San Francisco does not have the greatest track record when it comes to presidents. In 1923, President Warren G. Harding, by all accounts something of a jackass, keeled over at the Palace Hotel. In 1975, President Gerald Ford narrowly missed a bullet fired by Sarah Jane Moore in front of the St. Francis Hotel. In 2015, former President Jimmy Carter is visiting Books Inc. to sign copies of his autobiography, A Full Life, so we all need to be on our best behavior, everybody. Do not ask Carter to snap a selfie with you, do not ask him to sign a can of Billy Beer, do not impress him with your Saturday Night Fever dance moves. And Jimmy, maybe avoid The City's luxury hotels.
The former leader of the free world is appearing at 4:30 p.m. at Books Inc., 601 Van Ness Ave., S.F. Free; booksinc.net. More
Webster's dictionary defines neon as "a chemical element with symbol Ne and atomic number 10." And while that's true, there's much more to this rare element than a name and a number. For example, signs. Neon signs represent something in the imagination, particularly in the iconography of the American city. Without these late-night, back-alley beacons, how would we navigate our urban underworld? How would we know where to drink, to catch a late-night sex show, to have our palms read? Neon, lighter than air, occupies a space in San Francisco's urban history, and that's being celebrated with an illustrated talk by Al Barna and Randall Ann Homan, authors of San Francisco Neon: Survivors and Lost Icons, followed by a screening of The Lady from Shanghai. The 1947 film noir stars Orson Welles, Rita Hayworth, and San Francisco's neon-drenched Chinatown.
The lights go on at 6:30 p.m. at the Vogue Theatre, 3290 Sacramento St., S.F. $12-$15; 415-346-2228 or cinemasf.com/vogue. More
The Mexican supermarket is comedian Stephen Furey's Disneyland. The candy is weird, there's a dude selling corn from a cart, the expiration date on the meat just says "mañana" — ¡Es una aventura! The Sacramento comedian does not exactly live large (he once contemplated fighting a dog for a three-legged couch), but he does live funny. Furey, who co-hosts the Belligerently Uninformed podcast with Emma Haney, does observational humor about everyday situations. Well, everyday situations for the kind of guy who enjoys hanging out in McDonald's ball pits. Ask him why!
Stephen Furey performs at 8 p.m. at the Punch Line Comedy Club at 444 Battery St., S.F. $15; punchlinecomedyclub.com. More
Starting a punk band in 1977, in Northern Ireland, right in the middle of one of the most violent and politically fraught periods in the country's history, takes guts, resilience, and just a soupçon of crazy. Continuing to play in that band nearly 40 years later, however, is almost completely insane — or rather it would be if Stiff Little Fingers didn't still have such a huge and dedicated following and such large, still-untapped reserves of rage. The band's 10th album, 2014's righteous and critically acclaimed No Going Back, stands as proof that the Belfast quartet still have plenty to say for themselves. With an energetic live show that isn't afraid to hark back to the band's earliest albums as well, this is sure to be a riot for new- and old-school fans alike.More
Broadcasting everything from Sober Happy Hours, a show spreading information regarding assistance in addiction recovery and sobriety, to Cold Ones and Rolled Ones with Ami Lawless, which features shit talk and shenanigans with guests set to hardcore, punk, and metal, Radio Valencia takes the spirit of pirate radio to the depths of the internet.
Those who make it a point to know about such things tell us that high fashion, this fall, is all about architecture. At New York Fashion Week, Diane von Furstenberg stole from Gaudi for inspiration, Shelly Steffee mooched off Zaha Hadid, and Derek Lam copped Frank Gehry. This couture moment recalls the 1980s, when a group of Japanese designers created a sensation in Paris with avant-garde constructions that looked like fabric origami, folded and sculpted in ways that had very little relation to the actual shape of the human body. Twenty-one of these fashion masterpieces appear in the exhibit "Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute," which features clothing from the institute displayed on mannequins alongside photographs by Hiroshi Sugimoto. A dress from Rei Kawakubo's 1986 "lumpy" Comme des Garçons collection shares the catwalk with Yohji Yamamoto's sweeping teepeelike wool felt gown from a decade later. Tao Kurihara's 2007 plumped-out frock of paper, silk knit, and cotton complements Junya Watanabe's accordion dress from 1999. The gowns by Issey Miyake, whose clothing has been shown in art museums since the early '80s, look like beautifully pleated black columns. The Asian Art Museum has smartly decided to let the clothing and photos speak for themselves, minimally lit and with no wall text.
Oct. 23-Jan. 6, 2007