The San Francisco Examiner from San Francisco, California • A17

YOUR TICKET TO BAY AREA ENTERTAINMENT SOUNDTRACK SCHEMES: Members of The 1975 describe their music as cinematic. COURTESY PHOTO The 1 975's SLEEK ALT ROCK ROOTED IN FILM FRIDAY San Francisco World Percussion Arts Festival: The event features drum and dance ensemble performances by GONNA, Grand Master Seiichi Tanaka, Duniya Dance Drum Ong Dance Walter Tsushima, Philip Gelb, Rachel Ebora and Maikaze Daiko. 8 p.m. Friday-Saturday, $30. Dance Mission Theater, 3316 24th S.F., (800) 838-3006, www.

brownpapertickets.com Tiny Dance Film Festival: The festival features 20 short dance films by both emerging and established filmmakers and choreographers. 8 p.m. Friday-Saturday, Ninth Street Independent Film Center, 145 Ninth S.F, www.detourdance.comTDFF SATURDAY J-Pop Summit Festival: The City's annual celebration of Japanese pop culture debuts a new component this year, a sake tasting, and a new edition of its puzzle-hunt event. Singer Kylee appears both days. 11 a.m.

to 6 p.m. Saturday-Sunday, free admission, $5 for sake. Japantown, Post Street between Fillmore and Laguna streets, S.F, (415) 567-4573, SUNDAY LaborFest BookFair: The sixth annual event features panels and discussions, including "Guest Workers or Colonized Labor?" a talk by Gilbert Gonzalez about the historical causes of immigration of Mexican workers to the U.S. 10 a.m. to 9 p.m., free.

Mission Cultural Center for Latino Arts, 2868 Mission S.F, (415) 821-1155, laborfest.net20132013Bookfair.htm. Maori Picnic Banquet: The San Francisco International Arts Festival and the New Zealand American Association of San Francisco celebrate the first Bay Area appearance of Atamira Dance Company from New Zealand. 2 p.m., Golden Gate Rugby Club, 725 California Treasure Island, (800) 838-3006, www.sfiaf.org By Tom Lanham Special to The S.F. Examiner The 1975 Where: Rickshaw Stop, 155 Fell S.F. When: 9:30 p.m.

today Tickets: $12 to $14 (sold out) Contact: (415) 861-2011, www.ticketfly.com direction ever since I was 13, they just let me do my music and left me alone." Oddly, Healy's unique, animated style is rooted in studiously watching films; his favorites are "Lost in Translation," "Pretty in Pink" and "12 Angry Men." He thinks visually when composing (early single "Robbers" was directly inspired by the gritty noir "True and he hopes to soon start scoring movies himself. "We see everything in an antiquated, romanticized way, and that stems from our love of cinema and the use of music within it," he says. "So our songs are very soundtrack-esque, because we're trying to make the soundtrack to our own lives." The frontman's folks catch The 1975 live whenever their work schedules permit. But they haven't offered him showbiz advice. He says, "We're from such different worlds.

But my dad always wanted to be in a rock band, so he's learning more from me, to be honest!" Yet the sound he arrived at is as dramatic as his parents' work, like on highly literate 1975 singles such as "Sex," "Chocolate" and "The City" all bristling with angular ax work, danceable rhythms and Healy's idiosyncratic, English-inflected yelping vocals. Fans can sample it in The City this week. Even his mother winning the U.K.'s "Celebrity Big Brother" last year didn't faze him. "I'd see my parents on TV and go, and then carry on playing my guitar," he says. Healy met screen stars like Michael York as a kid.

Visiting his godfather in Los Angeles, he hobnobbed with his noteworthy neighbors, like Slash and ELO's JeffLynne. "So that was my reality," says the 24-year-old, who never caught the acting bug. "I just thought, 'Well, that's my mum and dad, and I don't want to do what they So I'm as different to my parents as any kid is to their parents, and they never pushed me in any Matty Healy's Cheshire upbringing as the son of renowned British TV stars Tim Healy and Denise Welch might sound exotic but it became routine after a while. "I grew up with my parents just being jobbing actors," says the singer-guitarist, who spent his teens in a powerchording punk band that eventually became The 1975, a sleeker alt-rock quartet that will follow its recent "IV" EP with a self-titled debut in September. "But because my dad was a very credible stage thespian, a lot of his friends that I used to knock around with were rock stars, like Mark Knopfler and Dire Straits.

So I suppose that's what bled into me." While dad was appearing in "Auf Wie-dersehen, Pet" and mom was anchoring "Coronation Street," Junior was discovering that his calling was music. Sharp Fine present provocative 'Love Songs' By Lauren Gallagher S.F. Examiner Staff Writer before and after love: normal and sane before, crazy after. In another sequence, the dancers line up and face the audience and hit themselves hard, slapping themselves silly while Rae sings "Wooden Heart." Jane Austen wrote that the idea of one's happiness depending on one person is "bewitching." Sharp Fine suggest that it is also terrifying, traumatic and droll. In burnsWORK's "sonorous figures," the lithe and nimble Christian Burns fuels heartbreaking pathos to Bach's preludes, fugues and English suites.

His face painted like a clown, Burns lopes around the stage with an eerie ease as a depressed down-and-outer graced with compassion and beauty. Accompanied by Donald White and dancers Emily Jones and Leypoldt, Burns performs a work of nuanced and exquisite movement worth seeing again and again. lgallaghersfexaminer.com spotlight. She is pushed, shoved, choked and hauled around by the dancers, fully incorporated into the choreography. She is largely treated as a sound source more than a personified entity.

Much of the tension in "Love Songs" is created by Rae's fluctuations in delivery, either impeded by dancers or of her own volition. Only rare artists can take a hackneyed theme and transform it into a revelatory experience, but Sharp Fine a seven-member company spearheaded by sisters Megan and Shannon Kurashige do it, recasting the saccharine "Till There Was You" into an acrid ballad. The metamorphosis starts in a romantically charged duet with Shannon Leypoldt and Carson Stein. The choreography suggests unrequited love, and Rae's vocals are fractured to the point of discomfort, much like the dancing, which is laced with brutality and possession. Confusion and intensity abound, and "Till There Was You" turns into a song about life When Sharp Fine debuted last year with "A Thousand Natural Shocks," the dancers moved with wit and aplomb rare for young performers.

The company's latest piece, "Love Songs," ups the ante. A powerful tribute to life's most complex and unpredictable experience, the piece, onstage earlier this month at Space, is getting an encore performance, paired with burnsWORK's "sonorous figures," on Tuesday; the show is part of the San Francisco Conservatory of Dance's Summer Dance Series. As in "A Thousand Natural Shocks," "Love Songs" uses an array of musical accompaniment, with many tunes brought to life by Ina Rae, a young and vibrant soprano who sings Mozart and Handel arias as adroitly as Meredith Willson's iconic "Till There Was You." But Rae doesn't stand side-stage in a dim Sharp 4 Fine and burnsWORK Presented by San Francisco Conservatory of Dance Where: Space, 450 Florida S.F. When: 8 p.m. Tuesday Tickets: $30 Contact: (800) 838-3006, www.brownpapertickets.com COURTESY PHOTO.