Video Archives — Page 14 of 118 — San Francisco Bay Guardian Archive 1966

Bus riding tech workers respond to national spotlight on evictions

Erica Hanna

-

December 13, 2013

Bus riding tech workers respond to national spotlight on evictions

Evictions are rippling through San Francisco. Tensions are high. Tech workers with gobs of cash are driving up the rental market in what may be the newest tech bubble — or the city’s new reality. Protesters took to the street earlier this week, blocking a Google bus to draw attention to gentrification, and our video of a union organizer posing as a Google employee shouting down those protesters lit up the Internet.

In the wake of that national spotlight on San Francisco’s outrage, the Bay Guardian decided to talk to the bus-riding techies themselves and ask how they felt about the new tech revolution. Are they at fault for displacing long time San Franciscans? What did they make of Monday’s outrage?

We returned to the scene of the protest, 24th and Valencia streets, where workers from Yahoo, Genentech, Google, and others line up at Muni stops to be whisked away in mammoth private buses. Most had hands in their pockets, turning away when asked questions. Others decided to talk, but none would go on the record with their names.

“We’re very aware of the sentiment in the city against us,” one tech worker with grey hair and glasses told us. “But hopefully this (protest) leads to a positive conversation.”

He said that the envy was understandable. Public transit in the city “isn’t the best,” he said, but pointing to any one company to be at fault isn’t productive.

“Our economy lacks upward mobility, and the haves and have-nots are divided all over the country,” he said, not just in San Francisco.

But some of the techies themselves are “have nots,” as one tech worker, a middle-aged Java programmer sitting in Muddy Waters cafe, could attest to. As we watched the tech buses ride by, he told the Guardian he’s been out of work for a few months now. He used to work for a computer sketch software company called Balsamiq.

He’s lived in the city for 22 years. When he first moved into town, he lucked into renting a room for $175 a month. Now his rent is much, much higher, though he wouldn’t say by how much.

This is not the viral video of the staged argument, but from the same day. A protester enters the Google bus, and a bus rider shouts her out.

“I’m sympathetic,” he said, of the discord on rising rents. “But getting rid of tech isn’t the solution.” He pointed to a need for more affordable housing.

A blonde haired Apple employee told us that although he makes more money than the average San Franciscan, he can’t afford to buy a home here. He’s lived in the city three years, and worked at Apple for four. He took a balanced view of the protest, saying the stunt started a national look at inequality.

“It’s keeping (the conversation) at the front and center. You could argue it’s not fair to target one company, but I see both sides,” he said.

Tech should do its part to pay its fair share, the 19-year cafe owner of Muddy Waters said. Hisham Massarweh said he likes the tech folk, who are great for business. But the transit issue needs to be worked out, he said. He once got a $250 ticket for parking in the same bus stop outside his store that the tech buses park in every day — ticket and permit free.

Across the street, Jordan Reznick, a PhD student and teacher at California College of the Arts, said she’s seen many of her friends displaced. “I feel a lot of animosity towards Google and Google workers,” she said, as we sat just behind a line of Google employees waiting for their bus.

“I live in a small place with a family of four,” she told us, as it’s the best she could find in this market.

As she ran off to catch her ride to work, the Guardian approached a man who sat waiting for the same Google bus that was protested earlier in the week.

“San Francisco doesn’t have its shit together,” he said. The protest was about housing, but San Francisco needs to address that fast. And as for the Google buses, there’s no framework for Google to pay the city, yet. “If they could (pay) they would, going forward I’m sure they will.”

We asked him point blank if he felt guilty watching longtime San Franciscans lose their homes.

He took a drag of his cigarette, looked me in the eye, and said, “Every day. I love San Francisco with all my heart, and I feel tremendously guilty. Every day.”

As the bus pulled up he hopped on and headed to Mountain View.

Personal archives: CAAM’s home-movie project Memories to Light

Sue Vaughan

-

December 12, 2013

0

Personal archives: CAAM’s home-movie project Memories to Light

For as long as I can remember, my family has spent New Year’s Day at my aunt and uncle’s house in Campbell. As we had our fill of sushi and kamaboko, watched football, and, in more recent years, entertained my little cousins, my Uncle Hiro would walk around the house with his video camera, getting everyone on tape. He would focus in on my brother and me, narrating in Japanese so I could only catch our names and how old we were that year. It was just a thing Uncle Hiro did on New Years Day. I never thought of it as recording history.

But that’s exactly what home movies are – a largely untapped source of our histories from an intimate and personal perspective. Recognizing this, the Center for Asian American Media has developed Memories to Light, an initiative that collects, digitizes, and shares the home movies of Asian American families. Advances in digital media and discussions between CAAM executive director Stephen Gong and archivist and filmmaker Rick Prelinger gave way to the project, which has now gained over a dozen family collections and somewhere between 30 and 50 hours of footage.

“I think Asian-American communities are becoming more relevant and more engaged and more deeply embedded in the American story and making our presence felt,” said Gong. “It’s a good time for a lot of good stories.”

Given today’s technology, it’s never been a better time to share these stories recorded on early film. Memories to Light takes donated home movies, digitizes them, and returns the original copy and a digital copy to the family. That way, the original footage doesn’t just sit in an archive and collect dust. And all it costs is the family’s willingness to share their little slice of history.

“One of the tenants of this project is not to treat these like they’re copyrighted materials that we need to monetize,” Gong explained. “That it is with a new ethos of saying that like a participatory society and culture that we can have greater effect in the culture if we do our best to make this stuff as widely accessible as possible.”

By having such an open transaction with donators and leaving the task of preserving the original film in their hands, Gong can focus on gathering, editing, and presenting collected content. CAAM’s mission to show the richness and diversity of Asian Americans, and Memories to Light achieves that by showcasing real, everyday life as important history.

“For communities of people that don’t have a sort of rich, moving image history, who have been depicted in mainstream media in stereotyped ways, articulated by someone else to someone else’s ends and needs, there is something that is amazingly liberating just by saying, ‘Let’s go right to the material that people themselves decided to shoot,’” said Gong.

The footage collected spans from as early as the 1930s all the way up to the 1970s. Though this medium is usually considered more personal than educational, there is a lot to be learned by these moments captured by various families. Mark Decena of Kontent Films, who originally got involved with Memories to Light to produce a trailer for the project, unearthed his own family’s films and had them digitized. He did not expect the onslaught of emotions that came with viewing the footage, which he ended up editing together into a film called The War Inside.

“The War Inside came about from the very implausible and ultimately ill-fated union of my Mom and Dad,” said Decena. “My mom is Japanese and my dad is Filipino. Not a common coupling, especially after Japan’s brutal imperialistic binge and World War II defeat. I always bemused that I was at war with myself by having such different racial and cultural mix.”

With a script he wrote in a day after viewing the footage, along with editing work by Blake Everheart and soundtrack by CAAM’s program manager Davin Agatep, Decena shared his film for the first time with an audience that included his entire family.

“Since it’s basically a story of a family breaking up, it was emotional for everyone,” he said. “In some ways, you could see it as an indictment of certain people, but it’s as much about the circumstances that brought them to make the choices they made.”

Decena’s film is just one form of presentation that has come out of this initiative. Another collection of footage, presented in September at the Asian Art Museum, was accompanied by live performances by DJ Deeandroid and Lady Fingaz. Given that much of this footage is silent, there are many creative options for screenings.

So when you head home for the holidays this year, ask your family about old home movies they might have hiding in a closet somewhere. Though videotapes like the ones my uncle recorded aren’t what Memories to Light is looking for, the project is currently accepting more 16mm, 8mm, and Super 8mm film to digitize and add to the collection.

Take a look at The War Inside on the Memories to Light website, as well as the Gee and Udo family collections, and perhaps you too will be inspired to dig into your own home archive for family history to share. Check out Memories to Light at the Japanese American Museum of San Jose on Dec. 18 and at CAAMFest in March 2014.

Memories to Light
Dec 18, 7pm, free
Japanese American Museum of San Jose
535 N Fifth St, San Jose
(408) 294-3138
www.jamsj.org

Music Listings: December 11-16, 2013

Jesse Hawthorne Ficks

-

December 11, 2013

0

WEDNESDAY 11

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. The Bruises, Lovers, Upstairs Downstairs, 9 p.m., $10.

Cafe Du Nord: 2170 Market, San Francisco. Tommy & The High Pilots, The Lower 48, Will Weston, 8:30 p.m., $8.

The Chapel: 777 Valencia St., San Francisco. Lee Ranaldo & The Dust, Bill Orcutt & Jacob Felix Heule, 9 p.m., $15-$17.

DNA Lounge: 375 11th St., San Francisco. Fates Warning, Artizan, Bay Rum, Field of Stones, 7:30 p.m., $20-$25.

El Rio: 3158 Mission, San Francisco. Hyper Buzz, Heart of the Whale, Not Sure. Not Yet, 8 p.m., $10.

The Independent: 628 Divisadero, San Francisco. Jagwar Ma, Fascinator, 8 p.m., $15.

The Knockout: 3223 Mission, San Francisco. “Disorder,” w/ Screature, CIVC, Circuit Slave, DJ Nickie Tilsner, 10 p.m., $5.

DANCE

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

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

Clift Hotel, Redwood Room: 495 Geary, San Francisco. “Sessions 004,” w/ Kiwi Time, plus DJs Richard Habib, Jamal Targa, Marija Dunn, Seven, Amber Reyngoudt, and Max Gardner, 6 p.m., free.

Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance night with the Disco Fries, Aston Shuffle, Harris Pilton, Sychosis, Sonny Daze, Chaos, Slo Mo, Budzak, 9 p.m., $10-$20.

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

Elbo Room: 647 Valencia, San Francisco. Powwoww, Witowmaker, Light Echo, Phntm Club, Popgang DJs, 9 p.m., $5.

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

F8: 1192 Folsom St., San Francisco. “Housepitality,” w/ Jozif, Pattern Drama, Sharon Buck, Johnnie Walker, 9 p.m., $5-$10.

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

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

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

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

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

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

HIP-HOP

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

Slate Bar: 2925 16th St., San Francisco. “Special Blend,” w/ resident DJs LazyBoy & Mr. Murdock, 9 p.m., free.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Paige Clem, Fiver Brown, Ben Shaw, 7 p.m.

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

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

Hotel Utah: 500 Fourth St., San Francisco. Ryan Montbleau, Witchdream Mansion, 8 p.m., $12-$15.

Johnny Foley’s Irish House: 243 O’Farrell St., San Francisco. Terry Savastano, Every other Wednesday, 9 p.m., free.

Plough & Stars: 116 Clement, San Francisco. Gann Brewer, 9 p.m.

JAZZ

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

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

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

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

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

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

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tuck & Patti, 8 p.m., $22.

Zingari: 501 Post, San Francisco. Sherri Roberts, 7:30 p.m., free.

INTERNATIONAL

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

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

Rickshaw Stop: 155 Fell, San Francisco. Diana Arbenina & The Night Snipers, DJ Ze’ev, 8 p.m., $50.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Kim Wilson All Stars, 7:30 & 9:30 p.m., $30.

Boom Boom Room: 1601 Fillmore, San Francisco. Dr. Mojo, 9:30 p.m., free.

The Saloon: 1232 Grant, San Francisco. Little Jonny & The Giants, 9:30 p.m.

EXPERIMENTAL

Meridian Gallery: 535 Powell, San Francisco. Cheryl Leonard: New Natural Sounds, 7:30 p.m., $8-$10.

FUNK

Vertigo: 1160 Polk, San Francisco. “Full Tilt Boogie,” w/ KUSF-in-Exile DJs, Second Wednesday of every month, 8 p.m.-1:30 a.m., free.

SOUL

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

THURSDAY 12

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. City Tribe, Sea Lioness, Travis Hayes, Snow Angel, 8:30 p.m., $8.

DNA Lounge: 375 11th St., San Francisco. Sixth Annual Silicon Valley Rocks, Benefit for Music in Schools Today featuring live music by South Hero, Blues Deluxe, The Funkery, Peter Chung Band, Regime, nSLASHa, Open Source Band, Coverflow, and Rainbow Party., 7 p.m., $25-$65.

The Independent: 628 Divisadero, San Francisco. moe., Dec. 12-14, 9 p.m., $30.

The Knockout: 3223 Mission, San Francisco. Cocktails, Blood Sister, Happy Diving, 9 p.m., $5.

Milk Bar: 1840 Haight, San Francisco. Split Screens, The Dandelion War, Heavy Color, Jared Padovani, 8:30 p.m., $5.

DANCE

1015 Folsom: 1015 Folsom St., San Francisco. RJD2, Om Unit, Sweatson Klank, DJ Dials, Mophono, Ernie Fresh. Mr. Vos, 10 p.m., $15 advance.

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

Audio Discotech: 316 11th St., San Francisco. “Phonic,” w/ Borgeous, 9:30 p.m., $10 advance.

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

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

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

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

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

Danzhaus: 1275 Connecticut, San Francisco. “Alt.Dance,” Second Thursday of every month, 7 p.m., $7, 18+.

DNA Lounge: 375 11th St., San Francisco. “8bitSF,” w/ Super Soul Bros, Vicereine, Owlbear, DJ Tracer, 8:30 p.m., $8-$11.

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

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

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

Neck of the Woods: 406 Clement St., San Francisco. Blaus, on the downstairs stage, 10 p.m. continues through Dec. 26, free with RSVP.

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

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

Ruby Skye: 420 Mason, San Francisco. “Awakening,” w/ Ørjan Nilsen, 9 p.m., $20-$30 advance.

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

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

Vessel: 85 Campton, San Francisco. “Base,” w/ Sasha, Gabriel I, Quinn Jerome, 10 p.m., $15 advance.

HIP-HOP

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

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

John Colins: 138 Minna, San Francisco. “Party with Friends,” w/ resident DJs IllEfect, GeektotheBeat, Merrick, and Delrokz, Second Thursday of every month, 9 p.m., free.

Neck of the Woods: 406 Clement St., San Francisco. iStandard Producer Showcase: Bay Area Edition, 8 p.m., $10 advance.

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

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Emily Bonn & The Vivants, Arann Harris & The Farm Band, Supermodal, 9 p.m.

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

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Jamestown Revival, Lonesome Locomotive, Keyan Keihani, 8 p.m., $9-$12.

El Rio: 3158 Mission, San Francisco. “Strung Out,” w/ Teja Gerken, Joe Gore, Eric Skye, 7 p.m.

Hotel Utah: 500 Fourth St., San Francisco. Small Town Therapy, The T Sisters, Indianna Hale, 9 p.m., $10-$20.

The Lost Church: 65 Capp St., San Francisco. The Lady Crooners, 8 p.m., $10.

Plough & Stars: 116 Clement, San Francisco. Tipsy House, 9 p.m.

JAZZ

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

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

Cafe Claude: 7 Claude, San Francisco. Vijay Anderson Quartet, 7:30 p.m., free.

Exploratorium: Pier 15, San Francisco. Resonance: Angel City, w/ Roscoe Mitchell, James Fei, William Winant, Sarah Cahill, 7 p.m., $10-$15.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, Second Thursday of every month, 7:30 p.m., free.

Pier 23 Cafe: Pier 23, San Francisco. Judy Hall, 7 p.m., free.

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

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

SFJAZZ Center: 205 Franklin St., San Francisco. “Hotplate,” w/ Robert Stewart & Chester Thompson (playing Jimmy Smith’s Back at the Chicken Shack), 8 & 9:30 p.m., $15-$20.

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

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tuck & Patti, 8 p.m., $23.

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

INTERNATIONAL

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

Cafe Cocomo: 650 Indiana, San Francisco. Vibrasón, El DJ X, 8 p.m., $12.

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

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8 p.m.

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

REGGAE

Make-Out Room: 3225 22nd St., San Francisco. “Festival ‘68,” w/ Revival Sound System, Second Thursday of every month, 10 p.m., free.

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

BLUES

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

Biscuits and Blues: 401 Mason, San Francisco. Mike Keneally, 7:30 & 9:30 p.m., $20-$24.

The Saloon: 1232 Grant, San Francisco. T-Wrex & The Primitive Rhythm, 4 p.m.; Cathy Lemons, 9:30 p.m.

COUNTRY

Atlas Cafe: 3049 20th St., San Francisco. Jinx Jones & Jessica Rose, 8 p.m., free.

The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7 p.m., free.

EXPERIMENTAL

50 Mason Social House: 50 Mason, San Francisco. Tri-Cornered Tent Show, Feral Luggage, White Pee, 10 p.m., free.

The Luggage Store: 1007 Market, San Francisco. Ti Femme, Roro, Jack Hertz, 8 p.m., $6-$10.

SOUL

Cigar Bar & Grill: 850 Montgomery, San Francisco. Holiday Party with Big Blu Soul Revue, 7:30 p.m., free.

FRIDAY 13

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. 20 Sided Records Holiday Party, w/ Trainwreck Riders, Tartufi, Cannons & Clouds, Couches, 9 p.m., $10.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Cool Ghouls, Santoros, The Spyrals, Unstrung, DJ Al Lover, 9 p.m., $7.

Hemlock Tavern: 1131 Polk, San Francisco. Federation X, Tweak Bird, Feral Ohms, Peace Creep, 9 p.m., $8.

Hotel Utah: 500 Fourth St., San Francisco. Rue ‘66, Handler Brothers, Consolidated Electric, 9 p.m., $8.

The Independent: 628 Divisadero, San Francisco. moe., Dec. 12-14, 9 p.m., $30.

Make-Out Room: 3225 22nd St., San Francisco. O Presidente, Pancho-san, 7:30 p.m., $8.

Milk Bar: 1840 Haight, San Francisco. Surf Bored, Lemme Adams, Mr. Kind, 8:30 p.m., $8.

Slim’s: 333 11th St., San Francisco. El Ten Eleven, Slow Magic, 9 p.m., $16.

Thee Parkside: 1600 17th St., San Francisco. Slick’s Bash #100 with Poison Idea; Attitude Adjustment; Moses; I, Madman, 9 p.m., $12.

DANCE

Amnesia: 853 Valencia, San Francisco. “Indie Slash,” w/ DJs Danny White and Rance, 10 p.m., $5.

Audio Discotech: 316 11th St., San Francisco. Juan MacLean (DJ set), Pacific Disco, Papa Lu, 9:30 p.m., $10-$15 advance.

BeatBox: 314 11th St., San Francisco. BeatBox Holiday Party with DJ Russ Rich, 9 p.m., free.

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

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

Cat Club: 1190 Folsom, San Francisco. “Dark Shadows: The Nightmare Before Christmas,” w/ DJs Daniel Skellington, Melting Girl, Joe Radio, and Skarkrow, 9:30 p.m., $7 ($3 before 10 p.m.).

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

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

F8: 1192 Folsom St., San Francisco. “Trap City,” w/ Loudpvck, UltraViolet, Napsty, WolfBitch, The Whooligan, Teleport, Meikee Magnetic, Mixtress Shizaam, 10 p.m., $15.

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

Harlot: 46 Minna, San Francisco. “The Animal Party: Reindeer Unleashed,” w/ Traviswild & Thomas Jack, 9 p.m., $10-$20 advance.

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

Lone Star Saloon: 1354 Harrison, San Francisco. “Cubcake,” w/ DJ Medic, Second Friday of every month, 9 p.m.

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

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

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

Mighty: 119 Utah, San Francisco. Mighty 10-Year Anniversary, w/ Hernan Cattaneo, Naveen G, 9 p.m., $20-$30 advance.

Monarch: 101 6th St., San Francisco. “Smoke N’ Mirrors: A Winter Holiday Soirée,” w/ Crazy P, Climbers, Shiny Objects, Lisbona, Trev Campbell, 9 p.m., $10.

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

Public Works: 161 Erie, San Francisco. “Friday the 13th, Part IV,” w/ Zebra Katz, House of LaDosha, 10 p.m., $10-$15.

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

Ruby Skye: 420 Mason, San Francisco. Simon Patterson, John Beaver, 9 p.m., $20 advance.

Showdown: 10 Sixth St., San Francisco. “Electric WKND,” w/ The Certain People Crew, Second Friday of every month, 10 p.m., free.

Slide: 430 Mason, San Francisco. “E2F,” Second Friday of every month, 9 p.m.

Supperclub San Francisco: 657 Harrison, San Francisco. “F*ck It’s Free-zing,” w/ Michael Anthony, Be Smiley, Jimmy Bell, Didje Kelli, 10 p.m., free.

Temple: 540 Howard, San Francisco. The Les, DJ Enfo, DJ E-20, Mikey Tan, DJ Rufio, 10 p.m., $15.

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

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

HIP-HOP

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

John Colins: 138 Minna, San Francisco. “Heartbeat,” w/ resident DJ Strategy, Second Friday of every month, 9 p.m., $5 (free before 11 p.m).

Mezzanine: 444 Jessie, San Francisco. Bone Thugs-N-Harmony, 9 p.m., $25-$45.

Slate Bar: 2925 16th St., San Francisco. “The Hustle,” w/ DJs Sake One & Sean G, Second Friday of every month, 9 p.m.

ACOUSTIC

Dolores Park Cafe: 501 Dolores, San Francisco. Secret Town, 7:30 p.m.

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

JAZZ

Atlas Cafe: 3049 20th St., San Francisco. Tom Lander, 7:30 p.m., free.

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

Bird & Beckett: 653 Chenery, San Francisco. Jimmy Ryan Quintet, Second Friday of every month, 5:30 p.m., free.

Cafe Claude: 7 Claude, San Francisco. Alex Conde Trio, 7:30 p.m., free.

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

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

Pier 23 Cafe: Pier 23, San Francisco. Soul Sauce, 8 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. Rob Reich Trio, 7:30 p.m., $10-$15.

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

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

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

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

INTERNATIONAL

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

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

Cliff House: 1090 Point Lobos, San Francisco. Orquesta Conquistador Quartet, 7 p.m.

Elbo Room: 647 Valencia, San Francisco. Lagos Roots, 10 p.m., $10.

The Emerald Tablet: 80 Fresno St., San Francisco. Flamenco del Oro, 8 p.m., $15 suggested donation.

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

Rickshaw Stop: 155 Fell, San Francisco. La Gente, La Misa Negra, 8 p.m., $10-$13.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Sheila E. Birthday Celebration, 8 & 10 p.m., $34-$39.

REGGAE

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

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Elvin Bishop, 7:30 & 10 p.m., $40.

The Saloon: 1232 Grant, San Francisco. Jinx Jones & The KingTones, Second Friday of every month, 4 p.m.; T.C. Riders, 9:30 p.m.

EXPERIMENTAL

Artists’ Television Access: 992 Valencia, San Francisco. “Other States,” w/ Evan Caminiti, Danny Paul Grody, and Trevor Montgomery, plus films by Paul Clipson, 8 p.m., $6-$10.

FUNK

Boom Boom Room: 1601 Fillmore, San Francisco. Steppin’, DJ K-Os, 9:30 p.m., $10.

Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, and Tom Thump, 10 p.m., $5-$10.

SOUL

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

The Knockout: 3223 Mission, San Francisco. “Nightbeat,” w/ DJs Primo, Lucky, and Dr. Scott, Second Friday of every month, 10 p.m., $4.

Madrone Art Bar: 500 Divisadero, San Francisco. “Yo Momma: M.O.M. Weekend Edition,” w/ DJ Gordo Cabeza, Second Friday of every month, 9 p.m., $5 (free before 10 p.m.).

SATURDAY 14

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Kitten, The Hot Toddies, Dog Party, 9:30 p.m., $15.

Connecticut Yankee: 100 Connecticut, San Francisco. Sad Bastard Book Club, Waning, Balms, 9:30 p.m., $10.

Hemlock Tavern: 1131 Polk, San Francisco. The Loyalists, Cinder Cone, Mosshead, 9:30 p.m., $6.

Hotel Utah: 500 Fourth St., San Francisco. The Comet Empire, The Suborbitals, Akale, 9 p.m., $8.

The Independent: 628 Divisadero, San Francisco. moe., Dec. 12-14, 9 p.m., $30.

The Knockout: 3223 Mission, San Francisco. The Fucking Buckaroos, Buffalo Tooth, The Parmesans, A Million Billion Dying Suns, 3 p.m., $7.

Thee Parkside: 1600 17th St., San Francisco. Pedal Revolution Benefit Show with Clamhawk Manor, Twinsect, Jamaged Goods, Joe Sikelianos, 4 p.m., $5; The Weirdos, VKTMS, The Re-Volts, DJ Aya Papaya, 9 p.m., $18.

DANCE

Amnesia: 853 Valencia, San Francisco. “2 Men Will Move You,” w/ DJs Primo & Jordan, Second Saturday of every month, 9 p.m.

Audio Discotech: 316 11th St., San Francisco. Solidisco, Chordashian, MyKill, Sunwoo, 9:30 p.m., $10 advance.

BeatBox: 314 11th St., San Francisco. “I Just Wanna F*ckin Dance: First Annual Battle of the Beats,” 10 p.m., $15-$25.

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

Cat Club: 1190 Folsom, San Francisco. “Club Gossip: New Order vs. Erasure,” w/ DJs Damon, Shon, Low-Life, Daniel Skellington, and Panic, 9 p.m., $5-$8 (free before 9:30 p.m.).

DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ Smash-Up Derby, A+D, DJ Dada, Myster C, Mr. Washington, Keith Kraft, more, 9 p.m., $10-$15.

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

El Rio: 3158 Mission, San Francisco. Maxwell Powers, Date Nite, Pixel Memory, 9 p.m., $6-$12.

Elbo Room: 647 Valencia, San Francisco. “Tormenta Tropical: 6-Year Anniversary,” w/ Max Glazer, Oro11, Deejay Theory, 10 p.m., $5-$10.

The EndUp: 401 Sixth St., San Francisco. “Eclectricity,” Second Saturday of every month, 10 p.m.

The Grand Nightclub: 520 4th St., San Francisco. “Love Generation,” w/ The Fancy Cats, 10 p.m., $20.

Harlot: 46 Minna, San Francisco. “Freak ‘n’ You,” w/ Philipp Jung (of M.A.N.D.Y.), Nick Williams, Dan Sherman, 9 p.m., $10 advance.

The Hot Spot: 1414 Market, San Francisco. “Love Will Fix It,” w/ DJ Bus Station John, Second Saturday of every month, 10 p.m., $5.

Infusion Lounge: 124 Ellis, San Francisco. “One Way Ticket Saturdays,” w/ Eric D-Lux, Second Saturday of every month, 10 p.m., $20.

The Knockout: 3223 Mission, San Francisco. “Galaxy Radio,” w/ Matrixxman, Lel Ephant, Smac, Emils, PlaZa, Holly B, 9 p.m., free.

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

Madrone Art Bar: 500 Divisadero, San Francisco. “Music Video Night,” w/ DJs Satva & 4AM, Second Saturday of every month, 10 p.m., $5.

Mighty: 119 Utah, San Francisco. Gorgon City, 10 p.m., $12.50-$20.

Monarch: 101 6th St., San Francisco. “No Way Back,” w/ Mudd, Felix Dickinson, Conor, Solar, 10 p.m., $10-$20.

Neck of the Woods: 406 Clement St., San Francisco. French Horn Rebellion, Carousel, on the upstairs stage, 9 p.m., $12-$15.

OMG: 43 6th St., San Francisco. “Fixup,” Second Saturday of every month, 10 p.m., $5 (free before 11 p.m).

Rickshaw Stop: 155 Fell, San Francisco. “Cockblock: The Holiday Party,” w/ DJs Niki-C & Natalie Nuxx, 10 p.m., $10.

Slate Bar: 2925 16th St., San Francisco. “The KissGroove S.F.,” w/ DJ Vinroc & The Whooligan, Second Saturday of every month, 10 p.m., free.

The Stud: 399 Ninth St., San Francisco. “Frolic: A Celebration of Costume & Dance,” w/ resident DJ NeonBunny, Second Saturday of every month, 8 p.m., $8 ($4 in costume).

Temple: 540 Howard, San Francisco. Frenchy Le Freak, Pheeko Dubfunk, Lorentzo, 10 p.m., $20.

Wish: 1539 Folsom, San Francisco. “All Styles & Smiles,” w/ DJ Tom Thump, Second Saturday of every month, 10 p.m., free.

HIP-HOP

111 Minna Gallery: 111 Minna St., San Francisco. “Back to the ‘90s,” Second Saturday of every month, 9:30 p.m., $10.

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

John Colins: 138 Minna, San Francisco. “Second Saturdays,” w/ resident DJ Matt Cali, Second Saturday of every month, 10 p.m., free.

Showdown: 10 Sixth St., San Francisco. “The Shit Show,” w/ resident DJ Taurus Scott, Second Saturday of every month, 10 p.m., two for $5.

Slim’s: 333 11th St., San Francisco. Jake Miller, Action Item, Air Dubai, 9 p.m., sold out.

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Small Souls, Old Pals, 7 p.m., $5-$7.

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

Bazaar Cafe: 5927 California, San Francisco. Jordan Singh VanderBeek, 7 p.m.

Plough & Stars: 116 Clement, San Francisco. The Shelby Foot Three, 9 p.m.

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

JAZZ

Cafe Claude: 7 Claude, San Francisco. Belinda Blair, 7:30 p.m., free.

Cigar Bar & Grill: 850 Montgomery, San Francisco. Josh Jones Latin Jazz Ensemble, 8 p.m.

The Emerald Tablet: 80 Fresno St., San Francisco. Madeline Eastman & Her Trio, 8 p.m., $20 suggested donation.

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

The Royal Cuckoo: 3202 Mission, San Francisco. Wil Blades & Jack Tone Riordan, 7:30 p.m., free.

San Francisco Golden Gate Rugby Club: 725 California Ave., San Francisco. S.F. Bal Fest: Treasure Island Hop, 9 a.m., $5; S.F. Bal Fest: Aloha Swing Dance, w/ Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m., $15-$20 ($5 off with costume).

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

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

Zingari: 501 Post, San Francisco. Barbara Ochoa, 8 p.m., free.

INTERNATIONAL

1015 Folsom: 1015 Folsom St., San Francisco. “Pura,” 9 p.m., $20.

Bissap Baobab: 3372 19th St., San Francisco. Misión Flamenca, Monthly live music and dance performances., Second Saturday of every month, 7:30 p.m. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Makrú, Las Cafeteras, DJ Izzy*wise, 9 p.m., $12-$15.

Cafe Cocomo: 650 Indiana, San Francisco. Orquesta Borinquen, DJ Luis Medina, 8 p.m., $15.

Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5 before 11 p.m.

Milk Bar: 1840 Haight, San Francisco. Dança Makèzú’s Kizomba, Semba, and African Rhythms Mega Party, 9:30 p.m., $10.

Pachamama Restaurant: 1630 Powell, San Francisco. Peña Eddy Navia & Pachamama Band, 8 p.m., free.

Red Poppy Art House: 2698 Folsom, San Francisco. John Calloway and the New Riders of the Clave Maze, 7:30 p.m., $15-$20.

Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30 p.m.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Sheila E. Birthday Celebration, 8 & 10 p.m., $39.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Maria Muldaur, 7:30 & 10 p.m., $22.

Pier 23 Cafe: Pier 23, San Francisco. Bobbie Webb, 8 p.m., free.

The Saloon: 1232 Grant, San Francisco. Dave Workman, Second Saturday of every month, 4 p.m.; Delta Wires, 9:30 p.m.

COUNTRY

The Chapel: 777 Valencia St., San Francisco. Swinging Doors, 9 p.m., free.

FUNK

Public Works: 161 Erie, San Francisco. SantaCon Funk Night, w/ DJs Gordo Cabeza, Timoteo Gigante, Malachi, Señor Oz, Pleasuremaker, Motion Potion, and Phleck, 6 p.m., $5.

SOUL

Boom Boom Room: 1601 Fillmore, San Francisco. Wicked Mercies, Kelly Rock, DJ K-Os, 9:30 p.m., $10-$15.

SUNDAY 15

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. San Francisco Rock Project’s 2013 Festive Festival of Bands, 5:30 p.m., $10+.

Hemlock Tavern: 1131 Polk, San Francisco. Little Claw, Death Valley Girls, SFPD, 8:30 p.m., $6.

DANCE

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

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

Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ Timoteo Gigante, DJ Sep, J-Boogie, 9 p.m., $6 (free before 9:30 p.m.).

The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.; “Elements of House,” w/ Mozaic, David Gregory, Dan Sherman, 10 p.m.

F8: 1192 Folsom St., San Francisco. “Stamina,” w/ Bachelors of Science, Jamal, 10 p.m., free.

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

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

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

Mezzanine: 444 Jessie, San Francisco. Paul Kalkbrenner, Bells & Whistles, 7:30 p.m., $20-$30.

Monarch: 101 6th St., San Francisco. “Black Magic Disko,” w/ Mind Against, Brian Bejarano, Star Kommand, 9 p.m., $10-$15.

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

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

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

Slate Bar: 2925 16th St., San Francisco. “She Said…: A Queer Affair,” Third Sunday of every month, 4 p.m., $3-$5.

The Stud: 399 Ninth St., San Francisco. “No Parking on the Dancefloor,” w/ resident DJs Dutchboy & Gehno Aviance, 11 p.m., $5.

HIP-HOP

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

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. A Very Shut-Ins Xmas, 6 p.m.

Hotel Utah: 500 Fourth St., San Francisco. Her Electric Fur, El Joe of the River, Axel Mansoor, Sean Simerly, 8 p.m., $7.

The Lost Church: 65 Capp St., San Francisco. Misner & Smith, Justin Farren, 8 p.m., $10.

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

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

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

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

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

JAZZ

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

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

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

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

The Riptide: 3639 Taraval, San Francisco. The Cottontails, Third Sunday of every month, 7:30 p.m., free.

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

San Francisco Golden Gate Rugby Club: 725 California Ave., San Francisco. S.F. Bal Fest: Prohibition Party Swing Dance, w/ The Kally Price Trio, 7 p.m., $15-$20 ($5 off with costume).

Zingari: 501 Post, San Francisco. Lisa Lindsley, 7:30 p.m., free.

INTERNATIONAL

Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($18-$25 with dance lessons).

Balancoire: 2565 Mission St., San Francisco. “Tardeadas Tropicales,” 3 p.m.

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

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

REGGAE

Make-Out Room: 3225 22nd St., San Francisco. Titan Ups, Franco Nero, The Tritonics, 7:30 p.m., $8.

BLUES

Amnesia: 853 Valencia, San Francisco. HowellDevine, Third Sunday of every month, 8:30 p.m., $7-$10.

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

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

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

SOUL

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

MONDAY 16

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Midlake, Sarah Jaffe, 7:30 p.m., $12-$14.

DANCE

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

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

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

ACOUSTIC

Amnesia: 853 Valencia, San Francisco. Windy Hill, Third Monday of every month, 9 p.m., free.

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

Congregation Sherith Israel: 2266 California, San Francisco. Andrew Bird Gezelligheid, Tift Merritt, Dec. 16-17, 8 p.m., $45.

Elbo Room: 647 Valencia, San Francisco. The Highway Poets, The New Thoreaus, 9 p.m., $6.

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

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

Make-Out Room: 3225 22nd St., San Francisco. “Sad Bastard Club,” Third Monday of every month, 7:30 p.m., free.

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

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

JAZZ

Cafe Divine: 1600 Stockton, San Francisco. Rob Reich, First and Third Monday of every month, 7 p.m.

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30 p.m., free.

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

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

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

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

INTERNATIONAL

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Havana Reunion with Jimmy Branly, Carlitos del Puerto, and Iván “Melón” Lewis, 8 p.m., $24.

REGGAE

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

BLUES

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

COUNTRY

Make-Out Room: 3225 22nd St., San Francisco. “Whiskey River,” w/ DJ Handlebars & Pretty Ricky, Third Monday of every month, 10 p.m., free.

SOUL

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

TUESDAY 17

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. Warm Soda, The Herms, POW!, 9 p.m., $12.

S.F. Eagle: 398 12th St., San Francisco. Eric Himan, Zbörnak, 9 p.m.

Hotel Utah: 500 Fourth St., San Francisco. Dispel, Midnight Sons, King Kong Zilla, 9 p.m., $10.

The Knockout: 3223 Mission, San Francisco. Shadowhouse, Crimson Scarlet, 2084, Gone to Ground, DJ Laurgactyl, 9:30 p.m., $7.

Slim’s: 333 11th St., San Francisco. Pere Ubu, 8 p.m., $16.

DANCE

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

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

Otis: 25 Maiden, San Francisco. “Vibe,” w/ Binkadink, Third Tuesday of every month, 6 p.m., free.

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

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

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

HIP-HOP

Brick & Mortar Music Hall: 1710 Mission, San Francisco. “S.F. Connects,” w/ Children of the Funk, Telli Prego, Heat, Big Vic, Shark Sinatra, Cole, Jedi, Dreidel, 8 p.m., $5-$8.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Kate Kilbane, 7 p.m. continues through Dec. 31.

Congregation Sherith Israel: 2266 California, San Francisco. Andrew Bird Gezelligheid, Tift Merritt, Dec. 16-17, 8 p.m., $45.

Hemlock Tavern: 1131 Polk, San Francisco. Kathryn Anne Davis, Soft Shells, 8:30 p.m., $6.

Plough & Stars: 116 Clement, San Francisco. Seisiún with Autumn Rhodes, Pat O’Donnell, and Sean O’Donnell, 9 p.m.

JAZZ

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

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

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

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

Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30 p.m., free.

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

Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free; Panique, Third Tuesday of every month, 8:30 p.m., free/donation.

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

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

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

INTERNATIONAL

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

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

Elbo Room: 647 Valencia, San Francisco. “Porreta!,” all night forro party with DJs Carioca & Lucio K, Third Tuesday of every month, 9 p.m., $7.

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

REGGAE

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

BLUES

Biscuits and Blues: 401 Mason, San Francisco. Twice as Good, 7:30 & 9:30 p.m., $15.

The Saloon: 1232 Grant, San Francisco. Lisa Kindred, Third Tuesday of every month, 9:30 p.m.

FUNK

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

SOUL

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

Theater Listings: December 11 – 17, 2013

Michael Redmond

-

December 10, 2013

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

Crones for the Holidays: The Sequel Exit Theatre, 156 Eddy, SF; www.crackpotcrones.com. $20 (first weekend shows, free). Opens Sat/14, 3 and 8pm. Runs Sat-Sun, 3pm (also Sat, 8pm). Through Dec 29. Vignettes, improv, songs, and more, written by and starring Terry Baum and Carolyn Myers.

It’s Christmas, Carole! Creativity Theater, 221 Fourth St, SF; www.itschristmascarole.com. $10-20. Opens Thu/12, 7pm. Runs Thu-Fri, 7pm; Sat-Sun, 2 and 5pm. Through Dec 22. Thrillride Mechanics performs the world premiere of Michael Phillis’ “human cartoon” that puts an Office Space-style spin on the Dickens classic.

Too Many Tamales: A Holiday Story for the Whole Family Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-35. Previews Sat/14-Sun/15, 2pm. Opens Dec 21, 2 and 8pm. Runs Dec 22-23, 27-30, and Jan 2-4, 2pm. Through Jan 4. Marsh Youth Theater and author Gary Soto collaborate on this high-energy holiday show — complete with puppets and Mexican music — based on Soto’s picture book.

ONGOING

Amaluna Big Top at AT&T Park, Third Street at Terry A. Francois Blvd, SF; www.cirquedusoliel.com. $50-175. Check website for schedule, including special holiday showtimes. Through Jan 12. Cirque de Soleil is back in town, this time bringing its Tempest-inspired Amaluna to the big top set up outside AT&T Park. Touted for being a celebration of “women [sic] power,” it seems initially odd that the design elements are so focused on the male peacock feather — all greens and blues and graceful, with curving “fronds” rising up from the stage. Jungle sounds chirp in the background as a bevy of Amazonian women in bejeweled headdresses and a mischievous lizard-man circulate the room until the show starts with the lovely abstraction of a floating red cloud of translucent fabric dancing in a single beam of light. The flimsy plotline is forgettable, a coming-of-age and courtship tale between the island’s young princess, Miranda (Iuliia Mykhailova) and a shipwrecked young Romeo (Evgeny Kurkin), though the parallel courtship between the two comic figures of Jeeves (Nathalie Claude) and Deeda (Shereen Hickman) provides a bit of levity and a novel use for footballs. The most realized character is probably Cali (Victor Kee), the half-lizard, whose prehensile tail and neon body paint give him an otherworldly allure, but it’s the aerialist goddesses and fierce embodiments of the storm that are most memorable from an acrobatic point-of-view, and Lara Jacobs’ unique balancing act from a meditative one. (Gluckstern)

Avenue Q New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Fri/13, 8pm. Opens Sat/14, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Jan 12. New Conservatory Theatre Center performs the Tony-winning comedy.

The Barbary Coast Revue Stud Bar, 399 Ninth St, SF; eventbrite.com/org/4730361353. $10-40. Wed, 9pm. Through Dec 18. Blake Wiers’ new “live history musical experience” features Mark Twain as a tour guide through San Francisco’s wild past.

The Book of Mormon Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $60-120. Wed-Sat, 8pm (also Sat, 2pm); Sun, 1 and 6:30pm. Through Jan 19. When approaching the oeuvre of South Park creators Matt Stone and Trey Parker, it’s best to check your political correctness at the door. That’s certainly no less true of their 2011 Broadway musical The Book of Mormon, co-penned with Robert Lopez (of Avenue Q fame), despite the clean-scrubbed appearance of their fumbling albeit well-intentioned missionary protagonists. Sent to Uganda for two years, top mission pupil Elder Price (Nic Rouleau) and his clumsy but affable partner Elder Cunningham (A.J. Holmes) are faced with a village oppressed by a scenery-chewing warlord, a demoralized coterie of fellow missionaries who have yet to have a successful conversion, and their own fraught, odd-couple dynamic. Rouleau’s Price is an appropriate blend of smarm, charm, and secret self-doubt while Holmes excels in his portrayal of a perennial-loser-turned-prophet (his power ballad-esque solo in “Man Up” is one of the show’s best). Of their hosts, the wry Mafala (James Vincent Meredith) and his sweet but strong-willed daughter Nabulungi (Syesha Mercado) get the most stage time, but it’s the crude and caustic General (David Aron Damane) who grabs the most attention. The gleefully profane “Hasa Diga Eebowai,” a Forbidden Zone-style “Spooky Mormon Hell Dream”, and the deliriously blasphemous “Joseph Smith, American Moses,” round out the entertaining, and strangely informative, score. Though it’s (very) unlikely to convert you to the Church of Latter-Day Saints, there’s a good chance you’ll want to convert to the church of Parker and Stone, if you haven’t already. (Gluckstern)

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

A Christmas Carol Geary Theater, 415 Geary, SF; www.act-sf.org. $20-95. Wed-Sat, 7pm (no evening shows Dec 24, 26, or 28; also Wed/11, Sat/14, Dec 21, and 23, 2pm; Dec 24 and 26-28, 1pm; Dec 27 evening show at 5:30pm); Sun, 5:30pm (also Sun/15 and Dec 22, 1pm). Through Dec 28. American Conservatory Theater mounts its annual production of the Dickens classic, with James Carpenter as Scrooge and Ken Ruta as Jacob Marley’s ghost.

Cinderella Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; www.african-americanshakes.org. $12.50-50. Sat, 8pm (also Dec 21, 3pm); Sun, 3pm. Through Dec 22. African-American Shakespeare Company presents this fairy-tale production for the holidays.

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

The Golden Girls: The XMAS Episodes Victoria Theatre, 2961 16th, SF; www.trannyshack.com. $30. Thu-Sat, 8pm; Sun, 7pm. Through Dec 22. Plastic Christmas tree, 80s TV jingles, men in muumuus — it’s beginning to look a lot like Christmas. Two new (old) episodes from the classic television sitcom enliven this year’s staging of the seasonal favorite, starring drag luminaries Heklina, as Dorothy; Cookie Dough, as Sophia; Matthew Martin (who also directs), as Blanche; and Pollo Del Mar, as Rose. Decked to the halls in frighteningly festive outfits courtesy of costumers Landa Lakes and Van Hedwall, the ladies bring out the geriatric within, while proving over and over again that nobody ever really grows up anyway. Laurie Bushman, Manuel Caneri, Peter Griggs, and Jordan Wheeler round out the cast, along with a rotating roster of special guests (including opening night’s appearance by Donna Sashet). Yule laugh, Yule cry, mostly Yule laugh. (Avila)

The Jewelry Box: A Genuine Christmas Story The Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-40. Fri, 8pm; Sat, 5pm. Through Dec 28. Brian Copeland performs the world premiere of his new, holiday-themed work, an Oakland-set autobiographical tale that’s a prequel to his popular Not a Genuine Black Man.

My Beautiful Launderette New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Dec 22. In this stage adaptation of the 1985 Hanif Kureishi-Stephen Frears film, SF newcomer Javi Harnly takes on the role of Omar, a British-Pakistani youth with an eye for business opportunity, while Robert Rushin portrays his former schoolmate and eventual lover Johnny, a working-class tough and erstwhile fascist whose navigation of Thatcher-era London is fraught with poverty and violence. While the play sticks to much of the original’s plot, the cast is reduced to a chamber septet, with the perhaps unintended consequence of creating an extra layer of isolation for Johnny, whose former “mates” remain offstage, leaving him to be defined almost solely by his relationships to Omar and Omar’s family. Director Andrew Nance’s pacing errs on the side of sedate, subduing the more passionate responses of many of the supporting characters: Omar’s restless cousin Tania (Radhika Rao); his widowed, alcoholic father (Ravi Bhatnagar); his mercurial entrepreneur uncle Nasser (Keith Stevenson); and Nasser’s kittenish mistress (Cat Luedtke). Only Daniel Redmond as the unrepentantly shady Salim gets to fully embody his character’s extremist views and actions, while the sweetly awkward chemistry between the two protagonists does produce a nice bit of heat, their refreshingly matter-of-fact relationship encompassing a full spectrum of emotion and circumstance. (Gluckstern)

The Oy of Sex Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Thu-Fri, 8pm; Sat, 8:30pm. Through Jan 18. Comedian Alicia Dattner performs her solo show, based on her stories from her own life and love addiction.

Peter/Wendy Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $15-33. Thu/12-Sat/14, 8pm; Sun/15, 7pm. J.M. Barrie’s familiar and much-revisited children’s story, about a boy who refuses to grow up, has always had its darker aspects, including the violent streak in its hero, forever-child Peter (Sam Bertken). Unfortunately, any underlying social or psychological complexity in the story — originally published in 1902 in The Little White Bird — is of no consequence in adapter-director Jeremy Bloom’s relentlessly cheerful and quickly monotonous retelling. The production, which narrates and acts out the story in somewhat condensed form, says it’s designed for adults of all ages and children over 12, but it seems pitched to an audience much younger still. Custom Made Theater’s lackluster staging does little to make the time go faster. There’s a mischievous energy in Bertken’s Peter and a bright intelligence in Anya Kazimierski’s Tinker Bell that together produce the play’s only emotional heat, but it’s fleeting. As Wendy, Elissa Beth Stebbins is generally solid but too mild to elicit much sympathy for her unrequited affections for Peter. Clad exclusively in striped jammies, the uneven ensemble (which also includes Terry Bamberger, Jessica Rudholm, Kim Saunders, and Jeunee Simon in multiple roles) rarely encourages focus on the finer points of character and plot, which anyway come with a soporific dose of trifling detail amid generally awkward physical choreography. Indeed, any “happy thoughts” one walks in with would risk vanishing entirely, were it not that the cast harvests them immediately and writes them down for future reference on the stage floor. (Avila)

Snoopy!!! Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Wed/11-Thu/12, 7pm; Fri/13, 8pm; Sat/14, 6pm; Sun/15, 3pm. 42nd Street Moon performs the sequel to You’re a Good Man, Charlie Brown.

Storefront Church San Francisco Playhouse, 450 Post St, Second Flr, SF; www.sfplayhouse.org. $30-100. Tue-Thu, 7pm (no shows Dec 24-25 or Jan 1); Fri-Sat, 8pm (also Sat, 3pm); Sun, 2pm (also Dec 22, 7pm). Through Jan 11. A modern-day Scrooge finds redemption in San Francisco Playhouse’s production of John Patrick Shanley’s uplifting comedy.

The Vixens of Broadway Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. $50-80. Thu/12-Fri/13, 8pm; Sat/14-Sun/15, 7pm. A recipe for beating the cold outside: A few Sazeracs and this intimate cabaret-style show featuring Broadway star Betty Buckley, interpreting iconic and unusual songs from Broadway’s “other women” — characters who inhabit the darker, naughtier, or at least more complex side of musical-theater femininity in germinal gems like Kander and Ebb’s “When You’re Good to Mama” (from Chicago) or Cole Porter’s “My Heart Belongs to Daddy” (from Leave It To Me!). Arranged by pianist and accompanist Christian Jacob (heading up a smooth jazz trio), the set includes amusing parodies, and comes sprinkled with stories that include its star’s own Fort Worth, Texas roots and earliest showbiz memories. Delivered with personality as well as consummate skill by Buckley (whose remarkable career includes at least 15 records as well as legendary roles in shows like Cats or TV’s Eight Is Enough), The Vixens of Broadway is a warm, playful, lightly mischievous class act. (Avila)

BAY AREA

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

Edward Gant’s Amazing Feats of Loneliness Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Previews Wed/11-Thu/12, 7pm. Opens Fri/13, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Jan 11. Shotgun Players performs Anthony Neilson’s comic romp set in “a sensual Edwardian world of top hats, fantastical puppets, and flash powder.”

Harvey Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $10-22. Thu/12, 7:30pm; Fri/13-Sat/14, 8pm; Sun/15, 2pm. Ross Valley Players perform the Pulitzer-winning play by Mary Chase.

Little Women Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-79. Tue-Wed and Dec 30, 7:30pm (no shows Dec 24-25; Dec 31, show at 2pm only; no show Jan 1); Thu-Sat, 8pm (also Sat and Dec 26 and Jan 4, 2pm); Sun, 2 and 7pm. Through Jan 4. TheatreWorks performs the musical adaptation of the Louisa May Alcott tale.

Mame Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $19-40. Thu-Sat, 8pm (also Sat/14 and Dec 21, 2pm); Sun, 2pm. Through Dec 22. Hillbarn Theatre performs Jerry Herman’s classic musical.

The Pianist of Willesden Lane Berkeley Repertory Theatre, Thrust Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Tue and Thu-Sat, 8pm (also Sat, 2pm; no shows Dec 24 or 31); Wed and Sun, 7pm (also Sun, 2pm; matinees only Sun/15, Dec 22, and Jan 5; no show Dec 25). Extended through Jan 5. Mona Golabek stars in this solo performance inspired by her mother, a Jewish pianist whose dreams and life were threatened by the Nazi regime.

Troilus and Cressida La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-25. Thu/12-Sat/14, 8pm; Sun/15, 7pm. One of Shakespeare’s more difficult and under-produced plays, Troilus and Cressida does wax in popularity during protracted times of war, so it’s about the right time for Impact Theatre to tackle it. Set during the seventh year of the Trojan War, the players are all either soldiers or spoils of war, and both morale and morals are at a low ebb. So-called heroes hide in their tents, the fair Helen (Julie Kuwabara) is a callow bawd, and everyone just wants the war to be over. Troilus (Eric Kerr), a Trojan, and Cressida (Sarah Coykendall), a Greek, meet-cute thanks to the machinations of the flamboyant Pandarus (Shawn J. West), only to be quickly separated by circumstances beyond their control, and thrust abruptly to the sidelines of their own tragedy, their eventual betrayal of each other lost within the greater treacheries of the battlefield. It’s a problematic script, not least of all because the only truly moral character is the very innocent, very mad Cassandra (Akemi Okamura), whose prophecies are written off as mere ravings, subtly mirrored by the nihilistic fool, Thersites (Miyaka Cochrane), who delivers his frontline ravings as prophecies. Director Melissa Hillman makes some bold choices, however, including casting Lauren Spencer as the level-headed Ulysses, and father-son team Jon Nagel and Jonah McClellan as Aeneas and Antenor, turning the walk-on role of a pawn into a tragic symbol of war’s all too-human cost. (Gluckstern)

PERFORMANCE/DANCE

“Attractive Camp” Lost Weekend Video, 1034 Valencia, SF; lostweekendcinecave.eventbrite.com. Sun/15, 7pm. $10. Featuring work by stand-up comedians, sketch writers, and short filmmakers.

“Aura Fischbeck Dance presents: Two Evenings of Deborah Hay Solo Adaptations” NOHspace, 2840 Mariposa, SF; www.brownpapertickets.com. Fri/13-Sat/14, 7pm. $15. Choreography by Deborah Hay, presented as part of the Solo Performance Commissioning Project.

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

“Christmas in San Francisco” Pa’ina Lounge and Restaurant, 1865 Post, SF; www.christmasinSF.com. Fri/13-Sat/14, 7:30pm. $25-45. Singer Russ Lorenson performs jazz standards with guests Wesla Whitfield, Mike Greensill, and Veronica Klaus.

“Cirque Dreams Holidaze” Curran Theatre, 445 Geary, SF; www.shnsf.com. Wed/11-Sat/14, 7pm (also Fri/13-Sat/14, 1pm); Sun/15, 1 and 6:30pm. $45-160. Energetic, acrobatic fantasy set in a winter wonderland.

“Color Dance” a.Muse Art Gallery, 614 Alabama, SF; facebook.com/ranghouseproductions. Sat/14-Sun/15, 8pm. $12 suggested donation. Non-profit dance theater company Rang House Productions presents its debut performance.

“Comedy Bottle with Eddie Brill” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Fri/13-Sat/14, 7pm. $10 plus one-drink minimum. Stand-up with headliner Brill and opener Red Scott.

“Cozzie Maurice” Mariposa Studio, 2808 Mariposa, SF; www.mariposastudio.org. Wed/11-Sat/14, 7pm; Sun/15, 3pm. Donations accepted. Music, poetry, and stories of “the weird West.”

“Dance-Along Nutcracker: Nutcrackers of the Caribbean!” Yerba Buena Center for the Arts, 701 Mission, SF; www.dancealongnutcracker.org. Sat/14, 2 (preview) and 7pm (gala); Sun/15, 11am and 3pm. $10-50. The beloved Bay Area tradition, with music performed by the San Francisco Lesbian/Gay Freedom Band, returns, with shows aimed at both kids and grown-ups (this year: the nautical theme includes a piratical “Captain’s Ball Gala”).

“Dolores: The Temporary Life of a 220-Year-Old Bionic Woman” Stage Werx Theater, 446 Valencia, SF; www.stagewerx.org. Wed/11, 7:30pm. $15-20. On a bare floor, physical theater maker Carolina Duncan, as her Colombian grandmother, pops opens her cranium like a steamer trunk and retrieves the scrapbook of a boundless life. Here memory and imagination exist in equal measures, as Duncan traces key moments and fleeting images from an arc of days defined by family, romance, and at least one titanic battle between an Amazonian dinosaur and a new secret-agent boyfriend. Combining mime, scattered dialogue, physical comedy, and a live soundscape, this loving and whimsical homage comes gracefully delivered and almost always vividly expressed. All the while, Duncan (a graduate of SF’s Clown Conservatory and James Donlon and Leonard Pitt’s Flying Actor Studio) exudes an infectious enthusiasm for her subject, who proves as alive in a passing but concrete image of first childhood steps as she does in her final outing, a prolonged spacewalk into the familiar and unknown. Note: review from an earlier run of this show. (Avila)

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/11, 9:30-11:30pm. Free. With Collette LeGrande, Ruby Slippers, Sophilya Leggz, and more.

“Fiesta Navidena” Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/15, Dec 21-22, and 27-28, 6:15pm. $15-21. Carolina Lugo and Carolé Acuña’s Ballet Flamenco performs a holiday show.

“G. Scott Lacy’s Holiday Cabaret” Society Cabaret at Hotel Rex, 562 Sutter, SF; www.societycabaret.com. Fri-Sat, 8pm; Sun, 2pm. Through Dec 22. $20-40. A seasonal blend of music and song.

“Global Dance Passport Showcase” ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/13-Sat/14, 8pm (also Sat/14, 5:30pm). $10. World dance sampler, with styles from across the globe.

“House of Matter” ODC Theater, 3153 17th St, SF; www.embodimentproject.org. Fri/13-Sun/15, 8pm. $18-38. Embodiment Project performs its latest multi-media street dance drama, with live music by Valerie Troutt and MoonCandy.

“Hysterical Historical San Francisco, Holiday Edition” Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. Sun, 7pm. Through Dec 29. $30-40. Comic Kurt Weitzman performs.

“Killing My Lobster Winter Follies” Z Below, 470 Florida, SF; www.killingmylobster.com. Thu/12-Sat/15, 8pm (also Sat/15, 10pm). $20. Sketch comedy for the season.

“Making Spirits Bright” St. Matthew’s Lutheran, 3281 16th St, SF; www.ggmc.org. Thu/12-Fri/13 and Tue/17, 8pm; Sun/15, 3pm. $25-35. The Golden Gate Men’s Chorus performs its annual holiday program.

“Mark Foehringer’s Nutcracker Sweets” Southside Theater, Fort Mason Center, Marina at Laguna, SF; www.brownpapertickets.com. Sat/14-Sun/15, Dec 20-24, 11am and 2pm (also Sat/14-Sun/15 and Dec 21-22, 4pm). $18-28. Contemporary ballet company Mark Foehringer Dance Project SF performs its fifth annual production of this Nutcracker-inspired work aimed at families with young children.

“Max and Nicky” Merchants of Reality, 285 Ninth St, SF; maxandnicky.wordpress.com. Sat/14, 8pm. $10. “Music and comedy variety hour spectacular” from twins Max and Nicky Weinbach.

“Mine” Joe Goode Annex, 401 Alabama, SF; www.rawdance.org. Wed/11-Sun/15, 8pm. $21-25. RAWdance performs a world premiere by company founders Ryan T. Smith and Wendy Rein.

“Mortified” DNA Lounge, 375 11th St, SF; www.getmortified.com. Fri/13, 7:30pm. $21. Also Sat/14, 7:30pm, $20, Uptown Nightclub, 1928 Telegraph, Oakl. First-person storytelling, of the extremely cringe-inducing variety. This month’s show has a “Best of 2013” theme.

“Nicole Kidman is Fucking Gorgeous” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thu/12-Sun/15, 8pm. $20. Mica Sigourney, John Foster Cartwright, and Maryam Rostami perform.

“NSA Comedy Tour” Internet Archives, 300 Funston, SF; blog.archive.org. Wed/11, 6pm. $10-250. A night of comedy and ethics and technology discussion with comedian Will Durst and “a lively panel of nerds.” Benefits a variety of organizations including CodePink, Electronic Frontier Foundation, and EthicsInTech.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat, 8pm. $20-30 (free aquarium ticket with show ticket). Extended through Dec 28. Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“One-Minute Play Festival” Thick House, 1695 18th St, SF; www.playwrightsfoundation.org. Sat/14-Sun/15, 8pm (also Sun/15, 3pm). $25. The Playwrights Foundation presents this fourth annual fest of 70 one-minute plays.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Jan 3, Feb 7, March 7, and April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“Queen of Knives” Z Space, 450 Florida, SF; www.sharpandfine.com. Thu/12-Sat/14, 8pm; Sun/15, 2pm. $30. Sharp & Fine performs an evening-length dance adaptation of a Neil Gaiman poem.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“Sing You A Merry Christmas” Grace Cathedral, 1100 California, SF; www.gracecathedral.org. Sat/14 and Dec 21, 11am. $5-25. A sing-along for younger children and their families

“The Velveteen Rabbit” Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.odcdance.org. Thu/12-Fri/13, 11am; Sat/14, 1 and 4pm; Sun/15, 2pm. $20-75. ODC/Dance performs its popular holiday show, directed with fresh perspective this year by ODC founder Brenda Way.

“A Very Merry Murder Mystery” Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. Fri-Sat, 8pm. Through Dec 21. $20. BATS Improv performs a holiday-themed murder tale.

BAY AREA

“A Chanticleer Christmas” Cathedral of Christ the Light, 2121 Harrison, Oakl; www.chanticleer.org. Fri/13, 8pm. $30-65. The Grammy-winning vocal ensemble performs profound and joyous seasonal tunes. Visit the group’s website for additional concerts in Berkeley, SF, and other NorCal locations through Dec 23.

“Following the Wrong God Home” Osher Studio in the Arts Passage of Berkeley Central, 2055 Center, Berk; www.brownpapertickets.com. Mon/16, 8pm. $15-25. Company 212 presents a physical theater piece choreographed and directed by MaryBeth Cavanaugh that imagines six Shakespeare characters on alternate journeys beyond the plays they appear in.

“Home, Holidays and Harmony” First Unitarian Church of Oakland, 685 14th St, Oakl; www.uuoakland.org. Sat/14, 7-9pm. $5-25. Songs from various holiday traditions with the Crescendo Choir, Joyful Noise, and other groups and soloists.

“Hungry for Yiddish: A Mitzvah Project” Subterranean Arthouse, 2179 Bancroft, Berk; www.subterraneanarthouse.org. Thu/12, 8pm. $10-20 donation. With Heather Klein’s Inextinguishable Trio, performing lost works of the Yiddish art song repertoire, and other Jewish music acts.

“Let Us Break Bread Together: A Holiday Celebration” Paramount Theatre, 2025 Broadway, Oakl; www.oebs.org. Sun/15, 4pm. $15-50. Unconventional holiday concert with new gospel works commissioned by OEBS and the James Irvine Foundation and performances by the Oakland Symphony Chorus, Oakland Interfaith Gospel Choir, klezmer band Kugelplex, Linda Tillery and the Cultural Heritage Choir, and others.

“The Marsh’s Third Annual Holiday Bash” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Sat/14, 7pm. $20-100. Holiday tales recounted by notable local solo performers: Marga Gomez, Don Reed, Josh Kornbluth, and more.

“Shirly’s Variety Show Extraordinaire” Studio Quercus, 385 26th St, Oakl; www.studioquercus.com. Sat/14, 8pm. $12. Entertainment for audiences 18 and up with clown antics and Tin Pan Alley songs.

“A Swell Noël” Aurora Theatre Company, 2081 Addison, Berk; www.auroratheatre.org. Dec 17-21, 7:30pm; Dec 22, 5pm. $25-32. Cabaret star Craig Jessup performs songs by Noël Coward, Jacques Brel, Stephen Sondheim, and other composers.

“The World of Webber: A Cabaret Tribute to the Songs of Andrew Lloyd Webber” Lesher Center for the Arts, 1601 Civic, Walnut Creek; (925) 943-SHOW. Sun/15, 2:30pm. $25-30. Musical theater stars perform songs from Cats, Evita, Phantom of the Opera and other shows, performed to benefit the Food Bank of Contra Costa and Solano.

“XXmas: The Christmas Ballet, 2013 Edition” Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.smuinballet.org. Wed/11-Sat/14, 8pm (also Sat/14, 2pm); Sun/15, 2pm, $49-65. Also Dec 18-28, $24-64, Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF. Smuin Ballet’s annual holiday show boasts festive ballet, tap, and swing-dance numbers. *

Tech leaders must engage their critics

Michael Redmond

-

December 10, 2013

33

EDITORIAL It’s time for San Franciscans to have a public conversation about who we are, what we value, and where we’re headed. In the increasingly charged and polarized political climate surrounding economic displacement, the rising populist furor needs to be honestly and seriously addressed by this city’s major stakeholders.

Whether or not the technology industry that is overheating the city’s economy is to blame for the current eviction crisis and hyper-gentrification, it’s undeniable that industry and it’s leaders need to help solve this problem. They are rolling in money in right now, including tens of millions of dollars in city tax breaks, and they need to offer more than token gestures to help offset their impacts.

As we were finalizing stories for this issue on Dec. 9, the Guardian newsroom was roiled by our rollercoaster coverage of a protest blockade against a Google bus, which has become a symbol for the insulated and out-of-touch nouveau-riche techies in the emerging narrative of two San Franciscos.

Our video of an apparent Google-buser shouting at protesters “if you can’t afford it, it’s time for you to leave” went viral and burned up the Internet (and our servers) even as we discovered and reported that he was actually a protester doing some impromptu street theater.

But there was a reason why his comments resonated, and it’s the same reason why The New York Times and other major media outlets have been doing a series of stories on San Francisco and the problems we’re having balancing economic development with economic security, diversity, infrastructure needs, and other urban imperatives.

Rents have increased more than 20 percent this year, the glut of new housing coming online now is mostly unaffordable to current residents, even that new construction has done little to slow real estate speculators from cannibalizing rent-controlled apartments, and the only end in sight to this trend is a bursting of the dot-com bubble, which would cause its own hardships.

We need this city’s political leaders to convene a summit meeting on this problem, and Mayor Ed Lee and his neoliberal allies need to bring tech leaders to the table and impress upon them that they must engage with their critics in a meaningful way and be prepared to share some of their wealth with San Franciscans. Not only is the future of the city at stake, so is its present, because the housing justice movement won’t be ignored any longer. The good news is that San Francisco has a golden opportunity to test whether democracy can help solve the worst aspects of modern capitalism, offering an example to others if we succeed. But if our political leaders don’t create good faith avenues for meaningful reforms, San Francisco may offer a far messier and more contentious lesson.

“Why’d you do it?” we ask Fake Google employee Max Bell Alper

Erica Hanna

-

December 9, 2013

131

“Why’d you do it?” we ask Fake Google employee Max Bell Alper

Within a half hour of our original post on today’s tech gentrification and transit protest, the Guardian learned that Max Bell Alper, a union organizer with Unite Here Local 2850 was the man shouting down Google bus protesters earlier this morning. We asked Alper what motivated him to impersonate a Google employee.

You can read the original post, with updates, here.

Alper maintained that he meant no deception, and that it was all “political theater.”

“This is political theater to demonstrate what is happening to the city. It’s about more than just the bus,” he said. “These are enormous corporations that are investing in this community. These companies, like Google, should be proud of where they’re from and invest in their communities.”

And the effects of the tech boom are strong, are real, which the thousands of long-time San Franciscans priced out of the city can attest to. The Bay Guardian has covered this extensively, which is what led us to cover the protest. Unfortunately for the organizers of this morning’s Google bus protest, all of their work may now be for naught.

Some of the protesters feel duped.

“No I did not know him, he didn’t tell me that he was going to be doing that,” said Erin McElroy, who since January has led the Anti-Evitction Mapping Project. A part-time nanny and caretaker for the elderly, she’s poured hours of her downtime into the project. The protest was supposed to highlight an issue that for the past year has been her life’s work.

McElroy is the one being screamed at in this video:

“I’m really upset that this happened. We’ve calculated about 11,000 no fault evictions since 1997,” she said. And the evictions only count units — there’s no telling how many people were in each unit. Many other tenants are bought out of their rentals as well, displacing tenants in what critics call “invisible evictions.” The plight of long-time San Franciscans may be lost in the shuffle over Alper’s deceptions.

When asked if he intentionally intended to deceive media, he replied “People are talking all over the country about what’s happening in San Francisco (referring to evictions and displacement). That’s the debate we need to have here. The more we talk about it, the more we think about it, the more we’re going to see the tech companies need to contribute.”

Alper said that he did not intend to engage in theater before going to the protest, but when there made the decision, “spontaneously,” to stage the argument. When he maintained his story that this was political theater, we again asked why he did not verify his name at the protest itself — and only after the story blew up in national and local media.

“This was improv political theater,” he repeated.

I don’t know whether to laugh or cry at local media not recognizing well-known local organizers.

— Susie Cagle (@susie_c) December 9, 2013

Alper came to the protest in a backpack and dressed in a button down shirt, which some readers via Twitter and comments rightly pointed out may have been his “tech costume,” suggesting he planned the theater beforehand. Indeed, his performance was impeccable, mirroring snarky and shallow comments made by tech luminaries like Peter Shih just a few months ago.

The Guardian noted this, asking him how he came to show up in near perfect costume for his tech theater. “This is what I wear everyday,” he said.

McElroy didn’t want the larger story to get lost in the shuffle. “I understand it was a highly dramatic moment people were drawn to,” she said. “But I wish people would pay attention to the larger systemic issue of tech capital creating a particular class in San Francisco that’s displacing long-time residents.”

Leslie Dreyer, one of the protest organizers, said that though Alper’s shoutout turned out to be a deception, riders on the Google bus itself were making plenty of snarky comments of their own, which she captured on a camera she was wearing as she entered the bus.

“People were shaming others for even talking to me,” she said. “A person tried to read (my pamphlet) and people said ‘no don’t take anything from them!'”

In the Guardian’s original post we clarified that though it appeared Alper got off the bus and was late to work, as he repeatedly claimed, we had not verified that he was an employee. We did identify him as an employee in the headline, which we quickly amended.

In fact, we actively asked for news tips as to his identity, listing the news@sfbg.com email address to solicit help. Tips flowed in within 20 minutes of the original post. Anthony, a recent San Francisco ex-pat, emailed us identifying the shouting man as Max Bell Alper, a union organizer. The Guardian took time to confirm this, comparing photos and calling other sources. Ex-Guardian reporter Yael Chanoff interviewed Alper during her extensive coverage of the Occupy protests some time ago, as some have pointed out, but as she no longer works here she was not around to identify him quickly. The reporter who covered the event today only covered one night of the Occupy protests, the night Scott Olsen was injured, and had no experience with Alper.

When we confirmed Alper’s identity, we immediately amended our post. Many, including San Francisco Chronicle reporter Ellen Huet, asked if our tweet contributed to the mis-identification problem as well. We tweeted back “Mistakes should stand, and lets correct, not erase them.”

That’s exactly what we did.

@ellenhuet @susie_c @juliacarriew True. But I don’t believe in deleting tweets. Mistakes should stand, and lets correct, not erase them

— Joe Fitz Rodriguez (@FitzTheReporter) December 9, 2013

The story quickly went viral, featured on the blogs SFist and Valleywag. SF Weekly covered the aftermath. The time between our original posting and our correction was 56 minutes.

“Many people put hours into this [protest],” McElroy said. And many more San Franciscans are losing their homes. Let’s hope once people are done talking about Alper, they talk about that.

On displacement, journalism, and the Guardian’s fake Google-buser video

Sasha Cuttler

-

December 9, 2013

56

On displacement, journalism, and the Guardian’s fake Google-buser video

It’s been a whirlwind morning here in the Guardian newsroom. First our coverage of the surprise Google bus blockade and protest, along with a video that appeared to show a Google bus rider shouting at protesters, went viral (congratulations to getting onto our site now, it’s been hard to keep it up). Then we discovered the guy was actually protester Max Alper, who staged this intriguing bit of street theater on the spot, unbeknowst to protest organizers who had tipped us off to their event in advance.

As the editor of the Guardian, it’s tempting to second guess how we handled this incident, but I believe that we did everything right, with full transparency at every stage in the process. For better or worse, we live in an age of Internet immediacy, and sometimes stories unfold in unexpected ways right before readers’ eyes.

We were clear in our original post that we couldn’t confirm his identity as a Google employee, noting only that he had been on the bus and got off to confront the protesters. And as we pushed to confirm who he was and authenticate the video, we were the first to learn and report that he was actually a protester. We also got and ran the first interview with him. So we maintained a proper journalistic skepticism and diligence throughout the process.

Besides, this is still a good and telling story about the current San Francisco moment. First of all, in the long and proud history of political theater in San Francisco, this is a great video. Sure, in retrospect, perhaps his comments were a little over the top, but they resonated because they seemed to represent a persistent attitude among some who want to let market forces determine who gets to live here.

“This is a city for the right people who can afford it, and if you can’t afford it, it’s time for you to leave,” Alper said, a comment that echoes posts regularly made on the Guardian website in reaction to our coverage of gentrification, eviction, and displacement issues.

As a protest tactic, I think this stunt is open to interpretation about whether it helps or hurts a housing rights movement that has caught populist fire in recent months, quickly altering this city’s political dynamics and making politicians scurry to address these issues.

But I think it does point to the need for San Franciscans to have a serious public conversation about who we are, what we value, and where we’re headed, as we’re calling for our house editorial this week. And because print deadlines are immutable compared to the online world, I’d better turn my attention back to the paper now, thanks for reading.

UPDATE: Union organizer shouts down protesters as they block private Google shuttle

Erica Hanna

-

December 9, 2013

228

UPDATE: Union organizer shouts down protesters as they block private Google shuttle

Protesters blocked a private Google shuttle on Valencia street today, decrying private shuttle’s use of public bus stops without paying fees or fines.

The group of 20 or so neon-yellow vested protesters called themselves the “San Francisco Displacement and Neighborhood Impact Agency.” The company doesn’t pay San Francisco a dime to use the Muni stops — fines that private auto drivers pay regularly.

UPDATE 3:58pm: Just how does a story go from breaking, to verification, to “holy shit it’s all over the internet now?” Here’s our interview with Fake Google Employee Max Alper, and our recount of how it all went down: http://www.sfbg.com/politics/2013/12/09/whyd-you-do-it-we-ask-fake-google-employee-max-bell-alper

UPDATE 12:32pm: Various tips have streamed in that this shout-out was staged. Protest organizer Leslie Dreyer talked to us on the phone and verified that this person’s identity was Max Bell Alper, a union organizer from Oakland. This person was not a Google employee, and Dreyer was not able to verify if Alper was there in the morning with the group of 20-30 protesters. The Guardian is attempting to contact Alper for comment. Dreyer said she, as an organizer, was unaware that the “performance” had been planned. We are following this as it develops.

UPDATE 1:06pm: Within an hour of our original post, the Guardian learned that Max Bell Alper, a union organizer with Unite Here Local 2850 was the man shouting down Google bus protesters earlier this morning. We asked Alper what motivated him to impersonate a Google employee.

“This is political theater to demonstrate what is happening to the city. It’s about more than just the bus. These are enormous corporations that are investing in this community. These companies, like Google, should be proud of where they’re from and invest in their communities,” he said.

When asked if he intentiionally intended to deceive media, he replied “People are talking all over the country about what’s happening in San Francisco (referring to evictions and displacement). That’s the debate we need to have here. The more we talk about it, the more we think about it, the more we’re going to see the tech companies need to contribute.”

Alper said that he did not intend to engage in theater before going to the protest, but when there made the decision, “spontaneously,” to stage the argument. When he maintained his story that this was political theater, we again asked why he did not verify his name at the protest itself — and only after the story blew up in national and local media.

“This was improv political theater,” he said.

Original post follows:

The SFMTA has a pilot plan in the works to regulate private use of public bus stops.

Though the private shuttles were the crux of the day’s protest, the heart of the fight is over gentrification. As the tech revolution in SF leads to rising rents and longtime San Franciscans are being displaced.

In the video, a union organizer who hopped off the bus shouts down Erin McElroy, staging an argument with a protester who also heads the eviction mapping project. “How long have you lived in this city?” McElroy asked him. He shouted back “Why don’t you go to a city that can afford it? This is a city for the right people who can afford it. You can’t afford it? You can leave. I’m sorry, get a better job.”

“What kind of fucking city is this?” he shouted, and then walked off. He mentioned repeatedly that he couldn’t get to work because the bus was blocked, and did exit the bus (indicated he was a Google employee), but the Guardian (nor a nearby Al Jazeera reporter) could not verify his job title or name. If anyone has any tips as to the identity of this man, please contact us at news@sfbg.com.

(UPDATE 12:12 PM — The Guardian amended the headline to reflect our story more accurately, that though this man exited the bus and claimed he was late for work, we have not yet verified his employment at Google)

We’ll have more on this story later in the day, for now, check out footage from the protest.)

Music Listings: December 4-10, 2013

Jesse Hawthorne Ficks

-

December 4, 2013

0

WEDNESDAY 4
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. Odd Owl, James Leste, Andrew Blair & Graham Patzner, Ghost Parade, 9 p.m., $8.
El Rio: 3158 Mission, San Francisco. Alabaster & The Original Bastards, Devon McClive & Sons, Tall Fires, 8 p.m., $10.
Hemlock Tavern: 1131 Polk, San Francisco. Sea Knight, Moon Honey, Build Them to Break, 8:30 p.m., $6.
Milk Bar: 1840 Haight, San Francisco. Vandella, Lee Gallagher & the Hallelujah, Fritz Montana, 8:30 p.m., $5.
Rickshaw Stop: 155 Fell, San Francisco. Crash Kings, The Struts, King Washington, 8 p.m., $10.
DANCE
The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Bondage A Go Go,” w/ DJs Damon, Tomas Diablo, & guests, 9:30 p.m., $5-$10.
Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance night with Terravita, 9 p.m.
The EndUp: 401 Sixth St., San Francisco. “Tainted Techno Trance,” 10 p.m.
F8: 1192 Folsom St., San Francisco. “Housepitality,” 9 p.m., $5-$10.
Harlot: 46 Minna, San Francisco. “Qoöl,” 5 p.m.
Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10 p.m.
Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9 p.m., free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10 p.m., free.
Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9 p.m., $3.
HIP-HOP
Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9 p.m., $5.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Kapali Long, 7 p.m.
Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7 p.m., free.
Cafe Du Nord: 2170 Market, San Francisco. The Gundersen Family Holiday Special featuring Le Wrens, 8 p.m., $10-$12.
The Chapel: 777 Valencia St., San Francisco. Brendan Canning, Holly Miranda, 8 p.m., $15.
Club Deluxe: 1511 Haight, San Francisco. Happy Hour Bluegrass, 6:30 p.m., free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, Every other Wednesday, 9:30 p.m., free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Jamie Kent, Cyndi Harvell, 8 p.m., $10.
Plough & Stars: 116 Clement, San Francisco. Jeanie & Chuck’s Bluegrass Country Jam, First Wednesday of every month, 9 p.m., free.
JAZZ
Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
Revolution Cafe: 3248 22nd St., San Francisco. Michael Parsons Trio, Every other Wednesday, 8:30 p.m., free/donation.
Savanna Jazz Club: 2937 Mission, San Francisco. “Cat’s Corner,” 9 p.m., $10.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30 p.m., $5.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. The Wee Trio, 8 p.m., $17-$21.
Zingari: 501 Post, San Francisco. Anne O’Brien, First Wednesday of every month, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. Timba Dance Party, w/ DJ WaltDigz, 10 p.m., $5.
Boom Boom Room: 1601 Fillmore, San Francisco. Cha-Ching, First Wednesday of every month, 9 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10.
Pachamama Restaurant: 1630 Powell, San Francisco. Aguabella, 8 p.m., $10-$12.
Pier 23 Cafe: Pier 23, San Francisco. David Correa & Cascada, 6 p.m., free.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Chris Cain, 7:30 & 9:30 p.m., $20.
SOUL
Lexington Club: 3464 19th St., San Francisco. “Secret Lovers,” w/ DJs Ponyboy, Lil MC, Katie Duck, and Durt, First Wednesday of every month, 9 p.m., free.

THURSDAY 5
ROCK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Guy Fox, Bonnie & The Bang Bang, Growwler, Benefit show for Public Arts Workshop., 9 p.m., $7-$10.
The Chapel: 777 Valencia St., San Francisco. Escondido, Young Moon, 8 p.m., $12-$15.
S.F. Eagle: 398 12th St., San Francisco. The Intelligence, Dylan Shearer, 9 p.m.
Hemlock Tavern: 1131 Polk, San Francisco. The New Mummies, Books on Fate, Kristian Rodriguez, 8:30 p.m., $5.
The Independent: 628 Divisadero, San Francisco. The Long Winters, Sean Nelson, 8 p.m., $15.
The Knockout: 3223 Mission, San Francisco. Cash Pony, Surplus 1980, BreakArts, 9 p.m.
Mezzanine: 444 Jessie, San Francisco. “Club NSSN,” w/ Portugal. The Man, Chvrches, NoNoNo, The Colourist, Aaron Axelsen, Miles the DJ, 7:30 p.m., $30.
Milk Bar: 1840 Haight, San Francisco. Li Xi, Little Sister, Momotaro, Mashi Mashi, 8:30 p.m., $5.
Red Devil Lounge: 1695 Polk, San Francisco. Dishwalla, Oceanroyal, 9 p.m., $15-$20.
Rickshaw Stop: 155 Fell, San Francisco. Penguin Prison (DJ set), Double Duchess, The Frail, DJ Nick Williams, 9 p.m., $15.
Thee Parkside: 1600 17th St., San Francisco. Rock Bottom, Chrome Eagle, Sweet Chariot, Cop Out, 9 p.m., $5.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. “A Light in the Attic,” w/ Kaminanda, Kalya Scintilla, Birds of Paradies, Alia, Kitty-D, VNDMG, Balance, Boats, more, 10 p.m., $10 advance.
Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10 p.m., free.
Audio Discotech: 316 11th St., San Francisco. “Phonic,” w/ Designer Drugs, Non Sequitur, 9:30 p.m., $10 advance.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9 p.m., $5-$7.
Cafe Du Nord: 2170 Market, San Francisco. Hi Fashion, Bright Light Bright Light, 8 p.m., $10-$12.
The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9 p.m., $5.
Cat Club: 1190 Folsom, San Francisco. “Throwback Thursdays,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9 p.m., $6 (free before 9:30 p.m.).
The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10 p.m., $5.
Club X: 715 Harrison, San Francisco. “The Crib,” 9:30 p.m., $10, 18+.
Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and live guests, 9:30 p.m., $5-$8.
Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10 p.m., $10.
Lookout: 3600 16th St., San Francisco. “Fluff: A Queer Night of House,” w/ DJs Sissyslap & Dr. Sleep, First Thursday of every month, 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9 p.m., $5 after 10 p.m.
Pork Store Cafe: 3122 16th St., San Francisco. “Back & Forth,” w/ Ryury & Mr. Rise, 10 p.m., free.
Public Works: 161 Erie, San Francisco. “Black Magic Disko,” w/ Trickski, Shiny Objects, Trev Campbell, Hi-Tem (in the OddJob Loft), 9 p.m., $10-$15.
Q Bar: 456 Castro, San Francisco. “Throwback Thursday,” w/ DJ Jay-R, 9 p.m., free.
Raven: 1151 Folsom St., San Francisco. “1999,” w/ VJ Mark Andrus, 8 p.m., free.
The Tunnel Top: 601 Bush, San Francisco. “Tunneltop,” DJs Avalon and Derek ease you into the weekend with a cool and relaxed selection of tunes spun on vinyl, 10 p.m., free.
Underground SF: 424 Haight, San Francisco. “Bubble,” 10 p.m., free.
Vessel: 85 Campton, San Francisco. “Base,” w/ Tone of Arc, Ean Golden, 10 p.m., $5-$10.
HIP-HOP
Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9 p.m., free.
The EndUp: 401 Sixth St., San Francisco. “Cypher,” w/ resident DJ Big Von, 10 p.m., $5-$10.
John Colins: 138 Minna, San Francisco. “The Premiere,” video hip-hop party with VDJ T.D. Camp, First Thursday of every month, 9 p.m., $5.
Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10 p.m., free.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. KRS-One, Duckwrth, 10:30 p.m., $25.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. Misisipi Mike & The Midnight Gamblers, Mipso, 9 p.m., $7.
Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7 p.m.
Hotel Utah: 500 Fourth St., San Francisco. Highway Hymns, Willy Tea Taylor, Jason Eady, 9 p.m., $10.
The Lost Church: 65 Capp St., San Francisco. Mr. Andrew, J.J. Schultz, 8 p.m., $10.
Musicians Union Local 6: 116 Ninth St., San Francisco. San Francisco Singer-Songwriters’ Workshop, hosted by Robin Yukiko, First Thursday of every month, 6:30 p.m., $25 (free for AFM members).
Plough & Stars: 116 Clement, San Francisco. The Shannon Céilí Band, First Thursday of every month, 9 p.m., free.
Slim’s: 333 11th St., San Francisco. Gaby Moreno, David Garza, Cazadero, Irene Diaz, 8 p.m., $15.
Swedish American Hall: 2174 Market, San Francisco. Kaki King, Jerome Holloway, 8 p.m., $15-$17.
JAZZ
Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30 p.m., free.
Bottle Cap: 1707 Powell, San Francisco. The North Beach Sound with Ned Boynton, Jordan Samuels, and Tom Vickers, 7 p.m., free.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Jimmy Grant Quartet, First Thursday of every month, 8 p.m., free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, First and Third Thursday of every month, 7:30 p.m., free.
Pier 23 Cafe: Pier 23, San Francisco. Dick Fregulia Band, 7 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with Eddy Ramirez, 7:30 p.m., $5.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30 p.m., $10.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. NaJe, in Yoshi’s lounge, First Thursday of every month, 6:30 p.m., free; Aga Zaryan: “Remembering Nina & Abbey,” 8 p.m., $19-$25.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10 p.m., $5.
Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8 p.m., free.
Red Poppy Art House: 2698 Folsom, San Francisco. The Nightingale Trio, Tre Sisters, 7:30 p.m., $10-$15.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8 p.m.
Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9 p.m., $10-$15.
REGGAE
Neck of the Woods: 406 Clement St., San Francisco. Natural Vibrations, Native Elements, on the upstairs stage, 9 p.m., $15-$20.
Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9 p.m., free.
BLUES
50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30 p.m., free.
Biscuits and Blues: 401 Mason, San Francisco. Greg Nagy, 8 & 10 p.m., $18.
The Saloon: 1232 Grant, San Francisco. Chris Ford, First Thursday of every month, 4 p.m.
COUNTRY
The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7 p.m., free.
EXPERIMENTAL
The Luggage Store: 1007 Market, San Francisco. Cartoon Justice, The Pascucci-Oppenheim Duo, Cloud Shepherd, 8 p.m., $6-$10.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. West Grand Boulevard, 9:30 p.m., $5.

FRIDAY 6
ROCK
50 Mason Social House: 50 Mason, San Francisco. Turn Me On Dead, Staring@Stars, Mary Jones’ Lights, Ultra Violent Rays, Waiting Room, 8 p.m.
Amoeba Music: 1855 Haight, San Francisco. Toad the Wet Sprocket, 6 p.m., free.
The Chapel: 777 Valencia St., San Francisco. Patterson Hood, 9 p.m., $22-$25.
DNA Lounge: 375 11th St., San Francisco. Everything Goes Cold, Sorrow Church, Roadside Memorial, DJ Decay, Crashfaster, 9 p.m., $8-$13.
El Rio: 3158 Mission, San Francisco. Friday Live: Boats!, DJ Emotions, 10 p.m., free.
Hemlock Tavern: 1131 Polk, San Francisco. Steel Cranes, Oceanography, Turtle Rising, 9:30 p.m., $6.
Milk Bar: 1840 Haight, San Francisco. High Cliffs, The Wave Commission, Little Smoke, 9 p.m., $8.
Slim’s: 333 11th St., San Francisco. The Aquabats, Kepi Ghoulie, Mike Park, 8 p.m., $20.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. The Tubes, 10:30 p.m., $29-$33.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. Oliver, Classixx, Shy Girls, Lando Kal, Richie Panic, J-Boogie, DeeJay Theory, Justin Milla, Shawn Steele, 10 p.m., $17.50 advance.
Amnesia: 853 Valencia, San Francisco. “Brass Tax,” w/ resident DJs JoeJoe, Ding Dong, Ernie Trevino, Mace, First Friday of every month, 10 p.m., $5.
Audio Discotech: 316 11th St., San Francisco. Nitin, Silky, J. Remy, 9:30 p.m., $10 advance.
Cafe Flore: 2298 Market, San Francisco. “Kinky Beats,” w/ DJ Sergio, 10 p.m., free.
The Cafe: 2369 Market, San Francisco. “Boy Bar,” w/ DJ Matt Consola, 9 p.m., $5.
Cat Club: 1190 Folsom, San Francisco. “Strangelove: Germany Calling,” w/ DJs Tomas Diablo, Joe Radio, Xander, and Unit 77, 9:30 p.m., $7 ($3 before 10 p.m.).
The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10 p.m.
The EndUp: 401 Sixth St., San Francisco. “Fever,” 10 p.m., free before midnight.
The Grand Nightclub: 520 4th St., San Francisco. “We Rock Fridays,” 9:30 p.m.
Infusion Lounge: 124 Ellis, San Francisco. “Escape Fridays,” 10 p.m., $20.
Lookout: 3600 16th St., San Francisco. “HYSL,” 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Dirty Rotten Dance Party,” w/ Kap10 Harris, Shane King, guests, First Friday of every month, 9 p.m., $5.
Manor West: 750 Harrison, San Francisco. “Fortune Fridays,” 10 p.m., free before 11 p.m. with RSVP.
MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9 p.m.
Mighty: 119 Utah, San Francisco. “Throwback,” Mighty 10-year anniversary party with DJ Rooz, Tyrel Williams, Miguel Solari, Jayvi Velasco, Lance DeSardi, DJ Gunz, Ren the Vinyl Archaeologist, 9 p.m., free before midnight with RSVP.
Monarch: 101 6th St., San Francisco. “As You Like It,” w/ George FitzGerald, J.Phlip, Galen, Bells & Whistles, 9 p.m., $15-$20 advance.
OMG: 43 6th St., San Francisco. “Release,” 9 p.m., free before 11 p.m.
Powerhouse: 1347 Folsom, San Francisco. “Nasty,” First Friday of every month, 10 p.m., $5.
Public Works: 161 Erie, San Francisco. “Haçeteria,” w/ Cherushii, Glenn Jackson, Ben Deploy, Jason P, Smac, Tristes Tropiques, and Nihar, 9 p.m., $5-$10.
Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9 p.m., $3.
Rickshaw Stop: 155 Fell, San Francisco. Trapeze X, Featuring music by DJs Delachaux, The Klown, and The Speakeasy Syndicate, plus burlesque by Vienna La Rouge, Kara La Fleur, Fou Fou Ha, and Ze SexBombe Danzeurs., 9 p.m., $10-$15.
Underground SF: 424 Haight, San Francisco. “Bionic,” 10 p.m., $5.
Wish: 1539 Folsom, San Francisco. “Bridge the Gap,” w/ resident DJ Don Kainoa, Fridays, 6-10 p.m., free; “Depth,” w/ resident DJs Sharon Buck & Greg Yuen, First Friday of every month, 10 p.m., free.
HIP-HOP
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Nate the Great, The Kid Rated R, Supreme, plus DJs West Kraven, Beatknoxx, and Okeefe, 9 p.m., $10.
Elbo Room: 647 Valencia, San Francisco. “Swagger Like Us,” w/ Cakes Da Killa, Queens D. Light, plus DJs Lady Ryan, DavO, and Boyfriend, 10 p.m., $8.
EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9 p.m.
F8: 1192 Folsom St., San Francisco. “Some Type of Way,” w/ MicahTron, Nanosaur, Sean G, Kool Karlo, Roost Uno, 9 p.m., $9.99 (free before 11 p.m.).
Nickies: 466 Haight, San Francisco. “First Fridays,” w/ The Whooligan & Dion Decibels, First Friday of every month, 11 p.m., free.
Public Works: 161 Erie, San Francisco. Big K.R.I.T. (DJ set), DJ D-Sharp, 9 p.m., $10 advance.
Slate Bar: 2925 16th St., San Francisco. “Remix,” w/ Lando 1, 9:30 p.m.
ACOUSTIC
Atlas Cafe: 3049 20th St., San Francisco. Zach Hing, 7:30 p.m., free.
Dolores Park Cafe: 501 Dolores, San Francisco. StringQuake, 7:30 p.m.
Hotel Utah: 500 Fourth St., San Francisco. Danielia Cotton, RonDre., Venetia Pristavec, Johnny Marnell, 9 p.m., $8-$10.
Plough & Stars: 116 Clement, San Francisco. Avery County, 9 p.m.
The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10 a.m., $5.
St. Cyprian’s Episcopal Church: 2097 Turk, San Francisco. First Fridays Song Circle, First Friday of every month, 7 p.m., $5-$10; Alasdair Fraser & Natalie Haas, 8 p.m., $19-$22.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. An Acoustic Evening with Al Stewart, 8 p.m., $24-$28.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Johnny Smith, 8 p.m., free.
Bird & Beckett: 653 Chenery, San Francisco. Don Prell’s SeaBop Ensemble, First Friday of every month, 5:30 p.m., free.
Cafe Royale: 800 Post, San Francisco. Wrapped in Plastic, First Friday of every month, 9 p.m.
Center for New Music: 55 Taylor St., San Francisco. Festivus 2013: Night One, w/ Rent Romus’ Life’s Blood, Adam Shulman & Katy Stephan, The Klaxon Mutant Allstars, Patrick Cress’ Telepathy, 7 p.m., $8-$10.
Cliff House: 1090 Point Lobos, San Francisco. John Kalleen Group, 7 p.m.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
SFJAZZ Center: 205 Franklin St., San Francisco. Giulia Valle, 7 & 8:30 p.m., $15-$20.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9 p.m., $10.
Zingari: 501 Post, San Francisco. Joyce Grant, 8 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30 p.m., $15 (free entry to patio).
Croatian American Cultural Center: 60 Onondaga, San Francisco. “Beyond the Borders,” w/ Galbeno Band, 8 p.m., $15.
Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15 p.m., $15-$18.
Red Poppy Art House: 2698 Folsom, San Francisco. Camille Mai Trio, Blind Willies, 7:30 p.m., $10-$20.
REGGAE
Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30 p.m., free.
Showdown: 10 Sixth St., San Francisco. “How the West Was Won,” w/ Nowtime Sound, First Friday of every month, 10 p.m., free.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Greg Nagy, 8 & 10 p.m., $20.
Tupelo: 1337 Green St., San Francisco. Jinx Jones & The KingTones, First Friday of every month, 9 p.m.
COUNTRY
Thee Parkside: 1600 17th St., San Francisco. Eddie Spaghetti, The Gravel Spreaders, Benjamin Brown, 9 p.m., $10.
FUNK
Amnesia: 853 Valencia, San Francisco. Swoop Unit, First Friday of every month, 6 p.m., $3-$5.
The Independent: 628 Divisadero, San Francisco. Dragon Smoke (featuring Stanton Moore, Ivan Neville, Eric Lindell, and Robert Mercurio), Mike Dillon, DJ Matt Haze, 9 p.m., $35.
Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, & Tom Thump, 10 p.m., $5.
SOUL
Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10 p.m., free.
The Knockout: 3223 Mission, San Francisco. “Oldies Night,” w/ DJs Primo, Daniel, Lost Cat, friends, First Friday of every month, 10 p.m., $5.

SATURDAY 7
ROCK
50 Mason Social House: 50 Mason, San Francisco. Chronic Town, Gang of Forty, 9:30 p.m., $6.
Bender’s: 806 S. Van Ness, San Francisco. Swiftumz, Violent Change, Tony Molina, 10 p.m., $5.
Boom Boom Room: 1601 Fillmore, San Francisco. Roem & The Revival, Kingsborough, Steven Roth Band, 9:30 p.m., $10.
Bottom of the Hill: 1233 17th St., San Francisco. The Flatliners, Living with Lions, Culture Abuse, 9:30 p.m., $12-$15.
Cafe Du Nord: 2170 Market, San Francisco. The Hundred Days, Dangermaker, Bang Bang, Aaron Cuadra, 9 p.m., $8-$10.
El Rio: 3158 Mission, San Francisco. Vulturegeist, Secrets of the Sky, Broken Cities, 9 p.m., $6-$10.
Hemlock Tavern: 1131 Polk, San Francisco. Primitive Hearts, Big Tits, Adam Widener, The Shanghais, 9 p.m., $6.
Hotel Utah: 500 Fourth St., San Francisco. That Ghost, Golden Drugs, Dante Elephante, Crime Novels, 9 p.m., $8.
The Lost Church: 65 Capp St., San Francisco. Castles in Spain, The Unfortunate Bastard, Stella Royale, 8 p.m., $10.
Make-Out Room: 3225 22nd St., San Francisco. Benefit for Alan Forbes with Harderships, Hot Lunch, The Freeks, Ethan Miller, DJ Jello Biafra, 5 p.m., $10.
Milk Bar: 1840 Haight, San Francisco. The Bad Jones, Super Adventure Club, The Stages of Sleep, 9 p.m., $10.
Neck of the Woods: 406 Clement St., San Francisco. People Get Ready, The Trims, Conquistador, on the downstairs stage, 9 p.m., $12.
Slim’s: 333 11th St., San Francisco. The Mowgli’s, Blondfire, Hunter Hunted, 8 p.m., $16.
DANCE
Audio Discotech: 316 11th St., San Francisco. Bixel Boys, Tropicool, 9:30 p.m., $10 advance.
Cafe Flore: 2298 Market, San Francisco. “Bistrotheque,” w/ DJ Ken Vulsion, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Leisure,” w/ DJs Aaron, Omar, & Jetset James, First Saturday of every month, 10 p.m., $7.
DNA Lounge: 375 11th St., San Francisco. Bootie S.F.: Hubba Hubba Revue Holiday Show, 9 p.m., $10-$15.
The EndUp: 401 Sixth St., San Francisco. “Play: 1-Year Anniversary Party,” w/ Danny Howells & Nikita, 10 p.m., $15-$20.
Harlot: 46 Minna, San Francisco. Lauren Lane, Bones, Troy Kurtz, Shae B, Burn Unit, 9 p.m., $10.
Infusion Lounge: 124 Ellis, San Francisco. “Volume,” First Saturday of every month, 10 p.m., $10-$20.
The Knockout: 3223 Mission, San Francisco. “Debaser,” w/ resident DJs EmDee, Jamie Jams, and Stab Master Arson, First Saturday of every month, 10 p.m., $5 (free before 11 p.m. if wearing flannel).
Lookout: 3600 16th St., San Francisco. “Bounce!,” 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “The Prince & Michael Experience,” w/ DJs Dave Paul & Jeff Harris, First Saturday of every month, 9 p.m., $5.
Mezzanine: 444 Jessie, San Francisco. “Wonder-Full S.F. X,” w/ DJ Spinna, Proof, Hakobo, King Most, 9 p.m., $25-$35.
Mighty: 119 Utah, San Francisco. Mighty 10-Year Anniversary, w/ 2manydjs, Eug, 9 p.m., $25 advance.
Monarch: 101 6th St., San Francisco. “Lights Down Low,” w/ Deniz Kurtel, Pictureplane, Tyrel Williams, Richie Panic, Marco de la Vega, 10 p.m., $15-$20.
Public Works: 161 Erie, San Francisco. Distrikt: Holidaze – The Koktail Edition, With DJ Kramer, John Early, and more., 9 p.m., $10-$15.
Q Bar: 456 Castro, San Francisco. “Homo Erectus,” w/ DJs MyKill & Dcnstrct, First Saturday of every month, 9 p.m., $5.
Ruby Skye: 420 Mason, San Francisco. Project 46, Carl Kennedy, 9 p.m., $20 advance.
The Stud: 399 Ninth St., San Francisco. “Go Bang!: Celebrating Five Years of Atomic Dancefloor Disco Action,” w/ DJs Ken Vulsion, Nicky B, Steve Fabus, and Sergio Fedasz, 9 p.m., $7 (free before 10 p.m.).
Temple: 540 Howard, San Francisco. D:Fuse, Tall Sasha, Vodka Soda, Ks Thant, Self Destrukt, Mr. Kitt, Jai Unda, Babymuah, 10 p.m., $20.
Underground SF: 424 Haight, San Francisco. “Push the Feeling,” w/ residents Yr Skull & Epicsauce DJs, First Saturday of every month, 9 p.m.
Vessel: 85 Campton, San Francisco. “Swank,” w/ Pheeko Dubfunk, DJ Nile, Lorentzo, 10 p.m., $10-$30.
HIP-HOP
John Colins: 138 Minna, San Francisco. “N.E.W.: Never Ending Weekend,” w/ DJ Jerry Ross, First Saturday of every month, 9 p.m., free before 11 p.m.
Slate Bar: 2925 16th St., San Francisco. “Touchy Feely,” w/ The Wild N Krazy Kids, First Saturday of every month, 10 p.m., $5 (free before 11 p.m.).
ACOUSTIC
Amoeba Music: 1855 Haight, San Francisco. Lissie, 3 p.m., free.
Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco & Meredith Axelrod, Saturdays, 4-6 p.m., free.
Bazaar Cafe: 5927 California, San Francisco. Jamie Purnell, 7 p.m.
Great Star Theater: 630 Jackson, San Francisco. One Man Band Extravaganza, w/ Jordan B. Wilson, 1 Man Banjo, Shovelman, The Slow Poisoner, Cello Joe, 8 p.m., $5.
The Independent: 628 Divisadero, San Francisco. Lissie, Kopecky Family Band, 9 p.m., $18-$20.
Plough & Stars: 116 Clement, San Francisco. “Americana Jukebox,” w/ The Naked Bootleggers, Kemo Sabe, 9 p.m., $6-$10.
Revolution Cafe: 3248 22nd St., San Francisco. Seth Augustus, First Saturday of every month, 9 p.m., free/donation.
The Riptide: 3639 Taraval, San Francisco. The Low Rollers, 9:30 p.m., free.
Swedish American Hall: 2174 Market, San Francisco. Pomplamoose, Steve Poltz, Griffin House, 8 p.m., $20-$25.
JAZZ
Amnesia: 853 Valencia, San Francisco. Broken Shadows Family Band, 6 p.m.
Center for New Music: 55 Taylor St., San Francisco. Festivus 2013: Night Two, w/ John Shiurba’s 5×5, Lisa Mezzacappa’s Bait & Switch, Noah Phillips, Michael Coleman’s Enjoyer, 7 p.m., $8-$10.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
SFJAZZ Center: 205 Franklin St., San Francisco. Giulia Valle, 7 & 8:30 p.m., $15-$20.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9 p.m.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Mike Stern Band featuring Randy Brecker, Anthony Jackson, and Keith Carlock, 8 & 10 p.m., $22-$28.
Zingari: 501 Post, San Francisco. Lisa Lindsley, 8 p.m., free.
INTERNATIONAL
1015 Folsom: 1015 Folsom St., San Francisco. “Pura,” 9 p.m., $20.
Amnesia: 853 Valencia, San Francisco. Fanfare Zambaleta, Broken Shadows Family Band, 9 p.m.
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5.
Old First Presbyterian Church: 1751 Sacramento, San Francisco. Veretski Pass, 8 p.m., $14-$17.
Pachamama Restaurant: 1630 Powell, San Francisco. Peña Eddy Navia & Pachamama Band, 8 p.m., free.
Roccapulco Supper Club: 3140 Mission, San Francisco. Jowell & Randy, 8 p.m., $40 advance.
Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30 p.m.
REGGAE
Red Devil Lounge: 1695 Polk, San Francisco. One Drop, Midnight Raid, Dewey & The Peoples, 9 p.m., $10.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Karen Lovely, 7:30 & 10 p.m., $22.
AMERICANA
Plough & Stars: 116 Clement, San Francisco. “Americana Jukebox,” First Saturday of every month, 9 p.m., $6-$10.
FREE
Pier 23 Cafe: Pier 23, San Francisco. Danilo y Universal, 8 p.m., free.
SOUL
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Kendra Morris, Binky Griptite, Jordan & The Ritual, DJ heyLove, 9 p.m., $12-$15.
El Rio: 3158 Mission, San Francisco. “Hard French,” w/ DJs Carnita & Brown Amy, First Saturday of every month, 2 p.m., $7.
Elbo Room: 647 Valencia, San Francisco. “Saturday Night Soul Party,” w/ DJs Lucky, Phengren Oswald, & Paul Paul, First Saturday of every month, 10 p.m., $10 ($5 in formal attire).

SUNDAY 8
ROCK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Rio Rio, Coo Coo Birds, Mission Bells, Koruscant Weekend, Jared Cohen & The Future Proof, 7 p.m., $10.
El Rio: 3158 Mission, San Francisco. Benefit for San Francisco Community Land Trust with Future Twin, Annie Girl & The Flight, Baby Alpaca, 8 p.m., $10-$15 suggested donation.
Thee Parkside: 1600 17th St., San Francisco. My Jerusalem, Know Secrets, High Water, 8 p.m., $10.
DANCE
The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9 p.m., free.
The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8 p.m.
Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ King I-Vier, DJ Sep, Maneesh the Twister, 9 p.m., $6 (free before 9:30 p.m.).
The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.; “Sunday Sessions,” 8 p.m.; “The Rhythm Room,” Second Sunday of every month, 8 p.m.
F8: 1192 Folsom St., San Francisco. “Stamina Sundays,” w/ DJs Lukeino, Jamal, and guests, 10 p.m., free.
The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10 p.m., free.
Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8 p.m., $2.
MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10 p.m.
Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9 p.m., $5 (free before 11 p.m.).
The Parlor: 2801 Leavenworth, San Francisco. DJ Marc deVasconcelos, 10 p.m., free.
Q Bar: 456 Castro, San Francisco. “Gigante,” 8 p.m., free.
The Stud: 399 Ninth St., San Francisco. “No Parking on the Dancefloor,” w/ resident DJs Dutchboy & Gehno Aviance, 11 p.m., $5.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30 p.m., free.
ACOUSTIC
Cafe Du Nord: 2170 Market, San Francisco. Ed Kowalczyk, Callaghan, 8 p.m., $30-$35.
Hotel Utah: 500 Fourth St., San Francisco. Rust & Whiskey, Pirate Radio, The Tough Brothers, 8 p.m., $6.
The Lucky Horseshoe: 453 Cortland, San Francisco. Sunday Bluegrass Jam, 4 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Spike’s Mic Night,” Sundays, 4-8 p.m., free.
Make-Out Room: 3225 22nd St., San Francisco. Carolyn Mark, Peter Case with Deep Ellum, Happy Family Singers, 7:30 p.m.
Neck of the Woods: 406 Clement St., San Francisco. “iPlay,” open mic with featured weekly artists, 6:30 p.m., free.
Plough & Stars: 116 Clement, San Francisco. Dave Cory & Friends, 9 p.m.
St. Luke’s Episcopal Church: 1755 Clay, San Francisco. “Sunday Night Mic,” w/ Roem Baur, 5 p.m., free.
JAZZ
Chez Hanny: 1300 Silver, San Francisco. Noel Jewkes Quintet featuring Steve Heckman, 4 p.m., $20 suggested donation.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10 p.m., free.
Martuni’s: 4 Valencia, San Francisco. Madame Jo Trio, second Sunday of every month, 4-6 p.m., free.
Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4 p.m., free/donation.
The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30 p.m., free.
SFJAZZ Center: 205 Franklin St., San Francisco. SFJAZZ High School All-Stars Orchestra & Combo, 2 p.m., $5-$20.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Mike Stern Band featuring Randy Brecker, Anthony Jackson, and Keith Carlock, 7 & 9 p.m., $20-$25.
Zingari: 501 Post, San Francisco. Brenda Reed, 7:30 p.m., free.
INTERNATIONAL
Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($18-$25 with dance lessons).
Balancoire: 2565 Mission St., San Francisco. “Tardeadas Tropicales,” 3 p.m.
Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30 p.m., free.
El Rio: 3158 Mission, San Francisco. “Salsa Sundays,” Second and Fourth Sunday of every month, 3 p.m., $8-$10.
New Dehli Restaurant: 160 Ellis St., San Francisco. Bollywood Dance Party, Benefit for the Tenderloin After-School Program with DJ Amar, Dholrhythms dance troupe, Indian food buffet, and more., 6-9 p.m., $50 suggested donation.
Pachamama Restaurant: 1630 Powell, San Francisco. Georges Lammam Ensemble, 8 p.m.
Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30 p.m.
REGGAE
The Independent: 628 Divisadero, San Francisco. Black Uhuru, Mike Pinto, Revival Sound System, 9 p.m., $25.
BLUES
Revolution Cafe: 3248 22nd St., San Francisco. HowellDevine, 8:30 p.m., free/donation.
The Saloon: 1232 Grant, San Francisco. Blues Power, 4 p.m.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8 p.m., free.
Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9 p.m.
COUNTRY
The Riptide: 3639 Taraval, San Francisco. Joe Goldmark & The Seducers, Second Sunday of every month, 7:30 p.m., free.
EXPERIMENTAL
Musicians Union Local 6: 116 Ninth St., San Francisco. Daniel Pearce/Teddy Rankin-Parker Duo, Lasqo/Adams/Bennett, 7:30 p.m., $8-$10.
SOUL
Delirium Cocktails: 3139 16th St., San Francisco. “Heart & Soul,” w/ DJ Lovely Lesage, 10 p.m., free.
Rickshaw Stop: 155 Fell, San Francisco. Gavin Turek, Midtown Social, DJ Carnita, 8 p.m., $10-$12.

MONDAY 9
ROCK
The Chapel: 777 Valencia St., San Francisco. Basia Bulat, Haunted Summer, 9 p.m., $13-$15.
Elbo Room: 647 Valencia, San Francisco. Capsula, City of Women, 9 p.m., $8.
The Independent: 628 Divisadero, San Francisco. American Authors, The Royal Concept, Misterwives, 8 p.m., $13-$15.
The Knockout: 3223 Mission, San Francisco. Wooden Indian Burial Ground, 9 p.m., $5.
DANCE
DNA Lounge: 375 11th St., San Francisco. “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30 p.m., $3-$5.
Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9 p.m., free.
Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10 p.m., free.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. The Pick Bluegrass Jam, Second Monday of every month, 6 p.m., free; Toshio Hirano, Second Monday of every month, 9 p.m., free.
Cafe Du Nord: 2170 Market, San Francisco. Hayden, DonCat, 8 p.m., $15.
The Chieftain: 198 Fifth St., San Francisco. The Wrenboys, 7 p.m., free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30 p.m., free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Open mic with Brendan Getzell, 8 p.m., free.
The Lost Church: 65 Capp St., San Francisco. The Royal Oui, Big Eagle, 8 p.m., $10.
Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7 p.m., free.
The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4 p.m.
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7 p.m., free.
Pier 23 Cafe: Pier 23, San Francisco. Terry Timberlake, 6 p.m., free.
SFJAZZ Center: 205 Franklin St., San Francisco. Monday Night Band Showcase with Adam Theis, 7:30 p.m., free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8 p.m.
The Union Room at Biscuits and Blues: 401 Mason, San Francisco. The Session: A Monday Night Jazz Series, pro jazz jam with Mike Olmos, 7:30 p.m., $12.
Zingari: 501 Post, San Francisco. Kitt Weagant, 7:30 p.m., free.
REGGAE
Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10 p.m., free.
BLUES
The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30 p.m.
SOUL
Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8 p.m., free.

TUESDAY 10
ROCK
Hemlock Tavern: 1131 Polk, San Francisco. 3 Leafs, American Cream, 8:30 p.m., $5.
Hotel Utah: 500 Fourth St., San Francisco. Va Va Blume, Watch for Rocks, Worth, 8 p.m., $8.
The Knockout: 3223 Mission, San Francisco. Tender Buttons, Scraper, Silver Shadows, DJ Grody Cody, 9:30 p.m., $7.
DANCE
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10 p.m., $2.
Harlot: 46 Minna, San Francisco. “Tutu Tuesday,” w/ resident DJ Atish, Second Tuesday of every month, 9 p.m., $7 ($2 in a tutu before 11 p.m.).
Monarch: 101 6th St., San Francisco. “Soundpieces,” 10 p.m., free-$10.
Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9 p.m., $3.
Underground SF: 424 Haight, San Francisco. “Shelter,” 10 p.m., free.
Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8 p.m., free.
HIP-HOP
Brick & Mortar Music Hall: 1710 Mission, San Francisco. “The Show: Holiday Edition,” w/ Smoovie Baby, Show Banga, Troy, Symba, Deltrice, Lyrical Tone, Tonka Boy Dre, more, 8:30 p.m., $10-$15.
Double Dutch: 3192 16th St., San Francisco. “Takin’ It Back Tuesdays,” w/ DJs Mr. Murdock & Roman Nunez, Second Tuesday of every month, 10 p.m., free.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Kate Kilbane, 7 p.m. continues through Dec. 31.
Cafe Du Nord: 2170 Market, San Francisco. Erin McKeown & Her Anti-Holiday Spectacular, 9 p.m., $18-$20.
The Chapel: 777 Valencia St., San Francisco. Aiofe O’Donovan, Evie Ladin, 8 p.m., $12-$15.
The Independent: 628 Divisadero, San Francisco. The Lone Bellow, Ivan & Alyosha, 8 p.m., sold out.
Plough & Stars: 116 Clement, San Francisco. Seisiún with Barry O’Connell & Vinnie Cronin, 9 p.m.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7 p.m.
Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7 p.m.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m.
Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free.
Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9 p.m., $10-$12; “Tuesday Night Jump,” w/ Johnny Boyd, Stompy Jones, Victor & Penny, 9 p.m., $15.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8 p.m., $22.
Zingari: 501 Post, San Francisco. Amanda King, 7:30 p.m., free.
INTERNATIONAL
Cafe Cocomo: 650 Indiana, San Francisco. “Descarga S.F.,” w/ DJs Hong & Good Sho, 8 p.m., $12.
The Cosmo Bar & Lounge: 440 Broadway, San Francisco. “Conga Tuesdays,” 8 p.m., $7-$10.
F8: 1192 Folsom St., San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9 p.m., $5 (free before 9:30 p.m.).
REGGAE
Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10 p.m.
FUNK
Madrone Art Bar: 500 Divisadero, San Francisco. “Boogaloo Tuesday,” w/ Oscar Myers & Steppin’, 9:30 p.m., free.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. Soul Mechanix, 9:30 p.m., free.
Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free. 2

This Week’s Picks: December 4 – 10, 2013

Michael Redmond

-

December 3, 2013

0

THURSDAY 12/5

Gaby Moreno

This year, when Guatemalan-born Los Angeles transplant Gaby Moreno won Best New Artist at the Latin Grammys, she had already earned nods from the same voting body, in the form of nominations in 2012 for Song and Record of the Year. The tune was “Fuiste Tú,” the video for which is in the hundred million view club on YouTube. Her voice is a close cousin to that of Norah Jones, and her bilingual blend of jazz, soul, and blues has won effusive praise from NPR and the New York Times. And she’s got pop-culture cred, too: Fans of TV’s Parks and Recreation will note that she earned an Emmy nom in 2010 for co-writing its theme song. (Nathan Baker)

With David Garza, Cazadero, Irene Diaz

8pm, $15

Slim’s

333 11th St, SF

www.slimspresents.com

Scott Wells and Dancers

Fatherhood as a topic for dance? Never heard of it. But here come Scott Wells and Sheldon B. Smith, two very smart, highly experienced choreographers, with a dance about dads. With one exception, all the performers in Father On actually are fathers. We all know that today’s fathers are neither like our own, nor like the comic versions that still percolate through TV shows. But what are they? I look forward to witnessing what these men have to say. (Rita Felciano)

Thu/5-Sat/7, 8pm; Sun/8, 7pm, $25

ODC Theater

3153 17th St, SF

www.odcdance.org

A Chorus Line

In classic musical A Chorus Line, based on the book by James Kirkwood Jr. and Nicholas Dante, 17 Broadway dancers audition for a spot in the chorus line — the gig of a lifetime for any of them. It’s a story that resonated with audiences and awards-givers (it won Tonys and a Pulitzer), and continues to be popular today nearly 40 years after its debut. San Francisco State associate professor Barbara Damashek (a Tony nominee herself, for her musical Quilters) directs San Francisco State University’s Creative State’s take on the backstage tale, featuring toe-tapping music and lyrics by Marvin Hamlisch and Edward Kleban. (Kirstie Haruta)

Through Dec 15, $5-$15

Thu-Sat, 8pm; Sun, 2pm

Little Theatre

San Francisco State University

1600 Holloway, SF

creativestate.sfsu.edu

“Paisley Underground Redux”

Amid the synth pop, power ballads, and schlock metal dominating airwaves in 1983, a small nucleus of Los Angeles musicians looked backward to revive the purer pleasures of 1960s jangly power pop, garage rock, and psychedelia. Dubbed the “Paisley Underground,” this beloved if short-lived scene inspired other bands around the globe. The four “founding father” (and mother) outfits are back in this one-night only reunion bill: mysterioso tripsters the Rain Parade, rootsy rockers the Dream Syndicate, twee yet punchy pure-poppers the Three O’Clock, and all-female the Bangles — who started out as early Beatles idolaters before (alone among this lot) scoring mainstream hits with a more commercial sound. (Dennis Harvey)

8pm, $36.50

Fillmore

1805 Geary, SF

www.thefillmore.com

The Golden Girls: The Christmas Episodes

One thing you can always count on with San Francisco traditions is that they’ll be anything but traditional. One example: the drag legends of Trannyshack (Heklina, Cookie Dough, Matthew Martin, and Pollo Del Mar) starring as Miami’s famously sassy seniors in The Golden Girls: The Christmas Episodes. For 2013’s version of the sitcom send-up — these shows sell out, so pounce on tickets ASAP — audiences can watch as Rose gets scared of going all the way, Blanche goes cougar for a day, and she, Dorothy, and Rose are mistaken for prostitutes and taken to jail. Thank you for being a holiday tradition, ladies. (Janina Glasov)

Through Dec 22, $30

Thu-Sat, 8pm; Sun, 7pm

Victoria Theatre

2961 16th St, SF

www.trannyshack.com

“Open Mic Glam Drive”

What’s better than a night of music for a good cause? A night of music for two good causes! Local boutique 31 RAX and nightlife crew SheWolves present an open mic and glam drive that benefits not only the Asian Women’s Shelter, but also Typhoon Haiyan relief efforts. All proceeds from the event’s $5 cover will go to NAFCON to aid those affected by the devastating storm. And while you’re getting gussied up for the night, round up some extra toiletries, makeup, hairbrushes, bras, and other beauty staples to bring and donate to the Asian Women’s Shelter — an organization that since 1988 has worked to serve the needs of women, transpeople, and children who are survivors of domestic violence and human trafficking. Aspiring performers can email openmic@31rax.com to reserve a spot. (Kirstie Haruta)

7pm, $5

Pa’ina Lounge & Restaurant

1865 Post, SF

facebook.com/31RAX

FRIDAY 12/6

“Hand to Mouth Comedy: Fantasy”

There is a place, as far away as the outer reaches of this galaxy, yet as close as the molecules of air between your cotton pillowcase and the cartilage of your ear. It resembles the grounds of Hogwarts under constantly overcast purple-veined skies, and it holds the fortress of Isengard, which you reach by traveling along a chocolate river in a tollbooth. To avoid the dungeons and dragons of this land — a land accessed through a wardrobe only once every wrinkle in time, you may be asked to sling a gun or wield a wand. Upon their return, survivors Kellen Erskine, Kelly Anneken, Jules Posner, Kevin O’Shea, Gary Anderson, and Jaime Fernandez make light of this dark realm at this month’s Hand To Mouth comedy show, piquing your fantasy and questioning your sanity. (Kaylen Baker)

10pm, $8

Dark Room

2263 Mission, SF

www.handtomouthcomedy.com

SATURDAY 12/7

Swiftumz

Whoever said too much fuzz was a bad thing? Tonight, Swiftumz and Tony Molina will set out to prove that statement wrong. Headliner Swiftumz sounds like Sour Patch Kids taste: saccharine sweet with an unexpected bite. The project’s vocalist and mastermind, Christopher McVicker — who has written songs for Hunx and his Punx — blends power pop and punk with a little ’60s flair. Also on the bill is Tony Molina, who will be taking the stage solo, then playing lead guitar in post-punk band Violent Change. As a solo artist, Molina takes cues from lo-fi standard Guided By Voices, adding a fuzzy coating to the Metallica cover that appears on his recent Six Tracks EP. (Erin Dage)

10pm, $5

Bender’s Bar and Grill

806 S. Van Ness, SF

www.bendersbar.com

32nd Annual Encuentro del Canto Popular

The loss of three prodigious artists this year has prompted Acción Latina to dedicate this year’s Encuentro del Canto Popular — a San Francisco tradition highlighting the status of the nueva canción movement locally and internationally — to their memories and their work. Jon Fromer (Jan. 2), Rafael Manriquez (June 25), and Jose Montoya (Sept. 25) were superlative cultural workers, musicians, originators, and opinion leaders with a bulk of work that transcends California. Without a doubt, their presence in this world will be sorely missed. The show kicks off with the winners of “Encuentritos,” a series of musical contests for emerging local artists. (Fernando Andres)

7pm, $19

Brava Theater Center

2781 24th St., SF

accionlatina.org/Encuentro2013

2manydjs

Once, at a packed Soulwax show, I witnessed a woman’s reverent excitement achieve levels usually reserved for Michael Jackson concert videos. Then she fainted. On their end of things, Belgium’s Dewaele brothers remain thoroughly irreverent, particularly in DJ form as 2manydjs. Recent projects include building 50,000-watt vinyl-only sound systems with James Murphy, recording tributes to David Bowie as part of their 24-hour online A/V site Radio Soulwax (not to be confused with Soulwax FM in Grand Theft Auto V), and slowing down old gabber tracks for kicks. Part of Mighty’s 10-year anniversary celebration, this will be a spatial turn from 2manydj’s hit-mashing festival ragers. Take care of the people up front. (Ryan Prendiville)

With EUG, Ron (Cosmic Kids), Derek Opperman, J. Montag

9pm, $25

Mighty

119 Utah, SF

www.mighty119.com

TUESDAY 12/10

Modern Art Desserts

Typically, the labyrinthine galleries and glut of provocative visuals in modern art museums have visitors turning towards sugar and fat in a nearby café to refuel. Yet Caitlin Freeman, pastry chef of Blue Bottle Coffee in the San Francisco Museum of Modern Art (currently closed for construction), has reversed this pattern. The mimicry of modern art in her masterful pastries gives visitors a hunger to trail back through the exhibits for second look — the honey pistachio frozen mousse encased in a white chocolate cube and dotted with honeybees echoes Richard Avedon’s photograph of a bee-swarmed man; the salted chocolate and cream layered cake mirrors Rineke Dijkstra’s striped beach bather. Tonight, check out the photos and the recipes in Freeman’s new Modern Art Desserts, and taste the Mondrian Cake, a multi-blocked cake resembling Piet’s primary grid. (Baker)

7pm, free (RSVP to aberry@art.com)

Art.com Pop-Up in Union Square

117 Post, SF

(415) 956-2571

www.modernartdesserts.com “Food-For-All” ‘Tis the season for techies to spread the wealth at the Tech Gives Back charity drive. The multi-week campaign concludes with “Food-for-All,” a party hosted by ZeroCater, where guests are invited to eat as much as they want for free from the variety of foods provided by the corporate catering company’s top vendors. If they choose to put down their plates, they can hit the dance floor, the bar, or the free photo booth. But this party isn’t just fun, games, and Instagram fodder; there’ll also be barrels for food donations, and all proceeds from ticket sales will go to the San Francisco and Marin food banks. (Glasov) 6-9pm, $15 Public Works 161 Erie, SF blog.zerocater.com

Film Listings: December 4 – 10, 2013

Michael Redmond

-

December 3, 2013

0

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

OPENING

Art Gods: An Oral History of the Tower Records Art Department Bay Area filmmaker Strephon Taylor (2012’s The Complete Bob Wilkins Creature Features) turns his lens on Tower Records circa its 1980s heyday, when the hard-partying bros of the store’s in-house art department crafted displays for the hottest new album releases. Taylor, himself a veteran of the crew, gathers its founding members to reminisce, including original store artist Steve Pollutro, who made eye-catching magic using everyday supplies (posters, foam board, X-Acto knives, spray paint, etc.) and spawned an art style that invaded record stores worldwide. An odd length at just over an hour, Art Gods could have been trimmed of some of its superfluous anecdotes (a story about Pollutro’s failed attempts to enter the UK to help Tower set up its London branch drags on forever) and presented as a more fine-tuned shorter doc — or made more substantial by widening its interview pool beyond nostalgic former artists. (1:12) Balboa. (Eddy)

At Berkeley See “School Gaze.” (4:04) Roxie.

Bettie Page Reveals All Mark Mori’s affectionate Bettie Page Reveals All is narrated in the form of a rambling, chuckle-punctuated interview with the late pin-up icon herself. (We never actually see her except in archival film and images.) Even die-hards who already know the story behind the legend — a rough childhood, several unsuccessful marriages, mental-health issues — will likely learn some new tidbits. (A friend recalls watching 2005’s unauthorized biopic The Notorious Bettie Page with its subject, who hollered her opinion — “Lies! Lies!” — throughout.) Associates like Hugh Hefner and Dita Von Teese drop by to praise Page’s talents and legacy, but there’s no greater proof of lasting glamour than Page’s famous photographs, which she clearly loved posing for, and never regretted, even after embracing Christianity later in life. (1:41) Shattuck. (Eddy)

Out of the Furnace Christian Bale, Casey Affleck, and Woody Harrelson star in this crime drama from Crazy Heart (2009) director Scott Cooper. (1:56) Shattuck.

The Punk Singer See “Riot Acts.” (1:56) Roxie.

Sweet Dreams When the all-female drum troupe at the center of Sweet Dreams performs — and we hear some of the players’ stories about their battles to emerge from the enormity of the Rwandan genocide — we fully understand why Oscar-winning editor Lisa Fruchtman and her brother, documentary director Rob Fruchtman, gravitated toward this story. Ingoma Nshya is rooted in a tradition that was once reserved for men, and is composed of the orphans, widows, wives, and offspring of both the victims and perpetrators of the genocide. Music seems to be one of the sole sources of creative expression and healing for them, until founder and theater director Kiki Katese convinces the hipster owners of Brooklyn’s Blue Marble Ice Cream to start a collective with the women to open the country’s first ice cream shop. The Fruchtmans touch on the horrors of the past but devote most of the drama to the quietly emotional as well as physically tangible issues of opening the store and actually going about making its soft-serve treats. With that focus, Sweet Dreams sometimes seems to overlook the obvious — the ever-lingering specter of violence and trauma, the unanswered questions of justice, and the women’s daily struggle to coexist — and those with a journalistic, or even musically ethnographic, mindset, will be frustrated by some of the absences, like the lack of information about the performances and music itself. That’s not to say Sweet Dreams‘ story isn’t worth telling — or relishing. (1:23) Shattuck, Smith Rafael. (Chun)

Walking the Camino: Six Ways to Santiago This documentary follows six modern-day pilgrims as they embark on a journey across Spain. (1:24) Balboa.

ONGOING

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

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

The Armstrong Lie “This is a story about power, not doping,” a talking head points out in Alex Gibney’s latest doc, The Armstrong Lie. Gibney, an Oscar winner for 2007’s Taxi to the Dark Side, set out to make something more along the lines of The Armstrong Return, shadowing Lance Armstrong as he prepped for his 2009 Tour de France comeback. He envisioned crafting a “feel-good movie,” especially when Armstrong notched an impressive third-place finish — a feat intended to silence those performance-enhancing drug rumors once and for all. In the end, it only amplified the skepticism that loomed over his accomplishments. And as the evidence against Armstrong mounted, Gibney scrapped his original concept and went in a decidedly darker direction. Armstrong’s critics, interviewed for Lie, admit they spotted the acclaimed documentarian among Armstrong’s Tour de France entourage and feared he was “buying into the bullshit.” Among these voices are Armstrong’s former US Postal Service teammate, Frankie Andreu, and his wife, Betsy, who’d been excoriated by their former good friend and his supporters for speaking out against him. A feel-good movie, this is not. And ultimately, Gibney’s film probes deeper than Armstrong’s flaws; it’s careful to point out that drug use is widespread among professional cyclists, who are surrounded by an insular, high-stakes culture that encourages it. The sports world lives and dies by the next world record or superhuman achievement. Is it any wonder that elite athletes seek out that extra competitive edge? And that Armstrong, in fully-inflated ego mode, would believe he had the power to rearrange reality to keep his victories intact? (2:03) Smith Rafael. (Eddy)

The Best Man Holiday (2:00) Metreon.

Black Nativity You have to hand it to director-writer Kasi Lemmons (2001’s The Caveman’s Valentine) for even attempting an adaptation of Langston Hughes’ Black Nativity. The idea of recasting the original play’s straightforward hybrid of the nativity tale, gospel, and African folk traditions in contemporary Harlem as a spiffed-up urban street opera feels inspired, especially when the otherwise-familiar narrative is supercharged with emotion, thanks to Oakland-native music producer and co-composer Raphael Saadiq. The songs and their delivery make those moments when the cast members burst into song seem like the most natural thing in the world. The child rhapsodized about here is — wink, nudge — Langston (Jacob Latimore), who’s getting evicted along with his single mom, Naima (Jennifer Hudson). In an act of self-disgust, or grudging respect, she sends her feisty tween to stay with his estranged grandparents in NYC. Reverend Cornell (Forest Whitaker) and Aretha Cobbs (Angela Bassett) turn out to be proud pillars of their community, with deep connections to the Civil Rights movement, which Langston discovers when the stern Rev shows the boy his most prized possession: an engraved pocket watch given to him by Martin Luther King Jr. Alas, if Lemmons simply stuck to her present-day rework — and refrained from the self-consciously stagy Christmas dream sequences, which actually seem to hew closer to the original Black Nativity, break the momentum, and cue this operetta’s complete break with reality — this version would have fared much better than it does. Still, Black Nativity isn’t without its moments. Whitaker, playing against type and tasked with the heaviest acting effort, and particularly Bassett, who channels a fiery spirit via her upstanding matron to provide much-needed warmth, are mesmerizing, and though Mary J. Blige and Nas are unfortunately given little to do, Hudson pulls her weight, if not with acting, then with her sheer skill at conveying heartbreak amid the melismas. (1:33) Metreon, 1000 Van Ness. (Chun)

The Book Thief One of those novels that seems to have been categorized as “young adult” more for reasons of marketing than anything else, Markus Zusak’s international best seller gets an effective screen adaptation from director Brian Percival and scenarist Michael Petroni. Liesl (Sophie Nelisse) is an illiterate orphan — for all practical purposes, that is, given the likely fate of her left-leaning parents in a just-pre-World War II Nazi Germany — deposited by authorities on the doorstep of the middle-aged, childless Hubermanns in 1938. Rosa (Emily Watson) is a ceaseless nag and worrywart, even if her bark is worse than her bite; kindly housepainter Hans (Geoffrey Rush), who’s lost work by refusing to join “the Party,” makes a game of teacher Liesl how to read. Her subsequent fascination with books attracts the notice of the local Burgermeister’s wife (Barbara Auer), who under the nose of her stern husband lets the girl peruse tomes from her manse’s extensive library. But that secret is trivial compared to the Hubermanns’ hiding of Max Vandenburg (Ben Schnetzer), son of Jewish comrade who’d saved Hans’ life in the prior world war. When war breaks out anew, this harboring of a fugitive becomes even more dangerous, something Liesl can’t share even with her best friend Rudy (Nico Liersch). While some of the book’s subplots and secondary characters are sacrificed for the sake of expediency, the filmmakers have crafted a potent, intelligent drama whose judicious understatement extends to the subtlest (and first non-Spielberg) score John Williams has written in years. Rush, Watson, and newcomer Schnetzer are particularly good in the well-chosen cast. (2:11) Metreon, 1000 Van Ness, Sundance Kabuki. (Harvey)

Blue is the Warmest Color The stars (Adèle Exarchopoulos and Léa Seydoux) say the director was brutal. The director says he wishes the film had never been released (but he might make a sequel). The graphic novelist is uncomfortable with the explicit 10-minute sex scene. And most of the state of Idaho will have to wait to see the film on Netflix. The noise of recrimination, the lesser murmur of backpedaling, and a difficult-to-argue NC-17 rating could make it harder, as French director Abdellatif Kechiche has predicted, to find a calm, neutral zone in which to watch Blue is the Warmest Color, his Palme d’Or–winning adaptation (with co-writer Ghalya Lacroix) of Julie Maroh’s 2010 graphic novel Le Blue Est une Couleur Chaude. But once you’ve committed to the three-hour runtime, it’s not too difficult to tune out all the extra noise and focus on a film that trains its mesmerized gaze on a young woman’s transforming experience of first love. (2:59) Clay, Smith Rafael. (Rapoport)

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

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

Cloudy With a Chance of Meatballs 2 (1:35) SF Center.

Dallas Buyers Club Dallas Buyers Club is the first all-US feature from Jean-Marc Vallée. He first made a splash in 2005 with C.R.A.Z.Y., which seemed an archetype of the flashy, coming-of-age themed debut feature. Vallée has evolved beyond flashiness, or maybe since C.R.A.Z.Y. he just hasn’t had a subject that seemed to call for it. Which is not to say Dallas is entirely sober — its characters partake from the gamut of altering substances, over-the-counter and otherwise. But this is a movie about AIDS, so the purely recreational good times must eventually crash to an end. Which they do pretty quickly. We first meet Ron Woodroof (Matthew McConaughey) in 1986, a Texas good ol’ boy endlessly chasing skirts and partying nonstop. Not feeling quite right, he visits a doctor, who informs him that he is HIV-positive. His response is “I ain’t no faggot, motherfucker” — and increased partying that he barely survives. Afterward, he pulls himself together enough to research his options, and bribes a hospital attendant into raiding its trial supply of AZT for him. But Ron also discovers the hard way what many first-generation AIDS patients did — that AZT is itself toxic. He ends up in a Mexican clinic run by a disgraced American physician (Griffin Dunne) who recommends a regime consisting mostly of vitamins and herbal treatments. Ron realizes a commercial opportunity, and finds a business partner in willowy cross-dresser Rayon (Jared Leto). When the authorities keep cracking down on their trade, savvy Ron takes a cue from gay activists in Manhattan and creates a law evading “buyers club” in which members pay monthly dues rather than paying directly for pharmaceutical goods. It’s a tale that the scenarists (Craig Borten and Melisa Wallack) and director steep in deep Texan atmospherics, and while it takes itself seriously when and where it ought, Dallas Buyers Club is a movie whose frequent, entertaining jauntiness is based in that most American value: get-rich-quick entrepreneurship. (1:58) Embarcadero, 1000 Van Ness, Sundance Kabuki. (Harvey)

Delivery Man Twenty years ago David Wozniak (Vince Vaughn) “put love in a cup” 600-plus times to finance a family trip to Italy. His mother was sick, his father couldn’t afford it, and with time running out, David embarked on a harebrained scheme to make (a lot of) “it” happen. The sperm bank that paid him $23K for his “seed” overused it, and 18 years later he has 533 kids, 143 of which are on a hunt to find their biological father, “Starbuck.” (This also the name of the 2011 Canadian comedy on which Delivery Man is based.) With a premise this quirky you’ll have a hard time finding something to hate, even if this is technically a film about runaway jizz. This heartwarming Thanksgiving release isn’t really appropriate for youngsters (unless you’re been trying to find a entrée to explain sperm banks) but the way Delivery Man deals with the seemingly limitless generosity contained in each of us is both touching and inspiring. Maybe David’s contribution to “Starbuck’s Kids” doesn’t obligate him to reveal his identity, but he’s desperately attached, and goes embarrassingly far outside his comfort zone to interact. The kids’ emotional stake in this is murky, but the way their search for identity finds a voice in tune with the current tech-confident yet socially-confused younger generation could make Delivery Man relevant to more generations than X or Y. (1:45) 1000 Van Ness, SF Center. (Vizcarrondo)

Ender’s Game Those entering Ender’s Game in search of homophobic threads or politically unsavory themes will likely be frustrated. After all, Orson Scott Card — once a board member of the National Organization for Marriage, and here serving as a producer intent on preserving the 1985 novel that netted him acclaim — has revisited what was initially a short story multiple times over the years, tweaking it to reflect a new political climate, to ready it for new expedient uses. Who knows — the times are a-changin’ fast enough, with the outcry of LGBT activists and the growing acceptance of gay military members, to hope that a gay character might enter the mix someday. Of course, sexuality of all sorts is kept firmly in check in the Ender‘s world. Earth has been invaded by an insect-like species called the Formics, and the planet unifies to serve up its best and brightest (and, it’s implied, most ruthless) young minds, sharpened on first-person-shooters and tactical games, to the cause of defeating the alien “other.” Andrew “Ender” Wiggin (Asa Butterfield) is the knowing hybrid of his sociopath brother Peter (Jimmy Pinchak) and compassionate sister Valentine (Abigail Breslin) — of the trinity, he’s “the One,” as Han Solo, I mean, Harrison Ford, cadet talent-spotter and trainer Colonel Graff, puts it. Ender impresses the leather off the hardened old war horse, though the Colonel’s psychologically more equipped cohort Major Anderson (Viola Davis) suspects there’s more going on within their chosen leader. Director-screenwriter Gavin Hood demonstrates his allegiance to Card’s vision, valorizing the discipline and teamwork instilled by military school with the grim purpose and dead serious pleasure one might take in studying a well-oiled machine, while Ender is sharpened and employed as a stunningly effective tool in a war he never truly conceived of. This game has a bit more in common with the recent Wii-meets-Rock ‘Em Sock ‘Em Godzillas of Pacific Rim than the winking, acidic satire of Starship Troopers (1997), echoing a drone-driven War on Terror that has a way of detaching even the most evolved fighter from the consequences of his or her actions. The question is how to undo, or rewrite, the damage done. (1:54) 1000 Van Ness, SF Center. (Chun)

Free Birds (1:31) Metreon.

Frozen (1:48) Metreon, 1000 Van Ness, Vogue.

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

The Great Beauty The latest from Paolo Sorrentino (2008’s Il Divo) arrives as a high-profile contender for the Best Foreign Language Film Oscar, already annointed a masterpiece in some quarters, and duly announcing itself as such in nearly every grandiose, aesthetically engorged moment. Yes, it seems to say, you are in the presence of this auteur’s masterpiece. But it’s somebody else’s, too. The problem isn’t just that Fellini got there first, but that there’s room for doubt whether Sorrentino’s homage actually builds on or simply imitates its model. La Dolce Vita (1960) and 8 1/2 (1963) are themselves swaying, jerry-built monuments, exhileratingly messy and debatably profound. But nothing quite like them had been seen before, and they did define a time of cultural upheaval — when traditional ways of life were being plowed under by a loud, moneyed, heedless modernity that for a while chose Rome as its global capital. Sorrentino announces his intention to out-Fellini Fellini in an opening sequence so strenuously flamboyant it’s like a never-ending pirouette performed by a prima dancer with a hernia. There’s statuary, a women’s choral ensemble, an on-screen audience applauding the director’s baffled muse Toni Servillo, standing in for Marcello Mastroianni — all this and more in manic tracking shots and frantic intercutting, as if sheer speed alone could supply contemporary relevancy. Eventually The Great Beauty calms down a bit, but still its reason for being remains vague behind the heavy curtain of “style.” (2:22) Opera Plaza, Smith Rafael. (Harvey)

Homefront It’s not clear if Jason Statham’s undercover DEA agent is retired, but after a major meth bust he loses his scraggly mop of hair and put-on accent to enter seclusion in a town “not far from Appalachia.” He’s taught his daughter well, but when she defends herself against a school bully, the family incurs the wrath of the local tweaker-tiger mom (Kate Bosworth). Tiger Mom’s brother is the local meth lord, Gator (James Franco). He’s in cahoots with the Sheriff (Clancy Brown) and aspires to the heights of the biker badass Agent Statham put away, so he causes trouble for Statham’s family. Winona Ryder, looking more like Cher’s kid than she did in 1990’s Mermaids, is the “meth-whore” who starts a bustling lab with her business-savvy BF, and while she’s hardly out-performing any of the cast, she’s definitely the film’s best character. This mess of wonky editing and absurd send-ups totally delivers on gags and explosions, and when Franco sees his future he looks at it like a CEO applying at Starbucks. His face says “What the hell happened?” but his mouth yells, regrettably, “Are you retarded?” (1:40) 1000 Van Ness, SF Center. (Vizcarrondo)

The Hunger Games: Catching Fire Before succumbing to the hot and heavy action inside the arena (intensely directed by Francis Lawrence) The Hunger Games: Catching Fire force-feeds you a world of heinous concept fashions that’d make Lady Gaga laugh. But that’s ok, because the second film about one girl’s epic struggle to change the world of Panem may be even more exciting than the first. Suzanne Collins’ YA novel The Hunger Games was an over-literal metaphor for junior high social survival and the glory of Catching Fire is that it depicts what comes after you reach the cool kids’ table. Katniss (Jennifer Lawrence) inspired so much hope among the 12 districts she now faces pressures from President Snow (a portentous Donald Sutherland) and the fanatical press of Capital City (Stanley Tucci with big teeth and Toby Jones with big hair). After she’s forced to fake a romance with Peeta (Josh Hutcherson), the two watch with horror as they’re faced with a new Hunger Game: for returning victors, many of whom are too old to run. Amanda Plummer and Jeffrey Wright are fun as brainy wackjobs and Jena Malone is hilariously Amazonian as a serial axe grinder still screaming like an eighth grader. Inside the arena, alliances and rivalries shift but the winner’s circle could survive to see another revolution; to save this city, they may have to burn it down. (2:26) Balboa, Metreon, 1000 Van Ness, Sundance Kabuki. (Vizcarrondo)

Is the Man Who is Tall Happy? “I’m a leetle nervous,” French-accented Michel Gondry admits as he begins interviewing linguist and activist Noam Chomsky. Their chats make up this doc, aptly dubbed “an animated conversation” as it’s brought to life by the director’s whimsical animated drawings. The rambling convo (sometimes a lively back-and-forth, sometimes just Chomsky’s gravely voice pondering a topic at length) winds from autobiographical material — Chomsky’s earliest memory (a stubborn-baby moment in which he absolutely refused to eat oatmeal); his childhood ambitions of being a taxidermist (“Don’t ask me why! I guess I liked the word?”) — to more philosophical and intellectual topics. Is the Man Who is Tall Happy? might seem an offbeat choice for Gondry, but does he ever make any other kind of choice? This is, after all, the filmmaker who has maintained an edgy reputation throughout his varied career, from highlights (Björk’s “Human Behavior” video; 2005’s Eternal Sunshine of the Spotless Mind) to head-scratchers (2011 Seth Rogen superhero comedy The Green Hornet). (1:28) Roxie. (Eddy)

Jackass Presents: Bad Grandpa (1:32) Metreon.

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

Nebraska Alexander Payne may be unique at this point in that he’s in a position of being able to make nothing but small, human, and humorous films with major-studio money on his own terms. It’s hazardous to make too much of a movie like Nebraska, because it is small — despite the wide Great Plains landscapes shot in a wide screen format — and shouldn’t be entered into with overinflated or otherwise wrong-headed expectations. Still, a certain gratitude is called for. Nebraska marks the first time Payne and his writing partner Jim Taylor weren’t involved in the script, and the first one since their 1996 Citizen Ruth that isn’t based on someone else’s novel. (Hitherto little-known Bob Nelson’s original screenplay apparently first came to Payne’s notice a decade ago, but getting put off in favor of other projects.) It could easily have been a novel, though, as the things it does very well (internal thought, sense of place, character nuance) and the things it doesn’t much bother with (plot, action, dialogue) are more in line with literary fiction than commercial cinema. Elderly Woody T. Grant (Bruce Dern) keeps being found grimly trudging through snow and whatnot on the outskirts of Billings, Mont., bound for Lincoln, Neb. Brain fuzzed by age and booze, he’s convinced he’s won a million dollars and needs to collect it him there, though eventually it’s clear that something bigger than reality — or senility, even — is compelling him to make this trek. Long-suffering younger son David (Will Forte) agrees to drive him in order to simply put the matter to rest. This fool’s mission acquires a whole extended family-full of other fools when father and son detour to the former’s podunk farming hometown. Nebraska has no moments so funny or dramatic they’d look outstanding in excerpt; low-key as they were, 2009’s Sideways and 2011’s The Descendants had bigger set pieces and narrative stakes. But like those movies, this one just ambles along until you realize you’re completely hooked, all positive emotional responses on full alert. (1:55) Embarcadero. (Harvey)

Oldboy In 2003, South Korean director Park Chan-wook released a modern masterpiece of harsh, misanthropic revenge cinema with Oldboy, a twisty and visually stylish adaptation of a Japanese manga. Ten years later, Spike Lee and screenwriter Mark Protosevich have delivered a recombinatory remake of the Korean film. It’s neither satisfying nor particularly infuriating — it plays with the elements of Park’s intensely memorable movie, alluding to scenes and images without always exactly reproducing them, and it makes a valiant effort to restore suspense to a story whose gut-wrenching twist has been slightly softened by a decade. But it’s much less visually engaging, replacing Park’s sinister playfulness with a blander, more direct action palette. Josh Brolin’s Joe Doucett is brooding and brutal, but not as sickly compelling as Choi Min-sik’s wild-eyed Oh Dae-su; Elizabeth Olsen is emotionally powerful as his helper and lover; and Sharlto Copley offers a bizarre, rather gross caricature as the scheming antagonist. (2:00) 1000 Van Ness, SF Center, Sundance Kabuki. (Stander)

Philomena Judi Dench gives this twist on a real-life scandal heart, soul, and a nuanced, everyday heft. Her ideal, ironic foil is Steve Coogan, playing an upper-crusty irreverent snob of an investigative journalist. Judging by her tidy exterior, Dench’s title character is a perfectly ordinary Irish working-class senior, but she’s haunted by the past, which comes tumbling out one day to her daughter: As an unwed teenager, she gave birth to a son at a convent. She was forced to work there, unpaid; as supposed penance, the baby was essentially sold to a rich American couple against her consent. Her yarn reaches disgraced reporter Martin Sixsmith (Coogan), who initially turns his nose up at the tale’s piddling “human interest” angle, but slowly gets drawn in by the unexpected twists and turns of the story — and likely the possibility of taking down some evil nuns — as well as seemingly naive Philomena herself, with her delight in trash culture, frank talk about sex, and simple desire to see her son and know that he thought, once in a while, of her. It turns out Philomena’s own sad narrative has as many improbable turnarounds as one of the cheesy romance novels she favors, and though this unexpected twosome’s quest for the truth is strenuously reworked to conform to the contours of buddy movie-road trip arc that we’re all too familiar with, director Stephen Frears’ warm, light-handed take on the gentle class struggles going on between the writer and his subject about who’s in control of the story makes up for Philomena‘s determined quest for mass appeal. (1:35) Embarcadero, 1000 Van Ness, Sundance Kabuki. (Chun)

Thor: The Dark World Since any tentacle of Marvel’s Avengers universe now comes equipped with its own money-printing factory, it’s likely we’ll keep seeing sequels and spin-offs for approximately the next 100 years. With its by-the-numbers plot and “Yeah, seen that before” 3D effects, Thor: The Dark World is forced to rely heavily on the charisma of its leads — Chris Hemsworth as the titular hammer-swinger; Tom Hiddleston as his brooding brother Loki — to hold audience interest. Fortunately, these two (along with Anthony Hopkins, Natalie Portman, Idris Elba, and the rest of the supporting cast, most of whom return from the first film) appear to be having a blast under the direction of Alan Taylor, a TV veteran whose credits include multiple Game of Thrones eps. Not that any Avengers flick carries much heft, but especially here, jokey asides far outweigh any moments of actual drama (the plot, about an alien race led by Christopher Eccleston in “dark elf” drag intent on capturing an ancient weapon with the power to destroy all the realms, etc. etc., matters very little). Fanboys and -girls, this one’s for you … and only you. (2:00) Metreon. (Eddy)

12 Years a Slave Pop culture’s engagement with slavery has always been uneasy. Landmark 1977 miniseries Roots set ratings records, but the prestigious production capped off a decade that had seen some more questionable endeavors, including 1975 exploitation flick Mandingo — often cited by Quentin Tarantino as one of his favorite films; it was a clear influence on his 2012 revenge fantasy Django Unchained, which approached its subject matter in a manner that paid homage to the Westerns it riffed on: with guns blazing. By contrast, Steve McQueen’s 12 Years a Slave is nuanced and steeped in realism. Though it does contain scenes of violence (deliberately captured in long takes by regular McQueen collaborator Sean Bobbitt, whose cinematography is one of the film’s many stylistic achievements), the film emphasizes the horrors of “the peculiar institution” by repeatedly showing how accepted and ingrained it was. Slave is based on the true story of Solomon Northup, an African American man who was sold into slavery in 1841 and survived to pen a wrenching account of his experiences. He’s portrayed here by the powerful Chiwetel Ejiofor. Other standout performances come courtesy of McQueen favorite Michael Fassbender (as Epps, a plantation owner who exacerbates what’s clearly an unwell mind with copious amounts of booze) and newcomer Lupita Nyong’o, as a slave who attracts Epps’ cruel attentions. (2:14) Embarcadero, 1000 Van Ness, Sundance Kabuki. (Eddy) *

Go team!

Michael Redmond

-

December 3, 2013

0

joe@sfbg.com

GAMER Winter is the time we spend with loved ones, and much of that time is spent trying desperately to escape. Dodging questions about work, romance, or money from your family? Fear not! Read on for the perfect list of multiplayer video games to keep your relatives occupied — games that even Grandma could play without getting (too) lost. Most of the games on this list are for four players, and span the current and next generations of consoles.

Super Mario 3D World (Nintendo; Wii U; four players) Mario in a cat suit. Once again: Mario in a cat suit. Yes, the graphics are amazing; yes, the music is orchestrated and will have you dancing in your chair. But what you really need to know is that four players means four Mario characters running around with swinging tails and cat ears. It’s adorable and fun to see Mario, Luigi, Princess Peach, and Toad all racing together to beat a classic Mario level.

If you’ve been bored by Mario lately, nobody would blame you. But trust that Super Mario 3D World is vastly more imaginative than the droll New Super Mario Brothers U, which has been rightly accused of phoning it in. You’ll ride giant swimming dinosaurs, play levels entirely in silhouette, and turn yourself into a Goomba all in the name of beating Bowser, again. The variety of levels and power ups in the game makes it look like the turducken of the Mushroom Kingdom, stuffing 10 Mario games into one. A tip for longtime fans: the Tanooki suit and Kuribo’s shoe are both back from Mario 3. Let’s-a-go!

Just Dance 2014 (Ubisoft; Xbox 360, PS3, Wii, Xbox One, Wii U, PS4; four to six players) The problem with video games for most non-gamers is the controller. They’re wacky, unwieldy things, infinitely more complex than the humble TV remote. Luckily Just Dance is a game that does away with all of that. Playing it on the Xbox or PS4 uses the systems’ camera functions to capture and rate all your awful, awkward dance moves in all their glory.

The song list includes a variety of jams to satisfy all family members (Christina Aguilera, Lady Gaga, and even “Prince Ali” from Aladdin — street rat!) While the professional dancer on screen performs slick moves, the players mirror them with their drunken best. Up to six people can dance simultaneously, fulfilling all of your Jackson 5 and Partridge Family dreams.

Word to the wise, the Wii version measures your dancing solely with motion sensors in its controllers. If you have the choice, go with the Xbox version, which uses the advanced sensors of the Kinect camera.

Wii U Bowling (Nintendo; Wii U; four players) Ah, bowling — the great equalizer. A game you can play with beer in hand. Feel the fear though, because this is a game your parents can (and will) beat you at. A vast improvement over its predecessor from the original Wii, bowling on Nintendo’s next generation console, the Wii U, uses advanced sensors to capture the more finely tuned spins and curves of your throw. This means it’s even more like real bowling, which you know, can be good or bad, depending on if you’re any good at the sport itself.

The best part about this game is its price: $10 (a day pass is just $2). You can buy it from Nintendo’s e-shop online, making this a purchase you don’t even have stand up to make.

The Cave (Double Fine Productions; Xbox 360, Wii U, PS3, PC, Mac, iOS; three players) A hillbilly, a knight, a Buddhist monk, a pilot, a scientist, a time traveler, and a pair of creepy horror-movie twins all stand waiting for a choice. The three characters you select will spend the next few hours trapped in the cave, a place where they’ll face their inner demons made manifest. If Mario games were slower, more intellectual affairs, you’d have The Cave. Up to three people can play at once, all trying to outsmart the omniscient narrator as he lays out traps and riddles that tease out the desires the characters are hiding even from themselves. The writing is sharp and constantly chuckle worthy, and it’s no wonder — its creator worked on the classic Monkey Island games. You Don’t Know Jack (Various publishers; Xbox 360, PS3, Wii, Android, iOS, Facebook; four players) “No, be smarter! Be smarter!” Games that yell at you are rare, and this one is rarer for being funny about it. Originally a PC game from the 1990s, You Don’t Know Jack is a trivia game in the guise of a TV game show. Four players can share one controller, using different buttons to buzz in their answers. Fun little tweaks like the ability to “screw” someone into answering the question make Jack crazily competitive. Amid the many available versions, the Xbox 360 and PS3 are the standouts — but if you don’t own a major console, you can fire this game up on your laptop or mobile phone for a spontaneous brain workout. *

Pros and cons(oles)

Michael Redmond

-

December 3, 2013

2

arts@sfbg.com

GAMER The next generation of game consoles is officially in stores and consumers demand to know — definitively — which is the superior console. Is it the PlayStation 4 or the Xbox One?

Unfortunately, the comparison isn’t that simple. Although both are sleek, state-of-the-art devices that play video games, we’re talking about two machines with different aims. Sony hopes the PS4 will lure back gamers that it disenfranchised with the expensive, non-intuitive and difficult-to-love PlayStation 3 by making things simple, fun, and focused on playing and sharing games. Microsoft is high on the success of the Xbox 360 and looking to dominate home media on all fronts, creating in the Xbox One an all-in-one device that allows you to control your TV, movies, and other digital downloads.

Strictly speaking, if you want to just play games and have an experience that is the same but prettier, Sony has your interests at heart. It’s the more powerful machine, current games look a bit better, and navigating the PS4 generally is an all-around smooth experience. Upon booting the system up, you’re greeted with soothing music and a fairly straightforward, simple interface. I was able to find all my games, apps, and settings within seconds, rather than minutes. The new DualShock 4 controller has a touch pad and a light bar for motion gaming (provided you have a PlayStation camera) and it performs these new functions with a minimum of hassle.

The most “next gen” aspect of the PS4 is the share button. A new button on the DualShock 4 is dedicated to sharing your experiences with friends, whether what’s being shared is video clips or actual streams of gameplay that can be viewed on another PlayStation, computer, or phone. Game streams and Let’s Plays have become their own genre on YouTube, and, by giving people that experience on day one (Xbox One’s streaming services are set to launch next year), Sony has a real upper hand on conquering the online gaming community that enjoys watching other people play games.

The PS4 is a machine that plays games, plain and simple, and right now the games it plays are only so-so. You’ve got a new Killzone, Shadow Fall; first-party beat ’em up Knack; and a few multi-platform — and cross-generation — titles that are likely to do well, but the must-have next-gen gaming experience just isn’t here yet.

The Xbox One is not nearly as intuitive as the PS4 and your first few hours with the machine will require patience and a bit of learning. Applications and settings are hidden in sub-menus and the revelatory Kinect voice commands are exhilarating when they work and aggravating when they inevitably do not. Growing pains were inevitable; Microsoft is attempting things that have never been done on a gaming machine before — like the ability to route your cable box into the Xbox One and change channels with your voice — and, if their history of iteration is to be trusted, it’s likely that the issues with organization and un-matched voice commands will melt away sooner rather than later.

Xbox’s launch games are favorable only in comparison with the PS4’s meager lineup. Forza Motorsport 5 is a wonderful showcase for what the Xbox One is capable of, and the best buy on either console so far, but the other exclusives are essentially limited to Dead Rising 3 and Ryse: Son of Rome, which are fun in spurts but offer nothing you haven’t hacked or slashed before.

Which leaves the question, what do you want from your “next-gen” console? If you’re in the market for a new device, you’re not wrong to expect improved graphics or increased resolution and frame rate. You want games to look better. And that’s at least partially there if you want it, but it doesn’t seem to be the current focus for either machine. Even on the PS4, the visual leap we’re seeing right now isn’t worth the $400 asking price, and the lower-spec’d Xbox One is tagged at a whopping $500 for a system bundled with Kinect.

In spite of all the internet furor spouted by gamers in the past few months about sub-standard resolution and graphics, perhaps Microsoft and Sony both realize the real coup is getting people who aren’t gamers to buy these consoles. In that area, Xbox One’s ambition to do more than play games is a risky pursuit, but one that could make all the difference for consumers who have only a passing interest in traditional gaming.

Time will tell which console resonates more with the public and some day financial reports aplenty will give us a definitive resolution on which console is more successful. But calling this a “console war” is more than a little sensational. Both the PlayStation 4 and the Xbox One currently offer incrementally better experiences than their previous-gen counterparts, and the world of popular consumer electronics has proven a little better is often just enough. *

Suspending judgment

Michael Redmond

-

December 3, 2013

40

joe@sfbg.com

The Guardian is publishing only the first names of minors and their relatives named in this story, to protect their privacy.

In San Francisco public schools students can be sent home for talking back to a teacher, wearing a hat indoors, or sporting sagging pants. These infractions sound like the daily life of a kid, but the state calls them “willful defiance,” a category of suspensions that are nebulous to define at best.

Like the old saying about pornography, teachers say they know it when they see it, but students and parents alike are now calling foul on the practice.

The suspensions are so abundant in the San Francisco Unified School District that a movement has risen up against it. Sending kids home not only is an ineffective punishment, opponents say, it also can lead youth into the criminal justice system.

Now San Francisco Board of Education Commissioner Matt Haney is proposing a resolution that would ban willful defiance suspensions in San Francisco schools altogether.

“There will still be situations where we need to send a student home, but willful defiance will not be one of those reasons,” he told the Guardian. “Change is hard, complicated, and messy. But we can no longer deal with discipline or interactions with our students in that sort of way.”

He plans to introduce the resolution at the Dec. 10 Board of Education meeting, and if it passes, he said full implementation may take until the next school year.

There’s a fight to ban willful defiance suspensions statewide as well, but so far it’s been stymied. Just last month, Gov. Jerry Brown vetoed Assembly Bill 420, a bill mirroring aspects of Haney’s proposal. Those advocating for such a ban say it’s an issue of racial justice.

San Francisco’s African American and Latino students together suffer 80 percent of willful defiance suspensions, according to SFUSD data. The nonprofit student group Coleman Advocates for Children and Youth decried this statistic as an injustice, supporting the ban.

The San Francisco Board of Education took tentative steps to reduce suspensions as a whole in 2010, voting to introduce a new disciplinary system called Restorative Practices district wide. It’s complex, but basically asks students to talk things out in what are called “restorative circles” that include everyone involved in an incident, like a fight.

It’s also about changing the culture around discipline. It encourages teachers and students to establish a rapport, turning around the way some schools have practiced authority for decades.

At the time, there was hope. Fast forward three years, and that hope has dwindled.

Early evidence shows that Restorative Practices work better than suspensions, and prevent behavioral problems down the road, too. But out of SFUSD’s more than 100 schools, less than half of them started to implement the new reform.

Few schools have fully integrated the change, officials told us. Haney’s resolution addresses this with a mandate: SFUSD must implement Restorative Practices throughout the San Francisco school district.

The program is important, proponents say, because the majority of the 55,000 students a year moving through San Francisco schools still face school discipline that can set them way back in school and later may lead to incarceration. And suspensions can be levied for the smallest of infractions.

Cupcakes and justice

Xochitl is a 15-year-old SFUSD sophomore with long brown hair. She watches the TV show Supernatural (Dean is cuter than Sam) and yearns to one day live with her relatives in Nicaragua. Years ago on her middle school playground, she once faced a hungry child’s ultimate temptation: Free cupcakes.

The baked goods sat in a box on the cement by the playground, unattended. The frosting sat un-licked, the wrappers unwrapped.

She and her friend looked around, searching for a possible pastry owner nearby. Runners circled around the track in the distance, but no one else was around. The cupcakes met a satisfying fate inside Xochitl’s belly. The next morning went decidedly downhill.

As she walked into school, the counselor told her to go home: she was suspended.

“The cupcakes belonged to this girl because it was her birthday,” Xochitl said, something she found out only once she was being punished. “They went straight to suspension, they didn’t even let me speak.”

Restorative practices would have sat her with the birthday girl to explain her mistake and apologize. Maybe she would’ve bought the girl new cupcakes. That wasn’t what happened.

Suspended, Xochitl spent the day at her grandparents’ house. Not every suspended student has a safe place to go. Some turn to the streets.

In October a group of mostly black young students marched to the Board of Education to protest willful defiance suspensions. The group, 100 Percent College Prep Institute, formed in the ashes of violence.

“I drive a school bus for a living, and I had a boy on my bus who was not bad, but not good,” said 100 Percent College Prep Institute co-founder Jackie Cohen, speaking with the Guardian as she marched with her students. “When we got back from Christmas break, he wasn’t back on the bus. Turns out he decided to ‘live that life.’ Three days later, I found he was shot and killed.”

In some communities the jaws of crime and drugs are forever nipping at their children’s heels. A child inside school is safe. Suspensions throw the most vulnerable students into the wild.

“Preventing crime in San Francisco begins with keeping children in the classroom,” SFPD Chief Greg Suhr wrote in a letter to the SF Examiner last year. “Proactive policies, such as the ‘restorative practices’ implemented by the SFUSD, emphasize the importance of building positive relationships while holding kids accountable for their actions.”

Black students make up about 10 percent of SFUSD’s population, but they represented 46 percent of SFUSD’s total suspensions in 2012, according to SFUSD data. Latino students represented about 30 percent of suspensions.

The racial disparity of suspensions mirror the disparity of incarceration. A study by nonprofit group The Advancement Project found that in 2002, African American youths made up 16 percent of the juvenile population but were 43 percent of juvenile arrests.

Xochitl sees that with her own eyes every day.

“Some kids turn to the streets, you know. I’ve seen people younger than me go to jail,” Xochitl said. “I was on Instagram and saw a friend locked up. I knew that girl, she’s in my PE class.”

It’s one of our country’s many shameful open secrets. Nearly half of all adult men in the United States serving life sentences are African Americans, and one in six is Latino, according to data from the nonprofit group the Sentencing Project.

Fathers and sons, mothers and daughters, all trapped in a cycle of poverty to prisons that for some starts at school.

“As a school district, when that’s staring us in the face, we can’t not do something about it,” Haney said.

Sometimes it begins when students are still learning their ABC’s.

Bruises inside and out

Restorative Practices are implemented from kindergarten to high school.

“If [students] don’t have a sense of belonging… that’s going to prevent schools from addressing behavior,” Kerry Berkowitz, the district’s program administrator of Restorative Practices, told us. The seeds of mistrust are planted when students are young.

Desamuel could not yet spell the world “police” when he first met them.

He was five years old, and as kindergartners sometimes do, he threw a temper tantrum. In the school’s desperation to contain him, officials called the SFPD.

“The police only came one time,” Desamuel, now seven, told the Guardian. Sitting in his San Francisco home with his uncle Lionel, Desamuel sounded ashamed. “But I didn’t go to jail because they only put kids in jail for being bad, like kids taking guns to school.”

The memory angers Desamuel’s uncle, who feels restorative practices would have prevented the misunderstanding. His home is a testament to bridge building.

Lionel, his brothers and mother all pitch in to take care of Desamuel while the boy’s father makes what he calls “a transition.” The home is large by San Francisco standards. Drawings of Spiderman and Batman line the wall, equal in number only to the portraits of their family, most of whom live in the city. There’s a lot of care in Desamuel’s life. That hasn’t stopped his tantrums, though.

The family tried to get him therapy, psychological analysis, anything to help. But as any parent can tell you, sometimes a child just needs love.

Lionel struggled with the school’s administration, and asked them to try less punitive ways of handling his nephew. “I told them to just hug the boy. Their response was ‘it’s hard to hug someone swinging at you.'”

The last time Desamuel fought a student he was tackled to the ground by a school security guard. The now-second grader came home with a bruise on his face.

“When I was bad I hurted the children. I wasn’t supposed to get up, and couldn’t get up off the ground. He took me by the arms and legs,” Desamuel said.

The problem with outsize use of suspensions and punitive action, Berkowitz said, is that it breeds a fear of school that shouldn’t exist. Desamuel is no different.

“I got sent to the office and I had to go to the principal’s office and they talked about me being bad,” Desamuel said. “I think because I make too much trouble I have a lot of problems and they don’t want me to be there.”

Cat Reyes is a history teacher who is now a Restorative Practices coach at Mission High School. She said transformation in behavior is the whole point.

She told the Guardian about a student recorded a fight on film. The two fighting teenagers tried to let the incident go, but with the video online for all to see their pride came between them. If the school suspended the girl who recorded the fight there may never have been resolution. The wounds would fester.

But now the girl will join a restorative circle and explain her actions to those involved in the fight, and their parents. That’s far more daunting to kids than simply going home for a day, Reyes said. It doesn’t just stop at the talk though. “On one end she has to say sorry,” Reyes said. “But now she may go to the media center and create a [movie] about it on our closed circuit TV. The consequence fits the crime.”

As students talk out their differences enemies can become friends, she said. After all, the goal is to correct bad behavior and break destructive cycles. Yet less than half of the schools in SFUSD are employing Restorative Practices.

Slowly but surely

One of the biggest critiques of Restorative Practices is that it removes consequences. That’s the wrong way to look at it, Berkowitz said: “When people say consequences, they mean punishment. We want to work with students to find root causes.”

The numbers back her up: 2,700 SFUSD staff members have trained in Restorative Practices, according to data provided by the district. This consequently led to a strong reduction in suspensions, the district says, from more than 3,000 in 2009 to about 1,800 last year.

SFUSD recognized a good thing when it saw it, growing the Restorative Practices budget from $650,000 in 2009 to $900,000 in 2013.

But only about 25 schools started measurable implementation, Berkowitz said. She put it plainly, saying the program is in its infancy. “Are they ‘there’ yet?” she said. “No.”

“Our team is pretty maxed out,” she said. “To really bring this to scale and implement Restorative Practices, there’d need to be a lot of discussions around that.”

Asked how much she’d need to fully fund the program across all schools, she was evasive. Haney was more direct. When asked if his resolution tied funding to the mandate of implementing Restorative Practices district-wide, he admitted that a funding source hadn’t yet been identified.

“Mostly we hear there needs to be more: more support, more social workers, more people in schools to make this functional,” he said. “It’s a longer term challenge.”

That solution may emerge as the resolution goes through the approval process, but the program faces other problems besides funding.

Teachers have depended on suspensions as a tool for years. Money is one thing, but changing educators’ minds about discipline is another.

The “R” word

Martin Luther King Jr. fought for the integration of schools, but in a speech about Vietnam he said something that could apply to the SFUSD today.

“Life and history give eloquent testimony to the fact that conflicts are never resolved without trustful give and take on both sides,” the southern preacher said in one of his last speeches before his death.

There is one issue simmering under this entire debate, festering, unspoken. Why are black and Latino students suspended more than other groups? Is this system inherently racist?

It’s a tough question. Teachers are notoriously underpaid, overworked, under supported, and asked to enforce the newest policies at the drop of a hat. The teachers the Guardian spoke to all described a packed year filled with new methods to learn, all with a common purpose — a love of their profession and a love of their students.

“There’s a hesitancy to talk about race with this,” said Kevin Boggess, civic engagement leader for Coleman Advocates, the group leading the charge for the willful defiance ban.

Nevertheless the question of racism permeates the discussion. Xochitl felt persecuted as one of the few Latinas in a mostly Asian middle school.

In the case of Desamuel, the young black child who had the police called on him at age five, his uncle stressed the need for culturally aware teaching. Lionel said Desamuel was well-behaved when he had an authoritative, elderly black female teacher, but acted up in the hands of substitutes who weren’t black and whom he characterized as “young and new” to teaching. Then again, the principal who called the police to handle Desamuel was herself black.

Norm “Math” Mattox is a former James Lick Middle School math and science teacher, and he said from his perspective as an African American he’s seen the issues Haney’s resolution addresses clear as day.

“My sense is that teachers might be blowing the alarm a little bit too soon as far as their brown and black students are concerned, especially the boys. They don’t know how to manage them,” he said. In his experience, misbehaving children are sent out of the room too soon.

In the short term, suspensions are an expedient tool, but punishment without communication does long lasting damage. “The dynamic between teacher and student did not get resolved inside of the class,” he said.

One SFUSD school tackled the specter of racism head on. Mission High School is at the vanguard of what its principal calls “anti-racist teaching.”

Mission High has a higher African American student college placement rate than many SFUSD schools, a group that struggles to perform elsewhere. And as a designated “newcomer pathway” for new immigrants, the school has 40 percent English language learners.

Mission High’s principal, Eric Guthertz, is energized by the challenge. He revamped the way the school teaches to address race and ethnicity directly.

The geometry teachers use Bayview district planning data to illustrate mathematical lessons, and teachers look at grades by ethnicity and address disparities directly.

Guthertz credited Restorative Practices with lowering the school’s suspensions. SFUSD data shows Mission High’s steady suspension decline, with a 14 percent suspension rate in 2009, before the program started, and down to a 0.4 percent suspension rate by 2012.

Mission High School Principal Eric Guthertz. Guardian photo by Brittany M. Powell

“We’ve deeply embraced Restorative Practices,” he said.

Next week San Francisco will see if the Board of Education will take the same leap Gutherz did. As he is quick to point out, shifting the culture at Mission High School took years.

The Guardian contacted members of the school board, but did not hear back from them before press time to see how they may vote.

Either way, it’s time for SFUSD to change its ways, Haney said. But no matter what side of the matter you fall on, he said, it’s important to remember one thing.

“Everyone involved in this conversation wants to do better by these students,” he said.

The San Francisco Board of Education will vote on the ban of willful defiance suspensions and full implementation of Restorative Practices at their Dec. 10 meeting.

This Week’s Picks: November 27 – December 3, 2013

Michael Redmond

-

November 27, 2013

0

WEDNESDAY 11/27

Snoopy!!!

Charlie Brown and friends come to life in 42nd Street Moon’s holiday show, Snoopy!!!, based on the classic Peanuts comic strip by Charles M. Schulz. Sing along with “Chuck,” Peppermint Patty, Lucy, Linus, and Sally, Woodstock, and — primarily — Snoopy, the focus of this sequel to the evergreen You’re a Good Man, Charlie Brown. From the songwriters who brought you the Marx Brothers musical Minnie’s Boys come sweet little numbers like “Where Did That Little Dog Go?” (hint: check the roof of his dog house). (Kirstie Haruta)

Through Dec. 15, $25-$75

Previews tonight, 7pm and Fri/29, 2 and 8pm

Opens Sat/30, 6pm; runs Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (family/student matinee Dec 7, 1pm); Sun, 3pm

Eureka Theatre

215 Jackson, SF

www.42ndstmoon.org

4 All Tour with Nadastrom, Salva, and Sinden

Where’s that bag of Thanksgiving-related metaphors? Food? Let me try again. Still food? Every. Fucking. Year. Well, don’t get confused whether this show constitutes a three (one of the acts is a duo) or four-course meal. It’s a pre-holiday smorgasbord of &ldots; ugh, I can’t do this. Listen, you know these guys: SF’s Frite Nite labelhead Salva, UK cross-pollinating producer Sinden, and DC’s “progenitors of moombahton” Nadastrom, all who have seemingly begun collaborating after transplanting to the LA beat scene, releasing an “All Posse Cut” in preparation for this tour. Go eat it up with your ear holes. (Ryan Prendiville)

9pm-3am, $15

Public Works

161 Erie, SF

www.publicsf.com

THURSDAY 11/28

Life Time Turkey Day 5K

Yes, yes, you’ve long designated this day as “Slothfest 2013,” and are planning to stuff yourself with stuffing — and everything else on the table, for that matter. But take a moment (probably about 30 of them, if you’re an average jogger) to rev up your metabolism and help less-fortunate locals by participating in the Life Time Turkey Day 5K, a point-to-point fun run that starts in SOMA and winds down Embarcadero and up Howard, eventually ending at City Hall. Proceeds benefit the SF and Marin food banks, and participants are asked to bring nonperishable items to donate at the starting line. (Cheryl Eddy)

8am, $20-$49

Starts at Terry Francois at Third St (behind AT&T park), SF

www.turkeyday-5k.com

FRIDAY 11/29

The Velveteen Rabbit

I propose we rename Black Friday “Bunny Friday” in honor of ODC/Dance, which for the last 26 years, on the day after Thanksgiving, has welcomed audiences both young and not so young to The Velveteen Rabbit — the company’s delightful, non-sentimental show about love and affection, growing up, and growing old. The 90-minute piece still works because of its quality ingredients. KT Nelson’s smart and clean choreography is demanding but keeps a child’s perspective in mind. Benjamin Britten’s recorded score could have been composed for Velveteen, while Geoff Hoyle’s masterful narration, in fact, was. And if you ever loved Brian Wildsmith’s color-saturated children’s book illustrations, you’ll adore his designs for the stage. (Rita Felciano)

Fri/29-Sun/1 and Dec 8 and 15, 2pm; Dec 5-6 and 12-13, 11am; Dec 7 and 15, 1 and 4pm, $20-$75

Yerba Buena Center for the Arts

Lam Research Theater

700 Howard, SF

odcdance.org/velveteenrabbit

Sing-along Sound of Music

At age five I saw The Sound of Music (1965) for the first time, pressing pause during intermission to go to sleep and dream of Maria’s wedding, while Nazis searched for the Von Trapp family over my bowl of Cheerios the next morning. By age seven I had added the word “confidence” to my vocabulary list. That same year I learned all the words to the soundtrack — which my family owned on vinyl — yodeling in harmony with my sisters. In college I visited the Trapp Family Lodge in Stowe, Vt. Six months ago I went on a Sound of Music bicycle tour in Salzburg, Austria. Do I even have to add that this week you’ll find do-re-mi at the Castro Theatre, in costume, for the annual Sound of Music sing-along? (Kaylen Baker)

Nov 28-Dec 8, 7pm (also Sat-Sun, 1pm; no evening show Sun/1; no shows Mon/2-Tue/3 or Dec 6), $10-$15

Castro Theatre

429 Castro, SF

www.castrotheatre.com

Pretty Lights

Among an increasingly fragmented (and crowded) landscape of popular electronic music, the sound of Colorado’s Pretty Lights has stood out by being assuredly familiar, tied into the fabric of Southern hip-hop, R&B, and blues. So it would make some sense that among his peers Derek Vincent Smith would risk the potentially retrogressive move of bringing a live band into what has now become an arena-sized EDM light show. But for Smith — whose recent A Color Map of the Sun was pressed on vinyl — analog isn’t so much the future but the present. (Prendiville)

Tonight with Tycho, the Grouch and Eligh, Odesza

Sat/30 with Tipper, Ana Sia, Paul Basic

7pm, $45-$70

Bill Graham Civic Auditorium

99 Grove, SF

www.apeconcerts.com

SATURDAY 11/30

Red Fang

Portland, Ore., quartet Red Fang made its name on riff-heavy bangers, clever videos, and constant touring. On Whales and Leeches, the band’s second album for Relapse Records, the hard-charging fuzz is back, and there’s a video featuring “beer zombies” already in the works. Thanks to that hectic touring schedule, though, Red Fang had only two months to write the record, which resulted in a welcome embrace of some of its more idiosyncratic sonic tendencies, glimpsed only briefly in the past. This approach also extends to song titles — listen for hard-charging single “Blood Like Cream” when the band returns to SF, site of some of its earliest successes. (Ben Richardson)

With Shrine, Indian Handicrafts

8:30pm, $18

Slim’s

333 11th St, SF

www.slimspresents.com

Seth Troxler

For the last few years this clown prince of Detroit has reigned like a king. Well, at least concerning Resident Advisor’s annual poll, going from no. 3 to no. 2 to no. 1, consecutively. Depending on what you think of RA’s readership (and popularity contests), this could roughly translate to “Best DJ in the World.” Either way, in the same amount of time Troxler’s releases have reduced to a trickle, likely a result of co-managing a label (Visionquest), starting a restaurant, and, uh yeah, keeping up a busy touring schedule. So catch the charismatically irreverent DJ firsthand, or hold your comments until the next poll comes out. (Ryan Prendiville)

With Felix Dickinson, Galen, Solar, Anthony Mansfield, Rich Korach, Jason Kendig, Dax Lee, Josh Vincent

9pm, $18

Public Works

161 Erie, SF

www.publicsf.com

SUNDAY 12/1

Family Hanukkah Celebration

There’s one more thing to be grateful about this Thanksgiving: Hanukkah’s already begun! This year the Jewish Community Center of San Francisco is throwing a party, with wine and deliciously hot, oil-fried nosh catered by La Mediterranee. Get Bubbie bopping on the dance floor to live music performed by Octopretzel, the five-member kid-friendly genre-hopping Jewish group, and clap your hands to Isaac Zones on the guitar. All are welcome, even the goyim out there, and all are encouraged to bring your hanukkiyah lit with candles to add to the light of the grand menorah, as well as an old favorite book as a donation to JCCSF’s fundraiser for Project Homeless Connect. (Baker)

4pm, $20

Jewish Community Center of San Francisco

Fisher Family Hall

3200 California, SF

www.jccsf.org

MONDAY 12/2

Iconic Hair Movie Night presents Edward Scissorhands

That old shampoo can’t be doing much to flatten your do, especially in this humid weather. Why not play it up then, and roll on down to Morphic Salon for this month’s Iconic Hair Movie Night, where you can curl up for a showing of Tim Burton’s Edward Scissorhands (1990). Starring then-couple Johnny Depp and Winona Ryder, this dark and tender cinematic tale of star-crossed and finger-bladed romance in an unjustly square world might be just the thing to inspire dripping dreads, a bit of ginger fringe, or a frizzy beehive bonnet. The only damage done will be to your heart, which this film will pierce, through the deadly combination of compassion and extremely pointy scissors. (Kaylen Baker)

7pm, free (RSVP requested to info@morphicbeauty.com)

Morphic Salon

660 Market, Suite 210, SF

www.houseofmorphic.com

TUESDAY 12/3

Dodie Bellamy reads Cunt Norton

Patriarchal voices of classic literature getting you down? San Francisco author Dodie Bellamy felt the same way, so she did something about it. In the same vein as her book Cunt-Ups, Bellamy has taken the 1975 Norton Anthology of Poetry and “cunted” it in her own new collection of poetry, Cunt Norton, published by Les Figues. In 33 unabashedly erotic love poems, Bellamy reimagines the history of English poetry, transforming the words of Chaucer, Shakespeare, Emerson, and other celebrated writers into works that throb with fresh vitality. (Haruta)

7pm, free

City Lights Books

261 Columbus, SF

www.citylights.com

The News: Fresh Queer Performance

Head over to the SOMArts Cultural Center the first Tuesday of every month to celebrate new, experimental, and in-progress works culled from the considerable talent lurking among the Bay Area’s queer artists. This month, it’s a showcase of contemporary dance and movement art curated by performer Jesse Hewit: the inimitable Mica Sigourney; drag duo Bellows; “anti-dance” maker Abby Crain; Detour Dance duo Kat Cole and Eric Garcia; Kathleen Hermesdorf, director of La Alternativa/Alternative Conservatory; dancer and explorer of social issues Phoebe Osborne; SALTA members Mara Poliak and Maryanna Lachman; body/age/sex-positive dance troupe Sexitude; and community-building women’s dance group Viv. (Haruta) 7:30pm, $5 SOMArts Cultural Center 934 Brannan, SF www.somarts.org

Film Listings: November 27 – December 3, 2013

Michael Redmond

-

November 27, 2013

0

Tough snowman Marshmallow is among the cast of characters in Disney’s new animated musical, Frozen, out Wed/27.

PHOTO COURTESY OF DISNEY

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

OPENING

Black Nativity You have to hand it to director-writer Kasi Lemmons (2001’s The Caveman’s Valentine) for even attempting an adaptation of Langston Hughes’ Black Nativity. The idea of recasting the original play’s straightforward hybrid of the nativity tale, gospel, and African folk traditions in contemporary Harlem as a spiffed-up urban street opera feels inspired, especially when the otherwise-familiar narrative is supercharged with emotion, thanks to Oakland-native music producer and co-composer Raphael Saadiq. The songs and their delivery make those moments when the cast members burst into song seem like the most natural thing in the world. The child rhapsodized about here is — wink, nudge — Langston (Jacob Latimore), who’s getting evicted along with his single mom, Naima (Jennifer Hudson). In an act of self-disgust, or grudging respect, she sends her feisty tween to stay with his estranged grandparents in NYC. Reverend Cornell (Forest Whitaker) and Aretha Cobbs (Angela Bassett) turn out to be proud pillars of their community, with deep connections to the Civil Rights movement, which Langston discovers when the stern Rev shows the boy his most prized possession: an engraved pocket watch given to him by Martin Luther King Jr. Alas, if Lemmons simply stuck to her present-day rework — and refrained from the self-consciously stagy Christmas dream sequences, which actually seem to hew closer to the original Black Nativity, break the momentum, and cue this operetta’s complete break with reality — this version would have fared much better than it does. Still, Black Nativity isn’t without its moments. Whitaker, playing against type and tasked with the heaviest acting effort, and particularly Bassett, who channels a fiery spirit via her upstanding matron to provide much-needed warmth, are mesmerizing, and though Mary J. Blige and Nas are unfortunately given little to do, Hudson pulls her weight, if not with acting, then with her sheer skill at conveying heartbreak amid the melismas. (1:33) (Chun)

Frozen The voices of Kristen Bell, Idina Menzel, and Jonathan Groff star in Disney’s animated musical inspired by Hans Christian Andersen’s The Snow Queen. (1:48) Cerrito, Four Star, Presidio, Shattuck, Vogue.

The Great Beauty See “La Ho-Hum Vita.” (2:22) Opera Plaza, Shattuck, Smith Rafael.

Homefront It’s not clear if Jason Statham’s undercover DEA agent is retired, but after a major meth bust he loses his scraggly mop of hair and put-on accent to enter seclusion in a town “not far from Appalachia.” He’s taught his daughter well, but when she defends herself against a school bully, the family incurs the wrath of the local tweaker-tiger mom (Kate Bosworth). Tiger Mom’s brother is the local meth lord, Gator (James Franco). He’s in cahoots with the Sheriff (Clancy Brown) and aspires to the heights of the biker badass Agent Statham put away, so he causes trouble for Statham’s family. Winona Ryder, looking more like Cher’s kid than she did in 1990’s Mermaids, is the “meth-whore” who starts a bustling lab with her business-savvy BF, and while she’s hardly out-performing any of the cast, she’s definitely the film’s best character. This mess of wonky editing and absurd send-ups totally delivers on gags and explosions, and when Franco sees his future he looks at it like a CEO applying at Starbucks. His face says “What the hell happened?” but his mouth yells, regrettably, “Are you retarded?” (1:40) (Vizcarrondo)

Is the Man Who is Tall Happy? “I’m a leetle nervous,” French-accented Michel Gondry admits as he begins interviewing linguist and activist Noam Chomsky. Their chats make up this doc, aptly dubbed “an animated conversation” as it’s brought to life by the director’s whimsical animated drawings. The rambling convo (sometimes a lively back-and-forth, sometimes just Chomsky’s gravely voice pondering a topic at length) winds from autobiographical material — Chomsky’s earliest memory (a stubborn-baby moment in which he absolutely refused to eat oatmeal); his childhood ambitions of being a taxidermist (“Don’t ask me why! I guess I liked the word?”) — to more philosophical and intellectual topics. Is the Man Who is Tall Happy? might seem an offbeat choice for Gondry, but does he ever make any other kind of choice? This is, after all, the filmmaker who has maintained an edgy reputation throughout his varied career, from highlights (Björk’s “Human Behavior” video; 2005’s Eternal Sunshine of the Spotless Mind) to head-scratchers (2011 Seth Rogen superhero comedy The Green Hornet). (1:28) Roxie.

Oldboy In 2003, South Korean director Park Chan-wook released a modern masterpiece of harsh, misanthropic revenge cinema with Oldboy, a twisty and visually stylish adaptation of a Japanese manga. Ten years later, Spike Lee and screenwriter Mark Protosevich have delivered a recombinatory remake of the Korean film. It’s neither satisfying nor particularly infuriating — it plays with the elements of Park’s intensely memorable movie, alluding to scenes and images without always exactly reproducing them, and it makes a valiant effort to restore suspense to a story whose gut-wrenching twist has been slightly softened by a decade. But it’s much less visually engaging, replacing Park’s sinister playfulness with a blander, more direct action palette. Josh Brolin’s Joe Doucett is brooding and brutal, but not as sickly compelling as Choi Min-sik’s wild-eyed Oh Dae-su; Elizabeth Olsen is emotionally powerful as his helper and lover; and Sharlto Copley offers a bizarre, rather gross caricature as the scheming antagonist. (2:00) (Stander)

Philomena Stephen Frears directs Steve Coogan (who co-wrote the script) and Judi Dench in this drama about a journalist who helps an elderly woman find the son she was forced to give up for adoption 50 years earlier. (1:35) Albany, Embarcadero.

ONGOING

About Time Richard Curtis, the man behind 2003’s Love Actually, must be enjoying his days in England, rolling in large piles of money. Coinciding with the 10-year anniversary of that twee cinematic love fest comes Curtis’ latest ode to joy, About Time. The film begins in Cornwall at an idyllic stone beach house, as Tim (Domhnall Gleeson) describes his family members (Bill Nighy is dad; Richard Cordery is the crazy uncle) and their pleasures (tea on the beach, ping pong). Despite beachside bliss, Tim is lovelorn and ready to begin a career as a barrister (which feels as out of the blue as the coming first act break). Oh! And as it happens, the men in Tim’s family can travel back in time. There are no clear rules, though births and deaths are like no-trespass signs on the imaginary timeline. When he meets Mary (Rachel McAdams), he falls in love, but if he paves over his own evening by bouncing back and spending that night elsewhere, he loses the path he’s worn into the map and has to fix it. Again and again. Despite potential repetition, About Time moves smoothly, sweetly, slowly along, giving its audience time enough to feel for the characters, and then feel for the characters again, and then keep crying just because the ball’s already in motion. It’s the most nest-like catharsis any British film ever built. (2:03) Marina, 1000 Van Ness, Shattuck. (Vizcarrondo)

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

The Armstrong Lie “This is a story about power, not doping,” a talking head points out in Alex Gibney’s latest doc, The Armstrong Lie. Gibney, an Oscar winner for 2007’s Taxi to the Dark Side, set out to make something more along the lines of The Armstrong Return, shadowing Lance Armstrong as he prepped for his 2009 Tour de France comeback. He envisioned crafting a “feel-good movie,” especially when Armstrong notched an impressive third-place finish — a feat intended to silence those performance-enhancing drug rumors once and for all. In the end, it only amplified the skepticism that loomed over his accomplishments. And as the evidence against Armstrong mounted, Gibney scrapped his original concept and went in a decidedly darker direction. Armstrong’s critics, interviewed for Lie, admit they spotted the acclaimed documentarian among Armstrong’s Tour de France entourage and feared he was “buying into the bullshit.” Among these voices are Armstrong’s former US Postal Service teammate, Frankie Andreu, and his wife, Betsy, who’d been excoriated by their former good friend and his supporters for speaking out against him. A feel-good movie, this is not. And ultimately, Gibney’s film probes deeper than Armstrong’s flaws; it’s careful to point out that drug use is widespread among professional cyclists, who are surrounded by an insular, high-stakes culture that encourages it. The sports world lives and dies by the next world record or superhuman achievement. Is it any wonder that elite athletes seek out that extra competitive edge? And that Armstrong, in fully-inflated ego mode, would believe he had the power to rearrange reality to keep his victories intact? (2:03) Smith Rafael. (Eddy)

The Best Man Holiday (2:00) Metreon, 1000 Van Ness.

The Book Thief One of those novels that seems to have been categorized as “young adult” more for reasons of marketing than anything else, Markus Zusak’s international best seller gets an effective screen adaptation from director Brian Percival and scenarist Michael Petroni. Liesl (Sophie Nelisse) is an illiterate orphan — for all practical purposes, that is, given the likely fate of her left-leaning parents in a just-pre-World War II Nazi Germany — deposited by authorities on the doorstep of the middle-aged, childless Hubermanns in 1938. Rosa (Emily Watson) is a ceaseless nag and worrywart, even if her bark is worse than her bite; kindly housepainter Hans (Geoffrey Rush), who’s lost work by refusing to join “the Party,” makes a game of teacher Liesl how to read. Her subsequent fascination with books attracts the notice of the local Burgermeister’s wife (Barbara Auer), who under the nose of her stern husband lets the girl peruse tomes from her manse’s extensive library. But that secret is trivial compared to the Hubermanns’ hiding of Max Vandenburg (Ben Schnetzer), son of Jewish comrade who’d saved Hans’ life in the prior world war. When war breaks out anew, this harboring of a fugitive becomes even more dangerous, something Liesl can’t share even with her best friend Rudy (Nico Liersch). While some of the book’s subplots and secondary characters are sacrificed for the sake of expediency, the filmmakers have crafted a potent, intelligent drama whose judicious understatement extends to the subtlest (and first non-Spielberg) score John Williams has written in years. Rush, Watson, and newcomer Schnetzer are particularly good in the well-chosen cast. (2:11) Metreon, Shattuck, Sundance Kabuki. (Harvey)

Blue is the Warmest Color The stars (Adèle Exarchopoulos and Léa Seydoux) say the director was brutal. The director says he wishes the film had never been released (but he might make a sequel). The graphic novelist is uncomfortable with the explicit 10-minute sex scene. And most of the state of Idaho will have to wait to see the film on Netflix. The noise of recrimination, the lesser murmur of backpedaling, and a difficult-to-argue NC-17 rating could make it harder, as French director Abdellatif Kechiche has predicted, to find a calm, neutral zone in which to watch Blue is the Warmest Color, his Palme d’Or–winning adaptation (with co-writer Ghalya Lacroix) of Julie Maroh’s 2010 graphic novel Le Blue Est une Couleur Chaude. But once you’ve committed to the three-hour runtime, it’s not too difficult to tune out all the extra noise and focus on a film that trains its mesmerized gaze on a young woman’s transforming experience of first love. (2:59) Clay, Shattuck, Smith Rafael. (Rapoport)

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

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

Cloudy With a Chance of Meatballs 2 (1:35) SF Center.

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

Dallas Buyers Club Dallas Buyers Club is the first all-US feature from Jean-Marc Vallée. He first made a splash in 2005 with C.R.A.Z.Y., which seemed an archetype of the flashy, coming-of-age themed debut feature. Vallée has evolved beyond flashiness, or maybe since C.R.A.Z.Y. he just hasn’t had a subject that seemed to call for it. Which is not to say Dallas is entirely sober — its characters partake from the gamut of altering substances, over-the-counter and otherwise. But this is a movie about AIDS, so the purely recreational good times must eventually crash to an end. Which they do pretty quickly. We first meet Ron Woodroof (Matthew McConaughey) in 1986, a Texas good ol’ boy endlessly chasing skirts and partying nonstop. Not feeling quite right, he visits a doctor, who informs him that he is HIV-positive. His response is “I ain’t no faggot, motherfucker” — and increased partying that he barely survives. Afterward, he pulls himself together enough to research his options, and bribes a hospital attendant into raiding its trial supply of AZT for him. But Ron also discovers the hard way what many first-generation AIDS patients did — that AZT is itself toxic. He ends up in a Mexican clinic run by a disgraced American physician (Griffin Dunne) who recommends a regime consisting mostly of vitamins and herbal treatments. Ron realizes a commercial opportunity, and finds a business partner in willowy cross-dresser Rayon (Jared Leto). When the authorities keep cracking down on their trade, savvy Ron takes a cue from gay activists in Manhattan and creates a law evading “buyers club” in which members pay monthly dues rather than paying directly for pharmaceutical goods. It’s a tale that the scenarists (Craig Borten and Melisa Wallack) and director steep in deep Texan atmospherics, and while it takes itself seriously when and where it ought, Dallas Buyers Club is a movie whose frequent, entertaining jauntiness is based in that most American value: get-rich-quick entrepreneurship. (1:58) California, Embarcadero, 1000 Van Ness, Piedmont, Sundance Kabuki. (Harvey)

Delivery Man Twenty years ago David Wozniak (Vince Vaughn) “put love in a cup” 600-plus times to finance a family trip to Italy. His mother was sick, his father couldn’t afford it, and with time running out, David embarked on a harebrained scheme to make (a lot of) “it” happen. The sperm bank that paid him $23K for his “seed” overused it, and 18 years later he has 533 kids, 143 of which are on a hunt to find their biological father, “Starbuck.” (This also the name of the 2011 Canadian comedy on which Delivery Man is based.) With a premise this quirky you’ll have a hard time finding something to hate, even if this is technically a film about runaway jizz. This heartwarming Thanksgiving release isn’t really appropriate for youngsters (unless you’re been trying to find a entrée to explain sperm banks) but the way Delivery Man deals with the seemingly limitless generosity contained in each of us is both touching and inspiring. Maybe David’s contribution to “Starbuck’s Kids” doesn’t obligate him to reveal his identity, but he’s desperately attached, and goes embarrassingly far outside his comfort zone to interact. The kids’ emotional stake in this is murky, but the way their search for identity finds a voice in tune with the current tech-confident yet socially-confused younger generation could make Delivery Man relevant to more generations than X or Y. (1:45) Elmwood, Four Star, 1000 Van Ness, Presidio, SF Center. (Vizcarrondo)

Ender’s Game Those entering Ender’s Game in search of homophobic threads or politically unsavory themes will likely be frustrated. After all, Orson Scott Card — once a board member of the National Organization for Marriage, and here serving as a producer intent on preserving the 1985 novel that netted him acclaim — has revisited what was initially a short story multiple times over the years, tweaking it to reflect a new political climate, to ready it for new expedient uses. Who knows — the times are a-changin’ fast enough, with the outcry of LGBT activists and the growing acceptance of gay military members, to hope that a gay character might enter the mix someday. Of course, sexuality of all sorts is kept firmly in check in the Ender‘s world. Earth has been invaded by an insect-like species called the Formics, and the planet unifies to serve up its best and brightest (and, it’s implied, most ruthless) young minds, sharpened on first-person-shooters and tactical games, to the cause of defeating the alien “other.” Andrew “Ender” Wiggin (Asa Butterfield) is the knowing hybrid of his sociopath brother Peter (Jimmy Pinchak) and compassionate sister Valentine (Abigail Breslin) — of the trinity, he’s “the One,” as Han Solo, I mean, Harrison Ford, cadet talent-spotter and trainer Colonel Graff, puts it. Ender impresses the leather off the hardened old war horse, though the Colonel’s psychologically more equipped cohort Major Anderson (Viola Davis) suspects there’s more going on within their chosen leader. Director-screenwriter Gavin Hood demonstrates his allegiance to Card’s vision, valorizing the discipline and teamwork instilled by military school with the grim purpose and dead serious pleasure one might take in studying a well-oiled machine, while Ender is sharpened and employed as a stunningly effective tool in a war he never truly conceived of. This game has a bit more in common with the recent Wii-meets-Rock ‘Em Sock ‘Em Godzillas of Pacific Rim than the winking, acidic satire of Starship Troopers (1997), echoing a drone-driven War on Terror that has a way of detaching even the most evolved fighter from the consequences of his or her actions. The question is how to undo, or rewrite, the damage done. (1:54) 1000 Van Ness, SF Center. (Chun)

Free Birds (1:31) Metreon.

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

The Hunger Games: Catching Fire Before succumbing to the hot and heavy action inside the arena (intensely directed by Francis Lawrence) The Hunger Games: Catching Fire force-feeds you a world of heinous concept fashions that’d make Lady Gaga laugh. But that’s ok, because the second film about one girl’s epic struggle to change the world of Panem may be even more exciting than the first. Suzanne Collins’ YA novel The Hunger Games was an over-literal metaphor for junior high social survival and the glory of Catching Fire is that it depicts what comes after you reach the cool kids’ table. Katniss (Jennifer Lawrence) inspired so much hope among the 12 districts she now faces pressures from President Snow (a portentous Donald Sutherland) and the fanatical press of Capital City (Stanley Tucci with big teeth and Toby Jones with big hair). After she’s forced to fake a romance with Peeta (Josh Hutcherson), the two watch with horror as they’re faced with a new Hunger Game: for returning victors, many of whom are too old to run. Amanda Plummer and Jeffrey Wright are fun as brainy wackjobs and Jena Malone is hilariously Amazonian as a serial axe grinder still screaming like an eighth grader. Inside the arena, alliances and rivalries shift but the winner’s circle could survive to see another revolution; to save this city, they may have to burn it down. (2:26) Balboa, California, Cerrito, Marina, Metreon, 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Vizcarrondo)

Jackass Presents: Bad Grandpa (1:32) Metreon.

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

Last Vegas This buddy film may look like a Bucket List-Hangover hybrid, but it’s got a lot more Spring Breakers in it than you expect — who beats Vegas for most bikinis per capita? Four old friends reunite for a wedding in Vegas, where they drink, gamble, and are confused for legendary men. Morgan Freeman sneaks out of his son’s house to go. Kevin Kline’s wife gave him a hall pass to regain his lost sense of fun. Kline and Freeman trick Robert De Niro into going — he’s got a grudge against Michael Douglas, so why celebrate that jerk’s nuptials to a 30-year-old? The conflicts are mostly safe and insubstantial, but the in-joke here is that all of these acting legends are confused for legends by their accidentally obtained VIP host (Romany Malco). These guys have earned their stature, so what gives? When De Niro flings fists you shudder inside remembering Jake LaMotta. Kline’s velvety comic delivery is just as swaggery as it was during his 80s era collaborations with Lawrence Kasdan. Douglas is “not as charming as he thinks he is,” yet again, and voice-of-God Freeman faces a conflict specific to paternal protective urges. Yes, Last Vegas jokes about the ravages of age and prescribes tenacity for all that ails us, but I want a cast this great celebrated at least as obviously as The Expendables films. Confuse these guys for better? Show me who. (1:44) Elmwood, Marina, Metreon, 1000 Van Ness. (Vizcarrondo)

Nebraska Alexander Payne may be unique at this point in that he’s in a position of being able to make nothing but small, human, and humorous films with major-studio money on his own terms. It’s hazardous to make too much of a movie like Nebraska, because it is small — despite the wide Great Plains landscapes shot in a wide screen format — and shouldn’t be entered into with overinflated or otherwise wrong-headed expectations. Still, a certain gratitude is called for. Nebraska marks the first time Payne and his writing partner Jim Taylor weren’t involved in the script, and the first one since their 1996 Citizen Ruth that isn’t based on someone else’s novel. (Hitherto little-known Bob Nelson’s original screenplay apparently first came to Payne’s notice a decade ago, but getting put off in favor of other projects.) It could easily have been a novel, though, as the things it does very well (internal thought, sense of place, character nuance) and the things it doesn’t much bother with (plot, action, dialogue) are more in line with literary fiction than commercial cinema. Elderly Woody T. Grant (Bruce Dern) keeps being found grimly trudging through snow and whatnot on the outskirts of Billings, Mont., bound for Lincoln, Neb. Brain fuzzed by age and booze, he’s convinced he’s won a million dollars and needs to collect it him there, though eventually it’s clear that something bigger than reality — or senility, even — is compelling him to make this trek. Long-suffering younger son David (Will Forte) agrees to drive him in order to simply put the matter to rest. This fool’s mission acquires a whole extended family-full of other fools when father and son detour to the former’s podunk farming hometown. Nebraska has no moments so funny or dramatic they’d look outstanding in excerpt; low-key as they were, 2009’s Sideways and 2011’s The Descendants had bigger set pieces and narrative stakes. But like those movies, this one just ambles along until you realize you’re completely hooked, all positive emotional responses on full alert. (1:55) Albany, Embarcadero, Piedmont. (Harvey)

Running From Crazy Can one ever escape one’s toxic genetic legacy, especially when one’s makeup, and even one’s genius, is so entangled with mental illness, the shadow of substance abuse, and a kind of burden of history? Actor, author, healthy-living proponent, and now suicide prevention activist Mariel Hemingway seems cut out to try, as, eh, earnestly as she can, to offer up hope. Part of that involves opening the door to documentarian Barbara Kopple, in this look at the 20th century’s most infamous literary suicide, Mariel’s grandfather Ernest Hemingway, and just one of his familial threads, one full of lives cut deliberately short. For Running From Crazy, Kopple generally keeps the focus on Mariel, who displays all the disarming groundedness and humility of the youngest care-taking, “good” child. Her father, Ernest’s eldest son, Jack, regularly indulged in “wine time” with his ailing wife and, according to Mariel, had a pitch-black side of his own. But we don’t look to closely at him as the filmmaker favors the present, preferring to watch Mariel mountain climb and bicker with her stuntman boyfriend, meet up with her eldest sister Muffet, and ‘fess up about the depression that runs through the Hemingway line to her own daughters. Little is made of Mariel’s own artistic contributions in acting, though Kopple’s work is aided immeasurably by the footage Mariel’s rival middle sister Margaux shot for a documentary she planned to do on Ernest. Once the highest paid model in the world, Margaux leaves the viewer with a vivid impression of her brash, raw, eccentric, and endearingly goofy spirit — she’s courageous in her own way as she sips vino with her parents and older sister and tears up during a Spanish bull fight. Are these just first world problems for scions who never hesitated to trade on their name? Kopple is more interested in the humans behind the gloss of fame, spectacle and sensation — the women left in the wake of a literary patriarch’s monumental brand of masculinity and misogyny. And you feel like you get that here, plainly and honestly, in a way that even Papa might appreciate. (1:40) Smith Rafael. (Chun)

Thor: The Dark World Since any tentacle of Marvel’s Avengers universe now comes equipped with its own money-printing factory, it’s likely we’ll keep seeing sequels and spin-offs for approximately the next 100 years. With its by-the-numbers plot and “Yeah, seen that before” 3D effects, Thor: The Dark World is forced to rely heavily on the charisma of its leads — Chris Hemsworth as the titular hammer-swinger; Tom Hiddleston as his brooding brother Loki — to hold audience interest. Fortunately, these two (along with Anthony Hopkins, Natalie Portman, Idris Elba, and the rest of the supporting cast, most of whom return from the first film) appear to be having a blast under the direction of Alan Taylor, a TV veteran whose credits include multiple Game of Thrones eps. Not that any Avengers flick carries much heft, but especially here, jokey asides far outweigh any moments of actual drama (the plot, about an alien race led by Christopher Eccleston in “dark elf” drag intent on capturing an ancient weapon with the power to destroy all the realms, etc. etc., matters very little). Fanboys and -girls, this one’s for you … and only you. (2:00) Balboa, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

12 Years a Slave Pop culture’s engagement with slavery has always been uneasy. Landmark 1977 miniseries Roots set ratings records, but the prestigious production capped off a decade that had seen some more questionable endeavors, including 1975 exploitation flick Mandingo — often cited by Quentin Tarantino as one of his favorite films; it was a clear influence on his 2012 revenge fantasy Django Unchained, which approached its subject matter in a manner that paid homage to the Westerns it riffed on: with guns blazing. By contrast, Steve McQueen’s 12 Years a Slave is nuanced and steeped in realism. Though it does contain scenes of violence (deliberately captured in long takes by regular McQueen collaborator Sean Bobbitt, whose cinematography is one of the film’s many stylistic achievements), the film emphasizes the horrors of “the peculiar institution” by repeatedly showing how accepted and ingrained it was. Slave is based on the true story of Solomon Northup, an African American man who was sold into slavery in 1841 and survived to pen a wrenching account of his experiences. He’s portrayed here by the powerful Chiwetel Ejiofor. Other standout performances come courtesy of McQueen favorite Michael Fassbender (as Epps, a plantation owner who exacerbates what’s clearly an unwell mind with copious amounts of booze) and newcomer Lupita Nyong’o, as a slave who attracts Epps’ cruel attentions. (2:14) California, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. (Eddy) *

Music Listigs, November 27-December 3, 2013

-

November 27, 2013

0

WEDNESDAY 27

ROCK

Bottom of the Hill: 1233 17th St., San Francisco. BFF.fm Launch Party, w/ The Happy Hollows, Deep Dimension, Kitten Grenade, DJ Jackson Sandland, 9 p.m., $10.

Brick & Mortar Music Hall: 1710 Mission, San Francisco. Solwave, Vanaprasta, Coo Coo Birds, 9 p.m., $10-$12.

Hotel Utah: 500 Fourth St., San Francisco. The Straight Ups, The Real Deal, 9 p.m., $6.

The Independent: 628 Divisadero, San Francisco. The Limousines, Mona, Dresses, 8 p.m., $15.

The Knockout: 3223 Mission, San Francisco. Unruly Things, Not Sure. Not Yet, Oceanography, 9:30 p.m., $6.

Slim’s: 333 11th St., San Francisco. Morbid Angel (playing Covenant), Rude, Blasphemous Creation, 9 p.m., $28.

Sub-Mission Art Space (Balazo 18 Gallery): 2183 Mission, San Francisco. Don’t Be a Hero, Parkside, The Truth Is …, The Temps, The Fourth & King, 8 p.m., $5-$8.

DANCE

Audio Discotech: 316 11th St., San Francisco. “Trancegiving,” w/ Kristina Sky, Mitka, SNR, Ryan Mendoza, 9:30 p.m., $10 advance.

BeatBox: 314 11th St., San Francisco. “Bassgiving,” w/ Dulce Vita, Simple Greene, Influence, Dr. Whiskers, Skywise, 9 p.m., $5-$10.

Bruno’s: 2389 Mission, San Francisco. “Black Wednesday: Pre-Thanksgiving Bash,” w/ DJs Miles Medina, Yo Yolie, Charly Fusion, Marv, and EMT, 9 p.m., $10 (free with RSVP).

Cafe Du Nord: 2170 Market, San Francisco. “Dark Sparkle,” w/ DJ Sage & Miz Margo, 10 p.m., $5.

The Cafe: 2369 Market, San Francisco. “Sugar: Thanksgiving Eve,” 9 p.m.

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

Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance night with Vaski & Schoolboy, 9 p.m., $10-$20.

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

Elbo Room: 647 Valencia, San Francisco. “Bodyshock,” w/ Lust for Youth, Hive Mind, plus DJs Justin, Crackwhore, and Blk Rainbow, 9 p.m., $7.

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

F8: 1192 Folsom St., San Francisco. “Housepitality: Pre-Turkey Day Special,” w/ Tyree Cooper, Matrixxman, Vin Sol, Bai-ee, J.P. Soul, 9 p.m., $5-$10.

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

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

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

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

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

Mezzanine: 444 Jessie, San Francisco. “Lights Down Low,” w/ Azari & III (DJ set), Myles Cooper, Split, Richie Panic, Sleazemore, 9 p.m., $17.

Monarch: 101 6th St., San Francisco. “Fullyloaded: A Pre-Thanksgiving Get Down,” w/ Ardalan, Galen, Solar, DJ M3, DJ Omar, Mozhgan, Cole, 9 p.m., $5-$10.

Public Works: 161 Erie, San Francisco. 4 All Tour, w/ Nadastrom, Salva, Sinden, Deejay Theory (in the main room), 9 p.m., $12-$15.

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

Ruby Skye: 420 Mason, San Francisco. Cosmic Gate, 9 p.m., $25-$35 advance.

Supperclub San Francisco: 657 Harrison, San Francisco. “Foam for the Holidays,” w/ DJs Chris White & Jimmy Bell, 10 p.m., $15-$20.

HIP-HOP

Manor West: 750 Harrison, San Francisco. “Black Wednesday: Pre-Thanksgiving Event,” w/ DJs J. Espinosa, J-Trip, and Acme, 10 p.m.

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

Slate Bar: 2925 16th St., San Francisco. “Special Blend,” w/ DJs Max Kane, Roman Nunez, LazyBoy, and Mr. Murdock, 9 p.m., free.

ACOUSTIC

Bazaar Cafe: 5927 California, San Francisco. Bryce Wilson, 7 p.m.

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

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

Johnny Foley’s Irish House: 243 O’Farrell St., San Francisco. Terry Savastano, Every other Wednesday, 9 p.m., free.

Milk Bar: 1840 Haight, San Francisco. KnightressM1, Rabbit Quinn, Yonat Mayer, 8:30 p.m., $7.

Plough & Stars: 116 Clement, San Francisco. The Toast Inspectors, Last Wednesday of every month, 9 p.m.

JAZZ

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

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

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

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

Martuni’s: 4 Valencia, San Francisco. Tom Shaw Trio, Last Wednesday of every month, 7 p.m., $7.

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

Sheba Piano Lounge: 1419 Fillmore, San Francisco. Steve Snelling, 8 p.m.

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

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

INTERNATIONAL

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

Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10; Fifth Annual Pre-Thanksgiving Party, w/ Julio Bravo y Su Orquesta Salsabor, plus DJs Super Chino, MGD, Flako, and Mambo, 9 p.m.

Make-Out Room: 3225 22nd St., San Francisco. “International Freakout A Go-Go,” w/ DJs Ben Bracken, Moon Bowl, and Bobby Ganush, 10 p.m., free.

The Rite Spot Cafe: 2099 Folsom, San Francisco. Redwood Tango Ensemble, 8:30 p.m., free.

Yoshi’s San Francisco: 1330 Fillmore, San Francisco. International String Trio, 8 p.m., $17-$21.

BLUES

Biscuits and Blues: 401 Mason, San Francisco. HowellDevine, 7:30 & 9:30 p.m., $15.

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

SOUL

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

THURSDAY 28