantime, to feed the discussion, here’s the full text of Mecke’s letter, followed by another letter to SFBC on the endorsement issue:

Dear Bike Coalition:

Sadly, I can’t say I was surprised when I read this week’s SFBC Newsletter and found absolutely zero mention of the 20th Anniversary of Critical Mass.  According to your own newsletter, apparently the only thing happening in the San Francisco bike world that is worthy of your 12,000 members knowing about on Friday, Sept. 28 is SFBC’s Valet Bike Parking at the DeYoung Museum.  Seriously?

This is the San Francisco Bike Coalition and you couldn’t even bring yourselves to stick a small mention of Critical Mass in your newsletter or on your website (or god forbid you actually celebrate/acknowledge CM and show some pride), a cycling event created here in San Francisco which has spread across the globe to multiple continents since its inception & inspired thousands of cyclists to take to the street?  It’s truly amazing that Critical Mass was on the cover of the Guardian this week and even SF Funcheap listed the event but SFBC wouldn’t even put a mention at the bottom in the “Upcoming Events” section, hidden away amongst all the SFBC sponsored events? Not even a listing of the critical mass website or the community events going on all week long?  Your website lists the celebration of the 15th anniversary of TransForm but not Critical Mass?

Wow.  I’m truly speechless.  How embarrassing but more to the point, how sad. Are you afraid of offending Chuck Nevius or Mayor Lee? I don’t know how, why or what SFBC has become as an organization at this point but it’s disappointing as a long time cyclist to see the city’s only (?) organized bike advocacy organization which continually touts how many members you have to not even show the smallest amount of solidarity to your fellow cyclists and to the city’s own cycling history.  That being the case, history will march on without you.

Contrary to our “biking” Supervisor David Chiu’s comments in today’s Chronicle (I always enjoy politicians running from anything deemed controversial), it’s actually SFBC that is simply one tiny part of a much larger movement made up of a variety of cyclists from all walks of life whose decision twenty years ago to ride freely in the street once a month for just a few short hours has laid the groundwork for cycling reforms, political action and transformative experiences across the country and the world.

What a shame that instead of celebrating all parts of the cycling community, SFBC has decided to distance itself from the historic roots of its own community in the name of moderation, families on bikes and political expediency.

Enjoy Bike Valet night at the DeYoung Museum, it sounds like an awesome event.

thanks,
Quintin

 

Dear Leah:

My name is Gus Feldman. I am an avid bicyclist, a Bike Coalition member, and the President of the District 8 Democrats.

I’m in receipt of a letter from you, dated September 12, 2012, requesting that I renew my SFBC membership. I am writing to inform you that I will only renew my membership if the SFBC Board of Directors publicly releases the results of the SFBC member vote for the District 5 supervisor race.

While it is clear that the membership vote is one of several factors used by the SFBC Board of Directors to determine endorsements, the refusal of the Board to grant SFBC members the ability to see the results of their votes demonstrates an unacceptable degree of secrecy. By withholding this information, the Board is publicly stripping SFBC members of all agency in the endorsement process.

If in fact the popular suspicion is true – that Julian Davis won the most votes from SFBC members, but the Board decided to grant Christina Olague the top endorsement in the interests of expediting the construction of separated bike lanes on Oak & Fell streets – we would greatly appreciate the Board publicly declaring and explaining the decision. Such a decision is certainly logical, as the Oak/Fell bikes lanes are a key priority for many SFBC members. The fact that the Board has elected to conceal the vote results, as opposed to explaining to SFBC members why and how Olague received the number one endorsement, is highly insulting as it insinuates that the Board does not have faith in SFBC members’ capacity to understand the rationale by which the Board arrived at their determinations. 

Please understand that if the Board elects to depart from the current practice of concealing the vote results, and transitions to one of transparency, I will promptly renew my membership.

Respectfully,
Gus Feldman

Nite Trax: Hunee spreads love at Honey

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Hunee is a good eater,” begins Berlin-based DJ Hunee’s official biography. “Good” here surely means voracious — Hunee may be well-known for his deep disco sets (sometimes running to seven hours in length, especially at his great Hunchin All Night parties) and deep-grooved house productions, but his omnivorous ear takes in everyone from Eric Dolphy and Sergiu Celibidache to N.W.A and Madlib. He creates lovely worlds from these disparate interests, and his generous, off-handedly ironic manner spreads a layer of laidback jazzy soul over the sonic smorgasbord. 

On Sun/30, Honey Soundsystem celebrates six years of putting on one of the best weekly parties in San Francisco (it’s honeycomb hexagonal!), Honey Sundays (9pm, $5. Holy Cow, 1535 Folsom, SF.) And to celebrate, the boys flew in this beloved underground soul traveller for an exclusive three-hour set. I caught him over email for a few questions.

SFBG Hey Hunee! Thanks for taking the time to answer some questions. You have said that you came from a rap background, but your love of the dance floor soon brought you to disco, and from there into classic house. Can you tell me a few of the records that changed your life and drew you into disco and house?

Hunee Hi! Yea, for sure. The transition def. happened through tunes that were accessible from different sides of the dancefloor. Things that fall into my mind are Colors’ “Am I Gonna Be The One,” Convertion’s “Let’s Do It” (Leroy Burgess production), John Rocca’s “Move,” Chemise’s “She Can’t Love You,” and Definition Of A Track by Backroom Productions. These are not the deepest or most obscure records, but they helped me dance another dance. And shit, I still love playin’ the classics.

SFBG Have you been to San Francisco before? Are there any musicmakers from California who have shaped your aesthetic?

Hunee Never been to the West Coast. When I think of music and California, i connect to N.W.A., 2Pac, Snoop, Madlib, Stones Throw, and of course Dam-Funk. I am not familiar too much with the current dance music from California, but I am hungry to learn about it.

SFBG You’re well-known for playing epic, hours-long sets, especially at your Hunchin’ parties. Is there any pressure when you have to play shorter sets? How does your sound change, do you think?

Hunee If I play a very long set, I bring even more different type of things, but it doesn’t matter if long or short — I always try to create a dynamic journey. If there is a real memory created for me and the dancers, that’s when I am happy. I love this moment when the vibe changes: the crowd and myself have been through a bit together, and everyone gets loose, and joyful and everything becomes one. That state if more difficult to achieve in short sets, but I also like the challenge of maximum impact in short times.

SFBG You just took a month off from DJing which you characterized as “long” — can you tell us why you took the break? Beyond that you seem to be insanely busy. What are some of the more memorable parties you’ve played recently?

Hunee Ha ha, yes, after four weeks I was like “Damn, can I even still pull it off? It’s been so long…” Working full-time during the week and playing on the weekends is only fun for some time, and then you’re just tired. There was a need to align different needs and responsibilities. Big nights for me lately were definitely Watergate and Panorama-Bar, Terrassen in Stockholm, and Butter Side Up in Leeds – big up!

http://www.youtube.com/watch?v=fDPun8fe830

SFBG You’ve lived in Berlin for a long time — what are some of the changes you’ve witnessed lately? Is it still easy for a DJ or music maker with no money and big dreams to move there and survive? You also have strong ties to Amsterdam, especially through the Rush Hour label. Would you ever consider moving there?

Hunee I guess nothing is easy if done right, but everything is possible. Berlin is still very accessible and forgiving and theres are so many opportunities for music minded people. Changes, well, commercialization of the neighbourhoods sucks, upgoing rents, more hostels, more hype, more bikes, more babies – good things, bad things. I love Amsterdam, they built an incredible musical legacy and community, but I am like a bird — I follow the sun. California here I come!

SFBG This year’s “Tide” had a lovely, twisty-acid ’90s feel — it put me in mind of DJ Kim Ann Foxman, who played an amazing set here last weekend. Do you know her? Are you listening to anyone in particular at the moment? 

Hunee I don’t know her personally, but heard great things about her DJing and hope to hear her soon. I mostly listen to Eric Dolphy, Sergiu Celibidache, and Jussi Bjoerling at home, Dance Music wise I dig Daphni, Robert Hood, Roy Davis Jr., Theo and the likes, DJs like Sadar Bahar and Mark Seven make me feel like my only task on earth is to dance.

SFBG Since you’re playing the Honey Soundsystem party, I have to ask: when did you start going by Hunee — is it a childhood nickname, or …? 

Hunee Correctly it’s pronounced Who-Knee (and it took me years until I got the honey misunderstanding in english-speaking countries). My mom called me this way since I was able to understand I was an individual person, with an unique name, Hunee.

 

‘LOOPER’ IS HERE! Plus: a boatload of other new movies

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Wait, what are you doing reading this? Why aren’t you watching Looper, the best time-travel movie to come out of Hollywood in ages? Check out Lynn Rapoport’s review below, go see the damn thing (it’s gonna be huge, like Inception huge), and start planning your “Gat Man” Halloween costume this instant.

In this week’s film column, I check out the Northern California Action/Sports Film Festival (a new venture from SF IndieFest, which, by the way: just another month or so until DocFest!), let’s-talk-about-our-feelings indie Liberal Arts, and docs Diana Vreeland: The Eye Has to Travel and Peter Ford: A Little Prince

Marke B. takes on another doc, Detropia, and dubs this look at his hometown “important and beautiful;” full review here.

Two more from H-wood open this week (3D animated monster comedy Hotel Transylvania and YA young-angst tale The Perks of Being a Wallflower), as yet unreviewed — but there’s a bunch more short reviews, including Dennis Harvey’s take on the Vortex Room’s “Aerobicide” triple feature, after the jump.

http://www.youtube.com/watch?v=Y6G_AXzOJKY

“Aerobicide Sunday: A Marathon of Murder in Tights” Two things that made the 1980s taste great, slasher movies and aerobic exercise, were each too crassly, promiscuously commercial not to hook up a few times — even if the sub-sub-genre they created together is even less well remembered than the Lambada musical. Sun/30, however, it shall reign as king at the Vortex, where a triple bill of exer-psycho obscurities will really make you feel the burn. First up is 1987’s Aerobicide a.k.a. Killer Workout, in which the fitness emporium owned by Rhonda (Marcia Karrof of 1984’s Savage Streets) — as sour a grape as you’ll find in pastel spandex and pouf-shouldered Valley Girl dresses — experiences a rash of hard bodies being reduced to bloody pulp by an unknown killer wielding a large killer safety pin. Totally gross! We get many close-ups of overexposed thighs and over assisted cleavage gyrating to heinous dance tracks with inexplicable lyrics like “Hey baby! I’ve got your number! Red and juicy, warm and sweet” — plus some feathered-hair beefcake too — before the culprit turns out to be exactly who you think it is.

This was but an early effort among 32 features to date by writer-director David A. Prior, and based on the evidence present there’s a reason why you’ve never heard of any of them. Slightly slicker was 1990’s Death Spa (a.k.a. Witch Bitch), in which a computer automated gym goes all HAL-slash-The Shining, to the mortal danger of its highly toned staff and clientele. We’re talking death by blender, sauna paneling, and reanimated frozen fish products. The facility’s bitchy programmer is played by Merrick Butrick, who’d portrayed Captain Kirk’s son and a Square Peg earlier in the decade, and died of AIDS before this movie was released. Directed by Austrian Michael Fischa, it’s comparatively glossy but definitely senseless nonsense with a Eurotrash-genre feel. Lastly, in the same vein, and even slicker, there’s 1984’s Murder Rock: Dancing Death a.k.a. Giallo a Disco a.k.a. Slashdance (one of, incredibly, no less than three movies with that third name), a lesser exercise by that occasionally great horror director Lucio Fulci. Rather than a health club, the setting here is a dance school where choreography seems less indebted to Balanchine and Martha Graham than Jane Fonda and Shabba Doo. For that crime the punishment is, of course … death by hatpin? Whatever. If you survive this evening, you will be sore, winded, and desperate to sweat the toxins out of your system. Vortex Room. (Dennis Harvey)

http://www.youtube.com/watch?v=nrf8xoQJ5Ms

Backwards Athletic disappointment is not a new feeling for Abi (Sarah Megan Thomas, who also wrote the script), who has just learned she’s been named the alternate for the Olympic crew team — a bench warming role she was also relegated to in the last Olympics. But after she quits the team in a huff and moves home, it’s not long before she realizes that her life off the water is pretty depressing, too. Enter former boyfriend Geoff (James Van Der Beek), now the athletic director at the high school where Abi honed her rowing talents, who gives her a job coaching the talented but undisciplined girls who make up the current team. Will this new venture help Abi finally grow up and regain her self-confidence? Will she re-ignite her spark with Geoff? Will there be a last-act conflict involving yet another chance at the Olympics? Will there be multiple training montages? As directed by Ben Hickernell, Backwards hits all of the expected themes about following one’s heart and Doing the Right Thing. Thomas, a former rower herself, has an ordinary-girl appeal, but even Backwards‘ attention to authenticity can’t elevate what’s essentially a very predictable sports drama. (1:29) Sundance Kabuki. (Cheryl Eddy)

http://www.youtube.com/watch?v=eI3ju17W070

Looper It’s 2044 and, thanks to a lengthy bout of exposition by our protagonist, Joe (Joseph Gordon-Levitt), here’s what we know: time travel, an invention 30 years away, will be used by criminals to transport their soon-to-be homicide victims backward, where a class of gunmen called loopers, Joe among them, are employed to “do the necessaries.” More deftly revealed in Brick (2005) writer-director Rian Johnson’s new film is the joylessness of the world in which Joe amorally makes his way, where gangsters from the future control the present (under the supervision of Jeff Daniels), their hit men live large but badly (Joe is addicted to some eyeball-administered narcotic), and the remainder of the urban populace suffers below-subsistence-level poverty. The latest downside for guys like Joe is that a new crime boss has begun sending back a steady stream of aging loopers for termination, or “closing the loop”; soon enough, Joe is staring down a gun barrel at himself plus 30 years.

Being played by Bruce Willis, old Joe is not one to peaceably abide by a death warrant, and young Joe must set off in search of himself so that — with the help of a woman named Sara (Emily Blunt) and her creepy-cute son Cid (Pierce Gagnon) — he can blow his own (future) head off. Having seen the evocatively horrific fate of another escaped looper, we can’t totally blame him. Parsing the daft mechanics of time travel as envisioned here is rough going, but the film’s brisk pacing and talented cast distract, and as one Joe tersely explains to another, if they start talking about it, “we’re gonna be here all day making diagrams with straws” — in other words, some loops just weren’t meant to be closed. (1:58) (Lynn Rapoport)

http://www.youtube.com/watch?v=siEHekc-1oE

Pitch Perfect As an all-female college a cappella group known as the Barden Bellas launches into Ace of Base’s “The Sign” during the prologue of Pitch Perfect, you can hear the Glee-meets-Bring It On elevator pitch. Which is fine, since Bring It On-meets-anything is clearly worth a shot. In this attempt, Anna Kendrick stars as withdrawn and disaffected college freshman Beca, who dreams of producing music in L.A. but is begrudgingly getting a free ride at Barden University via her comp lit professor father. Clearly his goal is not making sure she receives a liberal arts education, as Barden’s academic jungle extends to the edges of the campus’s competitive a cappella scene, and the closest thing to an intellectual challenge occurs during a “riff-off” between a cappella gangs at the bottom of a mysteriously drained swimming pool. When Beca reluctantly joins the Bellas, she finds herself caring enough about the group’s fate to push for an Ace of Base moratorium and radical steps like performing mashups. Much as 2000’s Bring It On coined terms like “cheerocracy” and “having cheer-sex,” Pitch Perfect gives us the infinitely applicable prefix “a ca-” and descriptives like “getting Treble-boned,” a reference to forbidden sexual relations with the Bellas’ cocky rivals, the Treblemakers. The gags get funnier, dirtier, and weirder, arguably reaching their climax in projectile-vomit snow angels, with Elizabeth Banks and John Michael Higgins as grin-panning competition commentators offering a string of loopily inappropriate observations. (1:52) (Lynn Rapoport)

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

Solomon Kane Conceived by Conan the Barbarian creator Robert E. Howard, this 16th-century hero is cut from the same sword-and-sorcery cloth, being a brawny brute of slippery but generally sorta-kinda upright morals. Solomon (James Purefoy) is slaughtering his way to a North African treasure trove when demons swallow up his likewise greedy, conscience-free cohorts and damn his soul for a lifetime of bad deeds. Suddenly committed to the greater good, he returns homeward to cold gray England, where Jason Flemyng’s evil sorcerer soon imperils both our protagonist and the Puritan family (complete with love interest) he’s befriended. This movie has been around a while — since 2009, to be exact, yet barely beating director Michael J. Bassett’s new Silent Hill: Revelation 3D to U.S. theaters — and is a good illustration of what can happen when you make a fairly expensive ($45 million) fantasy-action adventure without major stars nor any marketable novelty. Which is to say: not much. There is absolutely nothing wrong with the good-looking, watchable but generic-feeling Solomon Kane, save that nothing about it feels remotely original or inspired. It’s the perfectly okay, like-a-thousand-others mall flick you’ll forget you saw by Thanksgiving, despite being peopled with such normally interesting actors as Max Von Sydow, Alice Krige, and the late Pete Postlethwaite. (1:54) (Dennis Harvey)

http://www.youtube.com/watch?v=4mZIwD4K544

“Stars In Shorts” Outside of the festival circuit, it’s an uncommon feat for shorts to make it to the big screen, so it can’t hurt to make name recognition a prerequisite for selection. In writer-director Rupert Friend’s Steve, Keira Knightley plays an embattled Londoner under siege by her lonely, pathologically odd neighbor (Colin Firth). Written by Neil LaBute, Jacob Chase’s After School Special sets up a semi-flirtation between two strangers (Sarah Paulson and Wes Bentley) at a playground, only to deliver the kind of gut-level punch you might expect from the writer-director of 1998’s Your Friends and Neighbors. LaBute’s own Sexting is an entertaining exercise in stream-of-consciousness monologuing by Julia Stiles. As with most shorts programs, “Stars” is a mixed bag. Robert Festinger’s The Procession, in which Lily Tomlin and Modern Family’s Jesse Tyler Ferguson play reluctant participants in a funeral procession, sounds promising, but the conversation palls during the 10-plus minutes we’re stuck in the car with them. Benjamin Grayson’s sci-fi thriller Prodigal, starring Kenneth Branagh, reaches its predictable crisis points several minutes after the viewer has arrived. More successful are Jay Kamen’s musical comedy Not Your Time, starring Seinfeld’s Jason Alexander as an old Hollywood hand whose writing career has stalled out, and Chris Foggin’s Friend Request Pending, which treats viewers to the sight of Dame Judi Dench gamely wading into the social network in search of a date. (1:53) (Lynn Rapoport)

Won’t Back Down If talk of introducing charter schools into the public education mix tends to give you collective-bargaining-related hives, Daniel Barnz’s Won’t Back Down is unlikely to appeal, unless perhaps as the object of a boycott or a picket line. Two embattled mothers, Jamie Fitzpatrick (Maggie Gyllenhaal) and Nona Alberts (Viola Davis), both with children at a failing Pittsburgh elementary school and the latter a teacher there, join forces to change the institutional culture by leading a parent-teacher takeover, with the goal of creating a charter school. As the bureaucratic process for doing so is described by a school district employee, it should take them three to five years to discover that they’ve been hurling themselves at a brick wall; Jamie, an efficient combination of fireball and pit bull, is determined to pulverize the wall in about two months.

Watching her and Nona try to secure more than a third-rate, treading-water education for their kids, it’s hard not to root for the possibility of a transformation, and even an upper-level teachers’ union staffer played by Holly Hunter finds herself climbing the fence. The details of what lies on the other side (and inside Jamie and Nona’s 400-page proposal) stay fairly fuzzy, though. And while Barnz lets his warring factions — desperate mothers and educators, a union boss (Ned Eisenberg) watching the deterioration of the labor movement, a pro-union teacher (Oscar Isaac) ambivalently engaged in the chartering project — impassionedly debate their way through the film, a little more wonkiness might have clarified the arguments of those done waiting for Superman. (2:00) (Lynn Rapoport)

On the Om Front: A path with heart

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I’ve been practicing yoga for 12 years. Over the years, my practice has changed depending on the basic conditions of my life: my age, my health, my schedule, my location, my physical and spiritual interests and needs, my romantic relationships, my relationship with chocolate chip cookies. Each time I’ve come to a point of transition in how I practice, or where I practice, or with whom I practice (and, more recently: how I teach, where I teach, and for whom I teach), I start to question why I’m doing what I am doing and what is the ultimate goal. 

The questioning is uncomfortable—who wants to question a thing they love? 

It feels dirty, disloyal. It creates murk in a stream that once felt swimmingly clear. But I’ve learned that it’s an inevitable part of any path. Whether we like it or not, questions arise—if they didn’t, we wouldn’t have some version of this symbol in every language: “?” Luckily (or unluckily), I come from Jewish heritage, so questioning is in my blood. In Judaism, it’s godly to question. 

So, I’m questioning.

And I’m reading this book right now called A Path With Heart. It’s by Jack Kornfield, one of the founders of Spirit Rock, a Buddhist meditation retreat center up in Marin that runs regular residential silent meditation retreats. (It’s a top local joint that I highly recommend, especially if you’re one of those people who thinks you “could never” sit in silence for a week, which is nearly everyone unless you’ve actually done it and know that you could, in fact, have.) 

Anyway: In the first few pages of his book, Jack gets down to the crux of the matter. He says that no matter what road you’re driving your spiritual chariot down, you’ve got to keep coming back to the question of whether or not your path has heart. To paraphrase, you could be touching your first metatarsal to your crown chakra or chanting Om Namah Shivaya until the cows come home (and if you’re doing that in India, it won’t be very long—the cows are always coming home), but if you’re not practicing from a place of love, there’s no point to it. Or, maybe there’s some point to it … but it’s not the point.

This isn’t just about yoga or meditation. The same is true for anything you do. Take art, for instance. If your art has no heart, it may look or sound pretty, but its cosmic shelf life is going to be shorter than a wink. Good art creates soul grooves. It has a ripple effect. It’s a rechargeable battery that powers up each time it connects with a new source. It needs to be infused with real juice, the kind that comes from that metaphorical, physiological blood pumper that sits just to the right of center—in your chest.

There’s a lot of heart in our city.

I went to see a play last weekend called Dogsbody at Intersection for the Arts by Erik Ehn, a gifted spiritual warrior who has crafted 17 poetic theatrical works on genocide as part of a project called Soulographie to wake us up to the realities of war. (The project is en route to NYC, so if you’re out there November 11-18, get in on it.) I also hit Martin Scott’s Saturday morning yoga class at Union Yoga, for which all proceeds generously go to Headstand.org, an organization that brings yoga to at-risk youth. Both Erik and Martin are heart-ists. 

Here’s a line from Kornfield’s book, which I’ve been reading to my own classes this past week. He’s quoting Carlos Castaneda who’s referring to a teaching by Don Juan: 

“Look at every path closely and deliberately. Try it as many times as you think necessary. Then ask yourself and yourself alone one question …. Does this path have a heart? If it does, the path is good. If it doesn’t, it is of no use.”

Not a bad one to pull out when faced with a moment of evaluation. Here’s to landing in a place where that question has the right answer.

********

Around the Bend 

(some upcoming events with heart)

 

Sweat and Study: Chants and Invocations for Yoga 

If you love chanting to Ganesh and the other colorful yoga deities, this workshop is the place to be this Sunday. You’ll learn several of the basic yoga mantras and—if you’re already a regular chanter—you’ll learn how to lead them. Sean Feit is a gem. It’s worth the trip to Berkeley.

9/30, 2-5, $20, Yoga Tree Telegraph

 

Sivananda Poetry Night

The Sivananda center in San Franciso has a new monthly poetry satsang. This week, hear Virginia Barrett (Vidya devi) read poems from her forthcoming  book, I Just Wear My Wings, and bring a short poem (your own or one from a spiritual teacher/writer). Tea and snacks available.

9/28, 7:30 – 9:15 p.m, suggested donation $5-$10, Sivananda Center in SF

 

Union Yoga’s Donation-Based Vinyasa for Headstand.org

This fun, challenging flow class taught by Martin Scott on Saturday mornings is entirely donation-based, and all of the profits support the non-profit organization Headstand.org, which brings yoga classes to at-risk youth in underserved schools. It fills up (as it should) so register online beforehand.  

Every Saturday, 9am, suggested donation $15, Union Yoga

 

KFOG Harmony by The Bay

KFOG shows some love to yogis in its Harmony by the Bay concert by offering a special yoga stage. (If you go, please report back on what this actually looked like—I’ve no idea!) Musical acts for the outdoor concert include The Shins, Tegan and Sara, and the holy rapper Matisyahu.

9/29, $40-$75, Shoreline Amphitheatre. More info: www.harmonybythebay.org/2012

 

Karen Macklin is a yoga teacher and multi-genre writer in San Francisco. She’s been up-dogging her way down the yogic path for over a decade, and is a lifelong lover of the word. To learn more about her teaching schedule and writing life, visit her site at www.karenmacklin.com.

Party Radar: I Heart Cochina Tonga’s, Tyree Cooper in a church, Beat Junkies 20th, 3-D dance fest, more

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O my goddess, there’s gonna be a yoga rave. Why, Govinda, why??? 

Actually I’m kind of intrigued. But full intriguement will have to wait until I’m hungover from the onslaught of this weekend’s parties. And here I thought I could recover from Folsom. Nah, brah. Not only are there all these parties I listed in my Super Ego clubs column this week, or our rooftop shindig at SFMOMA tonight, there are also all the below, equally worthy.

And before we launch — can I put in just one more plug for the STEREO: 3-D Arts and Music Fest on Saturday? There are going to be giant classic video games there! Plus a DJ set by Ladytron (and a ’80s video arcade set by DJ Omar), 3-D visual projections, and all kinds of cool effects. Go, Govinda, go!

In other news, can a porn star be a gay circuit DJ? The question has burnt a hole through the local gay internet this week, it really has. I never listen to that circuit, er, stuff — so it’s like a 9-inch tree falling in a forest of meth to me, honey. Good luck, though! Here are some real parties: 

——-

I HEART COCHINA TONGA’S

Ay-ay-ay, it’s the first anniversary of this hilariously fun monthly, mashing up budget Mexican fiesta with drag queens on cheap drinks. Ambrosia Salad hosts (and DJs now!), along with DJs Taco Tuesday and Stanley Frank. Lots of maracas shaking, and I’ll be the pinata colada. Disfrutas! 

Thu/27, 9pm, free. LookOut, 3600 16th St., SF. 

———

MUSIC IS FREEDOM

Raising awareness of and money to eradicate leukemia, this third annual shindig boasts the always-fresh Mark Farina, Scott Diaz, Chris Lum, and really tons more local funk-house alums. Greeve for a good cause ok!

Thu/27, 9pm, $10 donation to Leukemia and Lymphoma Society. Monarch, 101 Sixth St., SF. www.monarchsf.com

——- 

DIXON

http://www.youtube.com/watch?v=n-160hf7leA

Berlin’s sophisticated tech-house favorite returns to Public Works with a trademark impeccably calculated set to blow minds, pack floors. 

Thu/27, 9pm-3am, $10-$15. Public Works, 161 Erie, SF. www.publicsf.com 

———

TRUNCATE

Just some really great, kind of heady, deep and dark machine-generated dance music from this LA guy, in a 4-hour set.

Fri/28, 10pm, $15-$20. 222 Hyde, SF. 

———-

PETER VAN HOESEN

I randomly saw this deep-dub Berliner last time he was here, and he blew me away with his techno technique. He’s here this time around as part of the Bunker A/V series at Monarch, courtesy of the great underground techno club Bunker in NYC — and with Detroit-NYC heartthrob Derek Plaslaiko in tow.

Fri/28, 9pm-4am, $10-$20. Monarch, 101 Sixth St., SF. www.monarchsf.com

———

BEAT JUNKIES 20TH ANNIVERSARY

The stellar local turntablist crew has helped keep that native sound alive in the city for more than two decades — whaaaaa??? Craziness. J.Rocc, Rhettmatic, Babu, D Styles, Melo D, Shortkut, Mr.Choc, DJ Curse – long may they reign — and slay Mighty’s mighty soundsystem. 

Sat/29, 10pm-late, $20. Mighty, 119 Utah, SF. www.mighty119.com

______

OCTAVE ONE (lIve) + CARL CRAIG

Old school Detroit techno wizzes will go beyond the dance. Duo Octave One was excellent last last time they were here, playing a driving set that left us breathless. As a DJ, Craig is kind of the Prince of techno — you never know what his live sets will be like, but there will definitely be a soulful eccentricity (and he has one of the unmatched back catalogues in dance music to draw from). 

Sat/29, 9:30-4am, $20-$25. Public Wrks, 161 Erie, SF. www.publicsf.com

———

REVIVAL 001 with TYREE COOPER

Chicago acid hip-house legend is back on the scene – and headlining this amazing-sounding party at St. Johns church, his only US appearance on a grand tour. (Flashback to the wonderful Episcodisco parties at Grace Cathedral!) Also included: 5kinandbone5, DJ Dedan, Castle Hands, and light artist Donovan Drummond. Get spiritual now.

Sun/30, 5:30-10pm, $10-$15. Episcopal Church of St. John the Evangelist, 1661 15th St., SF. 

____

SWAGGER LIKE US

This monthly queer hip-hop patio party brought out the sunshine last time around, with stellar live performances and great tunes ranging across the whole hip-hopiverse. It wasn’t just ironic white hipster kids either! Nice vibes and a good time. plus Salt-N-Pepa. Okrrrr?

Sun/30, 3pm-8pm, $8. El Rio, 3158 Mission, SF. www.elriosf.com

Party with us (and toast the Cindy Sherman show) on SFMOMA’s roof

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This evening, Thu/27, the Guardian is teaming up with SFMOMA for a super-neato event marking the coming end of the awesome Cindy Sherman show: “A toast to Cindy Sherman.”

Every Thursday evening, 6pm-8:45, is half-price admission to the museum (thats when all the cool people go). Now, throw in the gorgeous rooftop sculpture garden, complimentary wine from local vintners Bluxome Street Winery, and wild popup drag performances from three of the queens from our Tastes of Cindy photospread.

All this plus full access to the Cindy show itself and the rest of the mueum? You’re Sherman me! Full info after the jump:

Toast the final days of Cindy Sherman at SFMOMA (closing Oct 8) with a fabulous evening on SFMOMA’s Rooftop presented by the San Francisco Bay Guardian!

Come check out pop-up drag performances by Lil’ Miss Hot Mess, Boychild, and Ladybear — artists who re-created works by Cindy Sherman for the SF Bay Guardian’s fantastic piece, “Tastes of Cindy.”

Guests are encouraged to bring cameras and be inspired to create their own photographs. There will be a cash bar + complimentary wine from Bluxome Winery.

This is the perfect opportunity to catch Cindy Sherman’s blockbuster retrospective at SFMOMA before it closes. Don’t forget to invite your friends!

This event is FREE with half-priced Thursday evening admission! All ages are encouraged to attend

“A TOAST TO CINDY SHERMAN”

Thu/27, 6pm-8:45pm, free with half-price admission to museum

SFMOMA

151 Third St., SF

Facebook invite


 

Smells like team spirit

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MUSIC “This is our biggest song by far,” Clyde Carson says wearily at his hotel room in San Jose. The song, “Slow Down,” features Clyde alongside his newly reconstituted group, the Team, and we’re waiting for Kaz Kyzah and Mayne Mannish to show. Mayne turns up, along with “Slow Down” producer Sho Nuff, but Kaz remains MIA, and the difficulty of keeping three rappers on the same page probably explains why the song is credited to “Clyde Carson featuring the Team,” though it appears on the crew’s reunion EP, Hell of a Night (Moedoe, 2012). In heavy rotation on KMEL, and branching out to other markets like LA and Chicago thanks to its Youtube-driven dance-craze, “Slow Down” has been bubblin’ for much of the year, as Clyde has doggedly pursued the hit with solo shows and Team dates.

Bay rap fans might experience a little déjà vu here. Back in 2004, when they burst out of Oakland with their regional smash “It’s Gettin’ Hot”— produced by a then-teenaged Sho Nuff — the Team helped launch what became known as the hyphy movement, following up with a memorable onslaught of local hits like “Just Go” and “Patron.” But what should have been the culmination, their sophomore album, World Premiere (Rex/Koch, 2006), was instead interminably delayed, blunting its impact. When Carson moved to LA in 2006 to sign a solo deal with Capitol through The Game’s Black Wall Street, the Team seemed prematurely finished due to business rather than personal or creative reasons.

http://www.youtube.com/watch?v=8l9DJvESFlk

Like several Bay artists signed by the majors during the hyphy era, including Mistah F.A.B., Clyde never got to drop an album; Capitol only released a pair of singles, “2 Step” and the Sean Kingston-featuring “Doin’ That,” in 2007, but didn’t release Clyde until 2009.

“You never know what’s gonna happen so you can never blame a label,” he says. “At the time Capitol was merging with Virgin. [Capitol Executive VP] Ronnie Johnson took over my project once the companies merged. We was getting ready to shoot the ‘Doin’ That’ video and — he died in his sleep. And I didn’t have enough of a foundation where I could move without a label.”

Instead of succumbing to this blow, Carson got back on the grind, and the success of “Slow Down” has resulted from a perfect storm of factors, beginning with an October 2011 call from now-adult Sho Nuff, whose youth had limited his earlier participation in Team activities.

By November, Clyde says, “we were in the studio recording. I put the hook on ‘Slow Down.’ I wanted a feature so I reached out to Keak da Sneak, but it didn’t work out so I reached out to Kaz and he put that verse on. Then I sent Kaz five or six songs and he did them all in one day. So we were like, shit, let’s do a Team album and put Mayne on these songs.”

Mayne himself is a key element of what we might call the Team 2.0.

“There was a time where I fell back from rappin’ and started learning the game by managing Carson,” he admits. “I wasn’t as confident a rapper as Clyde and Kaz, really goin’ in there destroying shit.”

But “destroying shit” is exactly what Mayne does on the third verse of “Slow Down,” and all over the EP, his rapid staccato bark providing a perfect contrast to the low-register growls of Kaz and Clyde.

“Some rapper blood just came out of me,” Mayne laughs, “and when we started back working with Sho Nuff, he helped bring my whole character and style out.”

The final ingredient was unpredictable: when “Slow Down” first dropped early this year, an SF high school student under the handle J12 posted a Youtube video of a dance he invented to the song. “The J12” has gone ghetto viral, racking up 700,000 hits, spawning numerous homage vids, and fueling demand for Team appearances in previously unheard of areas like Chicago. Inevitably J12 converged with the group, dropping the dance in the official video and becoming Carson’s DJ.

“He put that shit on for real,” Clyde says. “I never imagined havin’ a dance to one of our songs. When I was a teen, niggas wasn’t dancin’. But it lets me know the music we makin’ is resonating with that generation.”

“I ain’t gonna start dancin’,” Carson laughs, though I submit he’s doing the J12 at 1:05 of the official video. “But I definitely appreciate it.”

 

Purple-tratin’

2

marke@sfbg.com

SUPER EGO First off, a woozy-recovery shoutout to the heroes of Folsom Street Fair, beyond the organizers themselves, who continue to bring a solid electro music festival vibe to the, er, packed fistful of proceedings. I think drag artist VivvyAnne Forevermore outdid all the torture enthusiasts by staying in full face for three whole days of performing, the mysterious entity known as Luther proved at its party that 400 shirtless, sex-reeking men on a dancefloor doesn’t mean “circuit party,” and DJ Carnita of Hard French valiantly kicked off the amazing Deviants party fresh from the hospital, his ankle broken in a tragic gay basketball accident. What we won’t do for love!

Now, looking ahead (after all those behinds): is trap music a trap? The burgeoning microgenre has seized the Internet this summer after bubbling under for 10 years, begun as a low-budget, dirty-sounding Atlanta rap beats style meant to reflect the dark and paranoid feel of the drug game — the “trap” in question. What it’s become is both a savvy marketing onslaught by hype-happy music producers, some of them of the douche variety (boo) and also a way for dubstep-weary general partiers to get deeper and sexier, by combining hip-hop’s crunked 808 bass-snare swag with EDM’s keyboard-driven energy and some classic booty-bass trimming (nice).

I’m digging it, even though I’m no fan of pop-EDM’s LCD aspirations or contemporary hip-pop’s zombie materialism and worn-out masculinity-crisis tropes — although all that’s recently been changing a bit, and luckily the sophisticated techno and alternative hip-hop scenes have been thriving in reaction. SF finally has a regular club night devoted to the sound, Trap City (Sat/29 and last Saturdays, 9pm-4am, $7–$10. Icon, 1192 Folsom, SF.). And of course we’re giving it some goofy irony and some serious underground connections.

The irony comes via witchy-Tumblr graphics, cartoonish “gold chainz swangin'” hype, and Net-savvy entities (producer Trill Murray and rapper Chippy Nonstop perform this month). The underground connects come from notorious DJ Ultraviolet, queen of the early, grimy dubstep and bass scenes here, who runs the Trap with partner Napsty.

“I think a lot of DJs are getting into this style of music because it is a lot less intense and ‘ravetastic’ then most of the brostep coming out these days, and that sort of vibe is easier for more people to grasp right now than electro and dubstep bangers — although I enjoy those, too,” Ultraviolet told me over email.

“I’ve always injected a bit of hip-hop flavor into my sets and so a lot of the trap music coming out recently appealed to me: it sounds good on the big soundsystems and girls aren’t afraid to dance to it. I really like the diverseness of the scene. At Trap City we get all types of people. You just see everyone going nuts and loving it so much, I kinda ask myself, as a bass music DJ how could I not get into this? LOL.”

Together with other local DJs — some of them hailing from the burner, glitch, or street bass scenes — like Taso, Stylust Beats, Bogl, and AnTennae, and following in the footsteps of bigtimers like Diplo and Flosstradamus, the Trap City kids are pushing the sound forward. Even if it all ends up being more marketing mirage than actual sonic imprint (ahem, moombahton), it’s got a great beat and we can dance to it.

“SF has always loved its hip hop and dirty bass, so the combination of the two seems to fit perfectly with SF’s style,” Ultraviolet tells me. (Peep her productions and trap mixes at www.soundcloud.com/djultraviolet.) “We’re a cool town, this is cool music. I see SF and trap music having a long romantic relationship.”

 

AFROLICIOUS

Last time our favorite Latin funk-global jams collective took over Mighty, it was dancing room only — this installment looks to be just as groovy-bonkers, with a three-hour set from awesome Afrolicious brothers Pleasuremaker and Senor Oz (including live percussion), and special guests J-Boogie and Izzy*Wise.

Fri/28, 10pm-late, $8 advance. Mighty, 119 Utah, SF. www.mighty119.com

 

ANDY STOTT

The renowned Manchester technoist blew minds last year with the release of two EPs, Passed Me By and We Saty Together, that embraced an almost terrifying sludgy slowness, mesmerizing with an ur-tribal vibe. He’ll be joined by psychotomimetic occultists Demdike Stare, glitch-blissed Balam Acab, SF’s ghostly oOoOO, sound artist Holly Herndon, and Dark Entries’ darkwaver Josh Cheon for an eclectic night of sounds of now at the Public Access party.

Fri/28, 10pm, $12–$15. Public Works, 161 Erie, SF. www.publicsf.com

 

CATZ ‘N DOGZ

A Polish house duo so close to my heart I can feel it beating them right now. They live in Berlin now, and combine polished Wolf + Lamb-like R&Bish vibes with that trademark Germanic techno attention to every detail. Most important, they have a sense of humor, great ears for new releases, and are a lot of fun to dance to.

Sat/29, 9pm-4am, $10–$20. Monarch, 101 Sixth St., SF. www.monarchsf.com

 

SWEATER FUNK FOUR-YEAR ANNIVERSARY

The 100 percent vinyl soul party jets out of the toddler stage, with all the origonal crew in tact, including one of my favorite people, DJ Mama Bear. Laidback, deep boogie, slow jams loveliness — and yes, you will sweat.

Sat/29, 9pm, $5 advance, Elbo Room, 647 Valencia, SF. www.elbo.com

 

STEREO

This sounds cool: A party in a huge space (Space 550, in fact) with 3-D visuals mixed live (first 500 in get glasses), a DJ set by Ladytron, and a 1990s house room with old school and 3-D video games, and a giant projected Pong tournament. Double double win win.

Sat/29, 9pm-late, $25 advance. Space 550, 550 Barneveld, SF. www.tinyurl.com/stereo550

 

TIARA SENSATION PAGEANT

Who will win this year’s drag tiara of insanity and wonder? All the underground gender clown cognoscenti will gather to determine the new princess-unicorn of the scene, brought to you by the Tiara Sensation crew (they do the fantastic Some Thing drag night at the Stud on Fridays). Judges Pink Lightning, Gina LaDivina, and HRH Princess Diandra of NYC will choose from a glittering bevy of hopefuls; current titleholder Lil Miss Hot Mess will step down (and down) in a surely unforgettable number.

Sat/29, 9pm, $15–$20. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

 

In FiDi, a Turkish gem

3

virginia@sfbg.com

APPETITE With the Guardian’s recent move to the Financial District, I’ve frequented downtown haunts, returning to old favorites, discovering new gems. Humble, tiny spaces like La Fusion (475 Pine, SF. www.lafusion-sf.com) delight with Peruvian-influenced Nuevo Latino dishes, including rotisserie chicken and warm bread salad, vivid ceviches, cinnamon-clove inflected sangria, and fried empanadas dipped in huacatay sauce and piquillo pepper aioli. However, the biggest standout of new FiDi dining spots has been an upscale Turkish restaurant, Machka.

Walking up to Machka, directly across from the Transamerica Building behind a line of motorcycle and Vespa parking, you feel as if you’ve stumbled upon a chic cafe in Rome. In fact, Machka is Turkish, with a brick-walled dining room with massive chandelier, whose lighting casting an appealing glow on fellow diners, while a flat screen plays classic Turkish films, like Kirik Plak (1959), visible through a glass wall from inside the restaurant.

Machka was just opened in July by lawyer Farshad Owji and his wife Sibel. The chef is Reynol Martinez, who served those delightful duck confit tacos and some of SF’s best fish tacos at Potrero Hill hidden gem, Papito. (He also cooked at Globe, Aperto, and Epic Roasthouse.) Service is one of Machka’s strong suits, including the professionally engaging warmth of Jessica — who was a server at Nopa — or Gulhan, who recently moved here from Turkey, his gracious hospitality setting a familial tone. P.S. he’s also an inspiring reader of Turkish coffee grounds.

Starting with the SF standard — locally sourced, mostly organic ingredients — one journeys to Turkey in rare form. Although there have long been hole-in-the-wall treasures like A La Turca in the Tenderloin or the Mission’s mid-range Tuba, the Turkish list has been short. Machka fills a gap, faring well with both traditional and creative Turkish. In the meze-starter realm, pistachio-crusted goat cheese ($11) is easy to lap up. Spread the subtle, soft cheese, crunchy with pistachios, over toasts, sweet and savory with caramelized onions, golden raisins and wildflower honey. There’s only a handful of lamb tartare dishes in town (Gitane’s being one of the best), and Machka’s version ($13) is brightly gratifying, tossed in mint, grainy mustard and argan oil, with haricot verts.

Tender, grilled octopus ($13) is mixed with chickpeas and celery, doused in lemon and olive oil — it’s a delicate smattering of celery leaves that adds a garden-fresh aspect to my favorite invertebrate. Blue cheese and chorizo-stuffed dates ($9) are a crowd-pleaser, particularly wrapped in pastirma (Armenian cured beef) in a sherry wine-mustard vinaigrette. The only missteps seemed to be a bowl of fava beans ($10) which sounded like the ideal veggie dish, mixed with English peas, snap peas, cilantro, mint, sumac in lemon and a smoked paprika vinaigrette, but was surprisingly bland. A traditional fattoush salad ($11) was likewise humdrum, a mere couple tomatoes, cucumbers and pita crisps unable to bring the greens to life.

On the entree side, I crave the durum (flatbread) wrap ($12) to-go when I don’t have time sit down and savor the restaurant’s soothing setting. I love the falafel wrap (also available as a $9 starter), laced with cacik (light, seasoned yogurt), pickled cucumber, lettuce, grilled red onions, bell peppers, cherry tomatoes, and tahini sauce. The elements weave together into the ideal wrap: fresh, textured, filling — also available with chicken, lamb or beef. Speaking of lamb, Machka does it right: as a burger ($15), curry-marinated in a kebab over rice pilaf (one skewer $13, two $26), or in my top choice, a marinated ground beef and lamb sausage, the adana kebab.

Chef Martinez displays vision in entrees like a seared branzino ($25). The flaky fish is interspersed with roasted fennel and cherry tomatoes, which taste like another glorious fruit altogether — sweet, sour, fantastic — roasted in a balsamic pomegranate reduction. It’s an elegant entree that takes an unexpected turn with the tomatoes.

The wine list ($9 for a five ounce glass, $14 for eight ounce) includes interesting Turkish wines, like an acidic, zippy 2010 Kavaklidere Cankaya Emir from Ankara, and from the same producer, a balanced, fruity red: 2011 Kavaklidere Yakut Okuzgozu. Another wine that worked well with starters was a tropical fruit-laden 2011 Pinot Gris from New Zealand, The Ned.

You couldn’t do better than a dessert of kunefe (or kanafeh, an Arab cheese crusted in shredded pastry, often phyllo dough — Jannah in the Western Addition also makes a beauty of a version). Soft, white cheese oozes from crisp, shredded phyllo soaked in honey and rosewater syrup, a finish sweet and satisfying as the overall experience in this latest Turkish respite.

Matchka 584 Washington, SF. 415-391-8228 www.machkasf.com

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