Visual Arts

Asylum seekers

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arts@sfbg.com

THEATER From Broadway blockbuster Les Misérables (at the Orpheum) to offbeat courtly lounge act Her Rebel Highness (at Harlot), 18th-century radical postures are enjoying an unexpected vogue at the moment — as anachronistic and bracing as a pinch of snuff. But let the truly adventurous eat Marat/Sade. In what may be the year’s most felicitous blend of company, producer, and material, Thrillpeddlers and Marc Huestis offer an exuberant, exquisitely trashy, and note-perfect revival of Peter Weiss’s radical 1963 play, permeating the enormous Brava Theatre with an infectious delirium perfectly in sync with restive times.

Helmed with operatic flourishes and insouciant humor by artistic director Russell Blackwood, Marat/Sade unfolds meticulously and vibrantly across an imposing pasteboard set (by James Blackwood) that aptly looks something like a sprawling lavatory with enormous glory holes, covered over in political graffiti (from “El pueblo unido jamás será vencido” to “Ayn Rand fucks you”). Whatever debt it owes to the original legendary production (staged by Peter Brook for the Royal Shakespeare Company, and made into a film in 1967), this Marat/Sade is fully inhabited by the raucous libertine spirit and Grand Guignol aesthetic of Blackwood’s adventurous company and its artistic confreres — including former Cockettes Scrumbly Koldewyn (the show’s astute musical director and pianist) and Rumi Missabu (who excels as the straightjacketed and wild-eyed Jacques Roux, radical upstart priest of the French Revolution).

The play’s full title — The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade — pretty much says it all, plot-wise. The date is July 13, 1808, 15 years to the day after Girondist partisan Charlotte Corday stabbed Jacobin leader Marat to death as he soaked in his bath. The French Revolution, having since lost many more lives in a tidal wave of bloodshed, has succumbed to Napoleon and the return of the old guard, wrapping themselves in the mantle of 1789. A skeptical, revolution-weary but ever defiant Sade (rivetingly personified by a darkly charming Jeff Garrett) has been granted permission to perform his play in the institution’s bathhouse. There the asylum’s director, quintessential bourgeois twit Coulmier (a comically wound yet nicely restrained Brian Trybom), watches the performance with wife (Lisa Appleyard) and daughter (Carina Lastimosa Salazar), intervening now and then to protest feebly Sade’s reinsertion of some previously censored lines.

Sade (once a real-life inmate at Charenton) meanwhile leads his variously deranged cast in a reenactment of the death of the Jacobin leader. The “actors” (or “patients” to Director Coulmier and his regime of mental hygiene) are made up of political dissenters, social deviants, the desperately poor, the disempowered, the mentally ill — the lines blur pointedly here.

This play-within-the-play unfolds like a comically unhinged historical pageant, with bursts of anarchic energy, high political debate, and low provocation — all amid excellent renderings of composer Richard Peaslee’s wonderfully serrated songs (backed by Koldewyn, Victoria Fraser, Eden Neuendorf, and Birdie-Bob Watt on a mix of keyboard, percussion, brass and wind instruments). Marat (played with a biting intensity by a fine Aaron Malberg) argues with Sade while soaking continually in a bath to assuage the fever and itching from a debilitating skin disease, his wounds attended to by spouse Simonne Evrard (a sure Kära Emry).

Before he dies, Marat suffers three separate visits by Corday (played by a delicately incandescent Bonni Suval, as a narcoleptic and melancholic beauty with volcanic depths). But the real purpose of this thin plotline is the airing of competing viewpoints on the nature of revolution, freedom, power, individuality, social solidarity, authority, and (more implicitly) art’s role as a site of radical alternatives.

To this end, the large and able cast has its say in song and other outbursts, variously hysterical, macabre, louche, and chilling. But the preeminent voices are Sade, Marat, Corday, and Roux — all of whom attack, from competing angles, the problem of resistance in the modern age, where bureaucratic class-rule comes in the name of democracy, liberty, equality, fraternity, and other terms appropriated by the modern state.

Effortlessly recalling recent popular uprisings across a shuddering planet, these archetypal voices of dissent sound as alive as ever in Weiss’s eloquent dialogue — an iridescent mix of the philosophical, poetical, and scatological. As the cast belts out for a final time the show’s blunt refrain, “We want our revolution now!”, the actors spill over the stage and the inmates take over the asylum, enveloping the audience in a coup d’état that is simultaneously a coup de theatre, and a thoroughly carnivalesque upending of norms. It’s enough to make you lose your head.

MARAT/SADE

Through July 29

Wed-Sat, 8pm; Sun, 7pm (also Sun/22, 1:30pm), $20-$38

Brava Theatre

2781 24th St, SF

(415) 863-0611

www.ticketfly.com

NUDE BEACHES 2012

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Editors Note: Below you’ll find our annual update on the state of nude beaches in the Bay Area, along with detailed guides and directions to several of our favorites. For details on dozens more, please see our complete Nude Beaches Guide, which we are in the process of updating. 

NUDE BEACHES Arrests for being naked on the sand, anti-nudity warning signs going up at previously unthreatened spots, outright threats of beach closures, social activists making their mark on San Francisco’s most well-known clothing-optional beach: this is shaping up to be one of Northern California’s busiest nude beach seasons in recent memory.

Faced with a July 1 deadline, on June 28 Governor Jerry Brown’s administration announced it saved or would stall shutting down all but one of 70 state parks and beaches targeted for closure due to budgetary shortfalls. These include three sites in our annual guide: Montara’s Gray Whale Cove, Carmel’s Garrapata State Park, and Zmudowski State Beach in northern Monterey County.

Officials said they would use $13 million in bond money in the budget to keep the properties running at least through summer. Some 40 parks will remain open for an estimated one to five years, due to temporary funding and support agreements being negotiated with nonprofit foundations and other organizations. More than 25 other properties, including Gray Whale Cove, also known as Devil’s Slide, will keep going while deals are completed.

When asked exactly how long Gray Whale Cove, Garrapata, and Zmudowski would stay open, California State Parks spokesman Dennis Weber told me they could keep going for a month, the entire summer, a year, or even longer. “We don’t know how much time we have,” he said.

Paul Keel, the state parks sector superintendent for the area that includes Gray Whale Cove, was more optimistic. He told me he’s keeping the popular beach open through at least the end of July because while “nothing’s been signed or inked, it’s fair to say we are optimistic” an agreement with a private operator or nonprofit will be finalized before then. Until the state took control, the site was run by a private licensee, San Francisco developer Carl Ernst and his company, Gray Whale Cove Enterprises, Inc.

Ruth Coleman, head of the State Parks and Recreation Department, said the bonds would fund solar power systems, as well as automatic pay machines that take credit and debit cards. And visitors arriving at Devil’s Slide or Garrapata are likely to notice signs that urge them to pay for parking instead of parking outside.

The card machines are likely to be particularly handy at Devil’s Slide after a long-awaited tunnel bypassing rockslide-prone Highway 1, which remains the access point to the beach, is expected to open this fall. Keel suspects the Devil’s Slide Tunnel will bring larger crowds to the beach.

But the news wasn’t all good. Maintenance and garbage pick up operations are likely to remain reduced or eliminated. In late June, Brown partly vetoed a larger, $41 million funding bill that had been OKed by the state legislature. State Senator Joe Simitian (D-Palo Alto), who coauthored the bigger funding plan, criticized the veto, calling it “a lost opportunity to take action.” Another lost opportunity: in November 2010, California voters rejected a ballot initiative that would have raised about $500 million for state parks.

Meanwhile, while Sacramento was cutting back beach services, activists were making additions to the section of San Francisco’s Baker Beach used by nudists. Naturists have erected driftwood art sculptures and tent-like structures without walls, called “dunies,” at the north end of the beach. And they’ve vowed to keep the site free of gawkers by staring them down in what organizers call a non-confrontational approach to self-policing. “They usually decide to leave pretty soon,” says Santosh, 46, an artist and street fair producer.

Speaking of policing, in the past year cops have raided Garrapata and put up signs about nudity at Bonny Doon Beach and at least two other beaches north of Santa Cruz.

At Garrapata, rangers and lifeguards cited over a dozen persons for public nudity last summer and began patrolling the beach at least two times a day after receiving what lifeguard Eric Sturm told the Carmel Pine Cone were reports of “sex acts on the beach.”

And at Bonny Doon, Laguna Creek, and Panther Beach, “Nudity In The State Park System Is Prohibited” signs have been posted, although naturists there remain defiant and are still visiting the sites. “A 50-year tradition (of clothing-optional use at Bonny Doon) cannot be extinguished by a simple sign,” said Rich Pasco, coordinator of the Bay Area Naturists, after the signs went up. He urged nudists to “be polite and respectful” of rangers and suit up “if requested,” but to engage them in “intelligent conversations.” After two months, the signs at Bonny Doon, though, were taken down because, according to Joe Connors, public safety superintendent for state beaches in the Santa Cruz area, “we don’t get a big volume of complaints there.”

Want to join others in having fun at a clothing-optional spot this summer? The USA’s only naked “Full Moon Hikes” will take place in Castro Valley in late July, August, and September (see our listings online at SFBG.com for Last Trampas in Contra Costa County for details). Another idea to meet and socialize with fellow naturists: drop by Bonny Doon on September 15, when fans of the site will be gathering to keep it pristine by finding and removing trash.

Finally, you can aid the naturist community by sending me your new beach discoveries, trip reports, and improved directions (especially road milepost numbers), along with your phone number to garhan@aol.com or Gary Hanauer, c/o San Francisco Bay Guardian, 71 Stevenson, 2nd Floor, San Francisco, CA 94105.

Our ratings: [full moon] signifies a beach that is large or well-established and where the crowd is mostly nude; [half moon] indicates places where fewer than half the visitors are nude; and [quarter moon] means small or emerging nude areas.

SAN FRANCISCO

NORTH BAKER BEACH, SAN FRANCISCO

RATING: A

Social activists have begun streaming onto the sand of America’s biggest urban nude beach, creating what visitor Santosh calls “a tone that’s like Burning Man,” with regulars bringing guitars, drums, and Frisbees to the sand, putting up art work best described as eclectic, and occasionally staring down gawkers.” There’s no requirement that you go nude,” says Santosh, an artist, graphic artist, and producer of San Francisco’s How Weird Street Faire, an outdoor street fair held each year in the SoMa neighborhood as a fundraiser for the World Peace Through Technology Organization. “But if a creeper dude plops down next to a (nude) person or if they are staring at someone’s private parts and it’s happening close to where we are, on the far north end (of North Baker), then they will start being the object of ridicule.

Directions: Take the 29 Sunset bus or go north on 25th Avenue to Lincoln Boulevard. Turn right and take the second left onto Bowley Street. Follow Bowley to Gibson Road, turn right, and follow Gibson to the east parking lot. At the beach, head right to the nude area, which starts at the brown and yellow “Hazardous surf, undertow, swim at your own risk” sign. Some motorcycles in the lot have been vandalized, possibly by car owners angered by bikers parking in car spaces; to avoid trouble, motorcyclists should park in the motorcycle area near the cyclone fence.

LAND’S END BEACH

RATING: A

Considered one of the most beautiful places in the Bay Area to doff your togs, Land’s End should really be called Swimsuit’s End. The reason: although it draws more clothed users than nudists, more than a few swim tops and bottoms magically “disappear” on warm spring, summer, and fall days at the little cove off Geary Boulevard. Come early to grab your share of the sand on this semi-rocky shoreline, which is sometimes dotted with rock-lined windbreaks left by previous sunbathers. Bring a light jacket or sweatshirt in case the weather changes.

Directions: Follow Geary Boulevard to the end, then park in the dirt lot up the road from the Cliff House. Take the trail at the far end of the lot. About 100 yards past a bench and some trash cans, the path narrows and bends, then rises and falls, eventually becoming the width of a road. Don’t take the road to the right, which leads to a golf course. Just past another bench, as the trail turns right, go left toward a group of dead trees where you will see a stairway and a “Dogs must be leashed” sign. Descend and head left to another stairway, which leads to a 100-foot walk to the cove. Or, instead, take the service road below the El Camino del Mar parking lot 1/4 mile until you reach a bench, then follow the trail there. It’s eroded in a few places. At the end, you’ll have to scramble over some rocks. Turn left (west) and walk until you find a good place to put down your towel.

GOLDEN GATE BRIDGE BEACH

RATING: A

On the hottest days, Golden Gate Bridge Beach becomes so packed with people that one visitor describes it as a “gay mob scene.” But the rocky shore, which connects three picturesque coves, also gets its share of straight men and women. Prime, non-cruising activities include sunbathing, enjoying breathtaking views of the Bridge, and even taking some dips in the water. “You can sometimes go out over 100 feet during low tide,” a woman tells me.

Directions: from the toll booth area of Highway 101/1, take Lincoln Boulevard west about a half mile to Langdon Court. Turn right (west) on Langdon and look for space in the parking lots, across Lincoln from Fort Winfield Scott. Park and then take the beach trail, starting just west of the end of Langdon, down its more than 200 steps to Golden Gate Bridge Beach, also known as Marshall’s Beach. Despite recent improvements, the trail to the beach can still be slippery, especially in the spring and winter.

FORT FUNSTON BEACH

RATING: C

What’s the only Golden Gate National Recreation Area park where you can walk your dog without a leash, as well as the spot where the world record for the farthest tossed object (a flying ring sent soaring 1,333 feet by Erin Hemmings) was set in 2003? Answer: Fort Funston, which is affectionately called Fort Fun by its fans. Known for its magnetic sand, steady winds (especially in March and October) that make its cliffs popular for hang gliding, and, in particular, its dogs, who appear here with their human escorts by the hundreds, the area even attracts a few naturists from time to time. Mostly hidden away in the sand dunes on the beach, naked sunbathers usually stay away on the weekends, when families swarm the area. To keep the “fun” in Fort Funston, even on weekdays, be sure to use caution before disrobing.

Directions: From San Francisco, go west to Ocean Beach, then south on the Great Highway. After Sloat Boulevard, the road heads uphill. From there, curve right onto Skyline Boulevard, go past one stoplight, and look for signs for Funston on the right. Turn into the public lot and find a space near the west side. At the southwest end, take the sandy steps to the beach, turn right, and walk to the dunes. Find a spot as far as possible from the parking lot.

CONTRA COSTA COUNTY

LAS TRAMPAS REGIONAL WILDERNESS, CASTRO VALLEY

RATING: C

Want to go walking around nude at night outside without being hauled off to jail? Imagine hiking naked guided only by your flashlight in the East Bay Hills, with the trail silhouetted by a full moon and small herds of horses coming up to greet you.

“It’s absolutely surreal,” says Jurek Zarzycki. “The horses come within inches of you, so close you can feel their breath. It’s like being on a moonscape with aliens. You may be a little afraid at first, but the horses are very friendly.”

America’s only nude “Full Moon Hikes” have been taking place on summer full moon nights in Castro Valley for more than seven years. The next ones will be held July 29, August 31 (arrive by 6pm), and September 28 (starting at 5:15pm) “We start early so that we have the full moon already risen by the time the sun sets,” says San Leandro’s Dave Smith, who leads most of the hikes. “Then we hike up the trail around sunset.”

Coordinated by a partnership between the Sequoians Naturist Club and the Bay Area Naturists, based in San Jose, walkers leave the property of the Sequoians fully clothed at dusk and walk through meadows and up hills until the moon rises, before heading back down the slopes completely nude, with their clothes folded neatly into their backpacks.

After the walk, most hikers shower at The Sequoians, and, for a fee of $5, take a dip in the 86-degree pool there and enjoy a plunge in the facility’s hot tub. “It was fabulous,” says Zarzycki about an earlier trek. “I pitched my tent right there at The Sequoians and then slept under the sky.”

Directions: Contact The Sequoians (www.sequoians.com) or the Bay Area Naturists (www.bayareanaturists.org) for details on how to join a walk. Meet at The Sequoians. To get there, take Highway 580 east to the Crow Canyon Road exit. Or follow 580 west to the first Castro Valley off-ramp. Take Crow Canyon road toward San Ramon .75 mile to Cull Canyon road. Then follow Cull canyon road around 6.5 miles to the end of the paved road. take the dirt road on the right until the “Y” in the road and keep left. Shortly after, you’ll see The Sequoians sign. Proceed ahead for about another .75 mile to The Sequoians front gate.

SAN MATEO COUNTY

DEVIL’S SLIDE, MONTARA

RATING: A

Although Devil’s Slide, also known as Gray Whale Cove, was scheduled to be closed this month by the state due to budget shortfalls, officials plan to keep it open while they negotiate with what Paul Keel, San Mateo coast state parks sector superintendent, calls a prospective “donor to keep it in operation for the coming year.” At press time, Keel told us that although “nothing’s been signed or inked, it’s fair to say we are optimistic, so hopefully we will know more in the next month.” Access to the site, though, is changing: after a long-awaited, voter-approved Devil’s Slide tunnel is completed this fall, Keel and others expect a possible increase in traffic to the beach, as more pedestrians and bicyclists use a nearby section of Highway 1 that is being closed. Meanwhile, rangers say they will allow a long-standing tradition of nudity to continue on the sand unless visitors complain.

Directions: Driving from San Francisco, take Highway 1 south through Pacifica. Three miles south of the Denny’s restaurant in Linda Mar, turn left (inland or east) on an unmarked road, which takes you to the beach’s parking lot and to a 146-step staircase that leads to the sand. Coming from the south on Highway 1, look for a road on the right (east), 1.2 miles north of the Chart House restaurant in Montara. Starting this fall, from the north, take Highway 1 through the Devil’s Slide tunnel and then turn left onto the road described above. From the south, continue using the above directions. Most naturists use the north end of the beach, which is separated by rocks from the rest of the shore.

SAN GREGORIO NUDE BEACH, SAN GREGORIO

RATING: A

Still the USA’s longest continually used nude beach, San Gregorio even has its own web site and live web cam at www.freewebs.com/sangregoriobeach. The privately run operation, which is located next to San Gregorio State Beach, recently began its 46th year of serving the clothing-optional community.

The beach often draws a large gay crowd, along with some nude and suited straight couples, singles, and families. “It’s a really romantic spot,” says a single woman. However, first-timers are sometimes annoyed (as I was, years ago) by the driftwood structures on the sandy slope leading down to the beach, which are used by some visitors as “sex condos.” However, fans of the beach savor San Gregorio’s stunning scenery. It has “awesome natural beauty,” says regular visitor Bob Wood. Attractions of the 120-acre site include two miles of soft sand and tide pools to explore, as well as a lagoon, lava tube, and, if you look closely enough on the cliffs, the remains of an old railroad line.

Directions: From San Francisco, drive south on Highway 1, past Half Moon Bay, and, between mileposts 18 and 19, look on the right side of the road for telephone call box number SM 001 0195, at the intersection of Highway 1 and Stage Road, and near an iron gate with trees on either side. From there, expect a drive of 1.1 miles to the entrance. At the Junction 84 highway sign, the beach’s driveway is just .1 mile away. Turn into a gravel driveway, passing through the iron gate mentioned above, which says 119429 on the gatepost. Drive past a grassy field to the parking lot, where you’ll be asked to pay an entrance fee. Take the long path from the lot to the sand; everything north of the trail’s end is clothing-optional (families and swimsuit using visitors tend to stay on the south end of the beach). The beach is also accessible from the San Gregorio State Beach parking area to the south; from there, hike about a half-mile north. Take the dirt road past the big white gate with the Toll Road sign to the parking lot.

SANTA CRUZ COUNTY

GARDEN OF EDEN, FELTON

RATING: C

Tucked away in Henry Cowell Redwoods State Park, between Santa Cruz and Felton, the Garden Of Eden is a much-used skinny-dipping hole on the San Lorenzo River, which is also visited by clothed families. Some hikers are surprised when they see people nude there and either use the spot anyway or keep walking. Watch out for poison oak and slippery sections on the trail. Eden is one of three clothing-optional swimming holes on the river. To find them, look for cars pulled over on Highway 9, next to the state park, which bans nudity but seldom sends ranger patrols to the creek.

Directions: From Santa Cruz, drive north on Highway 9 and look for turnouts on the right side of the road, where cars are pulled over. The first, a wide turnout with a tree in the middle, is just north of Santa Cruz. Rincon Fire Trail starts about where the tree is, according to reader Robert Carlsen, of Sacramento. The many forks in the trail all lead to the river, down toward Big Rock Hole and Frisbee Beach; Carlsen says the best area off this turnout can be reached by bearing left until the end of the trail. Farther up the highway, 1.3 miles south of the park entrance, is the second and bigger pullout, called the Ox Trail Turnout, leading to Garden of Eden. Park in the turnout and follow the dirt fire road downhill and across some railroad tracks. Head south, following the tracks, for around .5 miles. Look for a “Pack Your Trash” sign with park rules and hours and then proceed down the Eden Trail.

Ox Trail, which can be slippery, and Eden Trail both wind down steeply to the creek. “The path continues to the left, where there are several spots for wading and sunbathing,” Carlsen says. The main beach is only 75 feet long and 30 feet wide, but fairly sandy. Carlsen’s favorite hole is accessible from a trail that starts at the third turnout, a small one on the right side of the road, about 4.5 miles from Highway 1 and just before Felton. A gate marks the start of the path. The trail bends left. When you come to the road again, go right. At the railroad tracks, go right. From here, look for the river down the hill on your left; many paths lead to it. Says Mike: “Within 10 yards, you can be in the water.”

BONNY DOON NUDE BEACH, BONNY DOON

RATING: A

Despite the temporary erection of anti-nudity warning signs at longtime nudie fan favorite Bonny Doon Beach, north of Santa Cruz, officials have told us they have no immediate plans to issue citations at the north end of the site, which has traditionally been occupied by naturists. In fact, the signs were taken down after just two months.

In fact, in June, Pam, of San Mateo, even found a nudist at the main public, south side of the beach, which is used by suited visitors. A 15-foot long rock on the sand, along with a sloping cliff with rocks that jut out, separate the two sides of the cove that form Bonny Doon.

“In the short term, things at Bonny Doon are destined to continue the way they are,” says Kirk Lingenfelter, sector superintendent for Bonny Doon and nearby state beaches. Lingenfelter says he likes Bonny Doon just the way it is. “It’s one of our pocket beaches,” he explains. “They can really give you the feeling of rugged, untouched majesty. I like standing on those beaches. You can sometimes forget that there’s a highway in the distance. It’s a very important feeling to maintain. “The clothing-optional section usually attracts more women and couples than most nude beaches. “Minuses” include occasional vehicle burglaries and gawkers on the bluffs or in the bushes.

Directions: From San Francisco, go south on Highway 1 to the Bonny Doon parking lot at milepost 27.6 on the west side of the road, 2.4 miles north of Red, White, and Blue Beach, and some 11 miles north of Santa Cruz. From Santa Cruz, head north on Highway 1 until you see Bonny Doon Road, which veers off sharply to the right just south of Davenport. The beach is just off the intersection. Park in the paved lot to the west of Highway 1; don’t park on Bonny Doon Road or the shoulder of Highway 1. If the lot is full, drive north on Highway 1, park at the next beach lot, and walk back to the first lot. Or take Santa Cruz Metro Transit District bus route 40 to the lot; it leaves the Metro Center three times a day on Saturdays and takes about 20 minutes. To get to the beach, climb the berm next to the railroad tracks adjacent to the Bonny Doon lot, cross the tracks, descend, and take a recently improved, sign-marked trail to the sand. Walk north past most of the beach to the nude cove on the north end. Alternately, Dusty suggests parking as far north as possible, taking the northern entrance, and, with good shoes, following a “rocky and steep” walk down to the sand.

2222 BEACH, SANTA CRUZ

RATING: A

In late May, when my girlfriend and I visited a little cliffside park above it and peered down on the aptly named 2222 — it’s the number of the house across the street — we discovered that the pocket-size cove looked as beautiful as ever. In fact, America’s smallest nude beach is so small it could probably fit in your yard. And that’s what makes it a magical place. You won’t find crowds at 2222, which takes scrambling to reach and isn’t recommended for children or anyone who isn’t a good hiker. However, those who are agile enough to make it down a steep cliff and over some concrete blocks on the way down will probably be rewarded with an oasis of calm and a good spot to catch some sunrays.

Directions: The beach is a few blocks west of Natural Bridges State Beach and about 2.5 miles north of the Santa Cruz Boardwalk. From either north or south of Santa Cruz, take Highway 1 to Swift Street. Drive .8 miles to the sea, then turn right on West Cliff Drive. 2222 is five blocks away. Past Auburn Avenue, look for 2222 West Cliff on the inland side of the street. Park in the nine-car lot next to the cliff. If it’s full, continue straight and park along Chico Avenue. Bay Area Naturists leader Rich Pasco suggests visitors use care and then follow the path on the side of the beach closest to downtown Santa Cruz and the Municipal Wharf.

PRIVATES BEACH, SANTA CRUZ

RATING: A

“Privates is one of my favorite beaches,” says Brittney Barrios, manager-buyer of Freeline Design Surf Shop, which is located nearby and sells keys to unlock the gate leading to the clean, beautiful cove. “It’s always very peaceful.” Visitors include nudists, surfers, families, and local residents. “Everyone gets along,” adds Barrios. “And it’s never crowded.”

Barrios says many of the naturists, who often visit in groups, like to play Paddle Ball on the sand. As for Barrios, she prefers to “lay out,” as she calls it, in the sun.

There’s almost no litter, wind, noise, or troublemakers — security guards plus a locked gate keep the latter out — and world class surfers, such as those who starred in Endless Summer II, regularly put on a free show for the naked people who share the warm, clean sand with surfers.

“It’s really nice,” says Hunter Young, a former worker at Freeline, which sells up to 600 beach passes a year. “Surfers love it because it has good waves. It’s 100 percent standup surfing, with paddling. Anytime I go to Privates, I can expect a long ride on my longboard.”

“The beach is also very family oriented,” explains Barrios. “And it’s OK for dogs too.”

“There are two different coves on the beach,” says Young. “Clothed families who use the beach know which cove is nude and stay away from it. If you want to play naked Frisbee, at the bottom of the beach stairs you just walk to the left.”

Directions: 1) Some visitors walk north from Capitola Pier in low tide (not a good idea since at least four people have needed to be rescued). 2) Others reach it in low tide via the stairs at the end of 41st Avenue, which lead to a surf spot called the Hook at the south end of a rocky shore known as Pleasure Point. 3) Surfers paddle on boards for a few minutes to Privates from Capitola or the Hook. 4) Most visitors buy a key to the beach gate for $100 a year at Freeline (821 41st Ave., Santa Cruz, 831-476-2950) 1.5 blocks west of the beach. Others go with someone with a key or wait outside the gate until a person with a key goes in, provided a security guard is not present (they often are there). “Most people will gladly hold the gate open for someone behind them whose hands are full,” says Bay Area Naturists leader Rich Pasco. The nude area starts to the left of the bottom of the stairs.

MARIN COUNTY

MUIR NUDE BEACH, MUIR BEACH

RATING: A

Mellow times are continuing at one of the Bay Area’s easiest to reach and most enjoyable nude beaches, the clothing-optional north side of Muir Beach. Also known as Little Beach, it’s separated by the main public beach by a line of large rocks that visitors usually walk over. Says Lucas Valley’s Michael Velkoff, who switched from Red Rock to become a regular at Muir: “This season, there’s plenty of sand. It’s also a great place for women because people leave you alone here. Nobody’s hitting on you. And high tide only comes a third of the way up the beach.” Recent additions include a new bridge over a marshy, lagoon-like area near the parking lot, plus about a half dozen Porta-Potties.

Directions: From San Francisco, take Highway 1 north to Muir Beach, to milepost 5.7. Turn left on Pacific Way and park in the Muir lot (to avoid tickets, don’t park on Pacific). Or park on the long street off Highway 1 across from Pacific and about 100 yards north. From the Muir lot, follow a path and boardwalk to the sand. Then walk north to a pile of rocks between the cliffs and the sea. You’ll need good hiking or walking shoes to cross; in very low tide, try to cross closer to the water. The nude area starts north of it.

RED ROCK BEACH, STINSON BEACH

RATING: B

One of the most popular Bay Area nude beaches, Red Rock has struggled with sand erosion that’s left a smaller site the last few seasons, along with a more crowded feel to it and, perhaps in reaction, fewer overall visitations. Except for being a little overgrown with vegetation in early July and some poison oak on the half nearest the highway, the beach trail, however, is reported in good shape this year. “Just wear shoes with socks, go single file in spots, and you should be okay,” advises Stinson Beach attorney-teacher Fred Jaggi. Rock climbing and various kinds of Frisbee continue to be frequent pastimes at Red Rock — Ultimate Frisbee games there can last as long as three hours. Naked Scrabble and Nude Hearts are among the other games played by sunbathers. “It’s very peaceful at the beach,” says Jaggi. “Nobody ever brings down a large boombox.”

Directions: Go north on Highway 1 from Mill Valley, following the signs to Stinson Beach. At the long line of mailboxes next to the Muir Beach cutoff point, start checking your odometer. Look for a dirt lot full of cars to the left (west) of the highway 5.6 miles north of Muir and a smaller one on east side of the road. The lots are at milepost 11.3, one mile south of Stinson Beach. Limited parking is also available 150 yards to the south on the west side of Highway 1. Or from Mill Valley, take the West Marin/Bolinas Stage toward Stinson Beach and Bolinas. Get off at the intersection of Panoramic Highway and Highway 1. Then walk south .6 mile to the Red Rock lots. Follow the long, steep path to the beach that starts near the Dumpster next to the main parking lot.

BOLINAS, BASS LAKE

After Tracey, of San Anselmo, hiked to what she called “beautiful, clean, sunny” Bass Lake, she went onto a message board in June to urge those who are considering trying the Bolinas attraction to “Go. Go. Go now.” “The trail was a little overgrown. But I had fun swimming nude in the lake,” says regular Dave Smith, of San Leandro, about his adventure last year. “If you want to visit an enchanted lake, Bass is it,” agrees Ryan, also of the East Bay. “Tree branches reach over the water, forming a magical canopy, and huge branches of calla lilies bloom on the shore.” Ryan isn’t kidding: even walking (45-60 minutes from the parking area over 2.8 mostly easy miles) to Bass can be an adventure unlike any other. One time, rangers stopped and cited a clad man with an unleashed dog, but let some passing nudists continue. And Smith, who usually walks naked, has come across bobcats and mountain lions early in the morning. “I came around a corner and there was a mountain lion sitting like Egypt’s Great Sphinx of Giza 50 yards down the path,” he says.

Directions: From Stinson Beach, go north on Highway 1. Just north of Bolinas Lagoon, turn left on the often-unmarked exit to Bolinas. Follow the road as it curves along the lagoon and eventually ends at Olema-Bolinas Road. Continue along Olema-Bolinas Road to the stop sign at Mesa Road. Turn right on Mesa and drive four miles until it becomes a dirt road and ends at a parking lot. On hot days the lot fills quickly. A sign at the trailhead next to the lot will guide you down scenic Palomarin Trail to the lake. For directions to Alamere Falls, 1.5 miles past Bass Lake, please see “Elsewhere In Marin” in our online listings.

RCA BEACH, BOLINAS

RATING: A

Want to recharge your life? A trip to RCA can do just that. And a single stopover at the beautiful beach will probably inspire you to keep coming back. “It hasn’t changed much in 20 years,” says regular visitor Michael Velkoff. “A downside is that it’s very exposed to the wind. The good news is that there are lots of nooks that are sheltered from the wind. And there’s so much driftwood on the sand that many people build windbreaks or even whole forts. You could build a village with all that driftwood. The last time I went, somebody built a 30 foot tall dragon out of it.” Suited and unsuited males and females and families visit the shoreline, which seems even bigger than its one mile length because, adds Velkoff, “we’ll see six people on a beautiful day on a Sunday. Picture [please see next listing] Limantour as far as how people are spread out on the sand. Everybody’s like 100 feet apart. It’s great.”

Directions: From Stinson Beach, take Highway 1 (Shoreline Highway) north toward Calle Del Mar for 4.5 miles. Turn left onto Olema Bolinas Road and follow it 1.8 miles to Mesa Road in Bolinas. Turn right and stay on Mesa until you see cars parked past some old transmission towers. Park and walk .25 miles to the end of the pavement. Go left through the gap in the fence. The trail leads to a gravel road. Follow it until you see a path on your right, leading through a gate. Take it along the cliff top until it veers down to the beach. Or continue along Mesa until you come to a grove of eucalyptus trees. Enter through the gate here, then hike .5 miles through a cow pasture on a path that will also bring you through thick brush. The second route is slippery and eroding, but less steep. “It’s shorter, but toward the end there’s a rope for you to hold onto going down the cliff,” tells Velkoff.

LIMANTOUR BEACH, OLEMA

RATING B

At Limantour, in Point Reyes National Seashore, you can walk a mile wearing nothing but your smile. “I just head away from any people and put my towel down in the dunes or against a wall,” says visitor Michael Velkoff. “Nobody bothers you. Of course, I carry a pair of shorts, just in case I need to put them on. I love it at Limantour. Plus it has tons of nice sand.” You may also want to don a pair of binoculars for watching birds, seals, and other wildlife. This May, Velkoff saw a whale from his vantage point on the sand; he’s also seen porpoises frolicking just offshore. The long shoreline is one of America’s most beautiful beaches, yet few visitors realize the narrow spit of sand is clothing-optional. The site is so big — about 2.5 miles in length — you can wander for hours, checking out ducks and other waterfowl, shorebirds such as snowy plovers, gray whales, and playful harbor seals. Dogs are allowed on six-foot leashes on the south end of the beach. To grab the best parking, arrive by 10:30am.

Directions: Follow Highway 101 north to the Sir Francis Drake Boulevard exit, then follow Sir Francis through San Anselmo and Lagunitas to Olema. At the intersection with Highway 1, turn right onto 1. Just north of Olema, go left on Bear Valley Road. A mile after the turnoff for the Bear Valley Visitor Center, turn left (at the Limantour Beach sign) on Limantour Road and follow it 11 miles to the parking lot at the end. Walk north .5 miles until you see some dunes about 50 yards east of the shore. Nudists usually prefer the valleys between the dunes for sunbathing, which may be nearly devoid of or dotted with users, depending on the day.

 

Noir to nerds: 8 artsy-cultural happenings you could check out this week

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Remember the time you lived in one of the most exciting, cultured places in the world? Hold up, that’s right now. Check our picks for 8 amazing — and oftentimes free — ways to spend your nights and days this week.

Jim Nisbet: Old and Cold

Jim Nisbet’s protagonist is old, cold, and totally cool. A confusing infusion of mystery, Dexter-style serial murder, and flat-out noir creepiness, Nisbet’s Old and Cold follows the wrongdoings of a man who lives under a bridge and will do anything for a martini. All the action is enveloped within our dear city’s seven miles of dive bars, beaches, and grey sidewalk.

Wed/16, 7pm, free

City Lights Bookstore 

261 Columbus, SF

www.citylights.com 

Nerd Nite! 

What’s better than a gregarious gaggle of boozed-up nerds? Robin Marks, Nick Bouskill, and Justin Benttinen will each give three snarky-smart 30-minute lectures at the Rickshaw as a part of the monthly lecture series Nerd Nite. Covering a broad span of topics — peer-reviewed journal satire, to the nasty nuances of nitrogen, to a history of bizarre invention and innovation in San Francisco — the lecture series even offers a brief break for DJs. Drink, dance, and dig the dork.

Wed/18, 7:30-11pm, $9

Rickshaw Stop

155 Fell, SF

www.rickshawstop.com 

Pint Sized Plays 

Usually stationed in the Tenderloin’s Cafe Royale, San Francisco Theater Pub’s Pint Sized Plays is making a special performance at the Plough and the Stars. With more than 10 directors crammed into 90 minute show, variety is guaranteed: there’ll be images of love and loss from Megan Cohen’s Beeeeeeaar, Stuart Bousel and Megan Cohen’s Llama let us follow the travails and triumphs of a llama at a crossroads, and William Bivin’s Celia Sh**s makes an appearance reminding us that, well, everybody sh**s. 

Wed/18, 8pm, free

The Plough and the Stars

116 Clement, SF

sftheaterpub.wordpress.com

Renegade Craft Fair 

Your dreams of glass-blown bug figurines, artisan jewelry, and paper-mache wall hangings have been answered. The fifth annual Renegade Craft Fair makes its appearance at the Fort Mason Festival Pavilion for a day of showcasing unique, artisan products from over 250 emerging crafters. Enjoy a day of (hopefully) sunshine, food, drink, and, most importantly, art that you can actually use. 

Sat/21-Sun/22, 11am-7pm, free

Fort Mason, SF

www.renegadecraft.com

Brave New Voices International Youth Poetry Grand Slam 

America’s youth has something to say and you’re going to listen, dammit. The creativity and eloquence of these performers aged 13 to 19 are not to be taken lightly at the 15th annual BNV grand slam finals. BNV was created by Youth Speaks in 1998 to represent a forum of dialogue for a new, socially-aware, mutually respecting, and artistically-active generation of young individuals who are anything but shy. The competition and festival runs from July 17-21, with the the culminating grand slam competition offering an inspiring and hopeful alternative to your regular Saturday night. 

Sat/21 7pm, $20

Fox Theater

1807 Telegraph, Oakl.

www.youthspeaks.org

LaborFest book fair and poetry reading 

The annual LaborFest kicks off the arts portion with an all-day reading series at the Mission Cultural Center for Latino Arts. Speakers, poets, and authors like award-winning Sean Burns with his biography, Archie Green, The Making of a Working Class Hero will be present as testament to the longstanding collaboration between labor, community, and art. 

Sun/22, 10am-9pm, free

Mission Cultural Center for Latino Arts

2868 Mission, SF

www.laborfest.net

Dana Johnson and Paula Priamos

Dana Johnson and Paula Priamos paint an ironically dark picture of sunny Southern California as they read from their two books Elsewhere, CA and The Shyster’s Daughter. Johnson’s novel follows the search for self-discovery of Avery, a black girl growing up in Los Angeles who doesn’t seem to fit in to her community’s vision of ideal femininity and ideal blackness. Priamos’ book takes a memoir-turned-noir tone, remembering her own family’s actions and anxieties after the conviction of murderer Kevin Cooper for murdering an innocent family in a neighborhood not far from their very own. 

Mon/23, 7pm, free

Books, Inc.

601 Van Ness, SF

www.booksinc.net

Sketch Tuesdays

The ultimate place to see and be seen. Sketch Tuesdays brings a night of live art making and artist-to-buyer exchange to 111 Minna. This Tuesday’s artsy attendees can look forward to an all-female lineup of live artists and International Museum of Women, a full bar, music from DJ Pre-K, and current exhibition, “Shinkasen Conspiracy” by Last Gasp Publishing. 

Tue/24, 6-10pm, free

111 Minna, SF

www.sketchtuesdays.com

Step away from the desk and dance

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What’s your idea of a productive lunch break? Mine involves returning a failed online shopping purchase to FedEx with just enough time to grab a sandwich to shove into my face back at my desk. 

DJ Matt Haze, of the Slayers Club collective, hates this. “A lot of my friends work in the tech industry or in finance,” he explains. “Even though they’re eating a nice gourmet lunch, they’re eating it at their desks. They’re not taking a moment to breathe or take their eyes off the monitor… I want to provide an outlet for people during the day.”

That outlet is RECESS, a new monthly (for now) midday party Haze is organizing with Sunset Promotions. The goal: to get as many young, San Francisco office workers to take full advantage of that magical allotted free hour during their day by getting sweaty with like-minded PYTs on the dance floor.

The daytime lunch party idea isn’t entirely new. The Swedes have been doing it with wild success since 2010, under the name Lunch Beat, but Matt is quick to point out that his idea for RECESS came independently. He first shared the idea of a lunchtime party with friend and Scoutmob Community Manager Lauryn McCarthy.

She was the one who told him about the Lunch Beat phenomenon, which he credits for motivating him to make RECESS a reality. “I was spurred into action,” he says, “knowing that someone else had a similar idea and was making it work in Europe. I thought if any city in the US should have a lunchtime dance party, surely it’s San Francisco.”

Surely indeed. On Wednesday, my coworker and I headed to the RECESS launch party (NOTE: future installments will be dubbed bEATs for Lunch out of respect to an already-existing Oakland Recess party that was just brought to the organizers’ attention).

That kickoff event was held at Monarch, a club at the lively intersection of Sixth and Mission Streets.

We passed a small crowd standing on the side of the Monarch building, eating sandwiches in the sunshine (RECESS provided free, vegetarian sandwiches from Ike’s to the crowd, but we were too late to snag a bite — alas, they looked pretty good).

With our IDs checked, we headed into the small bar and lounge area. Less than 10 people were scattered around the bar and a few couches, chatting and eating. House music bumped from the basement. I wondered if the dance floor was experiencing the same sparse attendance.

We ventured toward the music, passing two sweaty girls who were laughing and fanning their faces on their way up. I was shocked when we hit the basement.

Here was the party. Not the daytime awkward-fest I’d been imaging. It was a party-party with club lighting and projectors splashing trippy footage of abstract art and bare boobs and squiggly lines across the walls. Haze was dancing behind his turntables, spinning an electrifying set of house music mixed with the likes of Depeche Mode and eclectic world music.

And because everyone was coming from work, they were dressed casually. No guys in shiny button-down shirts or girls with torture-devices strapped to their feet.

The vibe was fun, inclusive, and warm. Maybe because we were all doing something a bit out of the norm, everyone was smiling and jumping, laughing and making real eye contact with each other. It was a genuinely positive atmosphere without dreaded pretension.

My coworker and I stayed for 45 minutes. We pounded a drink at the bar — this is another way the SF event differs from the strictly non-alcohol-offering Lunch Beat — and danced with abandon. People began trickling out around 1:45pm.

Back at the office, I was noticeably less tense and in a fantastic mood. It’s hard to pinpoint why RECESS feels so exciting and illicit. Yes, you’re sneaking off to a club in the middle of the workday, but it’s your lunch break. No broken rules there. Still, there’s a rush that comes with using that time to do something just for you.

The next bEATs for Lunch (formerly RECESS) will take place Aug. 8 at Monarch.

Exchange is good

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MUSIC The heyday of the mixtape was the 1990s, when a mix required a gentle touch with the pause button, careful calculations to make sure the songs fit on the cassette, and a delicate winding of the tape spool with the pinky finger, advancing the clear tape to the magnetic. They took hours to complete. They were fragile, often made in a torrent of teenage lust and given with sweaty palms.

With the San Francisco Mixtape Society, you get a semblance of that experience.

Every few months, the group holds free mixtape exchanges at the Mission District’s Make-Out Room. What happens is this: people come to the event with a mix (cassette, CD, or USB stick), and everyone gets a number. When your number is picked, you give your mix to the person who called your number. Then, you pick a number, and you get a mix in return. Each event has its own theme, to give attendees a spark of inspiration.

Most mixtape exchanges occur by word of mouth, or by invitation-only. Co-founders Annie Lin and John Verrochi, Brooklyn transplants, met by attending similar events in Brooklyn, which were low-key, “just hang outs in bars. We wanted to create an event that could accommodate more people, and make it easier to participate,” Lin said in an interview last week. The two of them started the exchange partly because there weren’t any events like it in San Francisco at the time.

“When I moved here I felt like there wasn’t really a channel for people that like music to meet other people that like music. When you go to a show, you really can’t talk to people. Part of it grew out of wanting to meet cool people as a newcomer to the city with no established clique. The nice thing is that a lot of people have actually come together,” said Lin.

“There’s two connections that you’re forced to have,” explained Ashley Saks, a member and organizer of the society. “One is with the person you’re giving your [mixtape] to, and one is the person you’re getting the mixtape from.”

“There is a dating aspect,” said co-founder Verrochi, “though we don’t promote that. You usually make them for someone you care about, so it kind of has this courting thing to it. People have definitely hooked up.”

The society gives a free beer to those who make a mix on cassette, and awards prizes in categories such as Best Art.

“We were thinking we would get to see cool graphic art, like really cool album covers,” Verrochi said. (He works by day as an art director.) “But it’s turned into these art objects. Tiny sculptures.”

Cases have been hand knit, papier-mâché’d, and encased in world globes. One person made a 3-D dollhouse. Another made a lemonade stand out of Popsicle sticks. The winner of the last event — the theme was “Under the Covers” — made a coffin. Inside was a collection of mixes that together formed a skeleton. The track listing came in a funeral booklet.

“You never know what you’re going to get,” said Lin. “You know you’re going to get something. You might get something huge and crazy, like a Noah’s Ark.”

Besides winsome cover art, coveted mixes are well-sequenced and tell a story. “Editing is the secret,” said Lin. “In this era it’s so easy to say, ‘Let’s get on Spotify and do a search for titles that have the theme in the name.’ With a really good mixtape, someone really thought about the tone or the flavor of the theme, and how the songs come together over all. It’s more than just an algorithmic search for songs, which is easy to do.”

One memorable mixtape was made for a Treasure Island Music Festival event. The theme was “Hidden Treasure,” and the tape was called “Pirate’s Booty.” “Every single song on that mixtape was about ass,” Verrochi said.

Interest in the SF Mixtape Society has grown beyond its own events. Music festivals like SXSW have asked the group to run exchanges, and mixtape enthusiasts in Toronto and San Diego have asked how to start similar groups. It’s a reflection of people’s desire to do more than share music on the internet.

“We live in a curation culture,” said Lin. “People make playlists and share them on Spotify. Like, ‘Here’s all the songs that I’m listening to right now on this playlist in random order.’ A mixtape is sharing, yes, but it’s also selecting exactly what it is you’re going to share.”

“I think why people like our event is you actually have to show up in person, you have to create an object and hand it to them. And there’s this really tangible quality to it,” Verrochi said.

The SF Mixtape Society’s next event, themed “American Summer,” occurs Sun/15 at the Make-Out Room; a smaller exchange will take place as part of the California Academy of Sciences’ “Mixology, Mixtapes and Remixes at NightLife” event July 19. *

Burning Man takes anti-scalper and traffic control measures as tickets arrive

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Most physical tickets to Burning Man were mailed out last week and, as many expected after a controversial ticket lottery with higher-than-expected demand, ticket scalpers were offering hundreds of tickets for more than double face value on websites such as eBay and StubHub. But Black Rock City LLC, the SF-based company that stages the event, over the weekend introduced some counter-measures to combat the scalpers and reiterated its request for burners to heed the culture’s decommodification ethos and refuse to pay more than face value for tickets.

“I don’t think any burner should buy a ticket for above face value,” Marian Goodell, the BRC board member who handles communications, told the Guardian. She said they’ve worked through the crisis of veteran burners – those who build much of Black Rock City’s infrastructure each year – not getting tickets.

“It’s sorting itself out, so I don’t think people need to go to the StubHubs out there. They can ignore the scalpers,” she said.

BRC already canceled a secondary open sale of what was to be the final 10,000 tickets, instead selling them through established theme camps and art collectives, fairly effectively getting them out to most burners who wanted them. Then, in the wake of getting federal permits for a higher than expected population cap of 60,900 this year, BRC on Sunday announced the release of an extra 2,000 tickets this year.

Half of those were dumped into the Secure Ticket Exchange Program (STEP) system that BRC created for people who unsuccessfully sought tickets during the main sale of 40,000 tickets in January. To further deter scalpers, those who hadn’t registered for that main sale – who are barred from buying through STEP – can try to snag one of the 1,000 tickets that BRC will offer during an online sale on Aug. 3, which requires registration on Aug. 1.

“We think the 1,000 tickets we put into the open sale will help pull the rug out from under the scalpers,” event founder Larry Harvey, who chairs the board, told us.

Harvey and Goodell also say BRC has been hard at work solving related issues as well, including concerns that the biggest ever population for this massive, isolated, temporary city in Nevada’s Black Rock Desert – where waits to get on or off the playa during peak hours can be four hours or longer – will create traffic nightmares.

“More lanes will be open more often,” Goodell said, explaining they will beef up the number of volunteers helping to get people in and out, as well as those working the lines at Will Call, which all the STEP ticket buyers were forced to use as another anti-scalper measure.

The event traditionally opens at midnight on the Sunday night before Labor Day weekend (Aug. 26 this year), but those in the know have known it was actually possible to get in a few hours early during the last couple years. This year, BRC will formalize that arrangement to help with traffic ingress, officially opening the gates to all attendees at 6pm.

Goodell said BRC will also be coordinating with big art projects and doing communications efforts with all attendees encouraging people to stagger entrance and departure times as much as possible to spread out the peak and lessen wait times. “We really want participants to educate themselves and think about their expectations,” she said.

As an additional measure, BRC will be moving up the final official event of the week – the burning of the Temple on the last Sunday night (Sept. 2) – from 9 pm to dusk to facilitate more people hitting the road that night.

Both Goodell and Harvey acknowledged that it’s been difficult to sort through the problems created by the huge demand for tickets this year, but they say that most of those who want tickets will have them and this should be a banner year in terms of the art and other offerings in this strange and bountiful experimental city.

“There were fears there would be less art this year, but there’s going to be more art than ever before,” Harvey said. Asked which piece he’s most excited to see this year, he said Yoga Robot by Colorado artist Scott Harris. To peruse some of the other art installations this year, click here to see check out art projects that got grants from BRC, which is only a small part of what attendees will see on the playa this year.

Healing the Hood

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Fifty people were sitting in a circle July 8, talking about what was weighing on them that week. And the weight was heavy. Poverty, violence, addiction, racism. Crushed by debt, foreclosed and evicted. Seeing family members deported, imprisoned, and killed. Continued repression of the Ohlone and other Native peoples. After telling her story, Vivian Thorp said she got together the money to seek medical treatment.

“So I go to the doctor,” she said. “And they tell me, you’ve got anxiety. I go, no shit.”

The others in the circle understood. This was the second day of Healing the Hood, a weekend of workshops, art, cooking, biking, spirituality, and communtiy building. The Poor Magazine project is aimed at resisting corporate control of food, medicine, the environment, and other survival necessities.

For many of the people present, “anxiety” doesn’t quite describe the oppression caused by abuse and violence, by fear of police and prison, by having not enough money to feed their families, by injuries and stress incurred by working for that money. No pill can cure that anxiety, even if you can afford it.

Healing the Hood is supposed to be some part of the real cure. Day one was spent in the Mission district, where Poor Magazine has it’s office. Day two was in East Oakland on a plot of land that Poor has purchased as part of its Homefulness project.

I arrived around lunchtime. In the hot East Bay sun, Needa Bee was preparing a salad while teaching a workshop on food. As she chopped the lettuce and carrots, she talked about how Monsanto and other agricultural industry giants control most of the food that’s available in supermarkets. She discussed resistance movements to Monsanto, telling of farmers in India and China who burned their GMO fields lest they infect other plants. Her lesson ended at the same moment that she topped off the salad with sesame seeds and coconut vinegar.

“This is all fields, backyard, street, Halal markets, Southeast Asian markets,” she said of the feast, recommending those sources as places where GMOs and factory farmed products can be avoided.

Tiny Gray-Garcia, Poor Magazine’s co-founder, smiled as 50 people lined up to eat. Gray-Garcia helped bring together the many sages present at Healing the Hood. The event is steeped in a deep yearning to preserve and teach cultural and medicinal knowledge, made all the more difficult because, as Gray-Garcia put it, people must “try to do it within this capitalist society, whose oppression is in everything, even our food.”

The weekends teachers were more than cooks; herbalists and nutritionists, gardeners and mothers, poets and dancers. After the food demonstration, nutritionist Tanya Henderson and Poor Magazine scholar Estrella gave a presentation on native herbs and foods and their medicinal properties. Next, youth from 67 Suenos, an organization that rejects not just attempts at harsher immigration laws but the colonial notion of borders in the Americas itself, led a discussion.

“Borders aren’t real. They’re a construct. They’re part of the plantation system,” one of the members said. The group supports the concept of a path to legalization for young people embodied in the DREAM Act, but takes issue with policies that would help successful students– “good immigrants”– while still allowing for families to be torn apart and ignoring the reality of students who are delayed in their success, often by that very fear of deportation of themselves or family members.

“Sadly, no one’s talking about a path towards legalization for every undocumented person in this country,” one of the members noted, recalling protests in 2006 and 2007, when many groups demanded “legalize all.”

Luis Rodriguez, one of the weekend’s special guests, is an author and poet based in the Los Angeles area. He was in town partly to promote his new book, It Calls You Back, and will soon be heading to El Salvador for an event celebrating a gang truce that has more than halved the country’s homicides since it was brokered.

“Earth Mother” Iyalode Kinney, founder of the Richmond urban gardening project Communities United Restoring Mother Earth, passed around leaves of comfrey and sprigs of fragrant German chamomile, plucked from her garden that morning, explaining their medicinal properties. Attendants rode bikes and recited poetry as the sun set.

The Healing the Hood initiative didn’t end Sunday. Poor Magazine will be meeting again August 5 to plant the Pachamama Garden as part of Homefulness.

“We as poor peoples and indigenous peoples are in constant struggle to survive and resist the violence of poverty, racism and colonization and if we are to not only survive but thrive, we most focus some time on healing our bodies, minds and spirits with out lives and ancestral knowledge not tied to the Western Medical Industrial complex, big pharma and corporations,” the Healing the Hood event descriptions reads.

In their many publications and its everyday work, the folks at Poor Magazine speak a sort of revolutionary language. The US is Amerikkka, deals that gentrify and displace are devil-opment, and Mama Scholars and Poverty Scholars spread their knowledge while the merits of establishment “akkkademia” are questioned. It’s a the language of a culture of empowerment and resistance, whose people have found violence and destruction in the things most valued in capitalism.

Rodriguez closed out the healing circle. He said a prayer to the Earth, and each attendant named a suffering or dead loved one as he and ceremonially spilled water on a newly sprouting plant.

The preservance, the survival, the regeneration. The suffering and the healing. As Rodriguez said as he closed it out, “Capitalism can’t reconcile with this circle.”

7 ways to revive your sunburned brain this week

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Dead set on frying your brain in this sunshine? Fine. Just hit up one of your city’s affordable cultural happenings afterwards and your gray matter will have no choice but to call it a draw. 

Epicenter reading series 

Sip on some of Cafe Tosca’s famous non-coffee cappuccino (brandy and hot chocolate, what could be better?) and listen to three members of the contemporary literati. Along with San Francisco-native Josh Mohr, the program will include Joe Meno reading from Office Girl, his new fiction work of artistic detachment and big city love, plus Nathan Larson’s The Nervous System, a novel depicting a terrorist-induced dystopia in the walls of the New York Public Library, starring a protagonist dubbed Dewey Decimal.

Thu/12 7pm, free

Cafe Tosca

242 Columbus Ave., SF

www.citylights.com

True Stories Lounge

Have your mind blown (pardon the pun) with Salon’s sex writer Tracy Clark-Flory at the True Stories Lounge. The reading series offers the unique opportunity to turn out your Friday night pre-game with a winning combination of cocktails and creative non-fiction, featuring writers from various genres recounting poignant childhood memoir, true crime, and sex follies.

Fri/13, 7pm, $10

Make Out Room

3225 22nd, SF

(415) 647-2888

www.makeoutroom.com

“Myth” 

An art reception wrought magical and mystical is this “Myth,” a group art exhibit exploring menaing in various types of folklore — everything from Greek myth to religious icons. Exhibiting artists will be in attendance at the opening reception, so you can ask them for the (assuredly fascinating) tales behind the images over drinks and and DJ. 

Sat/14, 6pm, free

Modern Eden Gallery

403 Francisco, SF

(415) 956-3303

www.moderneden.com

“Sin and Redemption” 

Have a perfectly sinful Saturday afternoon with what may be the SFMOMA Fort Mason annex’s most tantalizing exhibition yet. Artists will create pieces that play with themes of sin and redemption via pointed sculpture installations, interactive confessionals, and more. It’s sure to be an afternoon of contemplation and question amid the stunning Bay views.

Sat/14, opening reception 1pm-3pm, free

SFMOMA Artists Gallery 

Fort Mason, SF. 

(415) 441-4777

www.sfmoma.org

Chuck Palahniuk 

Brave hordes of dark literature lovers to hear none other than this legendary author of trangressional (OK, downright disturbing) fiction. Palahniuk, author of Fight Club and other contemporary literature treasures like “Guts” and Choke will discuss the “remix” of his 1999 novel Invisible Monsters. Already a story of plastic surgery, drugs, tragic hope, and other delights, the book is now equipped with an edgy new design and even edgier new material.  

Mon/16, 6pm, $20-$40

Castro Theatre 

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

LitSlam 

Competitive literary lunacy takes the stage at Lit Slam on selected Monday nights in the Mission. A variety show by nature that involves spoken word poetry, workshops, and friendly (maybe) competition, the event is also a brilliant move towards guerrilla publication. Audience members (like you) choose the winners of the slam, who will go on to be published in the organization’s annual literary journal. Get there early if you’re gunning to perform. Stage fright? Lit Slam picks four audience members at random to act as judges for the competition, that’s a little more behind the scenes. 

Mon/16, 8pm, free

Viracocha

998 Valencia, SF

www.viracochasf.com

Our Weekly Picks: July 11-17

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WEDNESDAY 11

Marat/Sade

San Francisco theater fiends: are you ready for this? Marc Huestis local producer of such memorable star ‘n’ movie events as “A Carrie White Christmas with Piper Laurie” and “Linda Blair Live!” is collaborating with Thrillpeddlers San Francisco’s delightfully daring theater troupe, known for its Grand Guignol and Cockettes-inspired productions to heat up foggy July with Marat/Sade. Peter Weiss’ play with music (it won a Tony for Best Play; the 1967 movie version starred most of the Royal Shakespeare Company actors who’d originated the roles) is set just after the French Revolution and is “performed” by Charenton Asylum inmates, with the Marquis de Sade directing. Judging by the talent behind this show, you’d be insane (ahem) to miss it. (Cheryl Eddy)

Through July 29

Previews Wed/11-Thu/12, 8pm, $20

Opens Fri/13, 8pm, $38

Runs Wed-Sat, 8pm; Sun, 7pm (also July 22, 1:30pm), $25–$38

Brava Theater

2781 24th St., SF

(415) 863-0611

www.ticketfly.com

 

Campfire Guitar Lessons

If you’ve ever felt bummed when a friend whips out a guitar at a group gathering, a jam session begins, and you’re the only person who can’t join in on the fun, this class may be for you. The San Francisco Free School offers weekly Campfire Guitar Songs lessons to those in need of practice. The songs change every week but teachers Joergen and Marco favor classic bands and musicians such as the Beatles, Bob Dylan, Cat Stevens, and the Who, as well as Gospel music, nursery rhymes, and traditional tunes. They recommend doing some preliminary guitar playing at home so the group can work at a good pace, and remember: bring your own guitar. Learn the basics so you can impress your musically inclined friends, and join in at the next impromptu band night. (Shauna C. Keddy)

6pm, free

The Hapiness Institute, SF

1720 Market, SF

www.thehappinessinstitute.org

 

FIDLAR

Looking for a new party mantra? FIDLAR’s got you covered. This LA band’s name is an acronym for Fuck it Dog Life’s a Risk. If that’s not what you’re looking for, check out its singles “Wake Bake Skate” and “Black Out Stout.” This band’s lo-fi garage-punk is the perfect summer soundtrack, whether you’re surfing, skating, crowd surfing, or drinking. Especially drinking. Instead of pointing to like-minded artists, the band credits Four Loko, Coors Light, and a laundry list of college-caliber booze brands as its influences. Take a hint, grab your tall cans, and get ready to rage. (Haley Zaremba)

With Meat Market, the Shrills

9pm, $10

Bottom of the Hill

1233 17th St., SF

(415) 626-4455

www.bottomofthehill.com


THURSDAY 12

Steel Panther

For the spandex-clad, Aqua Net-sprayed members of Steel Panther, the 1980s hair metal scene never went away; the Los Angeles quartet keeps the glory days of the Sunset Strip alive and well with its hilariously over the top and outrageous, but nonetheless hard rocking, sound and attitude. The band’s second album, Ball Out, dropped last year, and featured a host of anthem-worthy tunes that you and your bandana-wearing buddies can sing along with tonight when it hits the city — “Supersonic Sex Machine,” “17 Girls In A Row,” and of course, “It Won’t Suck Itself.” (Sean McCourt)

8pm, $22.50–$25

Regency Ballroom

1290 Sutter St., SF

(415) 673-5716

www.theregencyballroom.com


FRIDAY 13

Mugsy Wine Bar Bastille Day pop-up happy hour

Storm the fortress of this Mission dive’s patio — it shouldn’t be too hard, there’s no cover — for El Rio’s new pop-up wine bar. Mugsy Wine Bar is organized by Granate Sosnof, mainly so that Sosnof could have a decent cup of vino while her partner works behind the Tecate-margarita-serving bar. Sosnof focuses on wines made by queer, people of color, and family producers and to honor the 223rd year of commemoration of the storming of the Bastille, Mugsy will be serving a sparkling Blanc de Noir Cremant de Bourgnone, the 2009 Cotes du Rhone from Le Clos du Caillou. If ever there were an excuse to wear your sequined beret around any one besides your cat, this is it. (Caitlin Donohue)

5:30-8:30pm, free

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

mugsywinbar.tumblr.com

 

Reverend Horton Heat

It may be hard to believe, but the rockabilly juggernaut that is the Reverend Horton Heat has been hitting stages for more than 25 years now — and as fans of the Texas musician and same-named trio know, the band’s strong suit is its live show, which the group captured for posterity during an August 2010 concert at the historic Fillmore right here in San Francisco. Due for release later this month, 25 To Life is the new DVD/CD set documenting that night’s musical mayhem; until then, get off the couch and catch the boys live and in person, back in the Bay. (McCourt)

With Supersuckers, Goddamn Gallows

Fri/13-Sat/14, 9pm, $20–$25

Uptown

1928 Telegraph, Oakl.

(510) 451-8100

www.uptownnightclub.com

 

SS2

There is no single unifying thread that weaves all the motley, underground S.S. Records bands together. As the laudable DIY Sacramento label and online shop puts it, “the records we put out and the ones that we carry we actually listen to” (emphasis mine). Crystal balling it, chances are that you’ve listened to some of these bands too, or you should be: San Francisco legends Icky Boyfriends, Spray Paint, Lamps, Musk, and the list goes on. Last year, the label celebrated a decade of life with its own intimate music fest. It went so well, they’re doing it again. Bands such as the aforementioned Icky Boyfriends along with late ’80s psych-garage stalwarts Monoshock, and newer Modern Lovers-ish LA weirdos Wounded Lion (now on In the Red) will come together to play the two-day 11th anniversary gathering this weekend. (Emily Savage)

Fri/13-Sat/14, 9pm, $12 each day

Hemlock Tavern

1131 Polk Street, SF (415) 923-0923

www.hemlocktavern.com

 

Com Truise

Seth Haley’s technicolor electro-funk under the Com Truise moniker has all the subtlety of a giant bowl of Fruity Pebbles. His newly released full-length, In Decay, finds the Jersey-based synth-nut fine-tuning his bloggy brand of retro-futurism, with a nostalgic approach resembling Rustie or Onra. The oversaturated arpeggios pop like neon paintballs; the basslines rip like buzzsaws; the hex-drums evoke every supposedly ill-advised ’80s-ism you secretly never want to forget. Haley’s giddily excessive production ties this all together with an immediacy that should result in an exhilarating live show. Throwing restraint to the wind, Com Truise’s music revels in its garishness. (Taylor Kaplan)

With Baauer, Kid 606, Jim-E Stack, Giraffage

10pm, $15

103 Harriet, SF

(415) 264-1015

www.1015.com

 

SATURDAY 14

DJs from Mars

You know the basics: European DJ duo dons masks for a frisson of anonymity in our Age of Overexposure (in this case basically cardboard boxes with faces painted on them), mashes up popular tunes over aggressive electro beats, and become renowned for their antics both onstage and off, possibly involving bared breasts and chainsaws — don’t worry, not both things simultaneously. You are perhaps also familiar with that great contemporary international DJ woe: having to cancel your tour due to visa issues. Happily, Italian duo DJs from Mars manage to transcend all your familiarities. Sure, the boys(?) have got the EDM rock star schtick down, but it’s never been more polished or goofy-nuts. They’ve also got the visas, and their rescheduled tour stop at the Bootie mashup party should be what the kids used to call a real banger. (Marke B.)

9pm, $10–$20

DNA Lounge

375 11th St., SF

www.bootiesf.com


SUNDAY 15

Aesop Rock

Recently rated the industry’s most intelligent rapper by Listverse, San Francisco resident Aesop Rock is a hip-hop maverick with a quick tongue and sharp wit that will leave your feet tapping and your head spinning. His je ne sais quois coolness seems to increase with every move he makes, from collaborating with Atmosphere’s Slug to peppering his rhymes with obscure science fiction references to touring with alternative folk royalty Kimya Dawson to writing a song about Grubstake, Polk Street’s notorious greasy spoon and late-night vomitorium. See you there after the show. (Zaremba)

With Rob Sonic & DJ Big Wiz

8pm, $22.50 Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com


MONDAY 16

Janka Nabay & the Bubu Gang

Sierra Leone’s Janka Nabay is the self-proclaimed King of Bubu — a traditional Muslim music genre with a lightning tempo. When Nabay relocated to New York in 2009, his passion for music and the frenetic energy of bubu gained the attention of the local music scenesters. As a result, Nabay is now backed by the Bubu Gang, an impressive array of Brooklyn indie-rockers that includes members of Chairlift, Skeletons, and Gang Gang Dance. The group recently signed with David Byrne’s record label Luaka Bop; now they’re bringing their catchy beats and bamboo pipes to the West Coast, so dust off those dancing shoes. (Zaremba).

With Sun Araw, Cash Pony

8pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


TUESDAY 17

Shearwater

You’d be forgiven for thinking Shearwater was beamed in from a bygone era. A time when lush, spacious production wasn’t restricted to lifestyle music for the boomer-dad demographic. On its eighth LP, Animal Joy, the Austin-based collective, and Okkervil River spinoff, out-luxuriates the competition yet again, further developing its high-concept brand of art-rock with a cavernous, naturalistic production sound worthy of Talk Talk. Frontperson Jonathan Meiburg’s vocals are surprisingly elegant for a guy on Sub Pop, bearing the full-throated quiver of Antony Hegarty or Scott Walker via Climate of Hunter. Shearwater’s Animal Joy is the sound of analog integrity trumping digital expedience; hopefully, Shearwater’s stage presence will reflect this old-school sense of refinement. (Kaplan)

With Husky, Gold Leaves

9pm, $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

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

Alerts

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WEDNESDAY 11

Students organizing for CCSF Student Union upper level lounge, CCSF Ocean Campus, 50 Phelan, SF; www.ccsfwill.blogspot.com. 5-8pm, free. At an emergency community meeting concerning the threatened closure of City College of San Francisco July 9, many meetings were called, including the organizing to form a student union, to campaign for the parcel tax initiative to get money to CCSF, and to organize in solidarity with labor. This meeting is discussing support for the parcel tax, which could send $15 million City Colleges way if it passes in November. Come organize with labor on this issue. This meeting is a working group on student response to the accreditation report.

THURSDAY 12

It calls you back 826 Valencia, SF; www.826valencia.org. A book reading and film screening with Luis Rodriguez, a poet, journalist, and fiction writer and author of the best-selling memoir Always Running, La Vida Loca, Gang Days in L.A. He will read from his new sequel and screen Rushing Waters, Rising Dreams: How the Arts are Transforming a Community, documenting how Tia Chucha’s Centro Cultural and Bookstore is bringing art and community to the once devastated post-industrial San Fernando Valley.

Happiness Happiness Institute, 1720 Market, SF; www.meetup.com/SF-Free-School. An afternoon of yoga and a workshop on community building. This event is presented by a collaboration between the Bay Area Community Exchange Time Bank, the San Francisco Free School, and the Happiness Institute- three of the organizations that work on spending time and energy in the gift economy.

FRIDAY 13

4 days for Kenneth Harding Jr. around Bayview-Hunters Point, July 13-16; www.tinyurl.com/4days4kenny. On July 16, 2011, 19-year-old Kenneth Harding Jr. was killed. He was stopped by police and asked for his transfer when off-boarding the Muni T train—he ran, and police began shooting. As far as the SFPD is concerned, the case is settled; they say Harding drew a gun and shot back at them, and the fatal bullet was his own. His family, friends, and the movement resisting police murder of black youth disagree. On this anniversary of his death, commemorate Kenny with four days of events. On July 13, a community speak out at NOI Mosque at 26a 3rd & Revere at 7pm. On July 14th, a free community hip hop show. On July 15th a free community meal at 3rd and Palou St from 10am-2pm. And on July 16th, join Kenneth Harding’s mother and a broad coalition of community and labor to shut down Muni in honor of Kenneth Harding.

SATURDAY 14

Occupy Bohemian Grove Monte Rio Amphitheater, 9925 Main, Monte Rio; www.occupybohemiangrove.com. Noon, free. What, you’ve never heard of Bohemian Grove? It’s just the private club of CEOs, politicians, and their favorite performers that meet every year for debauchery and rituals such as the “Cremation of Care” at the Owl Shrine. The rich and powerful go camping among the redwoods every year, and although business talk is frowned upon, they often make deals, including, notoriously, a 1942 Manhattan Project planning meeting that led to the atomic bomb. Many anti-war activists and others who are pissed off that the 1 percent meets in this strange private camping party to plot acts of war and environmental destruction will be setting up their own protest encampment outside Bohemian Grove this year. The kick-off on Saturday will include musical performances and speakers, including the Fukushima Mothers and Cindy Sheehan.

Tardeada/ women’s social for women’s rights, 2969 Mission, SF; www.defendwomensrights.org. 2pm, $3-10. Women Organized to Defend and Resist are planning a nationwide protest August 26 to defend women’s rights. This Saturday, come share food, entertainment and political conversation to meet and bond with others who won’t stand for attacks on women’s rights.

Hollie Stevens lived a big life that was tragically cut short

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When a slowly unfolding tragedy strikes the young and energetic, fate seems especially cruel, a notion I haven’t been able to shake since learning that my friend Hollie Stevens, a 30-year-old porn star, died this week after a year-long bout with cancer that had spread from her breasts to her brain.

Hollie moved here from the Midwest in her early 20s for a career in porn that included more than 170 films, and she had an infectious zest for life and a strong and expansive sense of her community. She was proudly living her dream, parlaying her film career into an entertaining column on porn life in Girls and Corpses magazine, art projects, and speaking gigs.

I met Hollie in 2008 when working on “Cue the clowns,” a Guardian cover story on the burgeoning local indie circus scene, a memorable meeting that I even included in the article. Dressed as a clown at a Bohemian Carnival event, I asked this statuesque blond if she liked clowns, and she responded that she was a clown and had starred in a film called Clown Porn, a cult classic in this admittedly narrow porn genre.

Hollie combined a fun-loving free spirit with a down-to-earth confidence that made her easy to befriend, as other friends of mine at the time also found. While doing often-extreme BDSM porn shoots at the Armory for Kink.com and live shows at Lusty Lady, she also became a regular in the tight crew that gathers on the north side of Baker Beach and a volunteer with How Weird Street Faire and other community events.

We’d lost touch when I heard last year that she was diagnosed with stage three metastatic breast cancer, which first claimed those beautiful breasts and then her luscious life. But our mutual friends said she was a fighter who maintained her spirit and sense of humor throughout, an inspiration to friends and admirers who held a series of fundraisers around San Francisco to help pay her medical expenses. Just last month, she married her love, artist and comedian Eric Cash, while in the hospital.

Hollie was one of those classic San Francisco transplants, who made a real home and family of her adopted city and lived an unconventional life to its fullest potential. She will be greatly missed by many admirers and kindred spirits.

 

 

 

Win a pair of tickets to Man Ray & Lee Miller’s art exhibition

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Man Ray and Lee Miller’s brief, mercurial love affair resulted in some of the most powerful works of each artist’s career, helping shape the course of modern art. See the first exhibition to focus on the pair’s artistic relationship, with approximately 115 photographs, paintings, drawings, and writings exploring the creative interaction between these two giants of European Surrealism. The exhibition also includes selected works by artists in Ray and Miller’s circle in Paris, including paintings by Pablo Picasso, Max Ernst, Roland Penrose, Dora Maar, and a small sculpture by Alexander Calder.

From 1929 to 1932, Man Ray and Lee Miller lived together in Paris, first as teacher and student, and later as lovers. The two artists inspired each other equally, collaborating on several projects, and though they lived together for only three years, the exhibition examines the lingering effect each had on the other’s art. Connecting photography with other media, the exhibition also reveals how the Surrealists combined imagery in unexpected ways, creating extraordinary feats of imagination.

For more information about the event click here.

Enter for your chance to win a pair of tickets by emailing sfbgpromos@sfbg.com with the title as “Man Ray” along with your name and mailing address for your chance to win a pair of tickets.  Ten lucky winners will win a pair of tickets that are valid anytime through October. Winners will be announced on July 25th.

July 14 through October 14 @ Fine Arts Museum of San Francisco, 100 34th Ave, SF | $15

Beasts of the NorCal movie theaters: new flicks!

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It’s finally here! And nope, I don’t mean The Amazing Spider-Meh Man, though you can check my unenthused review below the jump. (Seriously, it’s not a bad movie if you can get past the obligatory product placement, but it ain’t amazing, either. New countdown: two weeks ’til The Dark Knight Rises!) Nay, the hotly-anticipated title I’m referring to is Sundance hit with mainstream (and Oscars?) potential, Beasts of the Southern Wild; read Dennis Harvey’s admiring review here.

Another one for indie fans: Sarah Polley’s Take this Waltz, Michelle Williams’ latest why-did-I-get-married-again? weeper. This one has Seth Rogen instead of Ryan Gosling, so proceed accordingly.

Tonight, it’s your civic duty to pack all seats at the Roxie’s kung fu double feature. Seriously, you will have a killer time (what with all the high kicks, insane weaponry, spraying gore, krayzee wigs, and horrific dubbing), and the Roxie will be all, “Hey, kung fu is what the kids want!” and dedicate one of their screens to nightly screenings in Shawscope. DO IT. (But if kung fu isn’t your thing, Midnites for Maniacs is screening a triple-feature of 1995’s Clueless, 2004’s Mean Girls, and my personal favorite, 1994’s Heavenly Creatures, at the Castro. Not a bad alternate.)

http://www.youtube.com/watch?v=50P2mxW0-Tc

And the rest of the n00bs: Spidey (out since Tuesday), two docs about artists, a French neo-noir sleeper with Twin Peaks-esque quirks, and Oliver Stone’s new weed caper.

The Amazing Spider-Man A mere five years after Sam Raimi and Tobey Maguire’s Spider-Man 3 — forgettable on its own, sure, but 2002’s Spider-Man and especially 2004’s Spider-Man 2 still hold up — Marvel’s angsty web-slinger returns to the big screen, hoping to make its box-office mark before The Dark Knight Rises opens in a few weeks. Director Marc Webb (2009’s 500 Days of Summer) and likable stars Andrew Garfield (as the skateboard-toting hero) and Emma Stone (as his high-school squeeze) offer a competent reboot, but there’s no shaking the feeling that we’ve seen this movie before, with its familiar origin story and with-great-power themes. A little creativity, and I don’t mean in the special effects department, might’ve gone a long way to make moviegoers forget this Spidey do-over is, essentially, little more than a soulless cash grab. Not helping matters: the villain (Rhys Ifans as the Lizard) is a snooze. (2:18) (Cheryl Eddy)

Marina Abramović: The Artist is Present Matthew Akers’ sleek and telling doc explores the career and motivations of the legendary Serbian-born, New York-based performance artist on the occasion of 2010’s major retrospective and new work at the New York Museum of Modern Art. Abramović, self-styled the “grandmother of performance art” at an eye-catching 63, steels herself with rare energy — and a determination to gain equal status for performance in the world of fine art — for an incredibly demanding new piece, The Artist Is Present, a quasi-mystical encounter between herself and individual museum patrons that takes the form of a three-month marathon of silent one-on-one gazing. Meanwhile, 30 young artists re-perform pieces from her influential career. Akers gains intimate access throughout, including Abramović’s touching reunion with longtime love and artistic collaborator Ulay, while providing a steady pulse of suspense as the half-grueling, half-ecstatic performance gets underway. A natural charmer, Abramović’s charismatic presence at MoMA is no act but rather a focused state in which audiences are drawn into — and in turn shape — powerful rhythms of consciousness and desire. (1:45) SF Film Society Cinema. (Robert Avila)

Neil Young Journeys Interested in going back further with Neil Young, back beyond 1969’s Everybody Knows This Is Nowhere? With Neil Young: Heart of Gold (2006) and Neil Young Trunk Show (2009) under his belt, Jonathan Demme has clearly earned the trust of the singer-songwriter, who occasionally likes to flex his multi-hyphenate creative muscles as a director himself, working under the name Bernard Shakey. The music-loving filmmaker tails Young as he drives through his hometown of Omemee, Ontario, shares glimpses of his school, named after his newspaper-man father, his small-town streets, and his home, and then takes it back to the stage and performs at Toronto’s Massey Hall. The stories and sights will interest mostly Young fans — you definitely get a feel for Young’s roots, but the place and its tales won’t jump out dramatically; they merely visualize factoids one can cull from sources like James McDonough’s bio Shakey — but performance dominates this concert film. Playing solo on guitar, harmonica, and in at least one memorable instance, pipe organ (for a hammered-home “After the Gold Rush”), the songs range from the still-moving, sprawling “Ohio” to “Love and War” off 2010’s Le Noise. It’s all love here for the Young diehard, though for an insightful, passionate tour doc, one might look to Shakey’s own CSNY/Déjà Vu (2008) or, for the performer’s finest cinematic performances, to Rust Never Sleeps (1979) and The Last Waltz (1978). (1:27) (Kimberly Chun)

http://www.youtube.com/watch?v=h74N3cXZH3s

Nobody Else But You The Marilyn Monroe pop-culture resurgence continues with director and co-writer Gérald Hustache-Mathieu’s appealingly low-key mystery, which pays homage to the iconic blonde while borrowing liberally from a pair of noir Lauras: Vera Caspary’s back-from-the-dead heroine, and Twin Peaks‘ unfortunate Ms. Palmer. Fortunately, Nobody Else But You is original enough to remain both suspenseful and highly entertaining. David (Jean-Paul Rouve), a detective novelist with writer’s block, travels from Paris to a small village where a Monroe-esque local beauty named Candice (Sophie Quinton) has just been found dead in a snowdrift. The official word is suicide, but David suspects something more sinister. With the help of a local cop (Guillaume Gouix), the newly inspired author investigates, urged onward by Candice’s evocative diary entries. Though it tries a little hard at times (drinking game: keep track of how many times the number five appears onscreen), Nobody Else But You is well worth seeking out; it layers European flair (translation: lots of casual nudity) over a plot that wouldn’t be out of place in an American indie — but relocated, memorably, to “the coldest town in France.” (1:42) (Cheryl Eddy)

Savages If it’s true, as some say, that Oliver Stone had lost his way after 9/11 — when seemingly many of his worst fears (and conspiracy theories) came to pass — then perhaps this toothy noir marks his return: it definitely reads as his most emotionally present exercise in years. Not quite as nihilistic as 1994’s Natural Born Killers, yet much juicier than 2010’s Wall Street: Money Never Sleeps, this pulpy effort turns on a cultural clash between pleasure-seeking, honky Cali hedonists, who appear to believe in whatever feels good, and double-dealing Mexican mafia muscle, whose apparently ironclad moral code is also shifting like drifting SoCal sands. All are draped in the Stone’s favored vernacular of manly war games with a light veneer of Buddhistic higher-mindedness and, natch, at least one notable wig. Happy pot-growing nouveau-hippies Ben (Aaron Johnson), Chon (Taylor Kitsch), and O (Blake Lively) are living the good life beachside, cultivating plants coaxed from seeds hand-imported by seething Afghanistan war vet Chon and refined by botanist and business major Ben. Pretty, privileged sex toy O sleeps with both — she’s the key prize targeted by Baja drug mogul Elena (Salma Hayek) and her minions, the scary Lado (Benicio Del Toro) and the more well-heeled Alex (Demian Bichir), who want to get a piece of Ben and Chon’s high-THC product. Folks lose their heads — in classic Mexican drug cartel style — and even zen-goon do-gooder Ben becomes complicit when Chon brings the war home to a decidedly lawless Southland. The twists and turnarounds obviously tickle Stone, though don’t look much deeper than Savages‘ saturated, sun-swathed façade — the script based on Don Winslow’s novel shares the take-no-prisoners hardboiled bent of Jim Thompson while sidestepping the brainy, postmodernish light-hearted detachment of Quentin Tarantino’s “extreme” ‘90s shenanigans. Our only glimpse at weird, wild depths lie in the fathomless eyes of Hayek’s soulful, castrating matriarch and the quotable interludes (“Gimme my money, gimme my money!”) bounding from Del Toro’s psycho-mulleted, striving maniac. (1:57) (Kimberly Chun)

Guardian Voices: Stop and Frisk didn’t work last time

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Mayor Lee’s musings before the Chronicle editorial board, in which he revealed his thoughts about instituting a “stop and frisk” policy in San Francisco, set off a very quick negative responses from two of his high-profile supporters in the African American community, Willie Brown and Supervisor Malia Cohen. But that’s only part of the surprise the mayor will face if he pursues this policy.

It wasn’t a real good week for Mayor Lee, who seemed to repeatedly trip himself up:

— In  the chat about stop and frisk;
— In the admission at a Board of  Supervisors hearing by Sutter/CPMC that the economic modeling of the hospital chain’s proposed  project so undermined key elements of the deal that Mayor Lee demanded that it be redone;
— And in his testimony before the Ethics Commission on the Mirkarimi case that brought specific charges of  perjury he has yet to answer.

But the stop and frisk was the most sobering of the three, for it shows a fundamental misunderstanding of the very nature of the city that he seeks to govern and an astounding insensitivity to its not-too-distant past.

The last time stop and frisk was implemented by the San Francisco Police Department was in 1974, at the height of the “Zebra” murders during which, over a six-month period from the end of 1973 to the beginning of 1974, 16 whites were murdered and another six wounded (one of whopm was a young Art Agnos) in shootings using a similar caliber hand gun. What made sensational headlines was the fact that the six survivors all agreed that the shooters were  black. 

Mayor Joe Alioto, facing a steep decline in tourist visits to the city and a drumbeat of headlines, surprised eferyone by announcing a stop and frisk policy aimed at young Black males. Within the first week some 500 stops were made. Not a single Zebra suspect was found.

The San Francisco NAACP and ACLU quickly filed suit in Federal Court where the policy was banned as being un-Constitutional racial profiling. The Zebra case was broken using the time tested technique of offering a reward for information. An informant stepped up, and in the summer of 1974, four men were arrested based upon his information. In 1976 the four men were convicted –and the stop and frisk policy had nothing to do with either their arrest or conviction.  Nothing remained of the failed policy for 38 years.

What did remain was a deep and bitter memory of stop and frisk in the San Francisco African-American community — a memory neither Willie Brown nor Malia Cohen forgot.

If the mayor really believes that stop and frisk will work in the face of deep seated community resentment, based on actual local historic experience – for his remarks were all about “getting the guns” off the street in African American neighborhoods — then he has a profound misunderstanding of the nature of San Francisco.

San Francisco is perhaps one of the two or three most humanly diverse cities in North America. There is a bewildering mix of humans in our city, which confronts any policy based upon appearances — such as stop and frisk — with complexities that often render its actual use on the street ineffective. Simply stated, people are not as they seem in San Francisco, and many San Franciscans prefer to live no other way. Good cops understand this and work hard to learn who is who on the street. That’s called community policing and it often works in San Francisco.  

But many times it doesn’t. Let me tell you a personal story.

During the school year, I try to pick up my two grandsons, Jalius and Jacob, every Tuesday. We spend some time together walking from their school, George Peabody, in the Inner Richmond, to the 33 Stanyan bus stop at Clement and Arguello for a bus ride back to the Haight-Ashbury. We walk and talk and then wait for the bus and talk some more.

A few months ago, we were waiting for the bus, the boys sitting on the bench, me standing and talking. I noticed a cop across the street doing a foot patrol, talking to merchants and customers. He kept looking at us. He was Chinese and my grandsons are half Chinese.  Finally, he walked over to us and with a polite smile asked me why was I talking to these children.

I had an idea that was why he came over so I was expecting the question. I smiled back to him and said, proudly, “these are my grandsons, Jalius and Jacob”.  He looked at me and then turned to the boys and said “is he?” They said “yes” and he looked back at me and said “just doing my job,”  and turned and walked away.

And what a tough job it is as people are often other than they look in San Francisco. Old white men are not always what they seem, and young black men are not always what they seem, no matter how low they ware their pants. Policies based upon things being exactly as they appear will be overwhelmed by the human reality of the City of St. Francis.

There is a connection between people in this physically compact city of ours that forms a foundation for a common political outlook when it comes to personal and group rights and freedoms. San Francisco is a center-left city on matters of civil and human rights. Local elections have shown time after time that on civil and human rights the usual political divisions between the various parts of San Francisco don’t obtain. Trying to push a center-right stop and frisk policy on San Francisco will politically isolate Ed Lee, making all other parts of his agenda that much more difficult to accomplish. And as a city we need to get some big things done, quickly. Let’s move on, together, and get them done.

Faces of feminism

7

Is San Francisco still on the cutting edge of women’s issues? I recently spent a sunny Saturday morning buried in the radical archives of Bolerium Books (www.bolerium.com) — which is by the way, an amazing resource for anyone researching labor, African American, First Peoples, and queer history, among other things. Me, I was looking into our city’s rich history of feminist activism, inspiration for our upcoming Guardian “Bay Area Feminism Today” panel discussion. The event will unite amazing females from across the city who have but one thing in common: they’re pushing the envelope when it comes to the definition of what a “women’s issue” is, in a time when very few people claim feminism as their primary crusade. We’ll be talking more about their exciting projects –- but also touching on more universal issues. What is San Francisco’s role in fighting the nationwide attack on reproductive rights? How is our progressive community doing in terms of supporting women and maintaining a feminist perspective on issues?

Women’s work: it’s alive and kicking, and it deserves its moment in the spotlight. Meet our panelists here, in preparation for the real deal. 

THE GUARDIAN PRESENTS: “BAY AREA FEMINISM TODAY”

Wed/11 6-8pm, free

City College of San Francisco Mission campus

1125 Valencia, SF

www.sfbg.com/bayareafeminismtoday


STEPHANY ASHLEY

St. James Infirmary programs director, ex-president of Harvey Milk LGBT Democratic Club

 

For me, sex worker rights are a feminist issue because they are about body autonomy. As much as reproductive choice is a feminist issue, so too is the right to determine the ways in which we use our bodies, change our bodies, and take care of our bodies. When people are criminalized for their HIV status, denied access to hormones and safe gender transitions, or are afraid to carry condoms because it might lead to police harassment or arrest — these are all feminist issues. At St. James Infirmary (www.stjamesinfirmary.org), we provide healthcare and social services from a peer-based model, so community is really the central aspect of the project. I was excited to chair the Harvey Milk LGBT Democratic Club (www.milkclub.org) last year, because I wanted to keep raising sex workers rights issues as part of the LGBT agenda. At St. James, nearly 70 percent of our community members are LGBTQ, so it’s really critical that sex workers rights are treated as a queer issue, a feminist issue, and a labor issue.

CELESTE CHAN

Artist and founder of Queer Rebels

My partner KB Boyce and I started our production company Queer Rebels (www.queerrebels.com) to honor the feminist and queer of color artists and elders who paved the way. Our main project is “Queer Rebels of the Harlem Renaissance,” a performance extravaganza which took place June 28-30. Such an exciting time! The Harlem Renaissance legacy remains with us to this day. It was an explosion of art, intellect, and sexual liberation led by queer Black artists. I’m also a board member at Community United Against Violence (www.cuav.org). CUAV was formed in the wake of Harvey Milk’s assassination and the White Night riots, and does incredible work to address violence within and against the LGBTQ community. Another way I’m involved with women’s issues is through Femme Conference (www.femme2012.com). In a culture where femininity is both de-valued and the expected norm, Femme Con creates a vital feminist space — this year it takes place in Baltimore, Maryland.

EDAJ

DJ and promoter of queer nightlife

I work in nightlife to provide space for communities that often don’t have spaces to come together. For 15 years, I have been providing music for women as the resident DJ at Mango (every fourth Sunday at El Rio, www.elriosf.com). I also work to support my fellow LGBT veterans by promoting their visibility through my nightlife projects. Ex-Filipino Marine and two-spirit drag king Morningstar Vancil’s story has inspired me to work on creating a space that raises awareness about LGBT veterans, especially women living with disabilities. I also think it’s important to do outreach in the Black LGBT community to help strengthen support for organizations such as the Bayard Rustin LGBT Coalition (www.bayardrustincoalition.com), a group that is not only fighting for Black LGBT equality, but is focused on social change for all oppressed people. After 10 years of executive producing the Women’s Stage at SF Pride, I was honored as a grand marshal this year at an event hosted by the BRC and Soul of Pride. It was beautiful to see so many Black LGBT people dedicated to moving global equality forward. Although there is a need to reach out to everyone in the Black LGBT community, naturally my goal is to first focus on connecting more women, a group that has always been less visible.

JUANA FLORES

Co-director of Mujeres Unidas y Activas

My organization Mujeres Unidas y Activas (www.mujeresunidas.net) is based on a double mission: personal transformation and community power for social justice. MUA is a place where women arrive through different challenges in their lives. We try to provide emotional support and references so that they don’t feel like they’re alone, so that they have strength to begin the process of healing and making changes. Those can include issues of domestic violence, problems with teenage children, labor or housing issues — when they arrive at MUA they begin the process of developing their self esteem and becoming stronger. They also begin to participate in trainings and making changes in their community and to the system through civic and political participation. At MUA, women find a home. They feel comfortable because they’re always welcome. We’re developing strong leadership, leadership that is at the table when it comes to making decisions about our campaigns, like our letter of labor rights and the help we give to victims of domestic violence through our crisis line. Every day our members are developing their ability to be involved in the organization and community, and making changes in their personal and familial lives.

ALIX ROSENTHAL

Attorney and elected member of the SF Democratic County Central Committee

As an elected member of the SF DCCC (www.sfdemocrats.org), the governing body of the SF Democratic Party, I am working to involve the party in recruiting more women to run for political office locally. In the June 2012 election, I assembled a slate of the female candidates for DCCC — we called ourselves “Elect Women 2012.” It was a controversial effort, because it included both progressives and moderates. In the wake of a highly contentious and factional term on the DCCC, we hoped to prove that moderates and progressives can work together to re-energize Democrats in this important presidential election cycle. Running for office in San Francisco is a high stakes game; it is costly and requires an extensive political network. And so the DCCC is where many future candidates get their start — it is where they build the connections necessary to run for higher office, and where they hone their fundraising abilities. By recruiting and supporting women candidates for the DCCC, I am hoping to build a “farm team” of female candidates within the party. This year, I am proud that the seven women incumbents on the DCCC retained our seats in the June election, and that we achieved parity by electing four new women to the party’s governing board. I look forward to seeing what these women can accomplish together.

LAURA THOMAS

Deputy state director of Drug Policy Alliance

Ending the failed war on drugs is a women’s issue because women are far too often bearing the brunt of that failure, losing their freedom, children, economic independence, safety, health, and sometimes their lives as victims of the war on drugs. Women in prison in California can be shackled during childbirth, lose custody of their children because they use legal medical marijuana. They’re vulnerable to HIV and hepatitis C because they or their partners don’t have access to sterile syringes for injecting drugs. My major project for the Drug Policy Alliance (www.drugpolicy.org) is mobilizing San Francisco to show the rest of the world how effective progressive drug policy can be. I want to see San Francisco open the first supervised injection facility in the United States, to end new HIV and hepatitis C infections among people who use drugs. I want us to truly have effective, culturally appropriate substance use treatment for everyone who requests it. I want San Francisco to end the cycle of undercover drug buys-incarceration-recidivism. I want us to address the appalling racial disparities in who gets arrested, convicted, and incarcerated for drug offenses here. I want us to aggressively defend our ground-breaking, well-regulated medical cannabis dispensary system against all federal intervention. San Francisco is leading the way in the United States in addressing the harms of drug use and drug prohibition but we have a lot more we can do.

MIA TU MUTCH

Transgender activist and SF Youth Commission officer

I’ve worked for a plethora of LGBTQ organizations and have been on several national speaking tours. I currently serve as media and public relations officer of the San Francisco Youth Commission, and use my position to promote LGBTQ safety and overall health. I’ve partnered with several city departments in order to create a cultural competency video that will train all service providers on best practices for working with LGBTQ youth. As a vocal advocate against hate crimes and sexual assaults, I’m working with local groups to create a community patrol in the Mission to prevent violence against women and transgender people. I’m also the founder of Fundraising Everywhere for All Transitions: a Health Empowerment Revolution! (FEATHER), a collective aimed at making gender-affirming transitions more affordable for low income transgender people. I work to create avenues of equality for those who benefit the least from patriarchy by creating a culture of safety and support for people of all genders.

Stage Listings

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. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

Duck Lake The Jewish Theater, 470 Florida, SF; www.duck-lake.com. $17-35. Opens Fri/6, 8pm. Runs Fri-Sat, 8pm. Through July 28. PianoFight’s resident sketch comedy group, Mission CTRL, performs its new "ballet-horror-comedy."

For the Greater Good, Or The Last Election This week: Dolores Park, 18th St at Dolores, SF; www.sfmt.org. Free (donations accepted). Opens Wed/4, 2pm. Runs Sat/7-Sun/8, 2pm. Various venues through Sept. 8. SF Mime Troupe launches its annual political musical (this year’s theme: one percenters behaving badly); the show travels around NorCal parks and other venues throughout the summer.

BAY AREA

King John Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Previews Fri/6-Sun/8, 8pm. Opens July 13, 8pm. Runs July 15, 21, 27, 29, Aug 4, 10-12, 8pm; July 22 and Aug 5, 4pm. Marin Shakespeare Company kicks off its 2012 outdoor summer festival season with this history play.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm (no show Fri/6). Through Aug 18. A multi-character solo show about the characters of San Francisco.

5 Lesbians Eating a Quiche Phoenix Theatre, 414 Mason, SF; www.tidestheatre.org. $20-38. Thu-Sat, 8pm (also Sat, 10pm). Through July 21. Tides Theatre performs Evan Linder and Andrew Hobgood’s comedy about five women forced into a bomb shelter during a mid-breakfast nuke attack.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Hedwig and the Angry Inch Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Wed/4-Thu/5, 8pm; Fri/6-Sat/7, 7 and 9:30pm; Sun/8, 5pm. Boxcar Theatre performs John Cameron Mitchell’s musical about a transgendered glam rocker.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Thu-Fri, 7:30pm; Sat, 2pm; Sun, 3pm. Through July 15. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

The Magic Flute War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $31-340. Fri/6, 8pm; Sun/8, 2pm. San Francisco Opera adds some unexpected vitality to its new star-studded production of one of the world’s most popular operas, Mozart’s whimsical but philosophical tale of a romance and (Mason-inspired) spiritual evolution. Prince Tamino (poised tenor Alek Shrader) and sidekick Papageno (fine baritone Nathan Gunn in a blithe comedic performance) are on a quest to rescue from sorcerer Sarastro (imposing bass Kristinn Sigmundsson) the lovely Pamina (appealing soprano Heidi Stober), daughter of the Queen of the Night (the rousingly virtuosic Russian soprano Albina Shagimuratova). The battle royal between the Queen and Sarastro is one between darkness and light, but the emphasis of this joyful production is rightly on the latter, even as Tamino and Papageno’s journey takes them through the ritual rite of passage in Sarastro’s order, the Temple of Light. Visual artist Jun Kaneko (responsible for the giant ceramic heads on view outside the War Memorial Opera House until November) marshals a brightly extensive color palette and some state-of-the-art 3D software to create a mise-en-scène out of parallel planes of patterned line and color. These enveloping and fascinating geometric flights of fancy — animated by a drawn, human touch and organic trickles and blushes of color throughout — come complimented by wildly playful costumes, including a host of wonderfully oddball brightly painted birds, that make for some pleasantly cackling entrances. David Gockley’s English-language translation of the libretto, meanwhile, adds a zesty colloquial freshness whose tinge of irony contributes to an intellectual roominess that matches the aesthetic one, both together offering some necessary reflective space to the contemporary audience vis-à-vis the certainties of this Enlightenment fairytale. (Avila)

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed-Sat, 8pm. Through July 14. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

"Risk Is This…The Cutting Ball New Experimental Plays Festival" Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Fri-Sat, 8pm. Through July 14. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Tue-Sat, 8pm (also Wed and Sat, 2pm; no matinee Wed/4); Sun/8, 7pm. Extended through July 22. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $69-75. Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through August 4. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show Wed/4); Sun, 2 and 7pm. Through July 15. It’s not easy being a girl, and Eve Ensler’s newest play Emotional Creature leaves no scenario unexplored: from high school shaming rituals to ritual clitorectomies. If that sounds like a jarring juxtaposition, you’d be right. It’s difficult theatrically to transition seamlessly from a deeply affecting monologue about being a teenage sex slave in the Democratic Republic of Congo to a cute song about wearing miniskirts, and it’s equally difficult for the audience to change emotional gears rapidly enough to be able to adequately absorb the impact of each individual segment. Instead, the play comes off as an earnest but awkward Girl Scout Jamboree variety show — attempting to address as wide a variety of social ills as possible (from teen suicide to industrial pollution) — despite the strong and savvy acting chops of the six performers. In contrast to Ensler’s most popular work, The Vagina Monologues, which effectively "humanized" a part of the body by giving it something highly personal to say, Emotional Creature weirdly depersonalizes its girls by putting lines in their mouths ("I’m not the life you never lived") that clearly come from an adult perspective. And as for those girls who don’t particularly identify as "emotional creatures" at all? For them, there are no words. (Gluckstern)

The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through July 15. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of "sexual deviance" and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling "deviants" of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

PERFORMANCE/DANCE

"Channels: An Evening of Cross-Disciplinary Performance" Shotwell Studios, 3252-A 19th St, SF; www.ftloose.org. Fri/6-Sun/7, 8pm. $10-20. Dancers Daria Kaufman, Bianca Brzezinski, and musician-composer Richard Warp perform Arti Ulate, a dance-theater piece; Brzezinski also performs a solo, Non-self.

"Comedy Bodega" Esta Noche Nightclub, 3079 16th St, SF; www.comedybodega.com. Thu/5, 8pm. Free (one drink minimum). Weekly free stand-up show. This week: Yayne Abeba, David Hawkins, Anna Seregina, Veronica Porras, Baruch P. Hernandez, and George Chen.

"Comedy Returns to El Rio" El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon/9, 8pm. $7-20. With Joe Klocek, Josh Healey, Regina Stoops, Johan Miranda, Shanti Charan, and Lisa Geduldig.

"Elect to Laugh" Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Will Durst and friends perform in this weekly political humor show that focuses on the upcoming presidential election.

"The Eric Andre Show" Rickshaw Stop, 155 Fell, SF; www.rickshawstop.com. Mon/9, 8pm. $10. Adult Swim-spawned, SF Sketchfest-presented faux-cable access variety show with musical guests and "real and fake celebrity appearances," hosted by actor Eric André.

"The Fag Hag Comedy Show" Deco Lounge, 510 Larkin, SF; www.brownpapertickets.com. Sun/8, 8pm. $10. Charlie Ballard hosts this stand-up comedy extravaganza, with headliner Glamis Rory and more.

"A Funny Night for Comedy" Actors Theatre of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/8, 7pm. $10. Natasha Muse and Ryan Cronin host stand-up comedians, including headliner Jason Wheeler, at their monthly talk show.

"Jillarious Tuesdays" Tommy T’s Showroom, 1000 Van Ness, SF; www.jillarious.com. Tue, 7:30. Ongoing. $20. Weekly comedy show with Jill Bourque, Kevin Camia, Justin Lucas, and special guests.

Carolina Lugo and Carolé Acuña’s Café Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/8, 6:15pm. $15-19. Mother-daughter flamenco dance and music company.

"Majestic Musical Review Featuring Her Rebel Highness" Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

"Schwabacher Summer Concert" Herbst Theatre, 401 Van Ness, SF; www.sfopera.com. Thu/5, 7:30pm. $25-40. The young talent of the Merola Opera Program performs scenes from works by Bizet, Stravinsky, and more.

Film Listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Max Goldberg, Dennis Harvey, and Lynn Rapoport. For rep house showtimes, see Rep Clock. For complete film listings, see www.sfbg.com.

OPENING

Beasts of the Southern Wild See "Delta Delight." (1:31) Embarcadero.

Katy Perry: Part of Me The candy-colored pop star makes the logical leap to big-screen 3D. (1:57) Metreon.

Marina Abramovic: The Artist is Present Matthew Akers’ sleek and telling doc explores the career and motivations of the legendary Serbian-born, New York-based performance artist on the occasion of 2010’s major retrospective and new work at the New York Museum of Modern Art. Abramovic, self-styled the "grandmother of performance art" at an eye-catching 63, steels herself with rare energy — and a determination to gain equal status for performance in the world of fine art — for an incredibly demanding new piece, The Artist Is Present, a quasi-mystical encounter between herself and individual museum patrons that takes the form of a three-month marathon of silent one-on-one gazing. Meanwhile, 30 young artists re-perform pieces from her influential career. Akers gains intimate access throughout, including Abramovic’s touching reunion with longtime love and artistic collaborator Ulay, while providing a steady pulse of suspense as the half-grueling, half-ecstatic performance gets underway. A natural charmer, Abramovic’s charismatic presence at MoMA is no act but rather a focused state in which audiences are drawn into — and in turn shape — powerful rhythms of consciousness and desire. (1:45) SF Film Society Cinema. (Robert Avila)

Nobody Else But You The Marilyn Monroe pop-culture resurgence continues with director and co-writer Gérald Hustache-Mathieu’s appealingly low-key mystery, which pays homage to the iconic blonde while borrowing liberally from a pair of noir Lauras: Vera Caspary’s back-from-the-dead heroine, and Twin Peaks‘ unfortunate Ms. Palmer. Fortunately, Nobody Else But You is original enough to remain both suspenseful and highly entertaining. David (Jean-Paul Rouve), a detective novelist with writer’s block, travels from Paris to a small village where a Monroe-esque local beauty named Candice (Sophie Quinton) has just been found dead in a snowdrift. The official word is suicide, but David suspects something more sinister. With the help of a local cop (Guillaume Gouix), the newly inspired author investigates, urged onward by Candice’s evocative diary entries. Though it tries a little hard at times (drinking game: keep track of how many times the number five appears onscreen), Nobody Else But You is well worth seeking out; it layers European flair (translation: lots of casual nudity) over a plot that wouldn’t be out of place in an American indie — but relocated, memorably, to "the coldest town in France." (1:42) Lumiere, Shattuck. (Eddy)

Savages Weed dudes (Aaron Johnson and Taylor Kitsch) break bad, bro, by taking on a Mexican cartel in Oliver Stone’s latest. (1:57) Four Star, Marina.

Take this Waltz See "Sad Romance." (1:56) Embarcadero, Shattuck, Smith Rafael.

ONGOING

The Amazing Spider-Man A mere five years after Sam Raimi and Tobey Maguire’s Spider-Man 3 — forgettable on its own, sure, but 2002’s Spider-Man and especially 2004’s Spider-Man 2 still hold up — Marvel’s angsty web-slinger returns to the big screen, hoping to make its box-office mark before The Dark Knight Rises opens in a few weeks. Director Marc Webb (2009’s 500 Days of Summer) and likable stars Andrew Garfield (as the skateboard-toting hero) and Emma Stone (as his high-school squeeze) offer a competent reboot, but there’s no shaking the feeling that we’ve seen this movie before, with its familiar origin story and with-great-power themes. A little creativity, and I don’t mean in the special effects department, might’ve gone a long way to make moviegoers forget this Spidey do-over is, essentially, little more than a soulless cash grab. Not helping matters: the villain (Rhys Ifans as the Lizard) is a snooze. (2:18) Metreon, 1000 Van Ness, Presidio. (Eddy)

The Connection The first re-release in a project to restore all of quintessential 1960s American independent director Shirley Clarke’s features, this 1961 vérité-style drama was adapted from a controversial off-Broadway play by Jack Gelber. Set exclusively in a dingy Greenwich Village crash pad, it captures a little time in the lives of several junkies there — many off-duty jazz musicians — listlessly waiting for the return of their dealer, Cowboy. To mimic the stage version’s breaking of the fourth wall between actors and spectators, Clarke added the device of two fictive filmmakers who are trying to record this "shocking" junkie scene, yet grow frustrated at their subjects’ levels of cooperation and resistance. With actors often speaking directly to the camera, and all polished stage language and acting preserved, The Connection offers a curious, artificial realm that is nonetheless finally quite effective and striking. A prize-winner at Cannes, it nonetheless had a very hard time getting around the censors and into theaters back home. Hard-won achievement followed by frustration would be a frequent occurrence for the late Clarke, who would only complete one more feature (a documentary about Ornette Coleman) after 1964’s Cool World and 1967’s Portrait of Jason, before her 1997 demise. She was a pioneering female indie director — and her difficulty finding projects unfortunately
also set a mold for many talented women to come. (1:50) Roxie. (Harvey)

Magic Mike Director Steven Soderbergh pays homage to the 1970s with the opening shot of his male stripper opus: the boxy old Warner Bros. logo, which evokes the gritty, sexualized days of Burt Reynolds and Joe Namath posing in pantyhose. Was that really the last time women, en masse, were welcome to ogle to their heart’s content? That might be the case considering the outburst of applause when a nude Channing Tatum rises after a hard night in a threesome in Magic Mike‘s first five minutes. Ever the savvy film historian, Soderbergh toys with the conventions of the era, from the grimy quasi-redneck realism of vintage Reynolds movies to the hidebound framework of the period’s gay porn, almost for his own amusement, though the viewer might be initially confused about exactly what year they’re in. Veteran star stripper Mike (Tatum) is working construction, stripping to the approval of many raucous ladies and their stuffable dollar bills. He decides to take college-dropout blank-slate hottie Adam (Alex Pettyfer) under his wing and ropes him into the strip club, owned by Dallas (Matthew McConaughey, whose formidable abs look waxily preserved) and show him the ropes of stripping and having a good time, much to the disapproval of Adam’s more straight-laced sister Brooke (Cody Horn). Really, though, all Mike wants to do is become a furniture designer. Boasting Foreigner’s "Feels like the First Time" as its theme of sorts and spot-on, hot choreography by Alison Faulk (who’s worked with Madonna and Britney Spears), Magic Mike takes off and can’t help but please the crowd when it turns to the stage. Unfortunately the chemistry-free budding romance between Mike and Brooke sucks the air out of the proceedings every time it comes into view, which is way too often. (1:50) 1000 Van Ness, Presidio, SF Center. (Chun)

Ted Ah, boys and their toys — and the imaginary friends that mirror back a forever-after land of perpetual Peter Pans. That’s the crux of the surprisingly smart, hilarious Ted, aimed at an audience comprising a wide range of classes, races, and cultures with its mix of South Park go-there yuks and rom-commie coming-of-age sentiment. Look at Ted as a pop-culture-obsessed nerd tweak on dream critter-spirit animal buddy efforts from Harvey (1950) to Donnie Darko (2001) to TV’s Wilfred. Of course, we all know that the really untamable creature here wobbles around on two legs, laden with big-time baggage about growing up and moving on from childhood loves. Young John doesn’t have many friends but he is fortunate enough to have his Christmas wish come true: his beloved new teddy bear, Ted (voice by director-writer Seth MacFarlane), begins to talk back and comes to life. With that miracle, too, comes Ted’s marginal existence as a D-list celebrity curiosity — still, he’s the loyal "Thunder Buddy" that’s always there for the now-grown John (Mark Wahlberg), ready with a bong and a broheim-y breed of empathy that involves too much TV, an obsession with bad B-movies, and mock fisticuffs, just the thing when storms move in and mundane reality rolls through. With his tendency to spew whatever profanity-laced thought comes into his head and his talents are a ladies’ bear, Ted is the id of a best friend that enables all of John’s most memorable, un-PC, Hangover-style shenanigans. Alas, John’s cool girlfriend Lori (Mila Kunis) threatens that tidy fantasy setup with her perfectly reasonable relationship demands. Juggling scary emotions and material that seems so specific that it can’t help but charm — you’ve got to love a shot-by-shot re-creation of a key Flash Gordon scene — MacFarlane sails over any resistance you, Lori, or your superego might harbor about this scenario with the ease of a man fully in touch with his inner Ted. (1:46) California, Four Star, Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Chun)

To Rome with Love Woody Allen’s film legacy is not like anybody else’s. At present, however, he suffers from a sense that he’s been too prolific for too long. It’s been nearly two decades since a new Woody Allen was any kind of "event," and the 19 features since Bullets Over Broadway (1994) have been hit and-miss. Still, there’s the hope that Allen is still capable of really surprising us — or that his audience might, as they did by somewhat inexplicably going nuts for 2011’s Midnight in Paris. It was Allen’s most popular film in eons, if not ever, probably helped by the fact that he wasn’t in it. Unfortunately, he’s up there again in the new To Rome With Love, familiar mannerisms not hiding the fact that Woody Allen the Nebbish has become just another Grumpy Old Man. There’s a doddering quality that isn’t intended, and is no longer within his control. But then To Rome With Love is a doddering picture — a postcard-pretty set of pictures with little more than "Have a nice day" scribbled on the back in script terms. Viewers expecting more of the travelogue pleasantness of Midnight in Paris may be forgiving, especially since it looks like a vacation, with Darius Khondji’s photography laying on the golden Italian light and making all the other colors confectionary as well. But if Paris at least had the kernel of a good idea, Rome has only several inexplicably bad ones; it’s a quartet of interwoven stories that have no substance, point, credibility, or even endearing wackiness. The shiny package can only distract so much from the fact that there’s absolutely nothing inside. (1:52) Albany, Balboa, Embarcadero, Sundance Kabuki. (Harvey)

Real swell year

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emilysavage@sfbg.com

MUSIC In Jimmie Rodgers’ 1930s-era song “The One Rose,” the country music pioneer wistfully croons “So blue, so lonesome too, but still true/Rosie haunts me, makes me think of you/You’re the one rose that’s left in my heart.”

Midway through Mornin’ Old Sport’s surreptitiously upbeat, plucky country-folk ditty “Katie” — off the contemporary band’s debut self-titled full-length, released July 10 on Misery Loves Co. — singer-guitarist Scott Nanos harmonizes with fiance-bandmate Kate Smeal about their complex love story. “The shadows are calling my number/I know I’m just waiting in line/but I’ll sing my vows as I’m pulled underground/I’m Katie’s and Katie is mine.”

Complicated love, it seems, is universal. While the song is toe-tapping fun, like a candlelit county fair square dance with checkered tablecloths and corked bottles of homemade moonshine at the ready, the message is a bit deeper: I’m in burning love, but eternal commitment could drag me to an untimely death of spirits.

And yet, “It is very loving,” Nanos insists over a pitcher of beer near Embarcadero, mere weeks before the band’s summer tour. “It doesn’t really sound that happy to me,” Smeal laughs after repeating the hook. “Fatalism and love are the same,” Nanos returns.

“It’s just a really sad love song,” Smeal concedes.

Mornin’ Old Sport is not solely based on this core romantic relationship, there are other types of connections in the now-Oakland based band, those of the blood-brother variety. Like the one between Nanos and fellow Berklee College of Music classmate Jeff Price — the band’s drummer who helped produce the album, which Price’s real brother mastered in their parent’s Colorado recording studio. The Price family runs the small Misery Loves Co. record label (the father was a session musician beginning in the 1960s).

Nanos and Price have been making music together since the first day of college in Boston in 2006, and have been living together just as long. There, at the Massachusetts music school, the band began in earnest — but with a twist. While it started with a few more members, the name Wiffle Bat, and a wholly different sound (Smeal describes it as “circus indie rock”), it eventually whittled to the Mornin’ Old Sport trio.

The three say they organically fell into the music they make now, which is reminiscent of pre-war Americana, early country, jazzy standards, the vaudevillian spirit of Tin Pan Alley, and twangy folk, with influences like Gene Autry, June Carter and Johnny Cash, Lefty Frizzell, Doris Day, the aforementioned Jimmie Rodgers, and Hank Williams. But have they wedged themselves into a vintage corner?

“I was thinking about this the other day, because it is something that mentally I’ve confronted within myself,” says Nanos. “But everything that’s coming out right now is derivative; it’s derivative of the ’80s, or chillwave is slightly derivative of the late ’70s psychedelia, and late ’60s. It’s just a matter of what you’re using as a jumping-off point.”

Nanos’ major at Berklee — music therapy — was one factor leading to these earlier eras as jumping points.

“My field work in music therapy stirred up a romance with 1930s, ’40s, and even ’50s music because I was doing a lot of work with older adults, ages 60 to 90. So I’d do Tin Pan Alley songs, and maybe some Hank Williams, Patsy Cline, Ella Fitzgerald,” says Nanos. “I really started to fall in love with those styles, of which Kate was already a huge, avid fan.”

Adds Smeal, “My parents always sang to me, and then I started studying jazz in early high school — that lead the way for me because I really enjoy old throwback country music that has jazz elements to it.”

“I think our relationship and also music therapy made me enamored with vintage music,” Nanos concludes.

Now there’s yet another relationship to take into consideration: Mornin’ Old Sports’ new connection with the Bay Area. Nanos, Smeal, and Price moved out West this February and fell in love with Oakland. “We moved for romantic reasons…” Nanos says. Smeal smiles, “and now we’re staying for the same.” They tend to do that, finish each other thoughts. Price often laughs, nodding along.

In playing Oakland and Berkeley co-ops, house parties, and warehouses, they’ve just begun absorbing the local scene, and through the shows recently added two new members to the group — bassist Jack Kodros and guitarist Mike Schlenoff. Currently, the five musicians are out on the road for their first big tour, lugging those brand new vinyl records in the hot van. The debut was officially released this week, while the band makes its way through the Midwest.

Recorded mostly live in Price’s family studio just north of Aspen last year, the record is a promising and pleasurable debut, straddling vintage genres, and mixing up vocal duties. Nanos often leads, but Smeal shines on jazzy torch songs, “Over the Moon” and “My Lips,” along with swooshing if maudlin country track “Clementine.”

Standout track, “When the Bomb” boasts some icky lyrical imagery “when the bomb finally drops/I’ll splatter on the wall/But when that bomb finally drops/It won’t hurt me at all,” yet musically remains sticky-lemonade-sweet and cheery.

There’s a timelessness to all this. “When the Bomb” has such a nostalgic tug, it’s difficult to believe it’s not a cover. But that’s part of the charm in these songs, the reverence to the past and the relative simplicity of those feisty chords.

“If you took a Beach House song or something and wrote out chord changes for it, melody line, someone would [still] have a really tough time recreating it,” says Nanos. “Whereas I feel like the kind of song we’re aiming to write, we can write a chart for someone and be like, ‘here you go, just go play it.’ I like the social values of that.”

As for band hopes of that nature, Smeal has a lofty one: “The ultimate goal of the band is to make art that will stay alive years and years after we’re dead.”

“And that will most likely never happen,” Nanos interjects as Price chuckles, “but that’s the goal.” *

Heads Up: 8 must-see concerts this week

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You’ve got a midweek day off? You’re stoked. Go see some live music with that hard-earned free time. Oh, and happy independence, America. That’s what we’re celebrating, correct?

Eat a barbecued tofu dog slathered in relish and drink some park beers in celebration of such things as country pride and days without responsibility. Then fill those Bay Area music venues, checking in on America’s favorite proto-punk troubadour, Mali’s favorite virtuoso progeny, the Big Time Freedom Fest, woozy dream poppers, a punk rock museum benefit, and more.

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

Jonathan Richman
Last time the Modern Lover cult hero Jonathan Richman did a slew of shows at the Make-Out Room, he brought drummer Tommy Larkins to the outings, performed for hours on end, sang in multiple languages, chatted awkwardly, mixed up his pacing and flipped his set list so time floated by without a lull. He also danced samba-like solo – twisting his thin frame as a contortionist. Who’s to say this round should be any different? We know Larkins is back at least.
Mon/2-Tue/3, 7:30pm, $15
Make-Out Room
3225 22nd St., SF
(415) 647-2888
www.themakeoutroom.com
http://www.youtube.com/watch?v=XjFU98mEem4

Vieux Farka Toure
The son of Ali Farka Toure, Malian singer-guitarist is legend in his own right. Oft referenced as a “guitar virtuoso” or more specifically  “The Hendrix of the Sahara,” Vieux’s graceful, quick-fingered guitar skills rival those of the rock’n’roller regime, yet he blends in traditional West African influences. Fresh off the Touré-Raichel Collective (his collaborative album and tour with Israeli musician Idan Raichel), Vieux this time swings into town solo, his strumming again center stage.
Mon/2, 8pm, $22
Yoshi’s SF
1330 Fillmore, SF
(415) 655-5600
www.yoshis.com
http://www.youtube.com/watch?v=IecSMEH9ZVg

“Big Time Freedom Fest”
What’s more deliciously new America than the string-lit back patio at El Rio? That’s where dreams are made and shattered. People fall in momentary beat-fueled lust, cheap beers with lime wedges are sipped en masse, and fried food is gobbled up without a second thought. It’s tradition, years in the making. This seventh annual Big Time Freedom Fest features some awesome local heavy-hitters: Religious Girls, Tartufi, Finn Riggins, Battlehooch, and Night Call, all for $8, in the outdoor heavy-hung fog.
Wed/4, 3:30pm, $8
El Rio
3158 Mission, SF
(415) 282-3325
www.elriosf.com
http://www.youtube.com/watch?v=7mMUsyZY4kA

Giraffage, James & Evander
“Glitchy” seems to be the key word for San Francisco’s electronically-constructed solo project, Giraffage. I’m on board. Those little glitchy effects break up otherwise endless ambient affairs, spinning the act from dream-pop to hip-hop in a cotton candy pillow. Tonight’s a co-headlining set with fellow Bay Area suspected Ambien-poppers, James & Evander. That “synth/stoner pop” Oakland act released magical debut LP Bummer Pop last month. How many more pops can we squeeze in this show description? Pop.
With Astronautica, Young Pharaohs
Thu/5, 9pm, $6
Milk Bar
1840 Haight, SF
(415) 387-6455
www.milksf.com
http://www.youtube.com/watch?v=MrrL0sYLgA0

Liars
“This year’s WIXIW (say wish-you) finds Liars reinventing the wheel again, to produce their most synthified affair yet; picture the rocktronic fusion of Kid A-era Radiohead, approached with the finely calibrated ambience of Bjork’s Vespertine, Trent Reznor’s swagger, and Tom Waits’ lumbering dynamics.” – Taylor Kaplan 
With Cadence Weapon
Thu/5, 8pm, $22.50
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.slimspresents.com
http://www.youtube.com/watch?v=ggR6RuBh8I0

Shana Falana
Formerly of San Francisco, the now New York-based psychedelic dream popper Shana Falana returns to her beloved Bay in support of new In the Light EP, bringing along a new multimedia show. Falana’s lilting church choir-like vocals matched to looping guitar and percussion gives the impression of a surreal religious experience deep in the X-Files woods. I want to believe.
With Kelley Stoltz, the She’s, B and Not B
Fri/6, 9pm, $15
Cafe Du Nord
2170 Market, SF
(415) 861-5016
www.cafedunord.com
http://www.youtube.com/watch?v=MUqgXal-knk

Punk Rock Museum Benefit
Given punk’s lasting impact on so many musical branches, and influence on the raw sounds of countless beloved acts, a Punk Rock Museum seems absolutely necessary. Why didn’t we think of this? The new museum – spearheaded by Taquila Mockingbird and based in LA – has been established to “further preserve the punk rock genre.” For this show, parts of the museum travel to San Francisco. There will be a mix pieces (photographs, old fliers, art by the likes of Winston Smith, etc.) from the permanent museum collection, and of course, live music to carry on the legend: Debora Iyall (of Romeo Void), Metal Circus (A tribute to Husker Du), and Meri St. Mary and the Housecoats. Also, DJ Big Nate will be spinning classic punk cuts.
Sat/7, 9pm, $15
Thee Parkside
1600 17th St., SF
(415) 252-1330
www.theeparkside.com
http://www.youtube.com/watch?v=ePIImGMjn_8

Cool Ghouls
Local psych-rockers Cool Ghouls seem to be everywhere lately, opening up Noise Pop retrospective shows, making appearances at lots of local venues, playing Save KUSF benefits; a.k.a traveling around town with beer-fueled, good-time rock’n’roll in tow. They’ve got a bright and free EP currently up for grabs on their Tumblr, an upcoming slot at the Independent before Sonny and the Sunsets, and a full-length LP coming in the fall; this Hemlock show is a good chance to check out the five-piece in smallish setting.
With LA Witch, the Sister Ruby Band
Sun/8, 9pm
Hemlock Tavern
1131 Polk Street, SF
(415) 923-0923
www.hemlocktavern.com