Stage

Six impossible things before the sports bar: down the rabbit hole at Conspiracy Con 2010

Andrew Lam
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All photos by Erik Anderson

“I’m talking about satanic Jews,” Texe Marrs announced from the stage of the Santa Clara Marriott. Well fuck me, now I need a drink. And so went the climax of my trip to Conspiracy Con 2010, the tenth annual convention of don’t-call-them-conspiracy-theorists-they’re-scientists, and dabblers in the world of trust no one. Damn it Marrs, you portly ex televangelist end days minister, why you gotta be so creepy?

I totally believe that Osama Bin Laden had little to do with those buildings falling down. The fact that our government is hypocritical is like, a total no duh for anyone who’s been outside the country, and processed food is for sure killing us. I came to “Con Con” in good faith. Things are getting crazy out there, and if nothing else, the “truthers” that I have known all foster a healthy sense of criticism towards the powers that be.

So I strapped on my most open mind, tipped my hat to the North America Chinese Semiconductor Association (sharing the Marriott that weekend), and got ready to hang with the paranoid wierdos. After all, the Red Queen told Alice it was healthy to believe in six impossible things each day before breakfast. Here, I could hit that mark within ten minutes of entering the vendor hall. I made the obligatory trip to the registration table, where I declined the chance to buy video footage of all the presentations for $60, and got over to the hawkers of conspiracy wares.

I find looking at what’s on sale is often the best, if possibly the most cynical way to get a bead on a gathering. At Conspiracy Con, aisles of devout truth seekers sold photos of your aura, magnetic jewelery, ghost meters, and mountains of home recorded DVDS on chem trails and secret warfare. A man in a leopard print hat blew into a didgeridoo, its bell inches from the ear of a blissful woman. She sat, eyes closed, absorbing its healing powers. A sign next to him read “Sonic Shamanic Tonic.” So. Groovy. I like it!

And overall, the paranoid weirdos are pretty awesome bunch. Eager to share, eager to listen. Outside the hotel, I watched an exhibition of an engine that can run on Pepsi and urine. I hear they sent one to BP, and they refused to use it in the Gulf clean up! Evangelo Kalemanis of Las Vegas stood beside me, wearing a sharp white blazer and fedora that made him stand out amidst the crowd, who was mainly older, many male, mainly white. Fashion wise, however, we were fairly diverse. Around me I saw T-shirts that read “If guns kill people, then… spoons made Rosie O’Donnell fat,” Republican monkey suits, and conversely, loose tunics and crystals.

Kalemanis told me that he ran across Conspiracy Con three days ago, while uncovering a conspiracy of his own. He is the founder of a website (www.conspiracycrazy.com) that consolidates useful links to information on different conspiracy theories, information he found elusive when he first started researching the subject. “When I was searching, it would take me hours.” The site started getting over a hundred hits a day — and he says his success cost him. Google the words “Conspiracy Crazy” today, and the site is impossible to find, buried pages deep in the results. But Conspiracy Con was showing up in his queries – and Evangelo made the snap decision to drive to California to check it out.

The conventioneers were an earnest bunch on the whole. Most had come to share what they’d found in their auto-didactic search for truth, and to be reassured that they weren’t the only one that thinks that information is being hidden from us purposefully. Answers were being looked for. Like the man in a straw hat from Santa Clara, who I met on a much needed break at the sports bar, and who would only identify himself as “George Carlin,” for fear of… I don’t know, SFBG being on some kind of a watch list maybe? I mean, not that we aren’t.

“George” told me he spends full time hours researching the Fed. “You know that it’s not run by Americans, right?” he said, conspiratorially (ha!). He gets riled up about the shadowy ownership of — and lack of legal precedent for– the Fed, a subject that will be familiar to anyone who has seen the viral cult movie Zeitgeist. Seconds later, he’s whipped out a series of dollar bills folded into the shape of paper airplanes. When lined up numerically, the $5, $10, $20, $50, and $100 depict the World Trade Center exploding, then falling along the center crease. “Who do you think prints the money?” he asks me with a small, weary smile.

“I know half this audience have their own lecture they could do,” says Mr. Lobo, host of the sci-fi series Cinema Insomnia, who emceed the convention, and who provided some much needed moments of levity on stage. We sat down after a particularly long-winded question and answer session, two semi-outsiders to this crazy scene. “These people wouldn’t be here if they weren’t passionate about an awakening of sorts,” he tells me. “It’s odd, because a conspiracy convention shouldn’t even be possible, it’s like herding cats. Everyone looks like they’re from whichever decade they blew their mind in — they just stopped buying clothes at that point.”

The enthusiasm and belief in the impossible that the attendees of Conspiracy Con showed was exhilarating. Self-motivated learning and critical thinking bodes well for the heterogeneity of democracy. But their openness made the “expert” profiteering on stage all the more of a bummer.

Like that god damn Texe Marrs. “I’m not trying to make a profit here, at all. But I do have a video out called Rothschild’s Choice: Barack Obama and and the Hidden Cabal Behind the Plot to Murder America.” It was available in the lobby for $25, besides his bestselling book, The Synagogue of Satan. I vacated for beers soon after his “satanic Jew” comment, but the numbers who remained in their seats was more disturbing to me than the rants themselves.

Signing books in the vendor room, I caught Dr. Michael S. Coffman, PhD. Coffman’s was the first presentation I watched that day, an assemblage of charts and graphs that highlighted why human caused global warming is a scam created by the government in order to control the world’s energy usage.

Attired in a navy blazer with gold buttons, Coffman lacked the vitriol of Marrs — even if his message that carbon dioxide “is not a pollutant,” did strike me as a little troubling. “I basically am a scientist leading a multi million dollar research outfit,” Coffman told me when I asked him how he made a living.

I asked him if all the conspiracy theorists here believed what everyone else was saying. “There’s many different factions here,” he said quickly. “I talk to people that vehemently disagree with me. I sat in on Texe Marrs’ presentation, and I don’t believe in all the the things he had to say.” I hardly my suppress my deep sigh of relief before the clock ticks back on truth time. “But we all agree that global warming is man made. Even if maybe some of us didn’t know before the conference,” Coffman concluded.

My six impossible things had grown to hundreds. Reptiles from other planets created the human race. Jackie O killed Kennedy. There’s poison in the tap water, Illuminati everywhere, and Neil Armstrong left the moon because the aliens that were already living there freaked him out. Somehow, Kobe Bryant’s face found its way onto a speaker’s graphic, which also includes Barack Obama, the all seeing eye, and the White House. The run through the rabbit hole had left my open mind totally fried, the air conditioning was on too high, and I’d only seen four of the ten featured speakers. Time to get the hell out of the Marriott. And that’s the truth. 

Stage listings

David Talbot
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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

Die Walküre War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $15-360. Opens Thurs/10, 7pm. Runs Sun/13, 1pm; June 19, 22, 25, 30, 7pm. Through June 30. San Francisco Opera presents the second installment of Wagner’s Ring cycle, directed by Francesca Zambello.

La Fanciulla Del West War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $15-360. Opens Wed/9, 7:30pm. Runs Sat/12, Tues/15, June 18, July 2, 8pm; June 24, June 29, 7:30pm; June 27, 2pm. Through June 17. San Francisco Opera presents Puccini’s opera, with Deborah Voigt as Minnie.

Gutenberg! The Musical! Exit Stage Left, 156 Eddy, SF; www.beardsbeardsbeards.com. $20. Opens Thurs/10, 8pm. Runs Thurs-Sat, 8pm. Through June 26. A Theatre Company presents a musical about two writers who scheme to create a Broadway musical about Johann Gutenberg.

KML Goes Undercover Zeum Theater, 221 4th St, SF; www.killingmylobster.com. $10-20. Opens Thurs/10, 8pm. Runs Thurs-Fri, 8pm; Sat, 7pm, 10pm; Sun, 7pm. Killing My Lobster returns with a series of comedic vignette based on the theme of espionage.

BAY AREA

The Drawer Boy Marion E. Greene Black Box Theatre, 531 19th St, Oakl. www.brownpapertickets.com. $10. Opens Sat/12, 8pm. Thurs-Sat, 8pm; Sun, 2pm. TheatreFIRST presents Michael Healey’s comedy about two aging farmers with a family secret.

Speech & Debate Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $34-55. Previews Fri/11, Sat/12, June 16, 8 p.m.; Sun/13, 2pm. Opens June 17, 8 pm. Runs Wed-Sat, 8pm; Sun, 2pm, 7pm; Tues, 7pm. Aurora Theatre closes its 18th season with Stephen Karam’s comedy about three teen misfits connected to a small town sex scandal.


ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Thurs/10, July 8, 29, Aug 5, 12, 19, 26, 9pm. Through Aug 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

All My Sons Actors Theatre of San Francisco, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Wed-Sat, 8pm. Through June 26. Actors Theatre performs Arthur Miller’s masterwork.

Andy Warhol: Good For the Jews? Jewish Theatre, 470 Florida; 292-1233, www.tjt-sf.org. $15-45. Thurs-Sat, 8pm; Sun, 2 and 7pm. Through June 20. Renowned monologist Josh Kornbluth is ready to admit his niche is a narrow one: he talks about himself, and more than that, he talks about his relationship to his beloved late father, the larger-than-life old-guard communist of Kornbluth’s breakthrough Red Diaper Baby. So it will not be surprising that in his current (and still evolving) work, created with director David Dower, the performer-playwright’s attempt to "enter" Warhol’s controversial ten portraits of famous 20th-century Jews (neatly illuminated at the back of the stage) stirs up memories of his father, along with a close family friend — an erudite bachelor and closeted homosexual who impressed the boyhood Josh with bedtime stories culled from his dissertation. The scenes in which Kornbluth recreates these childhood memories are among the show’s most effective, although throughout the narrative Kornbluth, never more confident in his capacities, remains a knowing charmer. (Avila)

The Apotheosis of Pig Husbandry SF Playhouse, 533 Sutter; www.sfplayhouse.org. $20-30. Wed-Sat, 8pm. Through Sat/12. SF Playhouse presents the world premiere of William Bivins’ new play, set at the sleazy Lazy Eight Motel, as part of its stripped-down Sandbox Series.

Bone to Pick and Diadem Cutting Ball Theater, Exit on Taylor, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through June 20. Cutting Ball Theater closes its tenth season with a pair of plays by Eugenie Chan.

Boys Will Be Boys New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-40. Wed-Sat, 8pm; Sun, 2pm. Through June 26. What happens when you realize you have Gay Attention Deficit Disorder? This comedic musical aims to find out.

"Durang Me!" Next Stage, 1620 Gough; 1-800-838-3006, www.custommade.org. $10-28. Thurs-Sat, 8pm; Sun, 7pm (no show July 4). Through July 10. Custom Made performs two comedies by Christopher Durang: Sister Mary Ignatius Explains It All For You, and The Actor’s Nightmare.

Forever Never Comes Boxcar Playhouse, 505 Natoma; www.crowdedfire.org. $10-25. Wed-Sat, 8pm. Through June 26. Crowded Fire performs Enrique Urueta’s world premiere "psycho-Southern queer country dance tragedy."

Giant Bones Exit Theatre, 156 Eddy; (650) 728-8098, www.brownpapertickets.com. $15-50. Thurs-Sat, 8pm. Through June 19. Cobbled from the stories of Peter S. Beagle, author of The Last Unicorn, this frolic into the fantasy genre is a multi-corn misstep from writer-director Stuart Bousel. The only good thing about the convoluted plot—which, in addition to the requisite assortment of wizards, dragons, and whatnot has a play-within-a-play dimension featuring a band of caviling actors—is that it is so convoluted you can safely stop paying attention to it almost immediately. For the rest, you will have to endure two hefty acts’ worth of amateurish theatrics, whose look and tone suggest an Interstate mishap between giddy vanloads of Renaissance Fairegoers and Star Trek conventioneers. (Avila)

*Hot Greeks Hypnodrome Theatre, 575 Tenth St; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Thurs, 8pm; Sun, 7pm. Through June 27. On the principle that when you’ve got it you should really flaunt it, San Francisco’s Thrillpeddlers essay their second revival of a musical by the storied Cockettes. Hot Greeks, which premiered in midnight performances at the old Palace Theater in 1972, was the gleefully crazed cross-dressing troupe’s only other fully scripted musical besides, of course, Pearls Over Shanghai.

While not the Oresteia or anything, Hot Greeks is more than an excuse for a lot of louche, libidinous hilarity. Okay, not much more. But it is a knowing little romp — supported by some infectious songs courtesy of Martin Worman and Richard "Scrumbly" Koldewyn — wedding trashy high school romance with the trashy ancient Greece of Aristophanes and the Peloponnesian War. (Avila)

*How I Learned to Stop Worrying and Lost My Virginity SF Playhouse, 533 Sutter; www.sfplayhouse.org. $20. Sun, 7pm. Through June 27. A natural born charmer and a comedic actor with hard-won training behind her, Aileen Clark wins over an audience within about ten seconds. But her stories (co-scripted by John Caldon and ably directed by Claire Rice) turn out to be just as solid: all of them loving, irreverent, and unfailingly hilarious autobiographical accounts of coming of age across three cultures. Born to a Nicaraguan mother and a Scottish father and raised principally in Brazil, Managua and San Francisco, Clark’s perfectly pitched monologue comes liberally spiced with Spanish and Portuguese, sweetened by an affecting but never maudlin honesty, and stirred with a feisty humor clearly a lifetime in the making. As well paced and energetic as this Guerilla Rep and Ann Marie co-production is, it could probably be tightened further by shaving some 10 minutes off the 90-minute run time. Nonetheless, you are not likely to regret a minute of this frank and funny, wise and sassy visit to Aileen’s world. (Avila)

Krapp’s Last Tape Exit on Taylor, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through July 3. Cutting Ball Theater remounts its strong, recent production of Samuel Beckett’s hour-long solo play, featuring a full-fledged and satisfying turn by a hearty, slyly comic Paul Gerrior as the titular Krapp, reflecting on the fleeting sense of self recorded on reel-to-reel tapes over the course of a long life. Artistic director Rob Melrose approaches the material with supreme assurance and passionate but never stifling fidelity. David Sinaiko provides the recorded voice of the younger Krapp, expertly balancing a passion and unselfconscious pomposity that has Gerrior’s Krapp alternately bemused, euphoric, and wincing through one of Beckett’s most autobiographical and surprisingly affirming pieces. Melrose’s choice use of scenic elements, meanwhile, including the palpably solid 1950s-era tape machine, places Gerrior (suitably odd and natty in costumer Maggie Whitaker’s dapper vest, high-water trousers and white shoes) in a kind of communion with the reel and the real—an affecting and quietly unsettling relationship, pitched against an infinite blackness all around, that has Krapp at one point resting his head gently on the machine as he and the insubstantial voice of his younger self relive a moment of intimacy with a long-gone lover. (Avila)

Marga Gomez is Proud and Bothered New Conservatory Theater Center, 25 Van Ness; 861-8972, www.nctcsf.org. $18-40. Thurs-Sat, 8pm (no show June 25); Sun, 2pm. Through June 26. Gomez performs her GLAAD Media award-winning comedy.

*Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Fri-Sat, 8pm. Through June 26. Starting July 10, runs Sat, 8pm and Sun, 7pm. Through August 1. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

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

Sandy Hackett’s Rat Pack Show Marines’ Memorial Theater, 609 Sutter; 771-6900. $30-89. Fri-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 27. From somewhere before the Beatles and after Broadway "Beatlemania" comes this big band cigarettes-and-high-ball nightclub act, recreating the storied Vegas stage shenanigans of iconic actor-crooners Frank Sinatra (David DeCosta), Dean Martin (Tony Basile), and Sammy Davis Jr. (Doug Starks), and sidekick comedian Joey Bishop (Sandy Hackett). The band is all-pro and the songs sound great — DeCosta’s singing as Sinatra is uncanny, but all do very presentable renditions of signature songs and standards. Meanwhile, a lot of mincing about the stage and the drink cart meets with more mixed success, and I don’t just mean scotch and soda. The Rat Pack is pre-PC, of course, but the off-color humor, while no doubt historically sound, can be dully moronic. (Avila)

"Something C.O.O.L.: The Summer Cabaret Festival" Eureka Theatre, 215 Jackson; www.brownpapertickets.com. Free-$10. Mon-Tues, 7:30pm; Wed, 8pm. Through June 27. Cabaret singer Carly Ozard presents six diverse showcases (Mon-Tues nights) and hosts open mics (Wed nights) with professional performers.

Speed the Plow Royce Gallery, 2910 Mariposa; 1-866-811-4111, www.speedtheplowsf.com. $28. Thurs-Sat, 8pm. Through June 19. Expression Productions performs David Mamet’s black comedy.

The New Century New Conservatory Theatre Center, 25 Van Ness, SF; 861-8972, www.nctcsf.org. $22-40. Wed-Sat, 8pm; Sun/13, June 20, and July 11, 2pm. Through July 11. New Conservatory Theatre Center performs Paul Rudnick’s bill of short comedies.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Fri/11, June 18, 9pm; June 20, 7pm; June 12, 8pm. Through June 20. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

"Fireworks Festival" Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $25-35. Through July 3, showtimes vary. This performance festival includes work by John Leguizamo, David Sedaris (whose show is already sold out), Dan Hoyle, and Wes "Scoop" Nisker.

God’s Ear Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $15-28. Wed, 7pm; Thurs-Sat, 8pm; and Sun, 5pm. Through June 20. Against a frozen, deceptively empty-looking landscape of perpetual winter, an anguished married couple stagnates in grief over the accidental death of their young son. Estranged by the sorrow and guilt they feel, they spend most of the time apart but not alone: Mel (Beth Wilmurt) stays at home, where she loses herself in obsessive domestic projects while fielding questions from their surviving daughter — the equally traumatized but far more resilient Lanie (Nika Ezell Pappas) — with assists from the Tooth Fairy (Melinda Meeng) and G.I. Joe (Keith Pinto); meanwhile, Ted (Ryan O’Donnell) wanders in his business suit through a string of airports and airport bars commiserating with other lost souls (Joe Estlack and Zehra Berkman). New York-based playwright Jenny Schwartz’s whimsical meditation on the process of grieving is something like The Rabbit Hole as written by Ionesco, fueled by dialogue that makes an overly showy and eventually tedious hysterical poetry of the banalities, clichés, and platitudes spoken by her stricken characters as a kind of prefab linguistic armor — everything and anything to avoid saying something. Director-choreographer Erika Chong Shuch stages the action in this Shotgun Players production with warm energy and imagination, however — and a handful of tuneful, clever songs from composer Daveen Digiacomo — compensating somewhat for the motionless plot. Moreover, Shuch undercuts the play’s maudlin tendencies by moving her able actors and even the stage properties around in swift, comical, aptly dreamlike fashion, as the stunned couple continue their largely separate meanderings, meaningfully spouting "meaningless" lines about bucking up, or settling in, or riding off, etc. The problem is there is not much beneath this frozen surface of clichés beyond more cliché. (Avila)

*In the Wake Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $13.50-71. Tues and Thurs-Sat, 8pm (also Thurs and Sat, 2pm; no matinees Sat/12, or June 17; no show June 25); Wed and Sun, 7pm (also Sun, 2pm). Through June 27.

Brilliantly weaving the political and the personal, New York playwright Lisa Kron takes on the myth and mayhem of American exceptionalism through the prism of a compelling lefty smarty-pants named Ellen (Heidi Schreck) and her "alternative" family circle, as it slowly unravels during the first decade of the 21st century. From her modest Manhattan perch — shared with adoring, wise-cracking longtime boyfriend Danny (Carson Elrod) — Ellen rails against the ineptitude of the Democrats in the face of the rising Right and its season of havoc. But she’s already told the audience she has a problem with "blind spots," much like the country. Projections of headlines and sound bites, intermittently splayed across the fortified proscenium arch, locate the action at precise moments in the dreary political timeline of the last decade, beginning with the 2000 election coup that has put a damper on Thanksgiving festivities (despite inclusion of Pilgrim smocks). Her sister (Andrea Frankle) and sister’s wife (Danielle Skraastad) are there too, along with Ellen’s older friend Judy (Deidre O’Connell), a cranky, deceptively oblivious relief worker just back from a refugee camp in Africa. As time goes by, and Ellen turns to an open relationship with a woman filmmaker (Emily Donahoe), our protagonist’s bedrock assumptions about the natural order of things get sorely tested. Leigh Silverman directs a top-notch cast in a remarkably engaging mix of political dialogue and personal entanglements, written for the most part with stirring intelligence and incisive humor. If the play loses focus and momentum by the second act — despite a wonderfully charged scene between Ellen and Judy that is the play’s most memorable — its wit, real anger and constructive irreverence still make it too good to miss. (Avila)

John Steinbeck’s The Pastures of Heaven Bruns Amphitheater, 100 California Shakespeare Theater Wy, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Tues-Thurs, 7:30pm; Fri-Sat, 8pm (also June 26, 2pm); Sun, 4pm. Through June 27. Cal Shakes kicks off its season with Octavio Solis’ world-premiere adaptation of John Steinbeck’s 1932 novella.

Loveland The Marsh Berkeley, 2120 Allston, Berk; (800) 838-3006, www.themarsh.org. $25-50. Sat/12, June 18, 25, July 2, 9, 7pm; June 25, July 3, 5pm; Sun/13, June 20, July 11, 2pm. Ann Randolph’s comic solo show about an irreverent woman’s trip back to her childhood home in Ohio.

1001 Berkeley City Club, 2315 Durant, Berk; (510) 488-4116, www.justtheater.org. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through June 20. Just Theater performs Jason Groete’s Arabian Nights-inspired tale of post-9/11 life.

Opus Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $27-62. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through June 27. TheatreWorks performs Michael Hollinger’s drama, set in the world of chamber music.

Twelfth Night La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through June 12. You’ve got to hand it to Impact Theatre: they make reimagining Shakespeare look so darnned easy. To set a crass comedy about class, obsession, and mistaken identity at "Illyria Studios" in the heart of tawdry Tinseltown seems like such an obvious take, you wonder why it took someone so long to get around to doing it. True, the execution is not as vivacious as last year’s A Midsummer Night’s Dream, but overall, the enthusiastic cast and timeless humor win the night. (Gluckstern)

Woody Guthrie’s American Song Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-54. Tues, Thurs-Sat, 8pm (also Thurs/10, 1pm; June 20, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Marin Theatre Company presents Peter Glazer’s musical based on the life and times of the legendary songwriter.

The World’s Funniest Bubble Show Marsh Berkeley, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $10-50. Sun, 11am. Through June 27. The Amazing Bubble Man, a.k.a. Louis Pearl, performs his family-friendly show.

PERFORMANCE/DANCE

"Bakla Show II" Thick House, 1695 18th St; www.brownpapertickets.com. Thurs-Sat, 8pm. Through Sat/12. $15-20. Bindlestiff Studio presents this theatrical exploration of queer Filipino identities, inspired by myths and folktales.

"Bay Area Festival of Flamenco Arts and Traditions" Various venues; www.bayareaflamencofestival.com. See website for dates and prices. Performers include Manuela Carrasco, Suspira Flamenco, and Manuel Agutejas.

"Festival of New Voices II: The Next Wave of Solo Performance" Marsh San Francisco, 1062 Valencia; 1-800-838-3006, www.themarsh.org. Wed-Thurs, 7:30pm; Fri, 8pm; Sat, 5, 5:30, 8:30, and 9pm; Sun, 3pm. Sun/13. $7.50-50. Six new full-length works and 11 shorter works make up this solo-performance fest.

"Garage All-Stars 2" The Garage, 975 Howard; www.brownpapertickets.com. Sun/13-Mon/14, 8pm. $10-20. AIRspace presents an evening of queer women choreographers.

"Katya…A One Night Stand" Eureka Theatre, 215 Jackson; www.brownpapertickets.com. Sun/13, 7pm. $17. San Francisco’s red-headed Countess presents her latest cabaret show.

"Live, Love and Rituals" Dance Mission Theater, 3316 24th St; www.dancecontinuumsf.org. Fri/11-Sun/13, 8pm. $20. Dance Continuum SF presents its annual season concert.

"San Francisco Ethnic Dance Festival" Palace of Fine Arts, 3301 Lyon; 474-3914, www.worldartswest.org. Sat-Sun, 2pm (also Sat, 8pm). Through June 27. $22-44. Nearly 600 Bay Area performers representing 20 cultures participate in this 32nd annual festival.

"Ungrateful Daughter: One Black Girl’s Story of Being Adopted into a White Family That Aren’t Celebrities" StageWerx, 533 Sutter; www.stagewerx.org. Thurs-Sat, 8pm. Through Sat/12. $20-25. Lisa Marie Rollins performs her autobiographical show.

Harris declares victory in AG Democratic primary

Mary Magee
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San Francisco District Attorney Kamala Harris declared victory in the Attorney General Democratic primary in an energized  speech around 11 p.m. at Mimi Silbert’s Delancey Street Foundation at 600 Embarcadero.

Harris’ speech came soon after the room buzzed with the news that Santa Clara voters had approved a $937 million stadium deal for the 49ers at a site near Great America, and immediately on the heels a rousing introduction by State Sen. Mark Leno.

“With her kind of leadership, we’ll be able to reinvest dollars in the best crime prevention programs,” Leno said.

Harris’s campaign raised $3 million in the Democratic primary, and Leno indicated that supporters would need to “triple or quadruple that in the general election.”

Leno promoted medical parole and praised Harris’ Back on Track program for reducing recidivism rates for young, first time offenders.

“With your help we will elect the first woman to be Attorney General for the state of California,” Leno promised.

 Then Harris took the podium, dazzling in a chic black outfit and pearls.

Acknowledging the work and efforts of her supporters, Harris broke into a big smile.

“I do humbly accept the Democratic nomination for Attorney General of California,” she  said.

She praised good ideas that her fellow Democrats raised during the primary around fighting gang crime, corporate greed and fraud, protecting kids and the environment.

‘It’s been an honor to work with you,” Harris said, promising to call her opponents, “to ask you to help us put those great ideas to work.”

Then she talked about getting “tough and smart on crime” by addressing gang crime, but also focusing on early intervention and truancy.

She talked about cracking down on predatory lenders, supporting health care reform, and protecting California’s environment.

“When the President passed healthcare reform, it was the right thing to do,” Harris said. “People deserve to have medical care when they need it. The Attorney General has got to stand up and support that. It must be the work of the next Attorney General to ensure that the disaster and tragedy that happened in the Gulf of Mexico never happens in California,” she said, warning of attacks on AB 32, which set California’s 2020 greenhouse gas emissions reduction goal into law in 2006. “

And she described her campaign touching down in Modesto, Bakersfield, Oakland and Palo Alto and stretching from “grassroots to net roots,” ,

“We may seemingly be different because of our zip codes, perhaps, but we are all the same in terms of what we want for children.. elders,” Harris said, promising, “to protect poor people, the vulnerable and people who are the targets of bias.”

“We have a lot of work to do before November…but we are clear of purpose, clear of mind,” Harris said. “We believe in hard work, but we also believe that if can be fun work. Let’s celebrate tonight!”

And then she was off the stage, shaking hands with fans .Asked about the possibility of becoming the first female California Attorney General, Harris flashed that dazzling smile.“I’m sure a man could do the job just as well,” she said. “Let’s leave it at that for now.”

 

 

Our Weekly Picks: June 9-15, 2010

Jesse Hawthorne Ficks
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WEDNESDAY 9

EVENT

Jim Woodring

Seattle-based cartoonist Jim Woodring just released the latest in his two-decade run of comics featuring Frank, a character somewhat resembling a 1930s animation-style cat. But Frank is probably the most realistic entity on display in Weathercraft, a wordless graphic novel that features a constant barrage of mytho-psychedelic abominations ranging from what Woodring calls a “two-mouthed fear cow” to an amorphous giant ear-creature taking notes with its paw. His drawing style is stunningly detailed, and he’ll be “showing” his work at two Bay Area bookstores — a fitting approach since he can hardly present a reading of his complex but text-less explorations. (Sam Stander)

7:30 p.m., free

Pegasus Books Downtown

2349 Shattuck, Berk.

(510) 649-1320

www.pegasusbookstore.com

Also Thurs/10, 7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com

MUSIC

Ferocious Few

The Ferocious Few is one of the most exciting rock bands in the Bay Area, and still relatively obscure. Locally renowned for its ability to command a street corner as if it’s Wembley Stadium, the Few traffics in the kind of hard-edged, twangy blues-rock that never goes out of style. Having just returned from a West Coast tour in support of its debut LP Juices, the band is poised to explode into national prominence (at least within the indie circuit) any second now. This show could be the last chance you’ll ever get to say “I saw them before they got huge.” (Zach Ritter)

With the Generals and Eugene and the 1914

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

THURSDAY 10

STAGE

Gutenberg! The Musical!

In the grand tradition of theater about theater, Beards Beards Beards: A Theatre Company is producing Scott Brown and Anthony King’s Gutenberg! The Musical! But don’t expect a reliable primer on Johann Gutenberg and his fabulous printing press. Instead, Gutenberg! traces two Broadway hopefuls, Doug Simon and Bud Davenport, who are pitching their rather absurd musical concept to any producers who might be listening. If their YouTube trailer is to be believed, the production will feature deliberately groan-worthy choreography and several hats. And possibly Dragonball-inspired posing. Beards Beards Beards was cofounded by SF State grad Amanda Dolan, who is directing, and Joey Price, who costars as Bud. (Stander)

8 p.m., $20

Exit Stage Left

156 Eddy, SF

(949) 742-2365

www.beardsbeardsbeards.com

MUSIC

Stiff Little Fingers

Northern Irish punk outfit Stiff Little Fingers was never as critically acclaimed or commercially successful as its late-1970s contemporaries The Clash and the Sex Pistols, but it damn well should’ve been. In a just world, the opening riff from “Alternative Ulster” alone would be enough to secure an eternal spot in the proto-punk pantheon. The Fingers made its bones amid the political disquiet of post-troubles Belfast, wielding barbed lyrics and razor-sharp guitars against the grim partisans on both sides of Ireland’s ethnic conflict. The band broke up in 1982, but five years later it returned, like Arthur out of Avalon, to resume battle against the world’s injustices. Slim’s, with its cramped-basement aesthetic and battered barstools, is the perfect venue for these guys — bring a fist to pump, a foot to stomp, and all the righteous outrage you can muster. (Ritter)

With Culann’s Hounds

9 p.m., $20

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

STAGE

Die Walküre

Following its production of Das Rheingold in 2008, San Francisco Opera is offering Die Walkre, the second installment in Richard Wagner’s notorious operatic tetralogy. Baritone Mark Delavan continues from Das Rheingold as Wotan, head of the Norse pantheon of gods (a role he will reprise in SF Opera’s production of the entire Der Ring des Nibelungen cycle next summer). Whether you’re an Apocalypse Now fan in for “Ride of the Valkyries,” an epic fantasy lover seeking squabbling gods, or just someone who likes a bit of weird incest with your German musical theater, SF Opera’s take on this classic work of Romantic intensity promises to be … intense. Francesca Zambello directs and Donald Runnicles conducts. (Stander)

Also Sun/13, June 19, 22, 25, and 30

7 p.m., $20–$325

War Memorial Opera House

301 Van Ness, SF

(415) 864-3330

www.sfopera.com

FRIDAY 11

FILM

“Midnites for Maniacs: She-Roes”

Smack-dab in the middle of the Castro’s inexplicably long Sex and the City 2 booking comes “Midnites for Maniacs: She-Roes,” a trio of films that celebrate women in less shrill, less shoe-obsessed ways. First up is Penny Marshall’s 1992 ode to World War II-era women’s baseball, A League of Their Own, featuring one of Madonna’s least cringe-worthy acting turns. Several film stars will be in attendance — most notably Lori “Tank Girl” Petty. Then, polarizing feminist/femi-not horror film Jennifer’s Body (2009) begs you to give it a second chance, with the added bonus of Oscar-winning, slang-slinging screenwriter Diablo Cody in person. Finally, invincible Midnites for Maniacs fave The Legend of Billie Jean (1985) returns. Holding out for a She-Ro? Look no further. (Cheryl Eddy)

A League of Their Own, 6:30 p.m., $13 (for one or all three films)

Jennifer’s Body, 9:30 p.m.

The Legend of Billie Jean, 11:59 p.m.

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

VISUAL ART

“Pony Up, Bot”

Do you like ponies? Robots? Trippy whimsy? If you answered “yes” to any of the above questions, then I suggest you check out “Pony up, Bot,” an exhibition of new work by artists Adrianna Bamber and Eric Nichols. (If you answered no to all of them, then yours must be a gray existence indeed.) Bamber’s mind-warping-yet-adorable watercolors are what you get when you spill Ralph Steadman all over your Dr. Seuss. And Nichols? According to the Design Guild, his pieces “showcas(e) a postapocalyptic existence where PartyBot interacts with endless nights while remaining the sole resistance to annoying evil scum.” Now you can be forgiven for not being able to wrap your head around all that since it is, admittedly, insane. But admit it — “PartyBot”? Whoever he is, you know he’s up to something brain-meltingly awesome. This show is your opportunity to feel like a kid again — if you were the kind of kid who did tons of mescaline. (Ritter)

Through July 1

7 p.m. (opening), free

Design Guild San Francisco

427 Bryant, SF

(415) 462-6303

www.designguildsf.com

DANCE

San Francisco Moving Men

In the professional dance world, the male dancer is a rare and coveted entity. Thus a contemporary dance company consisting solely of men, like Joe Landini’s San Francisco Moving Men, should be treated with awe and appreciation. If graceful, athletic boys aren’t enough to win your admiration, Landini’s provocative choreography certainly will. In Dancing @ The Garage, part of the National Queer Arts Festival, the Men run up walls, bounce off artificial turf, duck flying tennis balls, and disco on a three-by-five shag rug. The show also features Christine Cali’s dance company Cali & Co. (Katie Gaydos)

Through June 26

Fri.–Sat., 8 p.m.; Sun., 2 p.m., $20

Garage

975 Howard, SF

(415) 518-1517

www.sfmovingmen.org

EVENT

thread | bare

Why shop at the boring ol’ mall when you can support local designers — and see the clothes in a runway show populated by local performers, including the fabulous Fauxnique? Plus, not for nothing is “thread | bare” dubbed “a striptease fashion auction,” since you can bid on, and get your mitts on, outfits as soon as they come down the catwalk. If you can’t make tonight’s festivities, which also feature a performance by all-male burlesque troupe SF Boylesque, stop by the Lab to peruse the goods during the weekend-long trunk show. Designs include the “neo-couture” of Miss Velvet Cream, graphic tees by Turk and Taylor, dresses by Invisible Hero Clothing, and more, plus several artists who work with repurposed materials, including Kittinhawk, Mittenmaker, and Ghetto Goldilocks. Recycling is fierce! (Eddy)

7–10 p.m., $10–$20

Trunk show Sat/12-Sun/13, noon-6 p.m., free

The Lab

2948 16th St., SF

(415) 864-8855, www.thelab.org

SATURDAY 12

FILM

Burning Man Film Festival

Want to visit the playa without all the dust? Whether you’re a seasoned burner or a wide-eyed newbie, the Burning Man Film Festival is sure to offer a thought-provoking perspective on Black Rock City. In honor of Burning Man’s 25th anniversary, the film festival traces the past and present of BM and examines how various aspects of the event have changed over time. Saturday’s four shows center around BM footage shot from 1991 to 2003, while Sunday’s three shows feature films shot from 2002-10. (Gaydos)

Sat-Sun, 2 p.m., $10

Red Vic Movie House

1727 Haight, SF

www.burningman-filmfest.com

SUNDAY 13

MUSIC

Real Estate

Though the real estate market’s down, you can go see the band Real Estate for a measly cost. Martin Courtney and his cohorts offer plenty in the way of sun-soaked pop hooks and dreamy lyricism to match our cold SF summer. With a self-titled debut that garnered critical raves in 2009, Real Estate is sort of like the Beach Boys on downers. Opening for the band is the SF-based Young Prisms, your standard roughly hewn, unpolished indie band. But like the night’s other act, All Saints Day, it’s harmless, catchy fun. Real Estate, on the other hand, is fun with brains. No escrow required. (Ryan Lattanzio)

8 p.m., $14

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

MONDAY 14

MUSIC

Jenny Owen Youngs

Female adult alternative is a frequently snubbed genre, probably due to its proximity to the Lilith Fair. But these two shouldn’t necessarily be yoked, especially for East Coast darling Jenny Owen Youngs. She wears humility on the sleeves of her boyish duds, revealing she’s neither starlet nor simpleton. Like Youngs herself, the songs are blunt and oddly sexy. And she’s far more than just a girl and her guitar, especially since she spiked the placid drawl of her first EP with a cover of Nelly’s “Hot in Herre.” That song was probably written for a dive as small as Bottom of the Hill, so it feels right that Youngs is playing here again. (Lattanzio)

With April Smith and the Great Picture Show, William Tell

8 p.m., $12

Bottom of the Hill

1233 17th St. SF

(415) 621-4455

www.bottomofthehill.com

TUESDAY 15

EVENT

Bret Easton Ellis

American literary psycho Bret Easton Ellis reprises his nihilist vision of L.A. and the wilting of once sprightly youths, along with their brain-dulling drug use, in Imperial Bedrooms. The sequel to 1985’s cult classic Less Than Zero, a novel you should read in that first winter break of freshman year, this new book revisits the same milieu of users and losers. But now they’re all middle-aged and having much less sex. A notorious asshole among the contemporary literati, Ellis continues to probe the surface of social mores — with a hot, poison-dipped poker. It’s smart of his press to host this event (a conversation with book critic Tom Barbash) on the book’s release date. If you read it before, you might not be inclined to show up. (Lattanzio)

6 p.m., $20

Commonwealth Club

595 Market, SF

(415) 597-6700

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

 

Shock it to ya

Jesse Hawthorne Ficks
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Shock it to ya

El boogie, my love of loves

7 & 11 belong together

Please set free your G

Love & Bravery on forever — Shock-G

After our recent interview, Shock-G — frontman and producer of now-disbanded rap legends Digital Underground, discoverer of 2Pac, and alter ego of the Groucho-nosed Humpty Hump — e-mails the poem printed above. “I need you to put this in,” he writes. “It’s my thank you to fans for letting me move on after DU.” Plus, he adds mysteriously, “it has many meanings.”

It’s a characteristically offbeat request. Eight years on from meeting Shock, it’s still hard to anticipate his moves. The occasion of our phone conversation is a new disc of Digital Underground rarities, The Greenlight EP (Jake Records). The 2008 Jake Records release Cuz a DU Party Don’t Stop — a similarly miscellaneous collection misleadingly marketed as “the final DU studio album” — lacked the coherence of classics like Sex Packets (Tommy Boy, 1989) and was panned by critics, so Shock wants to make the status of Greenlight clear.

“I don’t want to give the public the idea like, ‘Yo, we just made a slammin’ new album,'” he says. “DU’s not my purpose right now. It’s more like, ‘I’m cleaning out the closet, look what we discovered.'”

A 7-song EP, Greenlight benefits from its tighter focus. DU completists may recognize obscure gems like “Used 2B a Sperm” — a sci-fi story of Shock as a sperm cell journeying to the egg. Other tracks like “Purplebrainhurrycainhabit,” produced by a then-unknown David Banner, emerge for the first time. 2Pac appears on a bonus 1991 live version of “Same Song.”

But Shock would rather dwell in the present, which is among the reasons he finally disbanded the group. Much of his conversation concerns his whole-food diet, a difficult pursuit when spending 200 nights a year on tour.

“It requires more thought than most people care to put into it,” he says. “What you eat is so important to your future health and clarity of mind. I’m actually in better shape than I was in my 20s and 30s.”

This lifestyle change dovetails with his other reason for ending DU: the increasingly heavy drug use. Motivated by his health consciousness, Shock’s new sobriety is also an artistic decision. In the 1990s, DU performances were theatrical shows, Shock running the group like a band, in a way that gradually lapsed in the new millennium

Yet live performances led to his latest venture, the Shock-G3 Trio. A collaboration with DU’s original DJ, Fuze, on turntables, and early member PeeWee on guitar, the Trio unites what Shock calls DU’s “core musicians,” responsible for most of 2Pac’s first LP, 2Pacalypse Now (Priority, 1991). The format allows Shock to stretch out on keys, as the group jams on the DU/2Pac repertoire, as well as funk, jazz, and whatever else Shock gets in his head.

“The thing about working sober is the small eye signals on stage and PeeWee and Fuze catch them,” Shock enthuses. “Like the audience wants us to go a few bars longer. Or if they’re not feeling it, backing out of those songs. It keeps the shows tight.”

Whirl trade center

Jesse Hawthorne Ficks
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Whirl trade center

arts@sfbg.com

VISUAL ART In 2005, then-struggling Atlanta artist Fahamu Pecou presented “Arts, Beats and Lyrics” at Atlanta’s High Museum of Art. The oversize paintings were blinged-out-mack-daddy-baller self-portraits showing the artist on the covers of well-known and respected magazines. Within two years, his work had been reviewed and featured in numerous publications, including Art In America, Harper’s, NY Arts, Mass Appeal, and The Fader. The sheer voodoo of this act makes Pecou a formidable creative force, and coupled with his knack for spectacle, his opening at Shooting Gallery this month is rumored to be the most vainglorious of the season. I caught up with him recently on the phone.

SFBG I’m amazed by your earlier work because it seems to me that you used sympathetic magic to approach fame. You placed yourself within the context of celebrity and became a celebrity. Was that your original intention?

Fahamu Pecou It’s funny. It was kind of like the law of attraction. You can write your own narrative by believing in the messages you put out. I started doing this marketing campaign because I was frustrated with the way my career was going at the time. I really just wanted to get my name out there. Just my name. I wanted to make sure that when my name came across the desk of curator or gallery owner, they’d say, “I’ve seen this name before, maybe I should learn more about this person.” It was really sort of a joke. As it started to grow and people began to talk about it, it took on a life of its own.

SFBG Did you anticipate that it would go beyond Atlanta and become international?

FP No. It was just a clever, catchy inside joke among me and my friends. The minute I started putting out stickers and posters that said “Fahamu Pecou Is The Shit,” it was a hit. People were jumping on it. It was good that it happened that way because it allowed me to grow with it. Whether I can directly relate it to a specific style, I’ll leave that for people to write about.

SFBG Why did you call your latest show “Whirl Trade”?

FP The theme came from the idea of cultural exchanges between Africans on the continent of Africa and the rest of the African diaspora around the world, and how a lot can be lost and misconstrued when taken out of the original cultural context. We look back and forth at each other, and we do what we think is our best impression of “the other.” It comes out a twisted up and strange simulation.

I was in South Africa for residency on the Eastern Cape and spent some time in Capetown. I had a friend from Detroit with me, and a few friends from Capetown. We were coming out a restaurant and this homeless guy heard me and my homeboy talking. He said, “You guys are from America? You guys are the real niggas.”

We were both like, “Naw man, we aren’t niggers, we’re brothers.” And he said, “No. No, you guys are niggas, and I want to be a nigga too.” He was going on and on about how being a nigga was a good thing, not like these guys who come in from Nigeria and other places thinking they’re real niggas. We were the real deal. And here we are, trying to explain to him how being a nigga is not a good thing. Nobody wants to be a nigga. My Capetown friends were telling me that being a nigga is not a bad thing anymore. I started wondering, where did this come from? That’s what “Whirl Trade” is about: the cultural export of hip-hop culture and the impact it has on the rest of the world. We have this great stage, this platform, where we have the ear of the world. What are we saying? A lot of what’s being said and heard is a lot of nothing, especially when taken out of cultural context.

The response has been great and has sparked a lot of conversation around how we view ourselves and each other. What kind of impression we are making of ourselves to other cultures and, deeper still, what kind of impression do I have about African culture through this same context and my own experience? I couldn’t ask one question without asking the other. I try to be cautious about this in my work. I’m not trying to accuse or ridicule any group so much as begin to ask questions and start a dialogue between groups who think they know each other but don’t.

SFBG You do performances at your gallery shows. Costumes and everything. How does fashion play into your work?

FP In the beginning, it was more about capturing fashion that reflected a whole lifestyle. I patterned it after 50 Cent, who was the catalyst for my whole campaign. I was watching how he was packaged and wondering why a visual artist was never marketed that way. My whole fashion was based on that and Puff Daddy. Then I added my own touches with ascots and blazers and stuff like that.

With “Whirl Trade,” I’m looking at contemporary African fashion. Right now, African street fashion is a mashup of textiles and patterns, colors that almost seem disparate but come together beautifully. That and photographs of Malik Sadibe inspired me to bring in many different patterns and contrasts. It wasn’t that I was trying to copy a style as much as capture the cultural exchange between what Africans think African Americans dress like, and what African Americans think Africans dress like.

SFBG Though you reference hip-hop, I don’t really see you as a hip-hop artist. I sense a cynicism in your approach. Are you disillusioned with hip-hop?

FP I just found myself not so connected to what was being presented in early 2000s. A lot of media-made hip-hop stars came out. It stopped being so much about talent as it was marketing. It became about who was willing to come out and say they sold these drugs or did this killing. At one point that was legitimate, rappers came from the street, but then came these media guys who just said that shit to be famous, just for credibility and that’s what started hurting the integrity of the form.

It stopped being how fresh, how clever or how innovative an artist could be. It became how violent, how misogynistic, how violent a person could be. Extremes of everything — people ended being blaxploitation characters.

I’m talking about that in my next work, called “Hard To Death” — about the evolution of black manhood, and how there’s a lack of visual representation of that evolution beyond a certain point. Most of the images we see are reflections of hip-hop culture, which captures the black male between the ages of 18-25, just when many young men are working things out. It has become one of the only representations of black masculinity, which is very frustrating. My next piece is devoted to accurately portraying the evolution of black men. I’m seeing more established artists like Common and Jay-Z who have grown beyond that dangerous time.

Since my son was born, I’ve been really driven to addressing these issues around black masculinity and black manhood. I feel a sense of responsibility there because my work crosses the lines between popular culture and hip-hop culture, and I see that there’s a lack of responsible voices. My voice can work as a catalyst to start a conversation. I started a blog (passageofright.wordpress.com) to begin talking about creating systems for some kinds of rites of passage for young black boys. I didn’t grow up with a father or a whole lot of role models, so most of what I’ve learned about being a man is from the school of hard knocks. I want to prevent the continuation of that kind of awakening.

WHIRL TRADE: NEW WORKS BY FAHAMU PECOU

Reception Sat/12, 7–11 p.m.;

Through July 3

Shooting Gallery

839 Larkin, SF

(415) 931-1500

www.shootinggallerysf.com

www.fahamupecouart.com

Mandela Food Cooperative gets the Redford nod

Andrew Lam
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The following is a sentence you wouldn’t be reading a year ago. Yesterday, I went grocery shopping in West Oakland. But, thanks to James Berk, and his fellow worker-owners at the Mandela Foods Cooperative, I did – and way more importantly, residents in an area that went without a source of produce and other healthy foods for years now have a place to buy the food they’ll need to make dinner. Berk’s being honored for his work by the Robert Redford Center’s “The Art of Activism” award (Wed/9), another fist pump from Bob for the Bay’s finest community leaders.

“Having been a resident of West Oakland,” the 19 year old Berk told me in a phone interview “I didn’t have a car. [If you’re] not going to go to Pack N Save, your options were Hungry Man dinners and Hot Pockets.” Berk was sick of it. He took his first steps towards addressing the problems that face Oakland’s low income neighborhoods in 2007, when the executive director of Mandela Marketplace (the food co-op’s umbrella organization), Dana Harvey, came to his high school looking for help with a survey that would address the area’s issues and needs.

Berk jumped on the project, and the survey confirmed what was already obvious to those that responded; corner stores weren’t cutting it when it came to the nutritional needs of families. Thus began a lengthy process to do something about it, a process that Berk was an integral part of. Two years later, on June 6th, 2009, Mandela Food Cooperative opened the doors to its 2,500 square foot storefront in the Mandela Marketplace complex, a colorful stand of buildings across the street from the West Oakland BART stop.

On my trip to see what the Cooperative was all about (and yes, buy groceries), I realized that the store’s aim was to improve more than just the contents of West Oakland’s refrigerators. Small placards near the stacks of fresh (a mix between organic and conventionally grown) veggies and fruits signal one of the place’s least heralded aspects; its purchasing practices don’t just support low income consumers, but producers as well.

Carrots where there once was none in West Oakland

Each card has a photo of one of the co-op’s produce suppliers, and a short note on how they run their farm. “Mandela Marketplace buys direct from small minority farmers, who in a lot of cases wouldn’t be able to provide enough of a harvest to sell to the bigger supermarkets,” Berk tells me. Black and Latino faces beam out from the pictures on the walls, proof that the co-op is working on the larger issue of an inequitable food system that provides no easy breaks for the little guys on the production end, either.

“There’s been a lot of positive feedback,” Berk says. “We have customers we see on a day to day basis, but we can still do more.” With zero storage space, there was initially problems keeping food on the shelves – demand can be difficult to predict, which has been part of the learning process for the store’s worker-owners.

But logistical issues haven’t slowed down the staff of Mandela Food Cooperative, which also runs pop-up markets at senior centers, where limited mobility would otherwise curtail residents’ ability to do their own shopping. Every Saturday in the store, a nutritionist holds an open health and disease prevention class, occasionally cooking with ingredients like quinoa to highlight their role in a healthy diet. The families that come through while I’m in the store can choose among two aisles of bulk foods, locally produced cheeses, soy products, and items from the butcher counter. Berk sees the neighborhood’s enthusiastic reaction to the market as proof it has the power to improve the way people eat.

Nowadays, Berk works a couple days a week at the co-op, does youth empowerment work with WYSE (West Oakland Youth Standing Empowered), and works on Mandela Marketplace’s program that focuses on getting nutritious food and positive businesses practices into convenience stores, the Healthy Neighborhood Stores Alliance. He’s a community leader who tends to minimize his own role in the change he’s helped to create and focus on what it means that his groups have found success.

Berk will share the stage at the Redford Center awards ceremony with co-honorees, actress Rosario Dawson (who in addition to being smokin’ hot, co-founded Vote Latino, and is active in a variety of social causes), and Martha Ryan, whose San Francisco Homeless Prenatal Program has provides medical care and support services to over 3,000 unhoused families a year. Berk’s hopeful that the recognition he and his program are receiving spreads the taste for change to others who are in the same place he was back in 2007.

“Residents who have no prior business experience were able to make this happen,” Berk says. “If we can do it, than others can too. In areas like West Oakland throughout the country, people don’t always have the power to get a loan from the bank. But they have the power to make something like this happen.”

“The Art of Activism”

Wed/9 7-9 p.m., $20

Sundance Kabuki Cinemas

1881 Post, SF

(510) 809-0790

www.redfordcenter.org

More Rara Tou Limen than tutu: Ethnic Dance Fest 2010

Andrew Lam
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“It’s a great thing for us to be in the festival this year,” says Portsha Jefferson, artistic director of Ethnic Dance Festival first timer, the Rara Tou Limen Haitian dance company. “There’s so many misconceptions about Haiti and voudou — this gives the world a better idea of what makes the Haitian people so strong.” Her company is not the only one that sees the festival as a unique way to shout out to the world. Now in its 32nd year, the Ethnic Dance Festival (begins Sat/5) is cited as one of the reasons that our international dance scene is considered to be among the strongest in the country.

Rara Tou Limen was born on the streets in the Mission, the sole Haitian dancers in the neighborhood’s ecstatic Carnaval festivities. Jefferson, herself a Haitian-American, was compelled to start a group that  worked against negative stereotypes of Haiti, and captured “the beauty of the culture, the people, the music, the food,” the long time dancer says. She was also motivated by an urge to share what her people have achieved. “Knowing [the Haitians’] history, and what they’ve done in terms of revolution and fighting for their rights; the fact that they’re so strong and resilient, that really speaks to me. I think all of those characteristics of the people come through their music, and through the dance. It’s hard not to get caught in it.”

The success of Haitian dance in the Bay echoes a larger trend of SF dancers finding connection with ancestral artistic forms, and even with cultures apart from their own. Rara Tou Limen’s musical director, master Haitian drummer Daniel Brevil, was happy to see the resonance his homeland traditions had created when he arrived in the Bay in 2008. It was far away from the island where he learned rhythms from his father beginning at the age of eight, but “when I got here and I saw how many people taught Haitian dance,” Brevil says “I was so happy and proud to be Haitian. The people that teach it here, [some of them] they’re not even Haitian.”

That kind of exposure to new art forms is exactly what inspires festival organizer Julie Mushet. The executive director of World Arts West, the group that coordinates the festival, Mushet “was completely astounded the first time I got to experience [the festival].”.

Each year, prospective companies undergo a lengthy audition process – beginning with tryouts that can themselves attract crowds of dance fans. 130 local groups auditioned this year for eight dance experts, who then assembled a list of their top 20, and sent them to the World Arts West staff for the final decision on who got to dance in the festival’s three performance weekends.

Mushet says their choices come down to a matrix of qualities; choreography, dynamics between dancers, quality of music, props and regalia — but in the end the festival is also looking for cultural diversity. World Arts West believes that in the connections between dance and other artistic traditions lie a certain key to cross cultural participation.

“Parents tend to take their kids to the ballet, “The Nutcracker,” but it’s harder to figure out how to introduce kids to the hundreds of other [dance] forms they could learn about,” says Mushet. “[The festival] is a great way to see what the child might be interested in – many of the current dancers first attended as audience members, and now twenty years later, they’re part of a group that’s on stage.”

A tutu… or the beautiful, sparkling outfits Rara Tou Limen wears in their Carnaval performance? Pirouettes or the more elemental joy of their rhythmic ducks and twirls to pounding rara drums? With 37 companies dancing the traditional and updated forms of movement from countries like Korea, the Congo, Uzbekistan, and Puerto Rico, the Ethnic Dance Festival has a form of beauty for everyone, be it their own cultural tradition or one they’ll discover the day of the show.

Ethnic Dance Festival
Through June 27
Sat.-Sun., 2 p.m. (also Sat., 8 p.m.), $22-44
Palace of Fine Arts
3301 Lyon, SF
(415) 474-3914
www.worldartswest.org

Viva La Peña

Jesse Hawthorne Ficks
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0
Viva La Peña

Here’s to you, Salvador Allende. Our governmental baddies-that-were may have helped assassinate you over the copper-nationalizing ways of your democratically elected Chilean presidential administration. But in your passing, you inspired the birth of an East Bay community center focused on the use of art for social awakening. Which we’re happy to tell you continues to be an integral part of our area’s radical cultural milieu to this day. I’m talkin’ about La Peña Cultural Center, which is celebrating its 35th anniversary Sat., June 5 — a day that will henceforth known as La Peña Day in Berkeley.

You should check it out, Mr. A. Oh wait — you’ve long since shuffled off this mortal coil. My bad. Pero no importa, mi amigo, I’ll tell you about it.

Back in 1975, things were much as they are today, with bullheaded “leaders” encroaching on the sovereignty of other countries. Rankled over the turmoil in Chile, Panama, and Nicaragua, a cadre of political activists took over the rent of a defunct French restaurant in Berkeley.

And just what were these hippies and reds up to? The budding La Peña’s aim was to disseminate information about the conflicts in a way that was not just educational but entertaining. “The core was to use art and music, because you can reach more people that way. It’s much more accessible than political speeches,” executive director Paul Chin tells me. Their model was the Chilean peñas where Allende began his political campaign — salons where art, politics, and community flowed comfortably.

I’m having this conversation with Chin in the center’s lobby. On the walls around us is the center’s 35th anniversary mural, painted by local artists collective Trust Your Struggle. It’s a contemporary take on La Peña’s frontal façade on Shattuck Avenue, an eye-popping 3-D work the center is known for. We’re light-years and several generations from the center’s first years, back before the Internet, before Bushes I and II (and Reagan!), before Shakira, even before Ricky Martin.

Back then, Chin tells me, art and music from the developing world was considered less sophisticated than their Western counterparts. So La Peña began bringing in acts from around the world, artists who could communicate the struggle in their own countries. For some, the fact that they were gracing an American stage was a political statement in and of itself. Over the years, a few got famous: Eddie Palmieri, Los Lobos, Julieta Venegas, and Isabel Allende have performed there — even folk legend Pete Seeger played a La Peña-sponsored show at Berkeley Community Theater.

The center has grown, offering art courses for youth and adults, gallery shows that include international and local artists, weekly jam sessions for immigrant communities. It has hosted cultural series in conjunction with numerous community groups, on Arab culture, on the black lesbian experience, on hip-hop. The center has multiple stages and one of the region’s few Chilean restaurants attached to the lobby so “we can provide food for the body as well as the spirit,” Chin said.

It’s a successful exercise in cross-cultural understanding through art. “I’m proud to say that our stage has been reflective of most of the oppressed communities in the U.S.,” Chin said. But it’s an ongoing process. He recounts an incident with a male-dominated weekly drum session that was reported to be excluding women from hitting the skins. The artists were told to let the ladies play or leave. (Happily, they decided the space for their music was more important than their machismo).

The kaleidoscopic lineup planned for La Peña’s 35th anniversary party, which also serves as the celebration for the newly designated La Peña Day, is a fitting tribute to the center’s accomplishments. A Friday night concert of infectious cumbia beats by Chilean musician-activists Chico Trujillo. A free Saturday street festival featuring dancers, classes, and singing. And, later that evening, a performance by Las Bomberas de la Bahia, local percussionists who play classic Puerto Rican bomba music. Las Bomberas, by the way, is an all female group.

¿Te gusta, Señor Allende?

LA PEÑA 35TH ANNIVERSARY CELEBRATION

Chico Trujillo: Fri/4, 8–10 p.m., $15–$18

La Peña Day Street Carnival and Fair: Sat/5, 12–6 p.m., free

Las Bomberas de la Bahia and Rebel Diaz: Sat/5, 9 p.m., $10–$12

La Peña Cultural Center

3105 Shattuck, Berk.

(510) 849-2568

www.lapena.org

 

The facts of Cloris

Jesse Hawthorne Ficks
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0
The facts of Cloris

arts@sfbg.com

STAGE With nearly 250 credits in film, television, and stage roles to her name, Cloris Leachman is a true entertainment icon. It’s hard to believe the ever-vivacious and lively actress got her start in show business competing in the Miss America pageant back in 1946, but the now 84-year-old star has generously filled a career spanning more than 60 years.

But age is irrelevant when talking to Leachman, who continues to work with a full schedule in film and television projects as her solo stage show comes to San Francisco this week at the Rrazz Room. Speaking by phone from Palm Springs, where her former husband, George Englund lives — or as she says, her “Once upon a time” husband — “I don’t like to say my ‘ex.’ I don’t think that’s appropriate. It doesn’t mean what happened,” she said.

“A couple of years ago my family got all concerned about me. I don’t really know what it was, but they felt I wasn’t my old self. My daughter talked to her father, and they decided I should write a book, have a one woman show, do talks — and we did it all,” Leachman said, laughing in a deeply infectious and endearing way.

Incorporating spoken passages along with a little piano, singing, and a healthy dose of humor, the show promises to touch on a broad spectrum of Leachman’s career, which includes notable performances as the bombshell beauty in the noir classic Kiss Me Deadly (1955); her Oscar-winning role as neglected wife Ruth Popper in The Last Picture Show (1971); a long string of successful television appearances (which have garnered her nine Emmys) on programs including The Mary Tyler Moore Show and Phyllis, and, of course, her portrayal of Frau Blücher in Young Frankenstein (1974).

The normally forthcoming Leachman demurred when asked about particulars of the show, preferring that people see it for themselves. She did stress that one of her favorite parts of this show — which has been performed in several warm-up gigs leading up to her arrival here — has been interacting and meeting with her fans.

“That’s the fun part, that’s the other half of your show,” she said. “We laugh and hug and cry — having a live audience is thrilling.”

Reminiscing about some of her favorite memories of San Francisco, Leachman espoused her love of the city’s cuisine before commenting — with somewhat embarrassed but gleeful candor — on her fling in a local hotel with Gene Hackman in the 1970s, an assignation she revealed in her autobiography, Cloris, released last year.

“We met in the lobby and he asked if I wanted to have dinner, so we had dinner. I don’t know what happened, we just got on fire, we couldn’t run fast enough to the room,” she laughed heartily. “I remember the first 10 seconds after we got in the room, but I don’t remember anything after that — isn’t that terrible?”

After this week’s shows, Leachman has an array of projects on the horizon, including a new show on Fox from the creators of My Name Is Earl and a role in the film The Fields, a psychological thriller due out in the fall. She will also appear in a movie called You Again with her friend and former Mary Tyler Moore costar Betty White.

Asked about any possible secrets to her success, her openness and self-deprecating humor showed themselves. “I always went on the Johnny Carson show after I’d done a character so people would know I wasn’t that character,” she said seriously, before cracking herself up, and laughing hysterically. “I was even worse!” 

CLORIS! A ONE-WOMAN SHOW

Through June 11

Wed-Sat, 8 p.m.; Sun, 7 p.m., $40–$45

Rrazz Room

222 Mason, SF

www.therrazzroom.com

 

“Beach, fun, drinks, girls, and a good time”: Chico Trujillo is your Memorial hangover cure

Andrew Lam
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0

Thank you holiday weekend, you have memorialized whatever brain cells and desire to integrate into the everyday world of not being drunk by 2 p.m. I still had left. I suppose it was a fair trade for all the lovely memories that I of course won’t remember. Shall we turn then, to something fun that’s happening this upcoming weekend (Fri/4 La Peña Cultural Center) to keep us going? A lovely South American cumbia party that goes by the name of Chico Trujillo? Hurry, before sobriety catches you, cue the mp3 and hold on for the interview! 

Click here, then proceed.

Now that the tunes are swirling through those alcohol and sunshine wasted synapses — a note of historical significance. For those who have never ratcheted their hips to a sensual beat on a cobblestone colonial street, cumbia originated in the wilds of Colombia. It was originally played for courtship rituals by the area’s enslaved African population. Throughout the years, cumbia’s rolling stone gathered snippets of the culture around it, rhythms from the indigenous Colombians, the use of European instruments, etc, etc. Let’s just say it was adept at bringing people together to party.

Chico Trujillo (who are good old chicos from Chile), inherited this mish-mash legacy, and saw it the addition of ska — a fact which imparts an evident swagger to their most recent release, Chico de Oro. Although on the whole, Chilean cumbia’s been ceding its popularity to the ear drum exploding beats of reggaeton, Chico Trujillo’s gigs still get crazy and light roofs on fire, I guess symbolically speaking. 

Heartened by how cool it’s proven itself to be in the homeland, Chico’s now taking its show to Gringolandia — they’ll be rocking the stage at La Peña Cultural Center as part of that East Bay progressive organization’s 35th anniversary party. I chatted with the band recently via email, and their responses, I guarantee, will make that first day back on your grind a little smoother to jibe with.

 

San Francisco Bay Guardian: I’ve heard that most of your shows in Chile sell out. They sound like amazing parties. What makes a good party, in your opinion? 

Chico Trujillo: In Chile, a good party means the best loud music, best drinks, nicest women (and men, I guess), and everybody dancing and singing. But I think that is a good party anywhere. And yes, all of our shows sell out.

 

SFBG: Oh my. What makes cumbia so awesome?

CT: Its simplicity, and its hypnotizing effect on the people. Once we start, the people just can’t stop, and neither can we.

 

SFBG: Tell us about the social issues you touch on in your music. Do you consider yourselves activists?

CT: As human beings, we consider ourselves activists, and are very concerned with social issues happening in Chile. Although we may not always agree with the “left” all the time (and almost never with the “right”), we do actively participate in events that we feel are important. [There’s] a lot of things concerning the environment in Chile, the native people’s rights there, etc. We just arrived in the US, and have seen non-stop on the TV things about the oil spill.  We would love to do something, anything to help that out. But as for our lyrics, and the music of Chico Trujillo, well, they speak more to the utopian ideals that we have of beach, fun, drinks, girls, and a good time, a break from the real world – [which is] the only things people should think about when we hit the stage. If everyone lived by the lyrics of Chico Trujillo, the world would be a better place…

Chico Trujillo feat. Tokezon

8-10 p.m., $15-18

La Peña Cultural Center

3105 Shattuck, Berkl. 

(510) 849-2568

www.lapena.org

Let the ICE picket begin

Mary Magee
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7
Let the ICE picket begin

Members of the San Francisco Immigrant Rights Defense Committee launched a picket outside US Immigration and Customs Enforcement (ICE)’s Detention and Removal Operations office at 630 Sansome Street today to decry the activation of Secure Communities, which they describe as a “dangerous police-ICE collaboration program that threatens public safety.”


“In the wake of massive protests this weekend against Arizona’s anti-immigrant law, a broad coalition of immigrant rights advocates will stage a protest Tuesday in San Francisco against the implementation of a new police-ICE collaboration initiative which will harm public safety, the so-called ‘Secure’ Communities or S-Comm program,” SFIRDC’s press release states.

Concerned community members plan to form a picket line holding placards of enlarged fingerprints and multi-lingual messages “to expose the danger the program poses to the community.”

 “If we oppose Arizona’s SB1070, then we cannot stand aside while a dangerous policy with disturbing similarities to SB1070 is forced on our own city,” Carolina Morales of Community United Against Violence stated. “S-Comm gives dangerous discretion to police officers to falsely arrest or overcharge immigrant residents, who would then be automatically reported for deportation.”

The picket comes as a veto-proof majority of eight SF Supervisors stands poised to vote next week (there is no Board meeting today) on a resolution calling on local law enforcement to opt-out of S-Comm, noting that the policy “puts at risk even those subject to arrest for a minor infraction and those who did not commit any crime at all but were falsely arrested. “

To date, the Mayor’s Office has not indicated that Newsom has any concerns with the program.
But San Francisco Sheriff Michael Hennessey, who requested to opt out of the program, has stated that S-Comm “will widen the net (of people reported to ICE) excessively” and that ICE has a “record of secrecy.”

Last year, the California Dept. of Justice signed a memorandum with ICE on the S-Comm program; the cover letter indicated that counties needed to agree to the program by signing a “statement of intent.” But last week, Attorney General Brown denied the Sheriff’s request to opt out, so community and legal advocates continue to explore their options.
 
 “The Attorney General is mistaken in believing that this program will only affect people who have already been apprehended and deported by ICE or charged with serious offenses,” said Francisco Ugarte, an immigrant rights attorney with Dolores Street Community Services.

.
 According to ICE’s own data, 5  percent of the people identified under the S-Comm program were U.S. citizens, and some 9 out of 10 of the total identified were charged with low level offenses, including property and traffic violations, not serious crimes.
And then there’s the fact that ICE’s data does not indicate whether those deported were actually found guilty of crimes, or were simply charged with crimes—a key distinction for anyone who professes to believe in human rights.

 “Our city’s families are living in fear that if they report a threat to their own safety, they or their family member may risk deportation, “ Nour Chammas with the Arab Resource and Organizing Center stated in SFIRDC’s press release. “This policy will tear at the very fabric of San Francisco’s rich and diverse culture.”

And Bobbi Lopez of La Voz Latina observed that folks are working on a federal level for immigration reform because they know real solutions to a broken immigration system.  “However, we cannot just sit idly by and wait while ICE’s police collaboration schemes threaten our families daily,” Lopez warned. “ We are proud that city officials are standing with community members to halt this attack on our San Francisco community.” 

Today’s picket was called for by the following members of SFIRDC:
African Advocacy Network, Arab Resource and Organizing Center, Asian Law Caucus,
CARECEN, Causa Justa: Just Cause, Chinese for Affirmative Action, Chinese Progressive Association, Communities United Against Violence, Dolores Street Community Services, East Bay Alliance for Sustainable Economy, Immigrant Legal Resource Center, Instituto Familiar de la Raza, La Raza Centro Legal / SF Day Labor Program, La Voz Parents Council, Mujeres Unidas y Activas, National Lawyers Guild SF Bay Area Chapter, People Organizing to Demand Environmental & Economic Rights, People Organized to Win Employment Rights, SF Pride at Work, and South of Market Community Action Network.

Stage listings

David Talbot
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0

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

THEATER

OPENING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Opens Thurs/3, 9pm. Runs June 10, July 8, 29, Aug 5, 12, 19, 26, 9pm. Through Aug 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

"Durang Me!" Next Stage, 1620 Gough; 1-800-838-3006, www.custommade.org. $10-28. Previews Fri/4-Sat/5, 8pm. Opens Tues/8, 8pm. Runs Thurs-Sat, 8pm; Sun, 7pm (no show July 4). Through July 10. Custom Made performs two comedies by Christopher Durang: Sister Mary Ignatius Explains It All For You, and The Actor’s Nightmare.

Forever Never Comes Boxcar Playhouse, 505 Natoma; www.crowdedfire.org. $10-25. Previews Sat/5, 8pm; Sun/6, 5pm. Opens June 9, 8pm. Runs Wed-Sat, 8pm. Through June 26. Crowded Fire performs Enrique Urueta’s world premiere "psycho-Southern queer country dance tragedy."

Krapp’s Last Tape Exit on Taylor, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Previews Fri/4-Sat/5, 8pm; Sun/6, 5pm. Opens June 10, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. Through July 3. Cutting Ball Theater performs Samuel Beckett’s comedy, which the company has previously mounted to wide acclaim.

BAY AREA

John Steinbeck’s The Pastures of Heaven Bruns Amphitheater, 100 California Shakespeare Theater Wy, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Previews Wed/2-Fri/4, 8pm. Opens Sat/5, 8pm. Runs Tues-Thurs, 7:30pm; Fri-Sat, 8pm (also June 26, 2pm); Sun, 4pm. Through June 27. Cal Shakes kicks off its season with Octavio Solis’ world-premiere adaptation of John Steinbecks’s 1932 novella.

Opus Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $27-62. Previews Wed/2-Fri/4, 8pm. Opens Sat/5, 8pm. Runs Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through June 27. TheatreWorks performs Michael Hollinger’s drama, set in the world of chamber music.

ONGOING

All My Sons Actors Theatre of San Francisco, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Wed-Sat, 8pm. Through June 26. Actors Theatre performs Arthur Miller’s masterwork.

Andy Warhol: Good For the Jews? Jewish Theatre, 470 Florida; 292-1233, www.tjt-sf.org. $15-45. Thurs-Sat, 8pm; Sun, 2 and 7pm. Through June 20. Renowned monologist Josh Kornbluth is ready to admit his niche is a narrow one: he talks about himself, and more than that, he talks about his relationship to his beloved late father, the larger-than-life old-guard communist of Kornbluth’s breakthrough Red Diaper Baby. So it will not be surprising that in his current (and still evolving) work, created with director David Dower, the performer-playwright’s attempt to "enter" Warhol’s controversial ten portraits of famous 20th-century Jews (neatly illuminated at the back of the stage) stirs up memories of his father, along with a close family friend — an erudite bachelor and closeted homosexual who impressed the boyhood Josh with bedtime stories culled from his dissertation. The scenes in which Kornbluth recreates these childhood memories are among the show’s most effective, although throughout the narrative Kornbluth, never more confident in his capacities, remains a knowing charmer. (Avila)

The Apotheosis of Pig Husbandry SF Playhouse, 533 Sutter; www.sfplayhouse.org. $20-30. Wed-Sat, 8pm. Through June 12. SF Playhouse presents the world premiere of William Bivins’ new play, set at the sleazy Lazy Eight Motel, as part of its stripped-down Sandbox Series.

Bone to Pick and Diadem Cutting Ball Theater, Exit on Taylor, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through June 20. Cutting Ball Theater closes its tenth season with a pair of plays by Eugenie Chan.

Boys Will Be Boys New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-40. Wed-Sat, 8pm; Sun, 2pm. Through June 26. What happens when you realize you have Gay Attention Deficit Disorder? This comedic musical aims to find out.

The Breath of Life NohSpace, 2840 Mariposa; www.brownpapertickets.com. $25. Thurs/3-Sat/5, 8pm; Sun/6, 5pm. Spare Stage Productions performs David Hare’s drama about a wife and mistress dumped by the same man.

Giant Bones Exit Theatre, 156 Eddy; (650) 728-8098, www.brownpapertickets.com. $15-50. Thurs-Sat, 8pm. Through June 19. Fantasy author Peter S. Beagle (The Last Unicorn) penned the source material for Stuart Bousel’s world-premiere play.

*Hot Greeks Hypnodrome Theatre, 575 Tenth St; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Thurs, 8pm; Sun, 7pm. Through June 27. On the principle that when you’ve got it you should really flaunt it, San Francisco’s Thrillpeddlers essay their second revival of a musical by the storied Cockettes. Hot Greeks, which premiered in midnight performances at the old Palace Theater in 1972, was the gleefully crazed cross-dressing troupe’s only other fully scripted musical besides, of course, Pearls Over Shanghai.

While not the Oresteia or anything, Hot Greeks is more than an excuse for a lot of louche, libidinous hilarity. Okay, not much more. But it is a knowing little romp — supported by some infectious songs courtesy of Martin Worman and Richard "Scrumbly" Koldewyn — wedding trashy high school romance with the trashy ancient Greece of Aristophanes and the Peloponnesian War. (Avila)

*How I Learned to Stop Worrying and Lost My Virginity SF Playhouse, 533 Sutter; www.sfplayhouse.org. $20. Sun, 7pm. Through June 27. A natural born charmer and a comedic actor with hard-won training behind her, Aileen Clark wins over an audience within about ten seconds. But her stories (co-scripted by John Caldon and ably directed by Claire Rice) turn out to be just as solid: all of them loving, irreverent, and unfailingly hilarious autobiographical accounts of coming of age across three cultures. Born to a Nicaraguan mother and a Scottish father and raised principally in Brazil, Managua and San Francisco, Clark’s perfectly pitched monologue comes liberally spiced with Spanish and Portuguese, sweetened by an affecting but never maudlin honesty, and stirred with a feisty humor clearly a lifetime in the making. As well paced and energetic as this Guerilla Rep and Ann Marie co-production is, it could probably be tightened further by shaving some 10 minutes off the 90-minute run time. Nonetheless, you are not likely to regret a minute of this frank and funny, wise and sassy visit to Aileen’s world. (Avila)

Marga Gomez is Proud and Bothered New Conservatory Theater Center, 25 Van Ness; 861-8972, www.nctcsf.org. $18-40. Thurs-Sat, 8pm (no show June 25); Sun, 2pm. Through June 26. Gomez performs her GLAAD Media award-winning comedy.

*Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Fri-Sat, 8pm. Through June 26. Starting July 10, runs Sat, 8pm and Sun, 7pm. Through August 1. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

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

Sandy Hackett’s Rat Pack Show Marines’ Memorial Theater, 609 Sutter; 771-6900. $30-89. Fri-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 27. From somewhere before the Beatles and after Broadway "Beatlemania" comes this big band cigarettes-and-high-ball nightclub act, recreating the storied Vegas stage shenanigans of iconic actor-crooners Frank Sinatra (David DeCosta), Dean Martin (Tony Basile), and Sammy Davis Jr. (Doug Starks), and sidekick comedian Joey Bishop (Sandy Hackett). The band is all-pro and the songs sound great — DeCosta’s singing as Sinatra is uncanny, but all do very presentable renditions of signature songs and standards. Meanwhile, a lot of mincing about the stage and the drink cart meets with more mixed success, and I don’t just mean scotch and soda. The Rat Pack is pre-PC, of course, but the off-color humor, while no doubt historically sound, can be dully moronic. (Avila)

"Something C.O.O.L.: The Summer Cabaret Festival" Eureka Theatre, 215 Jackson; www.brownpapertickets.com. Free-$10. Mon-Tues, 7:30pm; Wed, 8pm. Through June 27. Cabaret singer Carly Ozard presents six diverse showcases (Mon-Tues nights) and hosts open mics (Wed nights) with professional performers.

Speed the Plow Royce Gallery, 2910 Mariposa; 1-866-811-4111, www.speedtheplowsf.com. $28. Thurs-Sat, 8pm. Through June 19. Expression Productions performs David Mamet’s black comedy.

The New Century New Conservatory Theatre Center, 25 Van Ness, SF; 861-8972, www.nctcsf.org. $22-40. Wed-Sat, 8pm; June 13, 20, and July 11, 2pm. Through July 11. New Conservatory Theatre Center performs Paul Rudnick’s bill of short comedies.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Fri/4, June 11, 18, 9pm; Sun/6, June 20, 7pm; June 12, 8pm. Through June 20. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

"Fireworks Festival" Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $25-35. Through July 3, showtimes vary. This performance festival includes work by John Leguizamo, David Sedaris (whose show is already sold out), Dan Hoyle, and Wes "Scoop" Nisker.

God’s Ear Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $15-28. Wed, 7pm; Thurs-Sat, 8pm; and Sun, 5pm. Through June 20. Against a frozen, deceptively empty-looking landscape of perpetual winter, an anguished married couple stagnates in grief over the accidental death of their young son. Estranged by the sorrow and guilt they feel, they spend most of the time apart but not alone: Mel (Beth Wilmurt) stays at home, where she loses herself in obsessive domestic projects while fielding questions from their surviving daughter — the equally traumatized but far more resilient Lanie (Nika Ezell Pappas) — with assists from the Tooth Fairy (Melinda Meeng) and G.I. Joe (Keith Pinto); meanwhile, Ted (Ryan O’Donnell) wanders in his business suit through a string of airports and airport bars commiserating with other lost souls (Joe Estlack and Zehra Berkman). New York-based playwright Jenny Schwartz’s whimsical meditation on the process of grieving is something like The Rabbit Hole as written by Ionesco, fueled by dialogue that makes an overly showy and eventually tedious hysterical poetry of the banalities, clichés, and platitudes spoken by her stricken characters as a kind of prefab linguistic armor — everything and anything to avoid saying something. Director-choreographer Erika Chong Shuch stages the action in this Shotgun Players production with warm energy and imagination, however — and a handful of tuneful, clever songs from composer Daveen Digiacomo — compensating somewhat for the motionless plot. Moreover, Shuch undercuts the play’s maudlin tendencies by moving her able actors and even the stage properties around in swift, comical, aptly dreamlike fashion, as the stunned couple continue their largely separate meanderings, meaningfully spouting "meaningless" lines about bucking up, or settling in, or riding off, etc. The problem is there is not much beneath this frozen surface of clichés beyond more cliché. (Avila)

*In the Wake Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $13.50-71. Tues and Thurs-Sat, 8pm (also Thurs and Sat, 2pm; no matinees Thurs/3, June 12, or 17; no show June 25); Wed and Sun, 7pm (also Sun, 2pm). Through June 27.

Brilliantly weaving the political and the personal, New York playwright Lisa Kron takes on the myth and mayhem of American exceptionalism through the prism of a compelling lefty smarty-pants named Ellen (Heidi Schreck) and her "alternative" family circle, as it slowly unravels during the first decade of the 21st century. From her modest Manhattan perch — shared with adoring, wise-cracking longtime boyfriend Danny (Carson Elrod) — Ellen rails against the ineptitude of the Democrats in the face of the rising Right and its season of havoc. But she’s already told the audience she has a problem with "blind spots," much like the country. Projections of headlines and sound bites, intermittently splayed across the fortified proscenium arch, locate the action at precise moments in the dreary political timeline of the last decade, beginning with the 2000 election coup that has put a damper on Thanksgiving festivities (despite inclusion of Pilgrim smocks). Her sister (Andrea Frankle) and sister’s wife (Danielle Skraastad) are there too, along with Ellen’s older friend Judy (Deidre O’Connell), a cranky, deceptively oblivious relief worker just back from a refugee camp in Africa. As time goes by, and Ellen turns to an open relationship with a woman filmmaker (Emily Donahoe), our protagonist’s bedrock assumptions about the natural order of things get sorely tested. Leigh Silverman directs a top-notch cast in a remarkably engaging mix of political dialogue and personal entanglements, written for the most part with stirring intelligence and incisive humor. If the play loses focus and momentum by the second act — despite a wonderfully charged scene between Ellen and Judy that is the play’s most memorable — its wit, real anger and constructive irreverence still make it too good to miss. (Avila)

1001 Berkeley City Club, 2315 Durant, Berk; (510) 488-4116, www.justtheater.org. $15-30. Thurs-Sat, 8pm; Sun, 5pm (no show Sun/6). Through June 20. Just Theater performs Jason Groete’s Arabian Nights-inspired tale of post-9/11 life.

Twelfth Night La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through June 12. You’ve got to hand it to Impact Theatre: they make reimagining Shakespeare look so darned easy. To set a crass comedy about class, obsession, and mistaken identity at "Illyria Studios" in the heart of tawdry Tinseltown seems like such an obvious take, you wonder why it took someone so long to get around to doing it. True, the execution is not as vivacious as last year’s A Midsummer Night’s Dream, but overall, the enthusiastic cast and timeless humor win the night. (Gluckstern)

Woody Guthrie’s American Song Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-54. Tues, Thurs-Sat, 8pm (also June 10, 1pm; Sat/5 and June 20, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Marin Theatre Company presents Peter Glazer’s musical based on the life and times of the legendary songwriter.

The World’s Funniest Bubble Show Marsh Berkeley, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $10-50. Sun, 11am. Through June 27. The Amazing Bubble Man, a.k.a. Louis Pearl, performs his family-friendly show.

PERFORMANCE/DANCE

"Bakla Show II" Thick House, 1695 18th St; www.brownpapertickets.com. Thurs-Sat, 8pm. Through June 12. $15-20. Bindlestiff Studio presents this theatrical exploration of queer Filipino identities, inspired by myths and folktales.

"Festival of New Voices II: The Next Wave of Solo Performance" Marsh San Francisco, 1062 Valencia; 1-800-838-3006, www.themarsh.org. Wed-Thurs, 7:30pm; Fri, 8pm; Sat, 5, 5:30, 8:30, and 9pm; Sun, 3pm. Through June 13. $7.50-50. Six new full-length works and 11 shorter works make up this solo-performance fest.

"Richmond/Ermet AIDS Foundation presents One Night Only Cabaret" Theatre 39, Pier 39; 273-1620, www.helpisontheway.org. Mon, 7:30. $38-58. This fundraising show features cast members from Broadway musical In the Heights, plus Jai Rodriguez, Marga Gomez, and RJ Helton.

"San Francisco Ethnic Dance Festival" Palace of Fine Arts, 3301 Lyon; 474-3914, www.worldartswest.org. Sat-Sun, 2pm (also Sat, 8pm). Through June 27. $22-44. Nearly 600 Bay Area performers representing 20 cultures participate in this 32nd annual festival.

"Standing in the Current" Dance Mission Theater, 3316 24th St; 273-4633, www.brownpapertickets.com. Fri-Sat, 8pm; Sun, 3pm. $20. Spinning Yarns Dance Collective performs in partnership with Robin Anderson and Chicago-based RE/Dance.

"Ungrateful Daughter: One Black Girl’s Story of Being Adopted into a White Family That Aren’t Celebrities" StageWerx, 533 Sutter; www.stagewerx.org. Thurs-Sat, 8pm. Through June 12. $20-25. Lisa Marie Rollins performs her autobiographical show.

Public employees step up; when will Newsom and downtown?

Sasha Cuttler
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Public employees step up; when will Newsom and downtown?

With news that Muni union leaders are backing salary givebacks to help close San Francisco’s $483 million budget deficit, all city employees are now making sacrifices to preserve city services that we all rely on. But as we eagerly await the release of the mayor’s budget on June 1 – in which some city departments have been asked to make cuts of up to 30 percent – the question is whether Mayor Gavin Newsom will find the courage to ask other San Francisco entities to help.

For example, will he support the 2 percent increase in the hotel tax that labor is pushing (and which polls show would probably pass muster with voters if Newsom backed it), a real estate transfer tax that would hit the comfortably rich, or a downtown transit assessment district that would make corporations finally help pay for the transit services their employees rely on?

So far, it’s doesn’t look like it (and his Communications Office won’t respond to the question). Instead, Newsom has cynically engaged in deceptive blame games that scapegoat public employees for a problem he created (for example, by approving bloated police and fire contracts to win political support and then blocking efforts to seek new revenue sources), while still pushing gimmicky new spending programs designed to burnish his political image as he runs for state office.

This could be Newsom’s last chance to finally show some leadership, and now is the time when it’s needed most. After offering cuts-only city budgets his entire tenure in office, most city departments are unable to go any further without sacrificing needed services.

The situation has become dire, as workers said Wednesday during a budget rally outside City Hall. Guardian news intern Kaitlyn Paris was there covering the action and offers this report:

Community groups from around San Francisco rallied in front of City Hall on Wednesday to protest the drastic reductions that health and human services face in the Governor’s proposed state budget and Mayor Newsom’s impending city budget.

A graveyard of tombstones representing each of the organizations stuck out of the sand next to the grassy square where participants gathered. Identifiable by their maroon sweatshirts, the largest faction present was the Community Housing Partnership. The proposed budget would cut over $100,000 from the agency and its programs that provide help with employment, substance abuse, and habitation development.

“Supervisors need to be constantly reminded of the merits of these services,” CHP employee Gabriel Haywood told us.

The partnership runs a jobs retention program that Haywood says has exceeded its city-mandated job retention rate by 25 percent, keeping 75 percent of the people it serves employed for longer than three months. Still, Cameron McHenry told the Guardian the city thinks the groups services are duplicative. [Editor’s Note: information in this paragraph has been corrected since his article was posted].

The city’s OneStop employment service is suited to workers displaced by the recession, not the multiple-burdened clients helped by CHP, said McHenry: “We can’t take a 30 percent cut and still do the work we do.”

After speakers from various groups addressed the crowd from a flatbed truck, District 5 Sup. Ross Mirkarimi took to the stage to demand alternative ways of generating revenue. The progressive revenue tactics championed mainly involved increased hotel tax to reduce the budget burden felt by community service groups. Mirkarimi and members of the crowd also criticized the city for its continued funding of Sharp golf course in Pacifica.

“We’re trying to force the Mayor to have a fair budget,” Coalition on Homelessness Director Jennifer Fredenbach told us. “We believe he can do it through alternative revenue like the hotel tax, a more progressive tax base, and a property transfer tax on high end real estate. It has real consequences for poor San Franciscans, not only in quality of life, but in the ability to live.”

Party Radar: Strap yourself in for the long weekend

Jesse Hawthorne Ficks
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0
Party Radar: Strap yourself in for the long weekend

This week, I took advantage of our Video Issue to gush in the Super Ego column about some digital developments in Clubland that fascinate me. But of course upon us comes the three-day bonanza known as Memorial Weekend to the outside world (Blackout McBlackety-Blackout Weekend to party peeps). So here’s a few picks to guide you tipsily down the Memorial Hole. Rat your wig and grip that PBR, because here we go. And check out our Weekly Picks for more craziness.

First to get you in the mood while you read this, here’s a primo mix from one of my new fave “fun time” DJs, Alex Niggemann, suitable for throwing down, vogueing, or just doing up your go-out mascara:

 

Alex Niggemann Live @ Soulfooled, Watergate, Berlin – 14-04-2010 by R_co

(Feeling deeper? Try this Snobo mix. Or just bhangra out of control.)

MISS HONEY

Get real, get fierce, get runway ($200 cash prize for voguers who rule) at the one year anniversary of this kiki favorite all the children flock to. DJs Errol, Chelsea Starr, Nikki B. play an interesting melange of the danceable — ironic pop to disco depths. Domonique and Artist Malcolm Drake preside over the ovah.

Fri/28, 10pm-3am, $7. Supperclub, 657 Harrison, SF. www.supperclub.com


NEW 7TH HEAVEN ROLLER DISCO II

Bump hips and try not to trip when you strap into your skates and go for a wild, wild ride at Mezzanine. DJs Chris Orr, Conor, Jordan, and BT Magnum give you the spins. Plus best promo ever: “What do you get when you take 23 afros, 37 scrunchies, 19 side ponytails, 45 satin bomber jackets, 132 knee socks, 240 bootie shorts, 3 fog blasters, 18 lasers, 52 sexy disco cuts, put them in an open spaced industrial warehouse space, shake it up, a drizzle of neon, a sprinkle of glitter, and a smorgasbord of wheels?” My Tuesday?

Fri/28, 9pm, $7. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

SOME THING

It’s DJ Down-E’s birthday, and a gaggle of alternadrag queens will be flocking to the stage for “Some Thing Special” to pay tribute. Faux King Awesome, Beth Amphetamine, Glamamore, Phatima, and so many more will help blow out the candles. DJs Hoku Mama Swamp and Juanita More put on party hits.

Fri/28, 10pm-4am (shows at 11 and midnight), $5. The Stud, 399 9th Street, SF. www.studsf.com

STACEY PULLEN

The Kosmik Messenger of Detroit techno flies in with his mindblowing combination of tribal soul and electronic forward-thinking. I’ve known him and heard him for about 21 years now, and he never fails to delight, deepen, and surprise.

Fri/28, 10pm-4am, $10. Teple, 540 Howard, SF. www.templesf.com

TEENAGE DANCE CRAZE– LIVE!

DJs Sergio Iglesias, Russell Quan, and dXXX bring on the old old school (we’re talking Motown, rockabilly, and French 60s pop here) for a hip and giddy crowd — and enliven it with a live performance from the Teenage Dance Craze house band. Kids keep swingin’.

Fri/28, 10pm, $4. The Knockout, 3223 Mission, SF. www.knockoutsf.com

BOYZ NOIZE

Trust, no Zs when this banger invades Mighty. Not quite an all-out electro overloader — he throws in some subtle, even disco-y effects — but yeah, he’s a bit of joyous nutso. OK, I changed my mind, there will be overload. Freaky overload.

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

SIXXTEEN’S CHERRY BOMB PROM!

Rock it. Roll it. Blow it up! One of SF’s most “cherished” (punny, maybe!) rock ‘n roll extravaganzas returns for prom-prom-prom. Dressed in your finest fucked-up formal wear and lose it sublime. Lusty Ladies dance, Merkley??? hosts, Nicky Bangles performs, Lady Bear serves, nuns are there, and DJs Omar, Jenny, and a hell-heaven host of others rip up the tables. Tons of prizes awarded to nuttiest prommers — including Prom King, Biggest Queen, Class Slut and Stud. Why do I keep typing “porn” instead of “prom”?

Sat/29, 9pm-3am, $10. Cat Club, 1190 Folsom, SF. www.sfcatclub.com

TABOO: THE NEW JOURNEY

DJ David Harness‘s classic soulful house affair is back this weekend, at SOM. This should have an amazing and diverse crowd of deep lovers in it for the dance, not the showin’ off.

Sat/29, 9:30pm-4am, $10. SOM, 2925 16th Street, SF. www.som-bar.com

CHICKENBEAR

The whole gay “identify with an animal” thing has gone too far. Let’s mock it by taking it farther! Mica and Walter host this Sunday evening homo “in between” party at the Powerhouse (sexy!) to “get wild.” Tons of kooky funsters and drink specials expected. Music by DJ Dirty Knees. Plus this: “Wanna be the reigning CHICKENBEAR? Then practice your mating call and get ready to strut your stuff for a CASH prize! You can get some pointers from our feral gogo dancers!” CASH. It’s a theme.

Sun/30, 7pm-11pm, $5. Powerhouse, 1347 Folsom, SF. www.powerhouse-sf.com

HONEY WITH SPUN

The Honey Soundsystem boys are bringing in fabulous disco-house spinner DJ Spun from Rong Music for their “extended Memorial Day mix.” Goddess help us all.

Sun/30, 6:30pm-2:30pm, $3. paradise Lounge, 1501 Folsom, SF. www.paradisesf.com

 LIGHTS DOWN LOW

The too-hip electro free-for-all is back for jamz. The awesome HOTTUB rap trio tears off their clothes, DJ Them Jeans from LA provides some gonzo (yet pretty keenly smart) slices, and our two biggest saw-wave table-ravers Richie Panic and Sleazemore flash their pearly jaws.

Sun/30, 9pm, $10. Triple Crown, 1172 Market, SF. www.triplecrownsf.com

STOMPY+SUNSET JAMBOREE

Smooth house hero Kevin Yost returns, and hometown kings Solar, J-Bird, Galen, Deron, and Tasho (with a headlining appearance by Lance DeSardi) make it work at this marathon bonkers outdoor-patio Beat-BQ (you can eat til six), brought to us by the delerious Pacific Sound. You could lose a day here, easy.

Sun/30, 2pm-2am, $10. Cocomo, 650 Indiana, SF. www.cafecocomo.com

SWEATER FUNK

This regular Sunday night party is so cute I don’t know what to do with it. If you like to boogie — and I don’t say that ironically, it gets funky and sweaty in the basement of Li Po — then join E Da Boss, Eddy Bauer, and the Sweater Funk crew for some lively, local, laidback-attitude times. Sweeet.

Sun/30, 9pm, free. Li Po Lounge, 916 Grant, SF.

Our Weekly Picks

Jesse Hawthorne Ficks
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0

WEDNESDAY 26

MUSIC

Ramona Falls

They say taking time off can be good for the soul, but when Brent Knopf faced down-time from recording as one-third of Portland, Ore., band Menomena, he couldn’t unplug. Though it’s hard to call it a solo record when Intuit boasts more than 35 collaborators, Ramona Falls follows the tradition of Knopf’s day band, forming dense electronic atmospheres from piano and pairing them with energetic drum work. Here, Knopf’s vocals shine as the truest instrument. His voice sounds like a whisper even at its most expressive. It’s a life raft to cling to while more of the nebulous Intuit opens with each new listen. (Peter Galvin)

With The National

8:00 p.m. (also Thurs/27), $30

Fox Theatre

1807 Telegraph, Oakl.

1 (800) 745-3000

www.thefoxoakland.com

 

THURSDAY 27

COMEDY

Craig Robinson

Name a humorous TV show from the past five years, and chances are Craig Robinson made an appearance. Bit parts on Curb Your Enthusiasm, Friends, and The Bernie Mac Show led to his star-making role on The Office as Darryl, the warehouse manager who is constantly embattled by Steve Carell’s harangues and half-baked schemes. Something about Robinson’s dry wit and level gaze tempts us to throw in our lot with him in every comedic circumstance. And now? Big screen, baby — Knocked Up, Hot Tub Time Machine, Shrek 4. Come see him get down with his original gig — stand up. (Caitlin Donohue)

8 p.m. (through Sun/30; also Fri.–Sat., 10:15 p.m.), $23.50–$25.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

MUSIC

San Francisco Popfest 2010: Eux Autres

Popfest is back, and it’s time to celebrate with of SF’s best pop bands, Eux Autres, who are wise enough to worship Françoise Hardy. As they succinctly put it: “Most of [our] songs are about (a) military history (b) being ‘done wrong’ or (c) sports.” For this week’s video issue, in the Noise blog I talk with guitarist-vocalist Nicholas Larimer about five of his fave YouTube clips from the ’70s TV pop music motherlode Midnight Special. (Johnny Ray Huston)

With tUnE-yArDs, Social Studies, Knight School

8 p.m., $10–$12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

PERFORMANCE/VISUAL ART

“Making Visible”

At a dance recital, the audience can only see so much. Beholding the coiffed hair, makeup, and costumes, it’s hard to imagine what goes on behind the scenes. But inside a dance studio, the creative process comes alive. Within countless hours of rehearsals, despite the blisters and sore joints, something alluring gradually begins to form. The Marina Abramovic Institute West offers a unique chance to witness how a recital comes together. Their series of performances are live rehearsals in which dancers learn the choreography onstage. (Elise-Marie Brown)

4:30 p.m. (through June 13), free

Marina Abramovic Institute West

575 Sutter, SF

www.marinaabramovicinstitute.org

SATURDAY 29

CLUBS/MUSIC

Surya Dub Three-Year Anniversary

It’s been a while since they blew our woofers on the regular, but our ambassadors of dread bass have been busy spreading the gospel of global dubstep to farther shores. Lucky for our feet, the Surya Dub crew are roaring back to Club Six to celebrate their third year with excellent special guest urban-electro blaster from Montreal, Ghislain Poirier (now just “Poirier”). Maneesh the Twister, Kush Arora, Kid Kameleon, Ripley, DJ Amar, J.Rogers, and Jimmy Love gird the boom with subcontinental vibes, stirring bhangra, ragga, and other worldly sounds into the low, low, low. Expect eclecticism, receive rad riddims. (Marke B.)

10 p.m.–3 a.m., $10

Club Six

66 Sixth St., SF

www.suryadub.com

MUSIC

El Radio Fantastique, Shovelman

Let us tip our hats to the newest venue along the Valencia corridor, Viracocha. It’s a wood-paneled treasure trove of for-sale antiquity. At night, the place is transformed into an atmospheric community space, a venue for word, thought, and lovely live music — like that of El Radio Fantastique, whose peculiar blend of musical theater seems straight from someone’s front porch in the Louisiana bayou. Which, come to think of it, matches the vibe at Viracocha nicely. Shovelman, a.k.a. Isaac Frankle, takes over the upstairs stage for the night. Expect to hear folksy stomp music. (Donohue)

7:45 p.m.–11 p.m., donations accepted

Viracocha

998 Valencia, SF

(415) 374-7048

www.viracochasf.blogspot.com

MUSIC

Frog Eyes

He can’t get no respect! Though the epic compositions of Frog Eyes rival those of contemporary pals Spencer Krug and Dan Bejar, as reflected by the trio’s work together in Swan Lake, Carey Mercer’s full-time band is consistently shunted to the background. Mercer can howl and he has an antiquated cadence to his voice that makes Paul’s Tomb: A Triumph sound like it belongs in another century. He’s never been in a Wolf Parade or joined the New Pornographers, but those of you who turned up Sunset Rubdown might be surprised by how much you like Frog Eyes. (Galvin)

With Mt. St. Helens Vietnam Band and Dominique Leone

9:30 p.m., $10

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

DANCE

Scott Wells & Dancers: Ballistic

Did you fall in love last year with Scott Wells’ two jugglers? Apparently Wells’ dancers did as well. For Ballistic, all seven engage in elegant athleticism. Not that athleticism is new in Wells’ repertoire. Wild chaos and meticulous order — with and without projectiles — always share the game. It all looks like child’s play, but isn’t, except for an uncanny ability to be totally present in the moment. Contact improvisation — the movement genre Wells has fundamentally influenced — is often more fun to do than to watch. Not with Wells. He is a consummate man of the theater. Jin-Wen Yu Dance shares the program on the first two weekends. (Rita Felciano)

8 p.m. (through June 19)

CounterPULSE

1310 Mission, SF

brownpapertickets.com

www.scottwellsdance.com

MUSIC

Simian Mobile Disco DJ Set

With school out and summer swinging into high gear, lazy days that consist of sleeping in and drinking in the park are here. If you have a day job like me and need to pay the bills, you can free your soul at night with an epic dance party. Simian Mobile Disco has heard my call. Dress to dance and get ready to sweat. (Brown)

With Tenderlions, Ryan Poulsen

9 p.m., $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

MUSIC

Ab Soto

Queer hip-hop — are we done with it yet? Nope, but this time we’re laying off the “Isn’t this groundbreaking?” tiredness and having fun. The recent crop of homo-hoppers like Cazwell and local hottie Kid Akimbo are doing it cute and naturally. Enter Hollywood’s Ab Soto, whose neon-bright hotness, scruffy hipster looks, and fierce-ruling SpongeBob muumuus are more about giving you banjee boy wet dreams than making political statements. He’ll be throwing down live at the circus-crazy Big Top party. Please keep him away from my boyfriend. (Marke B.)

9 p.m.–3 a.m., $10.

Club Eight

1551 Folsom, SF.

www.eightsf.com

SUNDAY 30

EVENT

San Francisco Carnaval: “Colors Of Sound, Splashes Of Culture”

Carnaval isn’t just a festival where people drink and eat to their heart’s content. In San Francisco, we focus on Latin American and Caribbean cultures through dance and music. Of course, food is on the menu. The all-day event includes salsa and samba lessons, games, breakdancing, ecofriendly exhibits, and even a health screening center. This time, Sunday is the right day for indulgence. (Brown)

9:30 a.m., free

Bryant and 24th St., SF

(415) 642-1748

www.sfcarnaval.com

MUSIC

Kurt Elling with the Count Basie Orchestra

Kurt Elling has won Down Beat and JazzTimes critics’ polls three years in a row for best male singer. Most recently, he won his first Grammy for best jazz vocal album. Tonight he’s backed by the Count Basie Orchestra, the most prominent big band of the past 60 years. The band has accompanied Ella Fitzgerald, Ray Charles, and Frank Sinatra, and continues to support the great jazz singers of our time. As part of the SF Jazz Spring Series, Elling and the Basie Orchestra perform some of the original Basie/Sinatra charts arranged by the legendary Quincy Jones. The Basie Orchestra opens the night with classic repertoire. (Lilan Kane)

7 p.m., $25

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfjazz.org

MUSIC

KBLX Stone Soul Concert

Wrap up your Memorial Day weekend with some soul and sunshine. A longtime Bay Area source for the soul music, KBLX has booked a solid lineup of some of smooth voices. This year’s artists include Charlie Wilson; New Edition members Bobby Brown, Johnny Gill, and Ralph Tresvant; Minnesota’s Mint Condition, and none other than Mr. Biggs himself, Ronald Isley. This concert serves up favorite jams spanning from the 1970s to the present. (Kane)

Noon, $45

Sleep Train Pavilion

2000 Kirker Pass, Concord

(925) 676-8742

www.kblx.com

www.livenation.com

MONDAY 31

MUSIC

Dark Tranquillity

It’s easy to lump them in with the rest of the ’90s Gothenburg death metal scene, but that sort of careless taxonomy is unfair to a band like Dark Tranquillity. The Swedish sextet have carved out a niche of their own on the strength of their anthemic, atmospheric melodicism, having weathered the storms that afflicted fellow travelers In Flames and Soilwork with dignity and grace. Though the music features the kind of keyboard and electronic textures that tend to alienate bread-and-butter death metal fans, these flourishes fit seamlessly into the band’s dystopian, space-age aesthetic, reinforcing the punishing grooves and soaring melodies. (Ben Richardson)

With Threat Signal, Mutiny Within

8 p.m., $18

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

MUSIC

The Very Best

A collaboration between Malawian vocalist Esau Mwamwaya and London production duo Radioclit, the Very Best offers vocals in Chichewa over dance beats that translate to fun in any language. Fun is the chief goal of the duo, who rose to blog fame in 2008 with Malawian remixes of Vampire Weekend and M.I.A. If you need proof that smiles are contagious, singer Esau Mwamwaya has a grin that is promptly reflected on the frowniest of show-goers. Trust me, it’s undeniable. (Galvin)

With Disco Shawn

8:00 p.m., $18 (21 and over)

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

TUESDAY 1

COMEDY/PERFORMANCE

Cloris Leachman

At 84, actress Cloris Leachman shows no sign of slowing down. From her first major film role in the noir classic Kiss Me Deadly, to her portrayal of Ruth Popper in The Last Picture Show (which won her an Oscar for best supporting actress), to her hilarious turn as Frau Blucher in Young Frankenstein, Leachman has memorably seized the big screen. The nine-time Emmy Award winner made her mark on The Mary Tyler Moore Show and Phyllis and keeps on keeping on with recent stints on Malcolm In The Middle and Dancing With The Stars. This six-night run of her one-woman stage show takes audiences on a trip through moments from her extraordinary life. (McCourt)

8 p.m. (through June 6), $40–$45

Rrazz Room

222 Mason, SF

www.therrazzroom.com

MUSIC

Gates of Slumber

The Indianapolis warriors in Gates of Slumber play an arresting offshoot of doom metal, a NWOBHM-inflected rumble that sounds like Cirith Ungol fighting St. Vitus to the death. Singer Karl Simon is built like a barbarian but sings like a dying druid, all reverb and haunting, ethereal resonance, and his band is well-built to underscore his epic tales of war and bloodshed. If there were a way to resurrect Frank Frazetta with the power of down-tuned guitars and thunderous drumming, these guys would have figured it out by now. Unfortunately, all we can do is mourn and bang our heads. (Richardson)

With Black Cobra, Slough Feg, Salvador

8 p.m., $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

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Stage Listings

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

THEATER

OPENING

“Something C.O.O.L.: The Summer Cabaret Festival” Eureka Theatre, 215 Jackson; www.brownpapertickets.com. Free-$10. Opens Mon/31, 7:30pm. Runs Mon-Tues, 7:30pm; Wed, 8pm. Through June 27. Cabaret singer Carly Ozard presents six diverse showcases (Mon-Tues nights) and hosts open mics (Wed nights) with professional performers.

BAY AREA

“Fireworks Festival” Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $25-35. June 1-July 3, showtimes vary. This performance festival includes work by John Leguizamo, David Sedaris (whose show is already sold out), Dan Hoyle, and Wes “Scoop” Nisker.

1001 Berkeley City Club, 2315 Durant, Berk; (510) 488-4116, www.justtheater.org. $15-30. Previews Fri/28-Sat/29, 8pm. Opens Mon/31, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm (no show June 6). Through June 20. Just Theater performs Jason Groete’s Arabian Nights-inspired tale of post-9/11 life.

Woody Guthrie’s American Song Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-54. Previews Thurs/27-Sat/29, 8pm; Sun/30, 2 and 7pm. Opens June 1, 8pm. Runs Tues, Thurs-Sat, 8pm (also June 10, 1pm; June 5 and 20, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Marin Theatre Company presents Peter Glazer’s musical based on the life and times of the legendary songwriter.

ONGOING

Andy Warhol: Good For the Jews? Jewish Theatre, 470 Florida; 292-1233, www.tjt-sf.org. $15-45. Thurs-Sat, 8pm; Sun, 2 and 7pm. Through June 20. Renowned monologist Josh Kornbluth is ready to admit his niche is a narrow one: he talks about himself, and more than that, he talks about his relationship to his beloved late father, the larger-than-life old-guard communist of Kornbluth’s breakthrough Red Diaper Baby. So it will not be surprising that in his current (and still evolving) work, created with director David Dower, the performer-playwright’s attempt to “enter” Warhol’s controversial ten portraits of famous 20th-century Jews (neatly illuminated at the back of the stage) stirs up memories of his father, along with a close family friend — an erudite bachelor and closeted homosexual who impressed the boyhood Josh with bedtime stories culled from his dissertation. The scenes in which Kornbluth recreates these childhood memories are among the show’s most effective, although throughout the narrative Kornbluth, never more confident in his capacities, remains a knowing charmer. (Avila)

The Apotheosis of Pig Husbandry SF Playhouse, 533 Sutter; www.sfplayhouse.org. $20-30. Wed-Sat, 8pm. Through June 12. SF Playhouse presents the world premiere of William Bivins’ new play, set at the sleazy Lazy Eight Motel, as part of its stripped-down Sandbox Series.

Bone to Pick and Diadem Cutting Ball Theater, Exit on Taylor, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Opens Thurs/27, 8pm (gala opening Fri/28, 8pm). Runs Thurs-Sat, 8pm; Sun, 5pm. Through June 20. Cutting Ball Theater closes its tenth season with a pair of plays by Eugenie Chan.

Boys Will Be Boys New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-40. Wed-Sat, 8pm; June 6, 23, and 20, 2pm. Through June 26. What happens when you realize you have Gay Attention Deficit Disorder? This comedic musical aims to find out.

The Breath of Life NohSpace, 2840 Mariposa; www.brownpapertickets.com. $25. Thurs-Sat, 8pm; Sun, 5pm. Through June 6. Spare Stage Productions performs David Hare’s drama about a wife and mistress dumped by the same man.

Company Fat Exit Stage Left, 156 Eddy; www.brownpapertickets.com. $20-25. Thurs/27-Sat/29, 8pm. Exit Theatre and Pumpjam Productions perform Bill Levesque’s darkly comic play, set in the Depression-era South.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed/26, 8pm. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

Echo’s Reach Brava Theater Center, 2781 24th St; 665-2275, www.citycircus.org. $14-35. Fri/28-Sat/29, 8pm (also Sat/29, 4pm); Sun/30, 4pm. City Circus premieres an urban fairytale by Tim Barsky.

*Fishing Shotwell Studios, 3252 19th St; www.fishingtheplay.com. $25. Fri/28-Sat/29, 8pm. David J. Duman’s piquant and entirely palatable satire of San Francisco foodie culture gets a knowing, deceptively casual staging from savvy newcomers OpenTab Productions in association with Footloose. The story, divided scene-wise into a series of short comic morsels, unfolds in a rising seafood restaurant with a recently branded three-star rating, run by an unusually talented but haplessly oafish chef (Matt Ingle) and his bright but bored manager (Laurie Burke) with her eye on getting the hell out of the restaurant world. (Good luck.) They soon begin a semi-torrid affair — much to the suspicion of their prurient young wait staff, comprised of a bright, gay know-it-all waiter (Ben Euphant) and a coarse, cutie bartender sans scruple (Carla Pauli). Other regular occupants include a fussy, sexually frustrated couple (Molly Gazay and Alex Plant) cocky-proud of their entirely sublimated, half-assed knowledge of food and wine. Director Mark Drumm keeps the pace swimming and the performances are uniformly crisp and captivating in this truth-filled night of “dinner” theater served up on a bed of filthy innuendo and rampant promiscuity. (Avila)

Giant Bones Exit Theatre, 156 Eddy; (650) 728-8098, www.brownpapertickets.com. $15-50. Thurs-Sat, 8pm. Through June 19. Fantasy author Peter S. Beagle (The Last Unicorn) penned the source material for Stuart Bousel’s world-premiere play.

*Hot Greeks Hypnodrome Theatre, 575 Tenth St; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Thurs, 8pm; Sun, 7pm. Through June 27. On the principle that when you’ve got it you should really flaunt it, San Francisco’s Thrillpeddlers essay their second revival of a musical by the storied Cockettes. Hot Greeks, which premiered in midnight performances at the old Palace Theater in 1972, was the gleefully crazed cross-dressing troupe’s only other fully scripted musical besides, of course, Pearls Over Shanghai.

While not the Oresteia or anything, Hot Greeks is more than an excuse for a lot of louche, libidinous hilarity. Okay, not much more. But it is a knowing little romp — supported by some infectious songs courtesy of Martin Worman and Richard “Scrumbly” Koldewyn — wedding trashy high school romance with the trashy ancient Greece of Aristophanes and the Peloponnesian War. (Avila)

*How I Learned to Stop Worrying and Lost My Virginity SF Playhouse, 533 Sutter; www.sfplayhouse.org. $20. Sun, 7pm. Through June 27. A natural born charmer and a comedic actor with hard-won training behind her, Aileen Clark wins over an audience within about ten seconds. But her stories (co-scripted by John Caldon and ably directed by Claire Rice) turn out to be just as solid: all of them loving, irreverent, and unfailingly hilarious autobiographical accounts of coming of age across three cultures. Born to a Nicaraguan mother and a Scottish father and raised principally in Brazil, Managua and San Francisco, Clark’s perfectly pitched monologue comes liberally spiced with Spanish and Portuguese, sweetened by an affecting but never maudlin honesty, and stirred with a feisty humor clearly a lifetime in the making. As well paced and energetic as this Guerilla Rep and Ann Marie co-production is, it could probably be tightened further by shaving some 10 minutes off the 90-minute run time. Nonetheless, you are not likely to regret a minute of this frank and funny, wise and sassy visit to Aileen’s world. (Avila)

Marga Gomez is Proud and Bothered New Conservatory Theater Center, 25 Van Ness; 861-6988, www.nctcsf.org. $18-40. Thurs-Sat, 8pm (no show June 25); Sun, 2pm. Through June 26. Gomez performs her GLAAD Media award-winning comedy.

*Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Fri-Sat, 8pm. Through June 26. Starting July 10, runs Sat, 8pm and Sun, 7pm. Through August 1. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

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

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $18-50. Wed/26-Fri/28, 8pm; Sat/29, 5pm; Sun/30, 3pm. Starting July 8, runs Thurs-Fri, 8pm; Sat, 5pm; Sun, 3pm, through Aug 8. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Rhino Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $14-25. Wed/26-Sat/29, 8pm. A stark spotlight, a vibrant cellist, masked players, and a chairless theatre space greet audience members attending Boxcar Theatre’s Ionesco adaptation, Rhino. Though encouraged to move about freely, most audience members (the night I attended) settled for turning their otherwise static bodies to follow the action occurring in every corner of the small room. Though a courageous choice in staging, it didn’t quite provide the feeling of the familiar under siege that it could have with more overt interaction with the not-quite-captive-enough public. And while certain of the short snipped scenes were tense and evocative, less subtle imaginings such as the intermittent lockstep marches fell flat. (Gluckstern)

“San Francisco International Arts Festival” Various venues; 1-800-838-3006, www.sfiaf.org. Most shows $25. Through May 31. In its seventh incarnation, the fest hosts dance, theater, and other artists from ten countries.

Sandy Hackett’s Rat Pack Show Marines’ Memorial Theater, 609 Sutter; 771-6900. $30-89. Fri-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 27. From somewhere before the Beatles and after Broadway “Beatlemania” comes this big band cigarettes-and-high-ball nightclub act, recreating the storied Vegas stage shenanigans of iconic actor-crooners Frank Sinatra (David DeCosta), Dean Martin (Tony Basile), and Sammy Davis Jr. (Doug Starks), and sidekick comedian Joey Bishop (Sandy Hackett). The band is all-pro and the songs sound great — DeCosta’s singing as Sinatra is uncanny, but all do very presentable renditions of signature songs and standards. Meanwhile, a lot of mincing about the stage and the drink cart meets with more mixed success, and I don’t just mean scotch and soda. The Rat Pack is pre-PC, of course, but the off-color humor, while no doubt historically sound, can be dully moronic. (Avila)

Speed the Plow Royce Gallery, 2910 Mariposa; 1-866-811-4111, www.speedtheplowsf.com. $28. Thurs-Sat, 8pm. Through June 19. Expression Productions performs David Mamet’s black comedy.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Sun/30, June 6, 20, 7pm; June 4, 11, 18, 9pm; June 12, 8pm. Through June 20. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

God’s Ear Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $15-28. Wed, 7pm; Thurs-Sat, 8pm; and Sun, 5pm. Through June 20. Shotgun Players perform Jenny Schwartz’s drama about grief; Erica Chong Shuch directs.

*In the Wake Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $13.50-71. Tues and Thurs-Sat, 8pm (also Thurs and Sat, 2pm; no matinees Sat/29, June 3, 12, or 17; no show June 25); Wed and Sun, 7pm (also Sun, 2pm). Through June 27.

Brilliantly weaving the political and the personal, New York playwright Lisa Kron takes on the myth and mayhem of American exceptionalism through the prism of a compelling lefty smarty-pants named Ellen (Heidi Schreck) and her “alternative” family circle, as it slowly unravels during the first decade of the 21st century. From her modest Manhattan perch — shared with adoring, wise-cracking longtime boyfriend Danny (Carson Elrod) — Ellen rails against the ineptitude of the Democrats in the face of the rising Right and its season of havoc. But she’s already told the audience she has a problem with “blind spots,” much like the country. Projections of headlines and sound bites, intermittently splayed across the fortified proscenium arch, locate the action at precise moments in the dreary political timeline of the last decade, beginning with the 2000 election coup that has put a damper on Thanksgiving festivities (despite inclusion of Pilgrim smocks). Her sister (Andrea Frankle) and sister’s wife (Danielle Skraastad) are there too, along with Ellen’s older friend Judy (Deidre O’Connell), a cranky, deceptively oblivious relief worker just back from a refugee camp in Africa. As time goes by, and Ellen turns to an open relationship with a woman filmmaker (Emily Donahoe), our protagonist’s bedrock assumptions about the natural order of things get sorely tested. Leigh Silverman directs a top-notch cast in a remarkably engaging mix of political dialogue and personal entanglements, written for the most part with stirring intelligence and incisive humor. If the play loses focus and momentum by the second act — despite a wonderfully charged scene between Ellen and Judy that is the play’s most memorable — its wit, real anger and constructive irreverence still make it too good to miss. (Avila)

Twelfth Night La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through June 12. You’ve got to hand it to Impact Theatre: they make reimagining Shakespeare look so darned easy. To set a crass comedy about class, obsession, and mistaken identity at “Illyria Studios” in the heart of tawdry Tinseltown seems like such an obvious take, you wonder why it took someone so long to get around to doing it. True, the execution is not as vivacious as last year’s A Midsummer Night’s Dream, but overall, the enthusiastic cast and timeless humor win the night. (Gluckstern)

The World’s Funniest Bubble Show Marsh Berkeley, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $10-50. Sun, 11am. Through June 27. The Amazing Bubble Man, a.k.a. Louis Pearl, performs his family-friendly show.

PERFORMANCE/DANCE

Dan Carbone Dark Room, 2263 Mission; 401-7987. Fri, 10pm, $10. The absurdist writer-performer presents an encore performance of his new works.

Circus Finelli Revue Stage Werx Theatre, 533 Sutter; www.brownpapertickets.com. Wed, 8pm. $10-15. This variety show features music, circus arts, and comedy.

Dionysian Festival Mary Sano School of Duncan Dancing, 245 Fifth St, Studio 314; 357-1817, www.duncandance.org. Sat, 8pm; Sun-Mon, 6pm. $18. The Mary Sano School of Duncan Dancing presents its annual celebration of Isadora Duncan’s birth.

“Formerly Known As: Male Sex Worker Performance” LGBT Center, 1800 Market; www.brownpapertickets.com. Tues, 7pm. $10-20. Kirk Read curates this evening of performance, with Suppositori Spelling, Inbred Hybrid Collective, Adela Vazquez, and more. Scott Wells and Dancers CounterPULSE, 1310 Mission; www.counterpulse.org. Fri-Sun, 8pm (June 19 show, 9:30pm). Through June 19. $22. The high-flying company performs BALL-IST-IC.

Orgone and back again

Jesse Hawthorne Ficks
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Orgone and back again

“IT’S A BACK-BRAIN STIMULATOR! IT’S A CEREBRAL VIBRATOR! TURN YOUR EYEBALLS INTO CRATERS!”

Thus intones Dave Brock on “Orgone Accumulator,” an ass-kicking Rube Goldberg-device of a space rock staple, and to this day the final word on the science of orgone accumulation. But Brock just as well might have been describing his immortal Hawkwind, and its 30-plus-year legacy of melting brains.

My first exposure to the group came through the titanic double live album Space Ritual (United Artists, 1973), a sprawling collection of tracks that draws you into its gravitational pull through a convergence of the inexplicable and the strangely familiar–adventurous. Its sci-fi explosions underpinned by the rhythms of classic rock ‘n’ roll, the album negotiates the ungainly symphonic mass of sound into something resembling popular music — what I imagine the Voyager Golden Record version of “Johnny B. Goode” sounds like through vintage 1972 space helmet speakers.

The Hawkestra’s wall-of-sound aural assault-and-battery was crucial to the early evolution of rock’s more adventurous strain. Yet the group, like their own Silver Machine, has a way of flying sideways in time. If there is such a thing as a trajectory to heavy metal, then it’s almost certainly cyclical, with Brock’s cosmic rock cadre materializing in disparate spots along the circumference. Here in 2010 AD, Neurot Recordings, the consistently adventurous record label of Neurosis guitarist/vocalist Steve Von Till, is set to release Hawkwind Triad, a collaborative homage featuring 11 classic Hawkwind anthems as covered by U.S. Christmas, Minsk, and Von Till via his ongoing solo project Harvestman (including fellow Neurosis member Jason Roeder on drums this time around.) There’s a common musical current running through these three supremely cosmic bands, a signal that traces one of its numerous potential origin points to circa-1970s Ladbroke Grove, England.

 

II: COOL, PSYCHEDELIC, FUCKED-UP

“Cool, psychedelic, fucked-up heavy music,” is how Steve Von Till describes the bands on Hawkwind Triad.

“The obvious lineage of my journey to Hawkwind,” Von Till says over the phone from his post-Bay Area home in Cour d’Alene, Idaho, “was growing up and being totally into Motörhead.” This lineage is doubtlessly followed by many devout Hawkwind followers, who might first encounter the band as a footnote to the career of bassist/sometimes vocalist Lemmy Kilmister. (Back in high school, an offhand reference buried within the liner notes to Motörhead’s No Remorse compilation album is where Hawkwind first hovered into my line of vision.)

“Growing up, there weren’t a lot of fans in my circle, but we tended to find each other,” Van Till says. This dynamic unfolded once again as the mad-scientist guitarist found himself drawn to the nascent triad through the irresistible pull of a common love of one of rock’s freakiest acts. “Funnily enough,” Von Till says when asked how Hawkwind Triad came about, “U.S. Christmas and Minsk had contacted me and said they were thinking about doing this project, and asked if I would be willing to put it out on Neurot Recordings. Being thoroughly convinced that I was the bigger Hawkwind fan, I said, ‘Yeah, but on the condition that you let me record on it.'”

The result of this collaboration is the rare cover album with replay value past the initial novelty factor — those haunted by memories of the “ironic” punk cover album should have no cause for alarm, partly because the subject matter flat-out crushes, but also because of the inherent consonance between the three bands, as evidenced by the album-like flow between tracks (the structure doesn’t segregate bands — we seldom hear an act twice in a row). Before dispensing with the space-tropes, it needs to be said that all three groups share some kind of sonic kinship that reveals itself most starkly as they orbit around Hawkwind’s catalog.

 

III: IN WHICH HARVESTMAN TAKES US DOWN THROUGH THE NIGHT

How’s this for an overture: I saw Harvestman in San Jose back in March, wherein Von Till introduced his set by telling us that the stage/venue was now, effectively, his spaceship. Von Till’s bluesy croak serves him well in Neurosis, adding a human voice to the otherwise alienating canyons of dissonance and cool droney shit. While covering Hawkwind as Harvestman, it becomes perhaps the high point of his tracks. As in his other works, this is the sound of someone, ahem, lost in space — on “Down Through the Night,” Von Till’s voice clings to the crackly rhythm guitar like a life preserver, while cold, electric snatches of melody emerge around him before descending back into the fuzz. This may be the song Von Till was born to play — likewise, this is my favorite track on the album.

 

IV: IF MINSK WAS AROUND IN THE ’70S, WOULD IT USE A BUBBLE MACHINE?

Minsk makes everything scary. When the doomy Peorians opened for Wolves in the Throne Room last summer, with God as my witness, Slim’s started spinning during their set (full disclosure: beer on empty stomach, etc.) In interpreting Hawkwind, somewhat terrifying in its own right, the familiar rambling bass walks, cavernous guitar, and psychedelic poetry of the lyrics — interlaced with oscillating electronic beeps and warbles, flute attacks, sax honks, and ghostly keyboard lines — no longer coalesce into a groovy Milky Way of sound. Like a grotesque funhouse mirror, the band stretches the familiar Hawkwind vibe to cyclopean proportions, reminding us that there’s something implicitly terrifying about being that distanced from terra firma. “Assault and Battery/The Golden Void” at once sounds the most like a Minsk and a Hawkwind song: either beautiful or nightmarish, depending on your vantage point. “Down a corridor of flame,” indeed.

 

V: CHRISTMAS COMES TO THE HALL OF THE MOUNTAIN GRILL

U.S. Christmas covering Hawkwind feels almost inevitable. Of the three groups lending their respective voices to the space rock primogenitors, USX appears the most immediately indebted, bearing Hawkwind’s singular vision through the 21st century and nurturing essential mutations to the sound.

This is not a knock on the band’s originality. Rather, being situated amid such sonically rich territory seems to have motivated the band to stretch its psychedelic iteration to the weirdest frontiers possible. Eat the Low Dogs (Neurot Recordings, 2008) showcases a group of musicians operating through its own inscrutable logic. Rorschach riffs that could conceivably echo Neil Young and Crazy Horse, Black Sabbath, and/or Philip Glass abound throughout the record, underscored by Nate Hall’s raw vocals, which somehow reflect Hawkwindian drones and trills. On “Silent Tongue,” Hall repeats “50 bottles of gasoline” with a cumulative intensity until it comes to act, intentionally or not, as a mantra for regenerative musical destruction. U.S. Christmas’ sound is fixated on smashing its influences down to the atomic level and reconfiguring the orgones into constellations of its own singular design. Like their cohorts on Hawkwind Triad, the North Carolina quintet discerns the loopy, time-bending trajectory of its English forebears’ Silver Machine, and hops aboard.

Firelit: Coffee with benefits

Jesse Hawthorne Ficks
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Firelit: Coffee with benefits

Since its release a couple of months ago, I’ve been savoring Firelit Spirits‘ one-of-a-kind coffee liqueur, featuring none other than Blue Bottle Coffee. Starting off with 1,800 bottles (which are just about gone, by the way), founding partners, Jeff Kessinger and St. George Spirits distiller Dave Smith have created a coffee liqueur that retains all the nuance and glory of fine coffee. It is robust with unaged brandy, Madagascar vanilla beans and just enough cane sugar to provide balance, rather than cloying sweetness. With a strong caffeinated kick and at a bracing 60 proof, this is coffee with benefits.

I had the privilege of chatting with Jeff Kessinger and Dave Smith, both gracious guys with a deep knowledge and passion for spirits, to discuss the story behind Firelit’s creation. The recipe and concept are Kessinger’s, and his story has been covered in various publications.

In speaking with Smith about what prompted the great St. George to embrace this project, my suspicion that the distillery receives numerous pitches for products or use of the facilities was correct. What made them take a longer look at Kessinger’s recipe? As he was an old friend of St. George’s, they decided to experiment with a trial batch, believing so much in what they initially produced that Smith took on distilling responsibilities. Smith and Kessinger shared a vision for making a unique, natural tasting (read: not sticky-sweet) coffee liqueur. Smith explored recipes himself over the years, even a chicory coffee liqueur after a New Orleans’ trip. Along with James Freeman of Blue Bottle, Smith and Kessinger tested a slew of iterations of the liqueur with every shade of coffee bean, achieving a consensus on the final product for initial bottling. Dave acknowledges that many spirits come out of what is more or less a “dare”, the risk becoming greater the more unexplored the liqueur style. “It’s not difficult to make a good product”, Smith says, “but it’s very difficult to make a great product.”

Understandably, Smith calls Firelit a product he’s “incredibly proud of”, expressing the unique thumbprint of each person involved, which is, in fact, a common goal at St. George. One of the most exciting aspects of Firelit is that it will be produced with different coffee beans and brands. Just as coffee beans reflect the terroir and climate of a region in any given year, Firelit will evolve and reincarnate, allowing varying coffees to take center stage, even as the base profile remains the same. This is a welcome new liqueur for any spirits (and coffee) lover… and also another locally made treasure.

Available at:
K&L Wines
The Jug Shop
The Wine Club
Swirl on Castro

Visit Virginia Miller’s culinary itinerary site, www.theperfectspotsf.com

The feminization of Mexican agriculture

Zelda Bronstein
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The feminization of Mexican agriculture

SANTA CRUZ TANACO (May 20th) – When I first settled into this tiny Purepecha Indian village high in the Meseta Tarasca of west-central Michoacan state 50 years ago, few women tilled the land. Tending the “milpa” (corn patch) was strictly a man’s work. The men ploughed the fields and planted in the spring and the wives and daughters would help to weed (“barbechar”) and glean in the harvest — but it was the men who strapped on the “tchundi” basket as they moved up and down the rows, snapping off the big ears of maiz to be sold in the markets of neighboring cities.

While the men lorded it over the corn patch, women had dominion over the home and the children. They cared for the kids and the chickens and prepared the meals. At mid-day, they wrapped up fresh, warm tortillas in colorful “servietas” and carried them out to the fields to feed their husbands.    

Only two women in Tanaco actually worked their own “parcelas” (plots.)  Dona Teresa Garcia had a handful of fields scattered up and down the valley she had inherited from her murdered husband and many sons to work them, and although she was known to get her hands dirty, she was more an overseer and administrator.


 


Slight and sprightly, Tere delighted in a full storehouse and was proudest of her purple and red and blue pinto corn she grew from her cache of grandfather seeds.  

Nana Eloisa, on the other hand, was a mountain of a woman who ploughed the rocky valley soil at the foot of volcanic mountains and lush pine forests — when she didn’t have an ox or the wherewithal to rent one, Eloisa was known to harness up the plough and pull it herself. Nana Eloisa had no husband although men sometimes hid in her long serge skirts. Unlike Dona Teresa, who preferred to negotiate off stage with the men who ruled the community, Eloisa, who was equipped with a stentorian voice, often spoke up at assemblies of the “comuneros” (indigenous landholders.) The neighbors talked about her in awed whispers.

Times have changed up in the Meseta — and changed again. In the 1980s, as the first of five neo-liberal regimes took hold far away in Mexico City, the Purepechas — who never strayed far from the Meseta, unlike their mestizo neighbors in Tangancicuaro and Gomez Farias who first began trekking north a hundred years ago — plunged into the immigration stream with a vengeance. Fathers and sons went off to find their fortunes in El Norte and many never came back.

The women were left in charge of the house and the milpa both, a double workday (“doble jornada.”) Their husbands would send home the “remisas” (money orders) with instructions on where and how much corn to plant. Any cash left over was destined to pay off loans for the “coyotes” who charged thousands of pesos to get the men across the border.  

Often the women would hire “peones” and “jornaleros” to do the fieldwork, but others worked the milpas on their own. Gradually the women began to make their own decisions about their husbands’ land.  Many stepped out of the traditional long Purepecha skirts and literally and figuratively put on the “pantalones.”

There are more women than men in Mexico 53,000,000 to 50,000,000, according to the 2005 half census. Although many are still tied to the home, women now comprise 40% of the workforce.


In the rural sector where 28% of the population continues to subsist, the stats are even more skewed. One estimate is that 18 million women are now the primary workers on the land — but only 4.5 million actually have title to it. Title allows them membership and voice and vote in the ejido (villages that are designated rural production units) and community, access to agricultural credits, and full agrarian rights. But women landholders are often relegated to servant stature in the ejido assemblies where only 2.5% serve as officials of the 28,000 communal farms so designated by the Secretary of Agriculture.

Although many women farmers or “campesinas” join mixed gender farmers organizations like the PRI party-run National Confederation of Campesinos (CNC) or the more left UNORCA and El Barzan, the dismaying disparity in their recognition as producers have motivated the women to form their own groupings such as the Ecological Campesinas of the Sierra of Petatlan Guerrero and the CONOC (National Council of Women Farmers’ Organizations.)  

But whether within the male-dominated farmers centrals or those of their own making, equal recognition has been slow in coming for the campesinas. Although agricultural budgets put together by the Secretary of Agriculture (SAGARPA) and the Secretary of Social Development (SEDESO) appear to allocate 42% of their resources to women, the numbers are deceiving – most of the money designated for women farmers is assistencial aid drawn down from the “Oportunidades” poverty program.  

Other monies are assigned to crafts collectives such as the ceramicists of Ocumicho just over the mountain from Tanaco, where the women throw the much-in-demand pots and the men bring the wood to keep the ovens fired up. Funds for micro-projects such as keeping chickens are available to women farmers but as Blanca Rubio writes in the left daily La Jornada, the campesinas would rather be recognized as producers of maiz than for their ancillary talents.          

In addition to the gender of farming, the gender of out-migration from feeder states like Michoacan, Jalisco, Guanajuato, Zacatecas, and more indigenous Chiapas and Oaxaca, has changed radically. Once upon a time only men headed for El Norte and the potentially mortal consequences of this dangerous migration but womens’ numbers in the flow north have tripled in the last decade as neo-liberal agrarian policies imposed from Mexico City have devastated the “campo” and the bottom has fallen out of Mexican agriculture.

Under presidents Carlos Salinas and Ernesto Zedillo (1988-2000), the Constitution was mutilated to allow the privatization of communally-held land, grain distribution was handed over to transnationals like the Cargill Corporation, guaranteed prices were scrapped, and credit for poor farmers dried up. Vicente Fox and Felipe Calderon (2000-2010), presidents chosen from the right-wing PAN party, have hastened the demise of the agricultural sector.

The coffin nail was the 1994 North American Free Trade Agreement.  Every year since, millions of tons of cheap U.S. and Canadian corn swamp Mexico forcing small-hold campesinos and campesinas out of business. A Carnegie Endowment investigation into the impacts of NAFTA on poor Mexican farmers published on the tenth anniversary of the trade treaty calculated that 1.8 million farmers had abandoned their milpas in NAFTA’s first decade – since each farm family represents five Mexicans, the real number of expulsees comes in close to 10,000,000, at least half of them women.

One consequence is that women now swim in the migration stream in dramatically increased numbers. Sisters follow their brothers north and wives their husbands, leaving the children at home with the grandmothers. A third of the households in Tanaco and just down the valley in Cucucho have no mother or father at home.  

For those women who stay behind, lifestyles have changed.  Families have abandoned or sold off their milpas and the remisas from El Norte (which decreased 20% in recession-ridden 2009) are now invested in building up the house, laying cement floors and hooking up electricity lines. Women open “changaros,” storefronts where they sell knicknacks and snacks to their neighbors.

Women farmers who still till their parcelas now have to work a triple workday (“triple Jornada”) just to make ends meet, finding jobs outside of the community as domestics or factory workers, taking care of the house and the kids and the chickens, and tending to the milpa. When the husbands do come home, the once rigidly defined roles of men and women in the Mexican countryside have been irreversibly altered. Men are not the sole breadwinners now and decisions must be taken together. Left to their own devices to survive, the campesinas have become empowered.  They have feminized agriculture.

The feminization of the Mexican campo is a bright light in a dismal prospectus, thinks the much-respected agrarian analyst Armando Bartra. Gender articulates how farmers approach the land, Bartra writes. Men wrest the crops from the soil. They plant to achieve bigger and better harvests and resort to chemical fertilizers and pesticides and genetically modified seed to speed up the bounty. They pin their hopes on the market, Bartra underscores, “and the market has no future” for small farmers.

By way of contrast, women are more in sync with the land. They don’t till the soil for profit as much as to keep their families well nourished. They are commited to auto-sufficiency first and do not poison the land upon which they grow their family’s food with chemicals. The feminization of farming, Bartra concludes, is “the only salvation for Mexican agriculture.”

John Ross has returned to El Monstruo (Mexico City), the title of his most recent volume “El Monstruo – Dread & Redemption in Mexico City” and the most contaminated, crime-ridden, corrupt, and conflictive megalopolis in the Americas.      


 

Nneka hits the concrete jungle

Andrew Lam
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It’s a long journey from Nigeria to Nas and Damian Marley’s side onstage at the Fox Theater (Tues/25). But 28 year old singer Nneka makes the road seem eminently walkable. Born to a father from the Nigerian Igbo tribe, and a German mother, her Erykah Badu like vocalizations didn’t really take off until she moved to Hamburg at 18. Since then, she’s risen to European fame on the verve of lyrics that reposition Africa as it’s own narrator, and are set to driving R&B and hip hop beats. And now the States are taking note of her song. Nneka is opening for Lenny Kravitz, Badu, and Mos Def, garnering comparisons with The Miseducation of Lauryn Hill for her recent US release, Concrete Jungle (an amalgamation of songs previously released on her European albums), and generally heralding a new era of socially driven, worldwide hip hop.

Plus, she showed up to her Manhattan CD release party in pig tails and a hoody. When asked to describe her sound in a single word, she comes up with “bush.” It’s clear that this woman has bigger things on her mind than album sales and accolades. We Skyped her just before she hit the stage for a show in France to ask; what’s good, Nneka?

San Francisco Bay Guardian: I’ve seen you at a lot of your appearances wearing an “Africa is the Future” sweatshirt. What does that phrase mean to you?
Nneka: Just a T-shirt (laughs) of course the saying is something we’ve been saying. Africa is the futre, it is the present the past and the future, this is part of the trinity that I believe in but its not just what I believe in, it’s a fact.

SFBG: You play the guitar in addition to singing. When did you learn how to play?
N: I picked up the guitar three years ago. But I’m still not doing it as you should.

SFBG: Why the guitar when you are already such a great singer?
N: As somebody who has been traveling around for awhile, I noticed that a musician is not just somebody who sings. Other people had the opportunity to grow up playing an instrument. [I didn’t bu I]I decided to use the guitar because it is a process to my heart. It fits best to my style.

SFBG: You just recently started performing in the United States. Were you surprised about Americans’ perception of our country’s place in the world?
N: I wouldn’t be able to make any solid statement about American people, since I have not lived in America enough for me to conclude on that. I had a certain way of seeing Americans — I had heard they were very plastic, artificial, not natural. But I came to see for myself, and I found you meet some people, and you can never generalize them. I’ve met people in the States who are way deeper than I imagined. When it comes to my audience, I noticed the Americans listen deeply compared to a lot of people out here in Europe. When I’m talking about political or religious issues, sometimes [European] people can’t understand. Compared to that, the Americans are like, ‘I understand where she’s at.’ It’s a good thing to have people that understand, that trigger you to understand more.

SFBG: You’ve toured with some of the most incredible performers in hip hop and R&B today. Who, of the people you’ve opened for, has taught you the most?
N: Lenny Kravitz, big time. I was on tour with him, and I was thinking, this man has been working in music for a long time. After doing this, I feel you might go on stage haphazardly, push aside your passion, you just function more or less. To my surprise, I saw that Lenny Kravitz is still passionate about his music. He lives his music. In addition, he’s a very humble personality. That is something I look up to, people who are still human despite fame.

SFBG: As a female performer, have you ever felt pressure from the industry to conform to a certain image?
N: If you know where you’re coming from, if you have your identity before you go to your record company than it’s much easier. Most of the acts in the States, they don’t have their own identity, they have their identity imposed on them. It has a lot to do with whether you are courageous about your artistry and creativity. It’s just like writing a book. If you’re sure about your subject, committed to yourself, than it will be much easier to see.

SFBG: What kind of role does music and the musician play in social change?
N: It’s the easiest way to me to express myself and make change possible. In order for me for me to evoke change, the only way I’m able to do that is through my music. This is something that I know won’t hurt anybody. I believe that music can make change when you believe what you say, and you’re part of what you preach. That change manifests eventually in the physical.

SFBG: Do you think the amount of traveling and touring you’ve done has given you a fuller perspective on the global community?
N: There’s a stage you reach when you’re like everything is everything. Whether in Europe, China, the USA, people are people. Everything is everything. And then you’re like, where do I go from here, when everything has been said before. We can’t lose hope now. Somebody has to say something.

Distant Relatives tour:

Nas and Damian Marley feat. Nneka

Tues/25 8 p.m., $39.50

Fox Theater

1807 Telegraph, Oakland

(510) 302-2277

www.foxoakland.com

Our Weekly Picks: May 19-25, 2010

Jesse Hawthorne Ficks
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WEDNESDAY 19

MUSIC

 

Francis and the Lights

Although they’ve garnered attention from shout-outs by Kanye and Drake, New York City’s Francis and the Lights have enough style to speak for themselves. Singer Francis Farewell Starlite sounds a lotta bit like Phil Collins, and the ’80s groove that often accompanies him only adds to the double-take. If Starlite’s Trek convention name didn’t scare you off, you’ll discover he has some kick-ass dance moves and a synth keyboard with all black keys, because “the difference between black and white keys is that there is no difference.” If you can make it early for Teen Inc., you’ll get more 1980s funk, spin-cycled with a tad of Ariel Pink and a pinch of Prefab Sprout. (Peter Galvin)

8:00 p.m., $13

Great American Music Hall

859 O’Farrell, SF

(315) 885 0750

www.gamh.com

THURSDAY 20

MUSIC

 

Roky Erickson

From his time as leader of psychedelic pioneers The 13th Floor Elevators through his varied and excellent solo work, Roky Erickson has continued to write and perform some of the most original and imaginative music in any subgenre of rock ‘n’ roll. A testament to his outstanding talent and resilience is that Erickson has done so while surviving decades of drug abuse and mental illness, a hellish journey that has fortunately ended with his inspiring recovery and recent return to the music world. Last month saw the release of True Love Cast Out All Evil, his first new album in 15 years, an incredibly poignant collection of songs that document his struggles but ultimately give the sense of hope and promise for a fruitful future. (Sean McCourt)

With Okkervil River

8 p.m., $29.50

The Fillmore

1805 Geary, SF

(415) 371-5500

www.thefillmore.com

DANCE

 

Sara Shelton Mann and David Szlasa

Newcomers to the Bay Area take the presence of Sara Shelton Mann for granted. They shouldn’t. Though she has been making groundbreaking work — theatrically and philosophically — for 30 years, she yet has to run out of steam, curiosity, or the willingness to push herself to the edge of whatever she happens to be investigating. Yet there is always that same nagging question: how do we live with each other in a world that is anything but perfect and tries to shape us without our consent? Not that her work gives answers — but it’s the journey and questions that count, right? She and media artist David Szlasa are joined by some of San Francisco’s finest: Yannis Adoniou, Hana Erdman, Patrick Ferreri, Kira Kirsche, Justin Morrison, and Kristin Osler. (Rita Felciano)

8 p.m. (through Sat/22), $25–$30

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF

(415) 978-ARTS

www.ybca.org

LIT

 

An Evening with Chuck Palahniuk

It is rumored that at one reading of his short story “Guts,” Chuck Palahniuk caused 40 audience members to faint from evocative prose involving intestines and a swimming pool pump. Yeah, gotcha. Palahniuk appears to be on course to offend our every sensibility (besides our apparent appreciation for the “transgressive novel” — Wikipedia, what does that even mean?), and his next target is the general squeamishness caused by L.A. name-dropping, courtesy of his latest release, Tell-All. The master of encyclopedic minutiae and literary gauche comes through this week to talk about what’s on his mind — be sure to bring a bag and wear a helmet if you have a weak stomach. (Caitlin Donohue)

7 p.m., $36

Swedish American Music Hall

2174 Market, SF

(415) 861-5016

www.cafedunord.com

MUSIC

 

Keepaway

I love the guys of Keepaway as friends, so full disclosure and all that. But seriously: this is upper deck exercise music. It will remind you of your happiest birthday party or your comfiest drug trip—either way, there are lots of brightly colored bouncy balls and all the time in the world. Keepaway’s spring-loaded EP Baby Style is already scorching the usual hype channels, though most of the praise is of the glum “Animal Collective-meets-whatever” kind. Forget it, and go watch a band swing for the fences. (Max Goldberg)

With Geographer

9 p.m., $10

Popscene

330 Ritch, SF

(415) 541-9574

www.popscene-sf.com

FRIDAY 21

DANCE

 

Readymade Dance Theater Company: The Body Artist

The Body Artist, Albuquerque’s Readymade Dance Theater Company’s latest theater piece, was inspired by Don DeLillo’s novel of the same name. Strictly speaking, it was Laurie Anderson’s taped reading that convinced Romanian-born choreographer Zsolt Palcza that he wanted to choreograph the work. Its story revolves around a young woman who, after her husband’s suicide, returns to their home and finds an unexpected visitor who knows a lot more about her than she can easily digest. Palcza brings a strong literary bent to much of his work, having previously choreographed both Dracula and Woyzeck. Body Artist is the group’s first San Francisco engagement. (Felciano)

8 p.m. (also Sat/22), $10-15

CounterPULSE

1310 Mission, SF

(800) 838-3006

www.counterpulse.org

MUSIC

 

Nokie Edwards

Getting his start playing back-up with Buck Owens when the country star lived in Tacoma, Wash., Nokie Edwards went on to join the Ventures as bassist in 1960 but quickly made the switch to lead guitar based on his musical virtuosity. Over the years since, he has lent his formidable talents to the many tracks that propelled the group to being the most successful instrumental outfit in history, including “Walk, Don’t Run” and “Hawaii Five-O.” Having been enshrined in the Rock and Roll Hall of Fame in 2008, Edwards and his band mates helped influence generations of surf bands, instrumental groups, and guitarists of all stripes and styles. (McCourt)

With Venturesmania, Deke Dickerson and the Ecco-Phonics, Pollo Del Mar, and the Mini Skirt Mob

8 p.m., $15

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

SATURDAY 22

EVENT

 

Maker Faire

Step right up folks, this is the year’s preeminent get-together for makers of things. Yes, it’s just that specific. Forget the endless service industry feedback loop we’re stuck in — Maker Faire is all about taking the initiative to create the world around us. The Faire is home to everything from Burner flights of fancy via steel I-beam and bungee cord to robots, rockets, quilts, and felt creations. But the offerings that get my crafty cravings a-ragin’ are educational. After all, where else can one get primers on beekeeping, repurposing a computer hard drive, juggling, fermenting veggies, and building your own rotational casting machine in a single event? Unheard of, even in this hands-on hamlet. (Donohue)

10 a.m.-8 p.m. (also Sun/23, 10 a.m.–6 p.m.), $25

San Mateo County Event Center

1346 Saratoga, San Mateo

www.makerfaire.com

EVENT/FOOD

 

Uncorked! Wine Festival

There’s something about wine. Maybe it’s the process of growing, crushing, fermenting, and aging the grapes. Or maybe it’s that a bottle can go as low as $2 and as high as $2,000. You can cook with it, be classy and drink from a box, or just enjoy a glass with a platter of brie and crackers. At the fifth annual Uncorked! Wine Festival, you can learn how to properly pair the finest pastas and meats with the correct types of wines and even find out how to detect if an opened bottle of wine has gone bad. Tastings will be offered, of course, for an extra fee. (Elise-Marie Brown)

1–6 p.m., free

Ghirardelli Square

North Point and Larkin, SF

(415) 775-5500

www.ghirardellisq.com

ART

 

“Painted Ladies”

Too many perfectly capable odes have been penned to the Victorian homes that dignify our streets. So I won’t waste words on how they make us all cooler by their very presence — but you know what I mean, right? Fabric8 gallery sure does. Owner Olivia Ongpin has assembled a homage to the Painted Ladies for her newest opening. Works focus on the femininity and architecture around us, including the Lower Haight fairy tales of Ursula Young, Nome Edonna’s water-infused dreamscapes, and the heavy-lidded queens that grace the canvasses of Telopa. (Donohue)

7–10 p.m., free

fabric8 gallery

3318 22nd St., SF

(415) 647-5888

www.fabric8.blogspot.com

MUSIC

 

Dead Prez 10 Year Anniversary Show

Laid on a foundation of political and societal confrontation, Dead Prez is celebrated as one of the most militant hip-hop duos. It has been 10 years since their debut album, and they are taking the stage at the Rockit Room for a live performance with special guests Ras Ceylon, Sellassie, and Unity. Since Let’s Get Free in 2000, they’ve released albums and mixtapes and infiltrated the media through music in movies and on TV, most notably the opening theme for each episode of Chapelle’s Show. On Mother’s Day, they released a remix of B.o.B.’s track “Nothin On You” retitled “The Beauty Within.” Two years ago, they recorded their only live album here in SF, and now they’re back. (Lilan Kane)

9 p.m., $20

Rockit Room

406 Clement, SF

(415) 387-6343

www.rock-it-room.com

SUNDAY 23

MUSIC

 

Caribou

Canadian electronic artist Caribou tinkers with beats and sounds with a surgeon-like precision, which makes sense given that he is a doctor. Well, not that kind of doctor. I can barely do long division anymore, but the man behind Caribou, Dan Snaith, has a PhD in math and surely this superpower informs his work as a composer. His newest album, Swim, is a shimmering grab bag of danceable rhythms and soft vocals that channel pop music as much as house or disco, all performed with live instruments. (Galvin)

With Toro y Moi

8:00 p.m. (also Mon/24), $17

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

EVENT/MUSIC

 

The Golden Gate Park Band Concert: Armenian-American Day

The possibilities at Golden Gate Park are always endless. It’s the perfect place to have a picnic, go to a museum, or just lay in the sun and listen to the drums. Plus, there is always some sort of free concert going on. The Music Concourse is hosting installments of free shows throughout the summer. This week they celebrate the dance and music traditions of Armenian culture. (Brown)

1 p.m., free

Music Concourse, Golden Gate Park

55 Hagiwara Tea Garden Drive, SF

(415) 831-5500

www.goldengateparkband.org

MONDAY 24

EVENT/FUNDRAISER

 

Lunch with James Franco

What do the 826 Valencia tutoring center and James Franco have in common? Apparently more than you think. The Oscar-nominated actor has done videos and written essays for McSweeney’s and is now helping to raise money for the eight-year-old tutoring center. For $150, you can get a three-course lunch, view short films by the actor, and ask questions. You’ll also hear from novelist and screenwriter Dave Eggers, staff members of 826 Valencia, and public school teachers. (Brown)

12 p.m., $150

St. Regis Hotel

125 Third St., SF

(415) 284-4000

www.stregis.com

TUESDAY 25

MUSIC

 

Nas, Damian Marley

Things that taste better together: bacon and eggs, french fries and ketchup, rap and reggae. Realizing the success of their Grammy-winning collaboration “Road to Zion,” criminally-ill MC Nas and the youngest son of Bob Marley, Damian, reunite for a whole album that is equal parts street tough and island beauty. Proceeds from Distant Relatives go to charities in Africa. Although the primary sentiments of the album are hope and inspiration, don’t think for a minute that these beastly songs would be out of place in any club in SF or any dancehall in Kingston. More important, the album opens the door to more musical crossover collabs — nü-metal and country? We can dream...(Galvin)

With Nneka

8:00 p.m., $39.50

The Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

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

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