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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

SAN FRANCISCO BAY GUARDIAN

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This is not a mayor trying to leave the city better than he found it.

for more news content visit sfbg.com/politics

editor’s notes

NEWS

on guard!

Tim Redmond

• Lee and Lumpkin

I say it over and over again, because some people clearly aren’t paying attention: Corruption matters. When the mayor of San Francisco surrounds himself with people who don’t show any respect for campaign finance or ethics regulations, who think it’s fine to skirt (and possibly break) election laws, it undermines faith in local government. And at a time when conservatives at the national and state level are mounting a concerted campaign to shrink, weaken and ultimately burn down government, the last thing San Francisco needs is to give them fuel. Listen: When Willie Brown was mayor, a tax lawyer named Ron Chun was running for assessor. Generally a good guy, generally progressive, full of creative ideas. But when I asked him about how to get more revenue into the city, he said: “Why should we bring in more revenue? Willie Brown’s just going to waste it on his cronies anyway.” He wasn’t alone. A lot of generally progressive people felt as if paying taxes was throwing money down the sewer. Because everyone knew that Brown was hiring unqualified people, pouring cash into contracts for his pals, handing out raises and benefits to city workers who supported him — and treating critics as if they were traitors to the nation. Mayor Lee says he doesn’t approve of what looks an awful lot like voter fraud and doesn’t support what the independent expenditure committees are doing in his name. But anyone with any sense knows that the IE groups and the Lee campaign and the Lee administration are all parts of a permanent floating crap game where the players move around but everybody knows everybody else and there’s no way to keep communications completely shut off. If Lee wanted these “independent” groups to quit using stencils to make sure voters choose him for mayor, these operators would stop. But he talks to people like Brown, people who have disdain for honest, open government, and they tell him not to worry. These things blow over. Once he wins the election, it won’t matter. But when you have a mayor who invites corrupt actors into the house, it does matter. It matters a lot. 2

P8 • Stealing an election • Going postal

tredmond@sfbg.com

24 hours of occupation Oakland activists transform a city square and wrestle with organizing a movement P10

Mixed messages

OccupySF erects a growing tent city — over the mayor’s opposition P12

herbwise P17 food + drink

appetite P19 cheap eats P20 picks

guardian picks P22 arts + culture

Haunting the hunter

Communing with The Ghost Detectives’ Guide to San Francisco co-author Loyd Auerbach P24

A QUICK AND SPOOKY GUIDE TO HAUNTED SF P26 trash P27 Snack time! Horror classic Zombie shambles through the Roxie P28

Spellbound

Houdini’s magic endures at the Contemporary Jewish Museum P30

Boo ya!

Gore galore and fright all-night: Halloween events to die for P31

When It’s Over

The haunted pop of the Soft Moon P32

Strength of song

The Creole Choir of Cuba — and other global music acts — hit SF P33

Playlist

What we’re listening to right now P34

It came from Spacey

A trans-Atlantic cast lands a rowdy Richard III in San Francisco P35

French twist

French Cinema Now scores with standout works by reliable auteurs P36

The way we were weird Celebrating two plastic-wrapped decades of Twin Peaks P37

MUSIC listings 38 / STAGE listings 42 FILM listings 43 / CLASSIFIEDS 49 editorials

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the guardian editorial

Mirkarimi vs. the conservatives It’s easy to forget why the race for San Francisco sheriff is so important. For 30 years, retiring Sheriff Mike Hennessey has done such a good job promoting progressive law-enforcement policies that the voters haven’t had to think much about the office. But the race between Sup. Ross Mirkarimi, former police union leader Chris Cunnie and deputy sheriff Paul Miyamoto is critical — and there’s no better evidence than the debate over recidivism. More than 65 percent of the people incarcerated in San Francisco wind up reoffending after they’re released. That’s a huge number, something the city’s been struggling with for years. Now Mirkarimi has a proposal to address that: He’s suggesting a tax break to encourage businesses to hire ex-cons. And already, the San Francisco Chronicle, the San Francisco Examiner, and Mirkarimi’s two picks

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opponents have jumped on the idea, accusing him of being soft on crime, of coddling felons and putting “victimizers before victims.” For the record, we’re not fond of tax breaks as a way of stimulating job creation. We opposed the payroll tax break for Twitter and we opposed the biotech tax break. We’ve never seen any credible evidence that giving one group of companies special treatment under the city’s payroll tax actually encourages the creation of a single job. But at least Mirkarimi is trying to address a problem that is only going to get worse. Under Gov. Jerry Brown’s realignment, thousands of prisoners who would normally be sent to a state institution are going to wind up in the San Francisco jail system — and nearly all of them will ultimately be released, in the city. CONTINUES ON PAGE >>

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Stealing an election — and more By Larry Bush news@sfbg.com OPINION The emergence of apparent voter fraud that mars San Francisco’s mayoral election rightly resulted in calls for a federal investigation and federal monitors. It’s not the political interests of rival candidates that are at issue. It is the consequences of a dishonest election process for our city and its future. Almost exactly 20 years ago, the McArthur Foundation, home of the genius awards, recognized the Democracy Index for showing the connection between voter participation and election and campaign reforms. The group found that the greater the transparency in political contributions, the stronger the protections against pay-to-play politics, and the greater protection against voter fraud, the higher voter participation climbed. Today it doesn’t take a genius CONTINUES ON PAGE >>

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october 26 - november 2, 2011 / SFBG.com

editorials mirkarimi vs. the conservatives CONT>>

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If 65 percent of those people wind up committing another crime, that’s more victims, more police work, more time and expense for the courts — and more prisoners to crowd the local jails. And one of the biggest factors in recidivism is the lack of employment opportunities. In other words, putting ex-felons to work is a cheap and effective way to reduce the crime rate. Cunnie and Miyamoto, who have both spent their careers in the criminal justice system, ought to know that. But instead of supporting Mirkarimi’s approach — or even his overall goals — they’ve been taking a surprisingly right-wing line. Miyamoto announced that the proposal would “needlessly coddle at-risk individuals.� Cunnie charged that “the supervisor’s proposal puts victimizers before victims when it comes to incentivizing job creation.� Never mind that the federal government adopted a similar program under the administration of that notorious criminal coddler George W. Bush. Never mind that several states have followed suit. Never mind that this is anything but a radical idea. Never mind the logic: Two of the candidates for sheriff of one of the most liberal cities in America are talking like hard-core Republicans. We prefer direct public spending and other approaches to job creation, but Mirkarimi’s goal is entirely valid. The city ought to be putting resources into finding jobs for ex-offenders. And the fact that Mirkarimi is the only one talking about that shows had profoundly important this race is for the future of law-enforcement policy in San Francisco. 2

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to recognize that sleazy tactics, end-runs around campaign rules, and dubious voting schemes do as good a job suppressing voter interest as the Republicans did in Florida in the 2000 election victory of George W. Bush, or poll taxes did in the past. In this year’s mayoral election, we appear to be headed toward the bottom of a slippery slope. Campaigns hungry for advantage music listings

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aren’t slow to recognize loopholes; soon a loophole becomes a strategy. What follows then is to push the envelope over the line. A candidate’s honorable intentions too quickly fall prey to the politics of convenience. This year, with an interim mayor pledged not to run for election and thus avoid the entanglements of political selfinterest, the expectation was raised high. “My goal is to restore the trust in the mayor’s office of the past,� Mayor Ed Lee said in an interview just two weeks after assuming office. In the ensuing months, Lee’s posture changed. He would be no better than the minimum standard required in the law, he said in his interview with the San Francisco Examiner. He would not release the names of his finance committee, he claimed that a Run Ed Run effort was blameless after the Ethics Commission found a loophole that left them outside the city’s campaign laws, he complained that keeping track of contractor contributions was burdensome paperwork that he should be spared, and he maintained a close relationship with the leaders of independent expenditure committees while insisting he knew nothing of their activities. When new tools can provide citizens with near instant access to everything from when the next bus comes to restaurant inspection scores, Lee’s campaign is supported by efforts that are deliberately opaque, designed to misinform if not to mislead. Clearly this is not a mayor trying to leave the city, or its political process, better than he found it. A 2011 mayoral victory under fraudulent terms would make everyone a loser, regardless of candidate preference. It’s not just an election that might be “stolen� by unethical or illegal manipulation. We would be defrauded of what we are entitled to have: the chance for all of us to forge a better future for the city without our optimism shattered by dishonest, unethical practices. That should not be sacrificed for anyone’s political advantage.. 2 Larry Bush publishes citireport, a journal of politics and money

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

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If it was my campaign, I would fire them immediately — Mayor Ed Lee

this week at

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Psychic Dream astrology, complete events, alerts, art, and music listings, Hotlist, comments, and so much more! Follow us on Twitter: www.twitter.com/sfbg

on the blogs politics Ed Lee campaign caught committing voter fraud — could there be a shakeup in the mayoral elections next week? OccupySF grows into a tent city after pitched battles with SFPD Are the 49ers headed to Santa Clara? Tim Redmond discusses the possibility of Twitter Tax Break Stadium

noise Vicariously stalk the Guardian staff through the weekend: The Hangover catches you up on the weekend’s concerts, events, and ensuing nausea and headaches Show reviews: Theophilus London’s outfit at Rickshaw, Anika plays it aloof at the Independent Localized Appreesh: Read our local bandlove column every week

pixel vision Pro pumpkin carvers duke it out for the TV cameras at Mission bar Asiento Photographer Ralph Eugene Meatyard’s haunting lens sense comes to a new exhibit at the deYoung Cali-style bullfighting: Nicole Gluckstern checks out the bloodless Portuguese sport in the town of Thornton

sex sf The great prostitute march of 1917? Yeah that happened — read all about the historic sex worker showdown with a belligerent Methodist minister Before you take it off, take a look: our sex events column has the lowdown on the hottest orgies, openings, and good, dirty fun SAN FRANCISCO BAY GUARDIAN

on guard!

Lee hit with voter tampering allegations and negative mailers, but he dodges questions about a homophobic colleague by guardian news staff news@sfbg.com

Stealing an election? Mayor Ed Lee is again being dogged by allegations of unethical and possibly illegal conduct by supporters of his campaign, this time involving a surrogate group that was reportedly helping voters in Chinatown fill out their ballots using plastic stencils and sometimes even marking them and taking possession of them. The incident was reported over the weekend by Bay Citizen and the San Francisco Chronicle, which quoted Elections Chief John Arntz as saying it was unclear from video shot by witnesses whether anything illegal had taken place, but that he has referred the matter to the District Attorney’s Office for investigation. The DA’s Office is already investigating allegations that employees of GO Lorrie, a San Francisco International Airport shuttle service that recently received a favorable ruling by airport officials, were directed by managers to give the maximum $500 donation to Lee, for which they were reimbursed by the company. That would be illegal. The latest incident involves Elections Code Section 18403, which makes it illegal for “Any person other than an elections official or a member of the precinct board who receives a voted ballot from a voter or who examines or solicits the voter to show his or her voted ballot.” This section also makes is a crime for independent expenditure groups to take possession of a completed ballot. Witnesses say both things happened when SF Neighbor Alliance, ran a streetside voter assistance operation in Chinatown. That group is run by Enrique Pearce, whose Left Coast Communication has been working for and coordinating efforts with three other IEs supporting Lee. Pearce also wrote The Ed Lee Story, a book that features Lee’s editorials

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It’s in the mail: A flood of campaign material is hitting mailboxes guardian photo by mirissa neff

personal anecdotes and photos. Pearce worked with longtime Lee ally Rose Pak, a consultant with the Chinatown Chamber of Commerce, to create Progress for All and the “Run Ed Run” campaign that persuaded Lee to break his pledge and run for a full term. Lee’s campaign has denied any connections to the groups working on his behalf. “I know the video shows them wearing Ed Lee for Mayor shirts, but that has nothing to do with my campaign at all. They are these independent expenditures. We have no knowledge of what they’re doing or who’s leading them. We have no connection or communications with them. We’re not supposed to, by law, so we have not,” Lee told reporters after a campaign event where Lee announced his endorsement by former Mayor Gavin Newsom. But those claims have rung hollow for competing campaigns, which accuse Lee’s supporters of trying to rig the election and have called for investigations and federal election monitors to be brought in. Jeff Adachi, David Chiu, Dennis Herrera, Leland Yee, John Avalos, Michela Alioto-Pier, and Joanna Rees all signed a letter seeking state and federal oversight. Yee held an Oct. 24 press conference on allegations, showing video and translations from Cantonese of volunteers telling voters, “If you haven’t turned in your ballots, we can help.” Yee showcased two Yee campaign vol-

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unteers who said they had knowledge of what he said was an effort “orchestrated and coordinated to steal an election.” One was Steven Li, 21, who said he met “two to three” Chinese senior citizens who handed their ballots over to their housing manager because they needed help reading. Li quoted one saying, “I voted already. I turned it into my manager without knowing who I voted for.” The other, Linda Dudley, said she saw Lee supporters outside a grocery store filling out ballots for elderly Chinese voters, telling reporters, “What I see is not right.” Lee said he would also support any investigations or monitors that officials deem appropriate. “If it was my campaign, I would fire them immediately because they should not be handling ballots for anyone else,” Lee told reporters, later adding, “I denounce those groups that think or say they’re for me. If they do the wrong stuff, they should be investigated and accountable for their actions.” The most recent campaign filings by the SF Neighbor Alliance says it has so far spent $135,295 promoting Lee’s candidacy, although the group has not yet reported any contributions to the campaign. Among the expenditures was a mailer that said, “Keep Mayor Ed Lee. He has our backs.” Yet as Lee denounces the group and tries to distance himself from it, Pearce and company may find the sentiment to be music listings

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wishful thinking. (Steven T. Jones, Rebecca Bowe, and Christine Deakers)

Going postal I hadn’t checked my mail in awhile, and when I finally did last week, out popped my absentee ballot — and more than two dozen political mailers, a flood of campaign propaganda that sought to influence my vote. For the most part, it was very positive, with some notable exceptions. The biggest cluster were the four fairly effective hit pieces on Mayor Ed Lee put out by the American Federation of State, County and Municipal Employees (AFSCME) through two Sacramento-based front groups: City Residents Support Leland Yee for Mayor and City Residents Opposing Ed Lee for Mayor. Setting aside the deceptive names, the pieces do raise some points that could resonate with San Francisco voters and cut into Lee’s lead. “The SF Republican Party is supporting Ed Lee for Mayor. They like his corporate tax breaks,” reads one headline next to Lee’s smiling face and the GOP elephant logo, on the back side listing popular groups under the headline, “We’re NOT supporting Ed Lee for Mayor.” It is true the local Republican County Central Committee voted to support Lee along with Tony Hall and Joanna Rees, and that the GOP supported the tax breaks for Twitter and other big companies that Lee pushed. Shilling for

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neWs corporate interests was the topic of two other mailers, including a photo of a homeless woman under the headline, “She doesn’t qualify for Ed Lee’s corporate tax break.� Another one hits the various ethical and legal violations by Lee supporters — a theme likely to be the subject of more mailers to come — by prominently featuring local newspaper headlines including “DA probes Lee campaign donations� and “Boss made us donate to Lee.� AFSCME Political Director Willie Pelote defended the run of mudslinging by saying they plan to offer positive messages on Yee next but, “They are things we think the voters should know about Mayor Lee.� The Lee campaign has denied connections to improper electioneering and defended the corporate tax breaks as promoting jobs. The other Lee hit piece in the batch came directly from Dennis Herrera’s campaign. It features an image of Lee as a marionette under the headline, “City Hall Power Brokers Cut a Deal to Make Ed Lee Mayor. But this deal came with strings attached...� It then ticked off several scandals that have sullied Lee — including being backed by Recology and PG&E after publicly praising those controversial companies — closing with “Dennis Herrera For Mayor — No Strings Attached.� The only other mud in the batch, aside from a small swipe at District Attorney George Gascon’s ethics in an otherwise positive Sharmin Bock mailer, flew in both directions in the pension reform battle over Propositions C and D. “The Same Tea Party Billionaires Fighting Unions in Wisconsin Are Behind Prop. D,� reads one of three hit pieces put out by the Yes on C, No on D campaign, which was funded by the police and firefighters unions and investment banker Warren Hellman. The mailer highlighted Prop. D’s small group of wealthy backers such as George Hume and Michael Moritz, who in turn funded a Yes on D mailer that was a bit more positive than earlier pieces stressing the “backroom deal� that put Prop. C on the ballot, this time focusing on the issue: “Did You Know? Pension Spring is Costing You $132 Million!� And then there’s the black and white mailer with the photo of John Avalos darkly asking, “Who’s the Real Power Behind John Avalos?� And then you realeditorials

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ize it’s not a hit piece after opening it up and seeing it’s an Avalos mailer that answers the question, “Everyday People With a New Vision for Working San Francisco.� Gee, maybe politics isn’t so nasty after all. (Jones)

Lee and Lumpkin Ed Lee didn’t show up for an Oct. 19 forum on AIDS and HIV issues that he had confirmed for, which is hardly a surprise: Lee has been ignoring, ducking, or blowing off events like this all fall. Yet in this case, there’s an interesting twist. If Lee had shown up, activists told us, he probably would have been asked about Eugene Lumpkin, the homophobic minister who served on the Human Rights Commission while Lee was executive director. In 1993, Lumpkin, a Baptist minister appointed to the panel by then-Mayor Frank Jordan, told the Chronicle: “It’s sad that people have AIDS and what have you, but it says right here in the scripture that the homosexual lifestyle is an abomination against God.� At first, Jordan defended Lumpkin — and when Lawrence Wong, who also served on the commission, made a huge fuss and denounced both Lumpkin and the mayor, Jordan fired Wong. But when Lumpkin went on to say he believed in the Biblical edict that a man who has sex with another man should be put to death, Jordan finally fired him. Yet according to people who followed the furor at the time, Lee remained silent the entire time. “I personally covered the controversy and I have no recollection of Ed Lee ever saying anything about Lumpkin,� journalist Larry Bush told us. We asked Tony Winnicker, press spokesperson for the Lee campaign, if Lee has any recollection of speaking out against Lumpkin, and he responded: “I don’t know.� He added: “I can tell you that Ed Lee as Human Rights Commission Director held the first hearings on transgender employment discrimination, supported the equal benefits ordinance, made competitive bidding more transparent, and opened up contracting to women and minority local contractors.� All no doubt true — but Lee would have faced a tough crowd once the Lumpkin issue was raised. Which would have been plenty of reason not to show up. (Tim Redmond) 2 picks

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alerts By ChRisTine deakeRs alert@sfbg.com Editor’s Note: Protests and other events connected to the Occupy Wall Street movement, include OccupySF and Occupy Oakland, have been developing quickly. To take part, follow our Politics blog or check with the websites associated with this important economic justice movement: occupysf.com, occupyoakland.org, or occupytogether.org. And you can send tips about what’s happening to news@sfbg.com.

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

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“The 60s were never this organized:” Occupy Oakland faces off with the cops.

for more news content visit sfbg.com/politics

GUARDIAN PHOTOS BY REBECCA BOWE.

Occupy Everywhere: It’s Been Quite a Month How did Occupy Wall Street explode into a national movement in only a month? How have various cities responded to local offshoots? How many people have been arrested and why? These questions and more answered with the SFBG’s unofficial Occupy Timeline, which focuses on U.S. actions even though solidarity marches have spread to major cities around the world.

24 hours of occupation

Oakland activists transform a city square and wrestle with organizing a movement By Rebecca Bowe rebeccab@sfbg.com No sooner had I arrived at downtown Oakland’s Frank H. Ogawa Plaza — christened Oscar Grant Plaza by the activists who have established the Occupy Oakland encampment there –than the police showed up. It was Oct. 18, and the everevolving occupation had been going strong for eight days. Oakland City Hall served as a backdrop for the bustling tent village, and the plaza steps were adorned with banners. “Welcome to Oscar Grant Plaza,” one proclaimed. “This is an occupation. We have not asked for permission. We do not allow the police. You are entering a LIBERATED SPACE.” By press time, a standoff between Oakland police and the 300 to 400 occupiers hadn’t yet occurred, though a clash seemed imminent. City government had declared the autonomous village illegal and issued several eviction notices, citing health and safety concerns, while occupiers had made clear their intentions to stay put. Around 5 p.m. on Oct. 18, two cops appeared at the camp. They weren’t in uniform, but black polo shirts emblazoned with the words “Tactical Negotiator.” Protesters immediately surrounded them, a customary response to police presence since the encampment was raised. The police said they’d come to “facilitate” a march scheduled to depart from the camp — but the protesters demurred. Occupy Oakland’s General Assembly had not consented to this, they replied. 10 SAN FRANCISCO BAY GUARDIAN

The impasse didn’t last long, because a group of about 50 tore into the intersection and headed up Broadway. The radical queer march had commenced. “We’re here! We’re queer!” They chanted. “Tax the banks and eat the rich!” Many donned fabulous costumes, and one skinny person clad in form-fitting leopard print carried a sign showing a unicorn bursting from a cage, with the words, “It’s time to break free.” As the march passed Wells Fargo and Chase, a dozen police vehicles trailed slowly behind, occasionally sounding sirens. Apparently, this was what they’d meant by “facilitating.” Despite the cat-and-mouse with the cops, the nonviolent demonstration concluded without incident. Protesters returned, flushed and energized, to home base — Occupy Oakland, a vortex of radical defiance against the ills of capitalism that had materialized Oct. 10 and showed no signs of fading. Intrigued, I decided to spend 24 hours there documenting it.

Organized opposition The camp encompassed a lively blend of projects that seemed to have materialized organically. There was a kitchen serving free food, a first aid tent, a media tent where one could power a laptop by bicycle, a free school named for police shooting victim Raheim Brown, an informational booth with stacks of radical literature, a container garden, portable toilets, an arts and crafts space, and a kids’ area. Committees had been set up to tackle safety, sanitation, finances, events, and other duties, replete with color-coded armeditorials

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bands. Regular workshops, political discussions, teach-ins, lectures from notable speakers, and live music performances had all been arranged. Taking it all in, a woman with long gray hair exclaimed, “The ‘60s were never this organized!” Occupy Oakland’s experimental community mushroomed up as part of the wave of encampments established in solidarity with Occupy Wall Street, part of a nationwide movement that has captured the public’s imagination and reinvigorated the left. “We are reclaiming public space to use as a forum for the people to come together, meet one another, listen to each other, and build power for ourselves,” read a statement on the Occupy Oakland website. “[It] is more than just a speak-out or a camp out. The purpose of our gathering here is to plan actions, to mobilize real resistance, to defend ourselves from the economic and physical war that is being waged against our communities.” The camp supported a wild and unlikely mix of people united in their disenchantment with the status quo — young and old, black and white, housed and homeless, queer and straight, credentialed and uneducated, vegan and omnivorous — and within this developing space, societal barriers seemed to be falling away. “It’s an occupation that transcends what it was initially about,” reflected a protester named Miguel. “It’s feeding homeless people, and it’s giving people a place to sleep.” Protesters didn’t rally around demands. “From my understanding,

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this is a movement of autonomy, and liberation from ... the politics of representation, and the economics of capitalism,” said Bryan R., an organizer who helped plan the occupation. “To engage in dialogue with the power by means of demand is to acknowledge their power over us.” All decisions were made by consensus in a General Assembly. The occupation had passed resolutions stating that it didn’t back any political parties, supported the Pelican Bay prisoners’ hunger strike, and was in solidarity with striking students and workers. Rodrick Long, a 21-year-old Oakland native who’d been camped at the occupation for two days when I met him, said he felt he was participating in a piece of Oakland’s history. “As far as Oakland goes, I just think we need more unity,” he said. “There’s a lot of gang violence, and a lot of poverty. A lot of people don’t show enough that they care about Oakland. But it’s a lot of people here. I didn’t expect this many people to come.”

Managing conflict Occupy Oakland seemed both serious and playful as it journeyed each day toward fomenting the revolution, or maybe just keeping the camp together, depending on who you asked. A tense General Assembly meeting was reportedly held after the city issued the first eviction notice on Oct. 20, and occupiers vowed to hold their ground. But the somber moment broke up when someone kept randomly shouting “Michael CONTINUES ON PAGE 14 >>

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Sept 17: First day of occupation in New York City. Zuccotti Park renamed Liberty Square. Sept 23: Occupy Together reports more than 35 occupations worldwide. New occupations include San Francisco, Chicago, Dallas, Denver, Georgia, Kansas City, Lansing, Madison, New Orleans, Oklahoma City, Omaha, Orlando, Phoenix, Portland (both Oregon and Maine), Seattle, and Tampa. Sept 24: 80 arrested during Occupy Wall Street march to Union Square. Sept 25-30: Hundreds of new Occupy-related meet-ups. Occupations begin in Birmingham, Greensboro NC, Lexington KY, Milwaukee, San Diego, San Jose, Santa Fe, and Tuscon. Oct 1: 700 arrested at Occupy Wall Street protest when police usher a march onto the Brooklyn Bridge, close them in, and then arrest everyone. Oct 5: OccupySF camp raided by police at 1am, one arrest. Oct 8: Mayor Sam Adams joins Occupy Portland protest march. Oct 11-14: Police raid Occupy Boston’s second encampment in 1:30 am altercation, 50 arrested. About 100 protesters lock arms to protect encampment at Occupy Des Moines, 30 arrested. At Occupy Houston, after the American Jobs Act fails in the U.S. Senate, 200 hold a sit-in at Sen. Kaye Bailey Hutchison’s Houston office, resulting in eight arrests. Global Occupy arrest total at 1,514. Oct 12: Los Angeles City Council unanimously passes resolution to support Occupy LA. Oct 13: NYC Mayor Michael Mayor Bloomberg announces plans to “clean” Liberty Square. By 6am, over 3,000 have gathered to guard encampment. City calls off cleanup attempt. Oct 13-14: Police enter Occupy Denver camp at midnight, arrest 23. Occupy Detroit and Occupy Jackson, MS begin. Oct. 15: International Day of Action. Arrests: 70 in New York at nine different demonstrations throughout the city; 100 total in Arizona when protesters at Occupy Tuscon and Occupy Phoenix refused to leave their encampments; 19 at Occupy Raleigh, NC for when they refuse to leave encampment; four at Occupy Long Beach for refusing to leave their encampment; 19 at demonstration outside Supreme Court in Washington, DC, including famed activist/academic Cornel West. Internationally, marches in Rome, Lisbon, and Madrid include tens of thousands of participants each. Oct 16: 175 arrested at Occupy Chicago camp when they refuse to leave encampment; 19 arrested when they refuse to leave Occupy Sacramento, including anti-war activist Cindy Sheehan. OccupySF raided again at midnight; five arrested. Oct 18: Occupy Seattle granted permit for canopy and support tents for encampment. Global arrest total in Occupy movement reported at 1,711. Oct 21-23: Police attempt to enforce public park curfews at Occupy Cincinnati and Occupy Cleveland, arresting a dozen people at each in late-night raids. 130 arrests at Occupy Chicago, as police once again crack down on the encampment in the middle of the night. Oct 24: Global arrest total at 2,382; 1,545 Occupy meet-ups around the world; total participants in occupations and solidarity marches number in the hundreds of thousands, perhaps millions. (Yael Chanoff) Sources: occupytogether.org, occupywallst. org, facebook.com/occupytogether, twitter. com/occupyarrests, and websites and local news articles from more than 100 ongoing occupations throughout the country. 2

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Saturday & Sunday, October 29-30, 11am-6pm 71&.7 6**0 938*67 4.38 "-.5=&6)

501 Rive Nestor, 1559 Custer Avenue, Rankin/Quint, Sculpture

Appel, Cassia, Bldg. 101, #2120, Wearable Art / Jewelry Arbuckle, John, Bldg. 101, #2106, Painting Islais Creek Studios Armstrong, Bob, Bldg. 101, #1211, Painting 1 Rankin Street @ Custer ArtSeed, Bldg. 101, #2513, Drawing 502a Jason Bernhardt, #415, Sculpture Aust, Carol, Bldg. 101, #303 (Basement), Painting 502b Yu Jean Choi, #301, Sculpture Banfield, Carol, Bldg. 117, #3222, Painting 502c Dorothy Connelly, #104, Painting Barbar, Sam, Bldg. 125, Studio B, Painting 502d Eileen Downey, #206, Painting Blackburn, Tesia, Bldg. 101, #2315, Painting #-.7 .7 8-* ?3&1 ;**0*3) 4+ " 5*3 "89).47 4.3 97 &8 502e Rebecca Fox, #414, Sculpture Bolingbroke, Richard, Bldg. 101, #1508, Painting 938*67 4.38 "-.5=&6) &3) 71&.7 6**0 "89).47 8-* 1&6,*78 &68.78 502f Barbara J. Heffernan, #106, Drawing Bosc, Marius, Bldg. 101, #2522, Painting (42293.8.*7 .3 "&3 6&3(.7(4 43 8 2.77 56*:.*; 5&68.*7 &8 '48- 502g Russell Herrman, #416, Sculpture Brindle, Elaine R., Bldg. 101, #2102, Painting 14(&8.437 43 6.)&= (84'*6 52 $7* 8-.7 2&5 84 51&3 =496 502h Eric Joyner, #109, Painting Brown, Patricia, Bldg. 101, #1108, Painting 7*1+ ,9.)*) 8496 4+ 789).47 2**8 3*; &68.787 &3) &68 &556*(.&8467 502i Byron B. Kim, #505, Sculpture Burke, Margie, Bldg. 116, #8, Printmaking 502j Alex MacLeitch, #407, Sculpture &3) *3/4= 2918.89)*7 4+ &68;460 .3 :&6.497 78=1*7 &3) 2*).927 Cariati, Christine, Bldg. 110, #205, Painting 502k Gerd Mairandres, #207 Caron, Dominique, Bldg. 101, #1321, Painting 502l David I. McGraw, #318 & #420, " 5*3 "89).47 <-.'.8.43 Carter, Stacey, Bldg. 101, #2312, Painting Sculpture 68;460 '= 4:*6 " 5*3 "89).47 &68.787 Childress, Cecil C., Bldg. 101, #2319, Painting 502mMin Hwan Park, #417, Sculpture "*58*2'*6 84 (84'*6 Ching, Qi Re, Bldg. 101, #1515, Painting 502n A. Henry Ricci, #405, Sculpture Choi, Jung, Bldg. 101, #1202, Painting " 687 91896&1 *38*6 6&33&3 "86**8 502o Turaj, #416, Sculpture Clark, Paula, Bldg. 101, #1312, Sculpture Hunters Point Shipyard &11*6= 4967! Cox, Rob, Bldg. 116, #10, Painting Artists listed alphabetically by last name #9*7)&= 6.)&= 52 "&896)&= &2 52 &3) "93)&= &2 52 Crampton, Carolyn, Bldg. 101, #1223, Painting Adreveno, Linda, Bldg. 117, #3101, Mixed Dal Pino, Anna, Bldg. 101, #2417, Painting .(0 95 =496 (45= 4+ 8-* " 5*3 "89).47 9.)* 2&,&>.3* &8 8-* Media Croghan, Maeve, Bldg. 101, #1319, Painting Ager, John, Bldg. 101, #2222, Painting <-.'.8.43 46 &8 1.(0 68 &8*6.&17 &60*8 "86**8 %.7.8 68"5&3 DeLave, Mary, Bldg. 110, #206, Painting Denevan, Monica, Bldg. 116, #2, Photography 46, 84 5*697* -93)6*)7 4+ &68.787 &3) .2&,*7 4+ 8-*.6 &68;460 .3 8-* Amodaj, N. Samuillo, Bldg. 101, #2412, Photography Denevan, Robin, Bldg. 116, #2, Painting 431.3* 68.78 .6*(846= Anderson, G. David, Bldg. 101, #1318, Dierauf, Verity, Bldg. 101, #2118, Painting 4114; 68"5&3" 43 #;.88*6 &3) 97* " " 84 8;**8 &'498 " Drawing Dion, David, Bldg. 101, #1401, Sculpture

5*3 "89).47 Andersson, Anna, Bldg. 101, #1423, Dynan, Stacy, Bldg. 101, #1116, Painting Wearable Art / Jewelry Finney, Kathleen, Bldg. 104, #1211, Mixed Media Fong, Linda, Bldg. 101, #2413, Painting

$0 / ' 3$7 /+6 1 From Downtown SF: Go South on 3rd St. Cross the Islais Channel $0 / ' 3$7 Friesen, James, Bldg. 115, #22A ($/ drawbridge, go 3 blocks to Evans. For Islais Creek Studios, turn right Gandara, Mauricia, Bldg. 101, #1306, Mixed Media /(, 1 onto Evans. Go 2 blocks, turn right onto Rankin. Go 2 blocks to the /(, 1 /(, 1 Gleeson, James, Bldg. 104, #1211, Painting Artist Studio last building on the right. For Hunters Point Shipyard, turn left onto Glowienke, Kurt, Bldg. 116, #5-A, Mixed Media Evans. Go 1.5 miles to the end, turn left on Donahue to the Shipyard checkpoint (note: halfway Evans curves right, then left, and becomes .-*$-, 1 Islais Creek Studios 0* (0 1 Golfos-Santroch, Harriet, Bldg. 101, #1304, 502a-o /1' Innes). Directions to Islais Creek from Hunters Point Shipyard: Follow Painting 3 2/ $ Innes, which turns into Evans, cross 3rd Street, take right on Rankin. 501 Goren, Rinat, Bldg. 117, #3115, Mixed Media *3$ + #-/ 1 7 Go 2 blocks to 1 Rankin Street, it’s the last building on the right. 2 3$ Gralen, Paul, Bldg. 101, #2220, Sculpture #0

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-, 01$ ($/ /& 2 3 / From 280 North: Cesar Chavez exit, turn left onto Pennsylvania. Gray, Dolores R., Bldg. 101, #1303 ,, /)$ $ 3$ $0 6 3$ 3(# 3$ Go 1.5 blocks, turn right onto Cesar Chavez. Go 2 blocks, turn 0Griffith, Michael, Bldg. 101, #1215, Photography ,

3 3$ left onto Evans. See option 1 or 2 below. ,0 3 Groleau, James, Bldg. 101, #2103, Printmaking $ (/% From 280 South: Cesar Chavez exit, turn left onto Cesar Chavez. Haag, John Fox, Bldg. 110, #211, Painting 5 3$ (/ Go 2 blocks, turn left onto Evans. See option 1 or 2 below. )4 Hager, Liz, Bldg. 110, #205, Mixed Media -# 3$ From 101 North: Cesar Chavez exit. From left lane, take the Hamel, Marc Ellen, Bldg. 101, #2507, Painting Cesar Chavez East ramp, follow access curve to Cesar Chavez. Go Handelman, Ed, Bldg. 101, #1201, Painting (/% 5 3$ 2 blocks, turn right onto Evans. See option 1 or 2 below. *3$ $ Hankins, April, Bldg. 101, #2322, Painting ($/ 7 4' 3$ 2 ** #0 From 101 South: Cesar Chavez exit onto Bayshore Blvd. Follow Harcos, Bela, Bldg. 101, Front Yard 1 -, 3 ,, $ signs for Cesar Chavez East, take access curve to Cesar Chavez. $0 Haseltine, Rebecca, Bldg. 125, #1, Mixed Media 3$ $/ Go 2 blocks, turn right onto Evans. See option 1 or 2 below. 4 /-* + Hayner, Deborah, Bldg. 104, #1103, Mixed Media # ,

(/ / 3$ 1 ) 4 2+ $!$" Option 1: Islais Creek Studios, go 3 blocks on Evans, turn left -Hays, Charlie, Bldg. 101, #2403, Painting + # $(1' 1 " , * -,# 3 onto Rankin. Go 2 blocks, its the last building on the right. $ **$ Hendrick, Irene, Bldg. 101, #1224, Painting 1 3 " $#+ ,

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0DDVQZ4' FSFDUT B HSPXJOH UFOU DJUZ ± PWFS UIF NBZPSµT PQQPTJUJPO By Steven t. JoneS and yael Chanoff steve@sfbg.com In San Francisco — the first major city to launch a midnight police raid to break up an Occupy encampment, which it repeated Oct. 16 — city officials are struggling with contradictions between claims of supporting the movement but opposing its tactic of occupation. Protesters have reacted to those mixed messages by erecting a growing tent city in defiance of Mayor Ed Lee’s public statements on the issue. The situation remained fluid at Guardian press time, with OccupySF members unsure when and whether to expect another raid. That sort of standoff has repeated itself in cities around the country. But it seems particularly fraught here in the final weeks of a closely contested mayor’s race as Lee’s stated belief that “a balance is possible” is put to the test. On Oct. 18, when hundreds of OccupySF protesters and their supporters entered City Hall to testify at the Board of Supervisors hearing — where Lee appeared for the monthly question time and was asked by Sup. Jane Kim to “describe the plan that our offices have been developing” to facilitate the OccupySF movement — it became clear there was no plan and that Lee was standing by the city’s ban on overnight camping. “From the very beginning, I have fully supported the spirit of the Occupy movement...To those who have come today and who come day after day as part of this movement, let me say now that we stand with food + Drink

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you in expressing anger and frustration at the so-called too big to fail and the big financial institutions,” Lee said at the hearing. “Then don’t send the police in to destroy it,” yelled a woman from the crowd. “Well, we are working with you,” Lee responded as Board President David Chiu banged his gavel at the interruption and said, “excuse me, you are out of order” and the packed hearing room erupted in shouts and applause at calling out the contradiction in the mayor’s position. “Well, we are working with you. We are working with you to help raise your voice peacefully and will protect and defend your right to protest and your freedom of speech,” Lee continued, eliciting scattered groans from the crowd. “But that’s not the same thing as pitching tents and lighting fires in public places and parks that are meant for use by everyone in our city. But we can make accommodations and we have, and we can do this while not endangering public safety in any way.” Afterward, as Lee was surrounded by a scrum of journalists asking about the issue, he made his stand even more clear. “We’re going to draw the line with overnight camping and especially structures,” Lee told reporters. Asked why the police raids have taken place in the middle of the night and why San Francisco is banning practices being allowed in other occupied cities, such as tents and kitchens, he offered only nonresponsive answers before being music listings

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whisked away by his security detail. Back inside the hearing room, Sup. John Avalos — who has led efforts to mediate the conflict and prevent police raids — called Lee’s comments “very frustrating. I’m alarmed that he is moving toward nightly standoffs with the Occupy movement.” After watching video of the chaotic Oct. 16 raid, at which several protesters were injured by police officers, Avalos called the situation “unsafe for both sides.” Six of the 11 supervisors voiced support for OccupySF during the meeting, although Kim — who supports OccupySF and Lee’s mayoral campaign and whose District 6 includes the two protest encampments, in Justin Herman Plaza and outside the Federal Reserve — said at the hearing, “We’re all struggling to figure out the best way to accommodate it.” Indeed, when the Guardian sought details on “the plan” Kim said she was developing with Lee, her staffers told us there was nothing in writing or major tenets they would convey. And mayoral Press Secretary Christine Falvey told us, “There’s not really a plan, per se, because the movement is so fluid,” although she confirmed that the city would not allow tents or other structures: “The tactic of camping overnight, he does not support.” But OccupySF protesters were defiant as they streamed to the microphone by the dozens during public comment, decrying the city’s crackdown and claiming the right to occupy public spaces and ContinueS on paGe 14 >>

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OCCUPY LAS VEGAS: WHAT WE WANT "O FOE UP DPSQPSBUF NPOFZµT JOGMVFODF JO QPMJUJDT 5SVMZ FGGFDUJWF DBNQBJHO GJOBODF SFGPSN -FHBM BDDPVOUBCJMJUZ GPS QVCMJD PGGJDJBMT BOE DPSQPSBUF FYFDVUJWFT *G GPVOE HVJMUZ PG DPNNJUUJOH DSJNFT XIJMF JO PGGJDF XF EFNBOE UIBU UIFZ BSF NBEF UP QBZ GPS UIPTF DSJNFT JO GVMM MJLF BOZPOF FMTF 'PS PVS KVTUJDF TZTUFN UP USFBU FWFSZPOF FRVBMMZ SFHBSEMFTT PG PSJHJOT PS TPDJBM DMBTT BU BMM MFWFMT BOE BU FWFSZ TUBHF GSPN JOWFTUJHBUJPOT UP USJBMT BOE TFOUFODJOH "O FOE UP UIF DPOUJOVBM BUUBDLT PO PVS TPDJBM TBGFUZ OFU BOE PO UIF SJHIUT P G XPSLFST UP PSHBOJ[F UIFNTFMWFT BOE JG OFFE CF UP TUSJLF 4FDVSF BOE TVTUBJOBCMF JOWFTUNFOUT BOE JNQSPWFNFOUT JO PVS TPDJBM JOGSBTUSVDUVSF MJLF TDIPPMT BOE MJCSBSJFT BOE UP DSFBUF BO "NFSJDB XIFSF FWFSZPOF NBZ MJWF JO B EFDFOU BOE EJHOJGJFE NBOOFS The full texts of these documents can be found online. For the full Declaration of the Occupation of New York City: http://www.nycga.net/resources/declaration/. For the full Occupy Las Vegas statement: http://occupylasvegas.org/announcements/missionstatement-final-version. Search resources on hundreds of occupations worldwide at http://www.occupytogether.org/directory/. (Yael Chanoff) 2

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to have the basic infrastructure to do so. As a woman named Magic proclaimed, “This can be a celebration or a battle, but we will not back down.” The next afternoon, a large group of OccupySF protesters took their complaints about mistreatment by officers to the Police Commission meeting. Previously, Police Chief Greg Suhr had taken the same stance as Lee, with whom he had consulted before ordering the raid, claiming to support OccupySF but oppose overnight camping (see “Crackdown came from the top,” Oct. 11). “We will surgically and as best as possible and with as much restraint as possible try to deal with the hazards while protecting people’s First Amendment rights,” Suhr had said, reiterating a ban on tents and infrastructure. But by the end of the long Police Commission hearing — which was peppered by angry denunciations and chants of “SFPD where is your humanity?” — Suhr seemed to soften his position: “We have no future plans to go into the demonstration. We know that it’s for the long haul.” OccupySF members interpreted Suhr’s remarks, which went on to raise concerns over potential future public health hazards that a growing encampment might present, as a change in the policy Lee had outlined a day earlier, erupting in the cheer, “Now that’s what I’m talking about!” In the wake of that meeting, more than 40 tents — including a working kitchen and fully stocked medical tent — have been erected in Justin Herman Plaza, although neither the Police Department nor Mayor’s Office have answered Guardian inquiries seeking to clarify what current city policy is regarding OccupySF. But for now, protesters have declared victory over the city and are happy to be turning their full attention back toward powerful banks, corrupt corporations, and the rest of “the 1 percent.” “I’m really proud of the OccupySF participants who went to the meeting today,” Zoe D’Hauthuille, a 19-year-old protester, told the Guardian after the Oct. 18 meeting. “I feel like they were really honest and super effective at getting people to realize that we need certain things, and that the city is violating our rights.” 2

Jackson!” — prompting someone to blast the song “Smooth Criminal” over a loudspeaker, sparking an impromptu dance party before everyone got down to business again. The occupiers were sculpting a self-governed, non-hierarchical mini society in the heart of Oakland as an affront to Wall Street bankers and capitalism itself — a complicated endeavor, to be sure. This was, after all, a mix of perfect strangers, some with mental-health issues (who’d been failed by the very system the occupation was opposing, several people pointed out to me), striving to coexist in a densely populated public park. Illegally. There were ups and downs. Mainstream newspapers were running headlines about the occupation’s rat problems, television reporters had gotten into tiffs with protesters, and in the hours before I arrived, a man who went by Kali was forced out for starting arguments that eventually came to blows. The outside world seemed separate from the occupation, though its presence was acutely felt. News vans were parked along the perimeter at all hours of the day, and a live stream sent raw footage directly to the Internet, making the surreal scene feel a bit like a fishbowl. As night fell, around 150 people congregated in the plaza’s amphitheater for the evening’s General Assembly, which opened with general announcements. Ellen spoke about organizing actions against foreclosures. Jonathan urged a transition from mega-banks to credit unions. Someone proposed expanding the first aid tent into a free clinic that would operate out of an onsite RV. But just as a woman began describing the struggle of revolutionary youth in Uganda, shouts rang out from somewhere in the thicket of tents. Kali was back. Members of the “safer spaces” committee made a beeline toward him to try and deescalate the conflict, while others milled about in alarm and confusion. Despite mediators’ efforts, Kali went on a rampage, triggering an emergency meeting to determine how best to handle this kind of aggression. Once he departed, however, the encampment’s emotional rollercoaster seemed to wind down. “It’s up to us to figure out creatively how to maintain the health of this camp,” organizer Louise Michel told me later. “It’s

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Looking for reasons Dialogues had been started to address safety issues — but the city of Oakland was highlighting reports of assaults and sexual harassment as reasons the encampment would not be allowed to stay. Security volunteers were regularly stationed around the plaza perimeter. Tim Simons began his shift around midnight, pacing the sidewalk and gazing out at the deserted downtown Oakland street while maintaining constant communication with his security crew via walkie-talkie. “It’s been the most intense mixture of people coming together that I’ve ever seen,� reflected Simons, who’d watched the occupation grow since the beginning. “They’re camping here because they want this to become a revolutionary political force. The significant question is: How do we project outward from here? Is this going to become more than just a camp?� He stressed its significance as a takeover of public space, saying it integrated all manner of people whose lives had been impacted by failed economic policies. Simons also acknowledged the anti-police attitude shared by many occupiers. “In Oakland, it’s really hard to play this game that the police are on our side,� he said. “There’s no real illusion here about what role the cops play.� That sentiment wasn’t shared by everyone, though. “We’re trying to practice a nonviolent response toward police,� Mindy Stone, who was staying in a tent at the Occupy Oakland overflow camp at Snow Park, told me. “We want to try to make them feel like they are the 99 percent.� It had been an eventful night. I drifted off to sleep in a borrowed tent, as the banter of people sitting and smoking on park benches floated in. The next morning was sunny and warm, and the mood of the camp was buoyant. Kitchen volunteers busily prepared food, joking together as they listened to music. Donations flowed in daily from Arizmendi bakery, farmers’ markets, and other generous supporters. In the arts and crafts area, people were painting a banner to urge people to withdraw their money from major banks by Nov. music listings

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5, Guy Fawkes Day. A redhead in a flowing silken outfit wound his way through camp with a garbage bag, asking people if they had pocket trash. A self-defense workshop was in swing, its participants partnered up, giggling, as they practiced holds and blocks.

incubating ideas Dallas Holland was tending wheatgrass, bok choy, herbs, and other edibles in a container garden. “I’ve been overwhelmed with the way the community has come together ... It’s amazing to watch this transform into a Mecca of ideas,� she said. “People are having meetings and thinking of ways to perpetuate the movement.� An Alabama native, Holland graduated from college in 2006 and had been unemployed for a year. Allen Adams, a 37-year-old Oakland native, told me he’d been sleeping outside regularly since before the occupation. “I quadruple up on the shirts. It gets to you,� he said. He’d had little luck finding work, though he was constantly searching online. With him was Brandy, his well-loved, four-month old pit bull. “I’ve been struggling all my life,� Adams said. “My dad did, my mom did, my grandmother did. And for what? To have no money.� But he said he was amazed and inspired by the occupation. “I like the fact that people can get together and discuss issues. How can we implement programs to do what California has failed to do? It’s a big task. We’re just working toward betterment. Lasting changes, not just temporary shit.� Michel echoed these goals. “It’s really bold, and it’s really complex, but no one’s ever lived what we’re trying to do,� she said. “People feel a lot of ownership over what we have here. There’s a sense here of people having each other’s back. Politically, it’s huge.� During my last hour at Occupy Oakland, David Hilliard, a founding member of the Black Panthers, delivered a speech, driving home the point that the occupation should be organized and focused. “You’re here, which is a wonderful thing,� Hilliard told the occupiers. “Now we need to have some very basic programs dealing with desires and needs here in Oakland. It can’t be abstract. I can assure you, in a very short time, they’re going to run you out of here. Put something on paper that can help you address the basic desires — otherwise, you’re not going to last long. Get some concrete demands.� 2

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BloWBaCk By Caitlin Donohue caitlin@sfbg.com heRBWiSe A throng of reporter types had gathered in the lobby of the State Building to listen to State Senator Mark Leno and State Assemblymember Tom Ammiano badmouth the feds. “It is not the purview of the federal government to upset the will of the people,” said Ammiano, to the grunted affirmations of the patients, advocates, and cannabis business owners who had also assembled for the event. Leno called the recent steps taken against the medicinal cannabis industry — which provides California each year with somewhere between $50 million and $100 million in taxes according to a 2010 estimate by the state’s Board of Equalization — “the exact wrong policy for a deep recession.” And then there’s the patients themselves. The two gay politicians commented that the issue of patient access is especially salient for the LGBT community, given that group’s increased incidence of HIV and AIDS. EDITORIALS

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Ammiano and Leno announced plans to push for federal regulatory guidelines that would clear up inconsistencies in the way medicinal cannabis works at the state level. As of press time, Ammiano had scheduled another panel to discuss the matter on Tuesday, October 25 where he’ll be joined by marijuana advocates, labor leaders, Steve DeAngelo — founder of Harborside Health Center, which the IRS recently announced owes millions in back taxes because the business cannot legally write off standard expenses — and Matthew Cohen, who was handcuffed for hours along with his wife when the DEA raided his legal Mendocino County growop Northside Organics earlier this month. The event is being timed to coincide with President Obama’s visit to San Francisco this week. When the politicos were done with their spiels, they trotted out Charlie Pappas, the owner of Divinity Tree Patients’ Wellness Cooperative. The landlord of Pappas’ 3,000-member dispensary was served with a CONTINUES ON PAGE 18 >>

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cease and desist notice from the DEA that threatened property forfeiture and jail time if he continued to let Divinity Tree operate in his building. Pappas approached the podium in a wheelchair, a patient himself. As he was introduced, it was noted that here we had one of the little guys, not a tycoon turning millions of dollars of profit as dispensary owners have been portrayed by unsympathetic media and government officials. It’s illegal to turn a profit off of medical marijuana — and who would want to get rich off of sick people anyway? The controversy over the issue is understandable, but also mindblowingly hypocritical. You know who turns a profit off of making and distributing medicine? The

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it is not the purview of the federal government to upset the will of the people tom ammiano

pharmaceutical industry, to the tune of billions of dollars, in fact. Makes the $1.7 billion national market that constitutes the medical marijuana industry look like shake. The sound of money talking rendered unsurprising the words of a one Bruce Buckner, who has been a patient “since the laws passed” and who came down from his home in Sonoma County to attend Ammiano and Leno’s press conference. Buckner shared his suspicions about why the federal government turned its eyes to dispensary operations this autumn. Slightly grizzled and wearing a straw hat, Buckner had sat patiently though the event, hooked up to a respirator. “It’s real obvious why Obama is doing it,” he said. “The pharmaceutical industry is afraid of how potent this medicine is.” 2

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LIME RICKEYS AND SOURDOUGH SUNDAES BY VIRGINIA MILLER virginia@sfbg.com APPETITE Though my sweet tooth has diminished over the years, it only means I can’t stomach sickly sweet. I still take immense pleasure in a fine dessert. Here are some desserts so good they threaten to surpass the meal that came before.

CITIZEN CAKE ICE CREAM PARLOR AND EATS Citizen Cake has been on a meandering journey from its original Grove Street location, to its new Fillmore home, with a recent revamp from restaurant to ice cream parlor. My last visit nearly went south when at 4 p.m. we arrived hungry for a meal as well as chef Elizabeth Falkner’s ever dreamy desserts. Our server informed us the restaurant wasn’t serving the regular menu — although the website, menu and storefront all say they serve lunch from 11 a.m. on daily. I’m glad they decided to make a meal for us (they said it was because we were close to 5 p.m. dinner time), but I hope this gets worked out quickly, so that what is stated as being served is served. Thankfully, the savory dishes we ordered pleased, particularly a fried chicken Cobb sandwich ($13). Although pricey, the chicken is of high quality and expertly fried, laid over a layer of egg salad (nice touch), topped with avocado, blue cheese, and bacon tomato vinaigrette in a brioche bun. The savory menu is predominantly sandwiches, salads, appetizers, and comfort food dinner dishes like meatloaf or spaghetti and meatballs. Where I get excited is with soda fountain offerings. In classic editorials

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style, there are egg creams (favorites from my East Coast days), milkshakes made with any choice of Falkner’s cakes, phosphates, spritzers, floats, and my all-time favorite root beer, Devil’s Canyon, on draft. Now I don’t have to wait for the annual SF Beer Week to have this gorgeous root beer! Though cherry or Concord grape phosphates ($4) are listed on the menu, ask about off-menu options: I recently ordered a passion fruit phosphate, subtly floral and bright. I likewise reveled in the effervescent tart of a fresh Lime Ricky ($4) balanced by bitters. If you’ve been paying attention, you know soda fountains are making a comeback, although I’ve been waiting for more to open in San Francisco (watch for a classic parlor to open up soon in Cole Valley). Soda fountain sips are just the beginning. Falkner’s lush cakes, macaroons, cookies, tarts and cupcakes still abound. But there’s now a liquid nitrogen ice cream machine (which she was operating herself on last visit), the liquid nitrogen ice creams a base for an extensive new list of sundaes and shakes. I went straight for sourdough ice cream, delicately bready, not too sweet and altogether right in an SF sourdough sundae ($9) drizzled with grape syrup, brazil nuts, and salted Spanish peanuts. The bowl is dotted with diced strawberries and an exceptional chocolate-peanut butter halvah, sticky and satisfying. I was ready for a second bowl as soon as I finished the first. 2125 Fillmore, SF. (415) 861-2222, www.citizencake.com

storefronts and menus, including the biggest selection of pisco (over 50 bottles) around. The pisco is certainly a draw. But, unexpectedly, dessert stands out here, too. Recent returns to this duo (which I’ve been dining at on occasion for years), included a relaxed Sunday brunch and dessert. Blessedly, both brunch and dinner menus offer triple chocolate chile buñeulos ($7). These dense chocolate dough balls are dark and oozy, with merely a hint of chile. Resting in a pool of salted caramel with a vanilla crème anglaise dipping sauce, they are dangerously decadent.

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It’s A Fact! JASPER’S CORNER TAP Dessert at Jasper’s Corner Tap is as much a highlight as the heartwarming, gourmet pub fare and impeccable cocktails. A cinnamon pretzel donut and a shot of Maker’s Mark and espresso with cream ($8) is filling after burgers and Shepherd’s Pie, but you’ll find room. The donut is made from house pretzel dough, but it is still somehow light and soft. A shot of bourbon, espresso, and cream is served affogato-style, an ideal finish. Ultimate kudos go to two house ice creams: fresh mint and Maker’s Mark bourbon ($4 a scoop). The bourbon is creamy and boozy, while fresh mint is bright. Together, it’s a Mint Julep in ice cream form. Genius.

Now, tests say that diet sodas increase your chances of heart attack and stroke by 61%. Sugar sweetened sodas increase the risk of diabetes and liver disease. How many reasons do you need to start drinking water? See you at Rainbow Grocery. Find more information about the benefits of wholesome foods at our website www.rainbow.coop

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PISCO LATIN LOUNGE/DESTINO The duo of Pisco Latin Lounge and Destino share adjoining picks

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le.chicken.farmer@gmail.com CHEAP EATS So they have that classic car show every year in Alameda. It’s a pretty big deal, and Park Street is closed to traffic. The classic cars park in the parking spots, and the people walk down the middle of the road and look at them, and into them, and under the hood. My own personal interest in classic cars would best be described as D) Nonexistent. But Boink and his dad like to go. They have a whole tradition around it, which ends in pizza. They look at the cars, they eat the pizza. It’s a boy thing. I wouldn’t know. Except that this particular Saturday I didn’t have any football or soccer or even necessarily baseball to play. And there was an apartment to look at on Park Street, in Alameda. (This was a couple weeks ago, back when Hedgehog and me were still relatively homeless.) So, OK, so, we went. Hedgehog looked at the apartment without me. We had by this time begun to start to feel almost a little bit paranoid about the fact that no one seemed to want to sublet to us. Not in Berkeley, not in Oakland, not in San Francisco. The day before, we had looked at a shithole in the Tenderloin and, out of desperation, loved it! But the guy decided to rent to someone else, for no real reason. “Why?� I asked him on the phone. We had seen the place first. Our credit is perfect. We are clean, upstanding, even accomplished citizens. “I don’t know,� he said, after a long pause. “No real reason.� “Oh,� I said. “OK.� Because what else can you say? This much we knew: it couldn’t possibly be because we are a gay couple, this being San Francisco. So, we decided, it must be me. To wit, that I am too witty. That I am intimidatingly charming, classy-looking, and wellspoked. Technically, I decided this. But Hedgehog agreed to go see the next place by herself. And that was in Alameda. On Park Street. During the car show. While she was scoping the place out I wandered aimlessly, people watched, car watched, and just generally sat down on a manhole cover. I was hoping to see Boink and his dad, and/or Popeye

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the Sailor Girl and her mom. I hadn’t seen any of them all since early summer, so was quite unreasonably excited about the possibility of seeing them. But mostly I saw legs. Which made me hungry. Then Hedgehog came back and said the apartment was ours for the taking. Well, hers. But: no tub, no natural light, no me (technically), and it smelled like dude. “Let’s eat,� I said, standing up. And then, as if by some sort of cartoon magic, there was Popeye the Sailor Girl, holding her mom’s hand, the both of them looking about as cute as some buttons. What’s more, they were hungry too! Then Boink and Dad came by, and they were looking cute too, but not hungry, not like us’ns. They just wanted cars and pizza. Popeye the Sailor Girl and her mom being both gluten free, their favorite restaurant is Burma Superstar. Hedgehog loves Burmese food. Ergo: our decision was easy. It’s the same place as the one in the city, on Clement Street, only no lines! Not even at exactly lunch time on a beautiful specialevent weekend. I had me some mint chickeny thingy without mint and Hedgehog had duck garlic noodles without hardly any garlic. But to illustrate what a super restaurant Burma Superstar is, both dishes were still good. And we had the chicken coconut noodle soup, which was especially tasty, of course. It’s kind of like the Thai classic Tom Ka Gai, only eggs instead of mushrooms, which is trading up in my book. Oh, and noodles — which I always thought Tom Ka Gai should have, anyway. It was so nice to catch up with Popeye the Sailor Girl, and to play Steal Mommy’s Purse with her while her mom was in the restroom. A delightful time. A new favorite old favorite restaurant. And I don’t know about the classic car show but, hey, I like Alameda. 2 Burma SuperStar Lunch : Tue.-Sat. 11 a.m.-3 p.m., Sun. 11:30 a.m.-3 p.m.; Dinner: Tue.-Thu., Sun. 5-9:30 p.m., Fri.-Sat. 5-10 p.m. 1345 Park, Alameda (510) 522-6200 AE/D/MC/V Beer & Wine

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Are you a bad enough dude? couple of brief but suggestive lines in Shakespeare’s text, Morrison imagines a reunion beyond the grave between Desdemona and the African woman who raised her, in a song cycle combining traditional West African compositions with original ones penned by Traoré and Morrison. From this encounter come hints of a new future based on a world that was always deeply interconnected.(Robert Avila)

cameron carpenter see sun/30

Through Sat/29, 8 p.m., $100 Zellerbach Playhouse 101 Zellerbach Hall, Berkl. www.calperformances.org (510) 642-9988

Thursday 10/27 “Lumière and After”

Wednesday 10/26 Yngwie Malmsteem Coming to prominence in the early 1980s, master guitarist Yngwie Malmsteen blew listeners away with classically-inspired shredding and a flashy style that displayed his incredible technical prowess on the instrument. The virtuoso has released a slew of metal and rock records that show off his scorching solos, but he has also put out albums featuring classical and orchestral compositions and collaborations with groups such as the Czech Philharmonic Orchestra. Malmsteen, whose latest effort Relentless (Universal) came out last year, continues to hone his fancy fretwork — don’t miss out on your chance to see him “unleash the fury!” (Sean McCourt) 8 p.m., $30 Fillmore 1805 Geary, SF (415) 346-6000 www.thefillmore.com

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Wednesday 10/26 “Desdemona” Determining to write a response to Othello following Peter Sellars’ controversial staging in New York in 2009, world renowned author Toni Morrison teamed up with famed theater-opera director Sellars and acclaimed West African singer Rakia Traoré to craft this unique piece of music theater, making its US premiere in Berkeley. Taking her cue from a editorials

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Although Louis Lumière famously described cinema as “an invention without a future” not long after having a major hand in inventing it, the beautifully composed single shot actualities he produced with his brother Auguste still have a strong hold on the motion picture imagination. An intriguing Cinematheque program lines up several shorts directly inspired by the Lumières along with a handful of the original articles. Expect work by avantgarde materialists like Ken Jacobs and Peter Tscherkassky along with Andrew Norman Wilson’s fascinating short Workers Leaving the Googleplex. The latter drills holes in the search engine’s labor practices by way of revisiting the Lumières’ first publicly screened film (Workers Leaving the Lumière Factory). The Cinematheque screening sets the stage for Bring on the Lumière!, an original choreographic work premiering at the ODC Theater in a couple of weeks. (Max Goldberg) 7:30 p.m., $10 Artists’ Television Access 992 Valencia, SF (415) 824-3890 www.sfcinematheque.org

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for more visit sfbg.com to Costa Rica, so this Halloween bash is also a going away party. King returns in February, when the band will release an acoustic album featuring a slew of California collaborators. Go buy him a shot and raise some hell. (Frances Capell) Slick’s Helloween Bash With Code 4-15, Murderland, Lazerwolf, and AxeWound 10 p.m., free Rockit Room 406 Clement, SF (415) 387-6343 www.rock-it-room.com

Friday 10/28 “Kevin Smith’s Halloween Extravaganza”

Saturday 10/29

Do you like your spooky mixed with side-splitting hilarity? Then celebrate All Hallows Eve the “View Askewniverse” way with “Kevin Smith’s Halloween Extravaganza!” Writer and director Smith, known for his movies such as Clerks, Dogma and Chasing Amy, and actor Jason Mewes bring their “Jay and Silent Bob Get Old” live podcast show to the city tonight for what promises to be wildly funny romp through all manner of subject and story. Afterward, stick around for a screening of the horror flick Red State, Smith’s latest work, for which he will also partake in an audience Q&A. (McCourt) 7 p.m., $55 Castro Theatre 429 Castro, SF (415) 621-6120 www.castrotheatre.com

Journey to the End of the Night A citywide game modeled after tag, Journey to the End of the Night has become one of the most popular street games in the world since its inception in 2006; now played everywhere from Chicago to Vienna, Mexico City to Berlin. In San Francisco last year, 1,300 participants flooded the streets in play. A brief rundown of the rules: there are six check points scattered throughout the city that you must try to get to, either on foot or by public transit, without being caught by “chasers,” those that do everything in their power to stop you. If caught by a chaser, you become a chaser. The first to the last checkpoint wins. Meet at Justin Herman Plaza and include friends, certainly, but the website recommends you bring “ones you can outrun.” Tag, you’re it (James H. Miller) 7 p.m., Free Justin Herman Plaza End of Market at Embarcadero, SF www.totheendofthenight.com

Saturday 10/29 “Diary of a Country Priest”

Friday 10/28 Get Dead San Francisco troublemakers Get Dead were forged in the furnace of rad. The punk five-piece’s interests include drinking gin out of pineapples and getting banned for life from local venues. Get Dead’s shows are rough, rowdy, and downright unforgettable. Charismatic leader Sam King is temporarily relocating music listings

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Diary of a Country Priest (1951), written and directed by Robert Bresson and adapted from the novel by Georges Bernanos, is a film that is so earnest and heartrending that it doesn’t feel entirely of this world. When a sickly priest (Claude Laydu, who lived in a monastery to prepare for the role) is assigned to his first parish in a small village devoid of faith or morals, he’s met with blatant hostility and outcast as a fool (the character recalls Myshkin from Dostoevsky’s The Idiot). Using dialogue pulled directly

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picks from the novel, Country Priest has scenes of such emotional intensity and suspense that it will make you ache in the gut, or,stir your very soul. If you feel nothing watching this film, you’re missing a heart. (Miller) Sat/29, 7:30 p.m.; Sun/30, 2 p.m.; $8 Yerba Buena Center for the Arts 701 Mission, SF (415) 978-2787 www.ybca.org

Sunday 10/30 “The Phantom of the Opera: Halloween Concert with Cameron Carpenter” Juilliard-trained Cameron Carpenter been called “a talent of Mozartean proportions” and “the bad boy of the organ;” the bio on his slick website speaks breathlessly not only of his talents on the keys, but also his “Swarovskiencrusted performance wear and organ shoes.” He may be from Pennsylvania, but it sounds like he’ll fit in just fine in Halloweencrazed San Francisco — specifically at the SF Symphony’s annual silent-film screening. This year’s flick is the 1925 Phantom of the Opera, starring Lon Chaney; Carpenter performs a short recital and accompanies the film on Davies Symphony Hall’s insanely grand Ruffatti pipe organ. (Cheryl Eddy) 8 p.m., $20–$60 Davies Symphony Hall 201 Van Ness, SF (415) 864-6000 www.sfsymphony.org

Sunday 10/30 Anamanaguchi Are you a bad enough dude? A chip-rock band hailing from New York, Anamanaguchi’s music comes as much from hacked Gameboys as it does electric guieditorials

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tars. Following its Dawn Metropolis LP in 2009 the band was tapped to create the epic soundtrack to the epic video game based on the epic indie comic Scott Pilgrim Vs. The World. Imagine Rivers Cuomo brawling through a side-scrolling beat ‘em up of your youth and you’ll have some idea of what it sounds like. The live show is a frenetic, hyper affair. (Try to resist the familiar urge to pick up the person nearest to you and throw them into the crowd. They are not a crate.) (Ryan Prendiville) With Starscream, Knife City, Crash Faster 8 p.m., $12/14 Slim’s 333 11th St., SF (415) 255-0333 www.slims-sf.com

Monday 10/31 “Shock It To Me Halloween Spookenany” Calling all monster kids! Local promoter and writer August Ragone — who penned the behemoth biography Eiji Tsuburaya: Master of Monsters — has been working in his dungeon lab all year and has created a frightful fete so terrifyingly good it would make Uncle Forry and all his Famous Monsters proud! The “Shock-It-To-Me Halloween Spookenanny” will feature music from rockabilly rumbler Johnny Legend & His Naked Apes (with members of the Mummies and the Chuckleberries,) Beachkrieg, and the Undertaker & His Pals. Host Miss Misery and DJ Omar will lord over the ghoulish gathering, which will also include a “scary screaming contest” and “creepy costume contest” — hopefully security can keep the torch-wielding villagers at bay! (McCourt) 9 p.m., $13–$15 Café Du Nord 2170 Market, SF (415) 861-5016 www.cafedunord.com

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shantala shivalingappa see tues/1

Monday 10/31 “Fog & Laser 3 — Halloween Spectacular” In the beginning there was the void. It was really dark and God kept bumping into shit, so God said ‘Let there be lasers.” And there were. But then it was just way too bright and killed the mood, so God said, “Let there be a fog machine.” And that, children, is how the first party came to be. Today, the wise ones know that you don’t need more than that to have a great time. (Well, alcohol, some eclectic indie and electro dance music by DJs RamblinWorker & EmDee , maybe a photobooth — those things help) Oh, and costumes: Adam and Eve had the right idea with the fig leaves, but God thought the snake’s disco ball costume was fucking sweet. (Prendiville) 9 p.m., $7 Makeout Room 3225 22nd St., SF (415) 647-2888 www.makeoutroom.com

Tuesday 11/1 Shantala Shivalingappa If you want to know why Pina Bausch was enchanted with Kuchipudi performer Shantala Shivalingappa, check out the Madras-born, Paris-raised dancer’s contemporary solo on YouTube. You can’t miss the exquisitely detailed arm and finger gestures that feel like the essence of Indian classicism. Bausch hired Shivalingappa for her “Bamboo Blues” — just about the only “authentic” Indian ingredient in that 2007 work. Last year, Shivalingappa made her San Francisco debut in what she does best, Kuchipudi — the fleet-footed, free-spirited yet ever so disciplined South Indian form. Fabulously musical — she has a first-rate live

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“band”— expressive and elegant, she made the Tarangam, a rhythmic bravura endeavor in which the dancer performs on the edges of a brass plate look as if she were riding the waves. (Rita Felciano)

401 Van Ness, SF

track as Youth Lagoon in May, he’s emerged as one of the most buzzed about new acts of 2011. Powers is taking his tender, haunting body of work on the road for Youth Lagoon’s first national headlining tour. Don’t miss the kick-off show at Bottom of the Hill on Tuesday. (Capell)

(415) 392-2545

With Young Magic and Parentz

www.sfwmpac.org

9 p.m., $12

Tuesday 11/1

1233 17th St., SF

8 p.m. $35-50 Herbst Theatre

Bottom of the Hill (415) 621-4455 www.bottomofthehill.com 2

Youth Lagoon The recent release of Youth Lagoon’s debut LP The Year Of Hibernation (Fat Possum) has catapulted 22-year-old college student Trevor Powers out of the Boise, Idaho, bedroom where he recorded the album and into the hearts of countless indie kids. Powers began composing wistful, dreamy piano pop as a means of confronting his struggles with anxiety. Since posting his first film listings

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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.

october 26 - november 2, 2011 / SFBG.com

23

arts + culture: ghost hunting ENCOUNTER AT THE PRESIDIO OFFICERS’ CLUB

Haunting the hunter

Communing with The Ghost Detectives’ Guide to San Francisco co-author Loyd Auerbach by Marke B. marke@sfbg.com “There are so many popular ghost-hunting apps, software programs, and TV shows out there right now that rely only on the tech side of things — but what people don’t realize is that if you take the human part out of the ghost-hunting equation, you’re really left with nothing. Sure, it may look like your app is detecting some sort of peripheral movement, or the people on TV may be tracking some remote electromagnetic phenomenon. But you have to remember that ghosts were once people, that you’re dealing with human beings. Technology will only take you so far. You need that human sensory and extrasensory contact for the spirit to fully reveal itself as more than just a blip on a screen. You can’t just go take a photo of a ghost with your iPhone!” Master of Parapsychology, professor at JFK university, and Bay Area ghost detective Loyd Auerbach (www.mindreader.com) is speaking to me over the phone about the book he published earlier this year with psychic Annette Martin, The Ghost Detectives’ Guide to San Francisco, a spooky and involving compendium of the duo’s 16-year investigations into local paranormal phenomenon. Auerbach had just come from a weeklong conference on the paranormal at Atlantic University in Virginia, where hot topics included quantum psychometrics, split beam research, global consciousness projection and convergences, and — his specialties — recurrent research with mediums and parapsychology education. That’s some heady stuff for a down-to-earth guy who credits comic book geekiness as his gateway to paranormal investigation. “It’s either surprising or not surprising that so many paranormal 24 SAN FRANCISCO BAY GUARDIAN

investigators are comic book geeks and old TV show fanatics,” he says with a laugh. (Auerbach is also a well-known chocolatier: his Haunted By Chocolate line, www.hauntedbychocolate.com, will be featured at Berkeley’s Spun Sugar shop for Halloween.) Besides the ghost detectives’ indepth sleuthing at places like Alcatraz, the Queen Anne Hotel, and Chinatown, I was particularly intrigued by Auerbach and Martin’s concept of “residual haunting” versus actual haunting. “Residual hauntings are simply traces of emotion or action that clutters the psychic territory of a location — even living people can ‘haunt’ a place residually. A real haunting consists of a complex set of phenomena that naturally involve one or several spirits, but that moves beyond repetitive enactments and into a fuller narrative.” The ghost detectives do indeed experience fuller narratives — several of them chilling, like the barrage of negative feelings that assault Annette in Chinatown and the echoes of despair filling Alcatraz. And some are more, er, entertaining, like Auerbach’s intimate encounter with a specter named Cayte at the Moss Beach Distillery that’s jokingly referred to as “ghost sex.” The book was to have kicked off a series exploring the Bay Area. Unfortunately, Annette, whose “gift of the white light” brought her a considerable amount of TV and radio fame, passed away in September. “I have so much material from our collaboration, I’m still planning to do something,” Auerbach said. “And to answer your next question: no, I haven’t personally heard from Annette from the other side. But several of her psychic friends have, and I’m hoping my next project will involve seeking her out.” 2

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LOYD I indicated we should move back to the main room, it had large windows looking out toward the bay. In front of the windows was a platform. Annette moved to the platform and windows. ANNETTE What I felt was a lot of energy, right around here. LOYD Right here? I set down the TriField Meter as well as a natural EMF meter, which measures non-tech sources of magnetic and EM fields. The latter has a sound indicator to alert the user when the readings change. ANNETTE I am going to turn on my tape recorder and see if we can pick up any voices. Something is registering with me. ... She stands at the window, waiting for him. Ah, she’s asking me why he hasn’t come. [Annette took a few deep breaths and began to channel.] My name is Annette and this is Loyd. There is nothing to be afraid of. Can you show me something? ... [Annette: She was certainly curious. I was getting her questions intuitively.] ANNA MARIE Yes, I am from San Francisco. I went to school here, Notre Dame de Victoria and St. Gabriel’s and Mercy High School... Did I like the nuns? Some of them. You spend time in the chapel [at the Presidio]. You feel good there. You want to run and play with the children, but sometimes they get frightened. LOYD What is your name? ANNA MARIE Anna Marie. LOYD What is your last name? ANNA MARIA Guiterrez. LOYD Where were you born? ANNA MARIE Not in this country. I came as a child. Travelled a long ways... LOYD How did you travel? By what means of transportation? ANNA MARIE Mother said by boat. Mother was beautiful. I came back to find her, but she is not here .... LOYD Do you remember when you came back here? ANNA MARIE People, many parties ... noise ... people ... men ... no ladies. I used to swing on a tree. LOYD A tree here? [Annette nods.] Were you married? ANNETTE She’s turned away from me now, she says others come here but not her love, not her man. “Ships, many ships.” LOYD Annette, can you tell what she is wearing? ANNETTE Yes, she is wearing this long white dress, with something tied in the center. She has very long hair but there is something tied around her head. Like a white scarf... She looks, she could be 20. She keeps changing, sometimes she looks older.... This is where she is waiting for him. LOYD The man she loves? ANNETTE She says she calls him Pugsy, but that wasn’t his real name....She doesn’t want to talk anymore. Anna Marie, can you tell me his real name? “It’s too painful,” she says. It’s alright, it’s alright, we will call him Pugsy. This is the place where they would meet. There was a big tree, a great big tree with branches that go way up. He put a rope around the branch so that she could swing and they would laugh. She doesn’t understand why all these people were here. She says that if she stays here, maybe he will find her. She can’t find him... LOYD What year does she remember being here? ANNETTE She thinks it’s 1776.... This is 1996, Anna Marie. We come with love and we don’t want you to be sad and you can leave if you want. [Annette takes in two deep breaths.] OK, she ran away. Wow! LOYD So she’s basically stuck here? ANNETTE She is stuck here, on her fixation on this man. And there was this tree, like a big oak tree, I saw it so clearly, and laughing and giggling. LOYD Do you think it was taken down to build this building? ANNETTE I forgot to mention that I felt closer to the water when I was talking to Anna Marie. Did anything measure on the meter? LOYD Yes, a couple times when she was speaking through you. ANNETTE She would come in close to me and then she would back away. At one point is was like we were holding hands. She is very friendly, very loving, but also very sad.

From The Ghost Detectives’ Guide to Haunted San Francisco, copyright 2011 by Loyd Auerbach and Annette Martin, published by Craven Street Books music listings

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

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A QUICK AND SPOOKY GUIDE TO HAUNTED SF “Even in their graves Californians are happy,� posits a 1922 Chronicle article. “[Ghosts] don’t go at all with a land of sunshine and flowers.� This may have been a slight simplification. With a history full of calamity and a climate ruled by fog, San Francisco seems a good spot for a haunting or two. In fact, our city holds a multitude of spooky spots. From golf course to aircraft carrier, some of San Francisco’s less expected haunts continue to incite shivers. (Lucy Schiller)

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By day, the site of Adolph Sutro’s ill-fated bathhouse is eerie enough, a crumbling ruin swamped by fog. Nighttime transforms it into a pitch-black abyss. It is rumored that a few unlucky souls were once sacrificed in the nearby cave, and that their spirits will come calling when a candle is lit.

If anywhere in San Francisco were to be truly haunted, this would be the place — the Columbarium houses the urns of some 30,000 deceased San Franciscans. It’s surprising that so few ghost stories come out of the place. A little girl, according to caretaker Emmit Watson, is the sole specter, roaming the Columbarium’s hallways at night.

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5. SAN FRANCISCO ART INSTITUTE BELL TOWER Inexplicable footsteps, electrical surges, and slamming doors have been commonplace since the bell tower’s construction in 1927. The odd occurrences led to a 1968 sÊance, which determined the real culprit: not a ghost, but the terrible psychic energy amassed by decades of young artistic frustration. 800 Chestnut, SF.

6. USS HORNET Active during both World War II and the Vietnam War, the USS Hornet has seen its share of death. More than 300 on-deck lives have been lost to war, accident, and suicide. The aircraft carrier is now decommissioned and docked in Alameda, where it revels in its paranormal appeal. Crew and visitors alike report the specters of sailors, lost belongings, and the sensation of being invisibly shoved. 707 W. Hornet Ave., Alameda

1 Loraine Court, SF.

7. MANROW HOUSE

4. STOW LAKE “Whenever we find a bone we put it right back,� says a gardener work-

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ing around the course. “We don’t want any bad luck.� Indeed, skulls and femurs are common discoveries at Lincoln Park, once the site of City Cemetery. Thousands of bodies remain a few feet beneath the manicured turf, and for the past decade workers have reported everything from feeling uneasy to ghostly shoulder-tapping.

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stories revolve around the deathsby-drowning of a young woman and her child. Visit the statue under cover of darkness, watch it change positions, and wait for a weeping apparition to appear.

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arts + culture: ghost hunting

A hooded statue ominously stands near the entrance to Stow Lake, the spot of more than one ghostly legend. Details and characters vary, but

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Dubbed by a 1902 Chronicle article as “the most fiercely haunted house in San Francisco,� the Russian Hill mansion has been replaced by two apartment buildings, later used in the shooting of the noir classic “Dark Passage�. But once upon a time, the Manrows were plagued by an apparition who threw hatchets, pulled hair, and ransacked rooms. 1080 and 1090 Chestnut, SF.

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GamEr Batman is the original everyman superhero. His crimefighting is a process of fighting his own demons, and his superpower is really just that he’s super-rich. Arkham Asylum (2009) was the first game to explore this depiction of the obsessed detective — Batman used nifty gadgets and stealth tactics to infiltrate the infamous madhouse and stop the Joker. But if Arkham Asylum celebrated comic book noir, its sequel Arkham City is pure comic book. UK developer Rocksteady clearly set out to make the best, most comprehensive Batman game ever, and when you see the number of characters, backstories and knowing winks contained in Arkham City you’d be hardpressed to say they didn’t succeed. The story goes: after Arkham Asylum’s fall in the first game, Gotham’s villains have been relocated to a cordoned-off section of downtown Gotham City. At a protest rally, Bruce Wayne is kidnapped by Professor Hugo Strange, who reveals he has a nefarious plan in place for Arkham. Why on earth would they put a prison in the center of the city? Now trapped within its walls, Batman decides to find out. If you feared Arkham Asylum might have been unduly elevated for being the first competent video game about Batman, rest easy: Rocksteady knows their editorials

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Batman. The Caped Crusader glides and grapples across the city with incredible, fluid movement, and whether you are battling the Joker, Mr. Freeze, or one of TwoFace’s two-toned toughs, combat has a wonderful rhythm that rewards intricate combos and looks just as amazing if you’re mashing buttons. Arkham City also gives you the opportunity to experience the guilt that comes with knowing you can’t attend to all of the crime and villainy that inhabit Arkham at once. There are criminals and puzzles left by the Riddler on nearly every inch of the decaying urban landscape, and if there’s an issue it’s that all this content can be overwhelming. Not only is scattering the city with glowing green question marks disorienting, but it serves to make Arkham City feel less authentic and more like a goofy comic book — which isn’t much of a complaint considering the source. Praising Arkham City as the best Batman game ever seems ungracious; Arkham City is one of the best games this year. At times it feels a tad bloated when compared with its predecessor, but if you like being Batman, Arkham City gives you plenty of opportunity. Rocksteady’s game is so enthusiastic about its hero and the world he inhabits that even the most curmudgeonly will smile the first time their batarang ricochets off a street thug’s skull. More impassioned fans will smile every time. (Peter Galvin) 2 picks

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

27

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rAiner wer n e r fA S S Bi n De r

Berlin AlexAnDerplATz pArTS xii, xiii, epilogue

Wed 10/26 7:30pm $7 Adv/$10 door

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Film “We are going to eat you!” Accompanied by a close-up shot of a vile, undead head, the iconic poster for Lucio Fulci’s 1979 Zombie clearly delineates the fate of all human flesh. It’s not a threat — it’s a guarantee, oozing with maggots and emphasized with a follow-up promise: “The dead are among us!” Like all international cult movies of a certain era, Zombie is known by multiple titles; sometimes you’ll see it called Zombie Flesh-Eaters or Zombi 2, since it was released on its Italian home turf as a sequel-inname-only to George Romero’s 1978 Zombi (better known stateside as Dawn of the Dead). But Fulci’s film is no Romero rip-off; you’ll find zero social commentary or monstersas-metaphors here. (Sometimes, a zombie is just a zombie.) Fulci, who’d made his name directing salacious giallo films and the occasional spaghetti western, plunged eagerly into full-bore horror; the film’s skincrawling, buzzing-fly mise-en-scène is jolted throughout with eyeballpopping moments of both terror and what-the-fuckness (key phrase: zombie vs. shark). As Stephen Thrower notes in Beyond Terror: The Films of Lucio Fulci (an essential tome for its gore-geous photo plates alone), “Fulci’s zombies [are] far more revolting and putrescent than Romero’s.” I’d agree, even with Dawn’s epic exploding head. But you know what, horror fan? You don’t have to choose. There’s room enough in the world for two zombie kings. It’s been a whole lot easier for Americans to feast on Romero films over the years, though, which is music listings

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why the Roxie’s three-day screening of Zombie is such cause for excitement. The theatrical re-release is part of a nationwide rollout by Blue Underground, one of the current leaders in the give-trashy-movies-the-classy-DVD-releases-theydeserve movement (the company was founded by William Lustig, director of 1980 cult classic Maniac — speaking of exploding heads). It’ll hit the screen “in a new 2K High Definition transfer from the original uncut and uncensored camera negative,” so everything will look extra juicy. As of October 25, you can also snatch up Blue Underground’s two-disc “Ultimate Edition,” featuring the new transfer and quite a few extras (though some seem to resemble the extras from Shriek Show’s 2004 two-disc “25th Anniversary” release; diehards will likely repurchase anyway). If your only exposure to zombies of late has been TV’s The Walking Dead, you need a dose of Zombie. First shot: a gun aimed at the camera; from that moment it never lets up, as big-eyed Tisa Farrow (Mia’s less charismatic sister) travels in search of her missing father to the cursed island of “Matul” with suave newspaper reporter Ian McCulloch (Fulci, dubbed in Noo Yawk-ese, cameos as his editor). Matul happens to be ground zero for the undead apocalypse — filled to the brim with gushing, goregasmic guts. It makes The Walking Dead look like Disneyland. Best Halloween treat ever. 2 Zombie Sat/29, 3 and 5 p.m.; Sun/30, 3, 5, 7, and 9 p.m.; Sun/31, 7 and 9 p.m., $5-$9.75 Roxie Theater 3117 16th St., SF (415) 863-1087 www.roxie.com

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

29

Arts + culture: visuAl Art L@MJK<9Q )('*/ % K9LMJ<9Q )('*1

get tickets at

:J=FL O=AF:9;@

yoshis.com

student discounts of 50% off are back! Check yoshis.com/discounts for available shows!

san francisco 1 3 3 0 f i l l m o r e s t. 4 1 5 - 6 5 5 - 5 6 0 0

YOSHI’S LOCAL TALENT SERIES

Free Music in the Lounge! Wed-Sat 6:30pm-11pm New! Weekly Jazz Jam! Wed 9:30p-12am

.....................................................

Wed, Oct 26

tony saunders

Special Guests tony lindsay - Multi-Grammy Vocalist from Santana & thiyane Pointer from the Pointer Sisters

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Fri-Sat Oct 28-29

leela jaMes Sun, Oct 30

brenda Wong aoki & Mark izu’s

KabuKi jaZZ Cabaret stories Past & Present

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Mon, Oct 31

yoshi’s halloWeen Party feat. the Cheeseballs!

HoudInI’S HypnotIc Stare IS captured By an unknown artISt’S cIrca-1920 geLatIn SILVer prInt.

& e s a u o f t h e f ly i n g s k u l l s ...............................................

Courtesy of the NatioNal Portrait Gallery, smithsoNiaN iNstitutioN, WashiNGtoN, D.C.

Tues, Nov 1 Double Bill:

GraCe Kelly quintet + russell Malone trio ...............................................

SpeLLBound

Wed, Nov 2 B-3 Organ Master’s Yoshi’s Debut!

Chester thoMPson quartet

)PVEJOJÂľT NBHJD FOEVSFT BU UIF $POUFNQPSBSZ +FXJTI .VTFVN

Thurs-Sat Nov 3-5

By Sean Mccourt

JAZZ MAFIA Presents:

arts@sfbg.com

symphony no. 2: emperor norton suite

oakland 510 embarcadero west, 510-238-9200

Wed, Oct 26 Paraguayan harpist

Carlos reyes

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Thurs, Oct 27

soul CafĂŠ West Fri-Sat, Oct 28-29

reGina belle

w/ special guest Chris Walker

Sun, Oct 30

50 KicK Ass Beers on DrAught over 100 different bottles, specializing in Belgians

A Beer Drinker’s PArADise! since 1987

PaCifiC MaMbo orChestra

..............................................

Tues, Nov 1

russ GarCia birthday tribute feat. shaynee rainbolt & terese Genecco

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Thurs, Nov 3 Spoken word w/ live band

ise lyfe

Fri-Sat, Nov 4-5

oMar sosa

afreeCanos quartet

Mon, Nov 7 Live Recording

Wally sChnalle sextet

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Tues, Nov 8 Virtuosic guitar trio

neW West Guitar GrouP .............................................. Wed, Nov 9

averaGe White band .............................................. Thurs, Nov 10 East Bay Grease

lydia Pense & Cold blood .............................................. Fri, Nov 11

CraiG ChaquiCo All shows are all ages. Dinner Reservations Recommended.

for future event info looK @ toronADo.com

hAPPY hour every Day until 6:00 pm hours: Daily 11:30 am to 2:00 am

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VISuaL art Harry Houdini: the name conjures up a multitude of images and ideas about what a magician and escape artist should be. The Contemporary Jewish Museum in San Francisco is currently celebrating that rich and long-lasting legacy with Houdini: Art and Magic, a new exhibit featuring a collection of vintage photographs, event posters, archival film, original props, art installations, and more, focusing on the world’s most famous magician — who died in 1926, on Halloween. “The genesis for the show was just really seeing how Houdini’s relevance still remains today in popular culture, and how despite being born in 1874, he still is so visible in the culture, visible in contemporary art. His celebrity has really transcended three centuries,� says CJM curator Dara Solomon. The exhibition was originally put together by the Jewish Museum in New York, with the CJM also getting involved early on in the process, as local organizers felt that there would be a strong interest in Houdini from the Bay Area — after all, the legendary icon had performed in San Francisco several times; he appeared at the Orpheum Theater, broke out of locked box lowered into the bay at Aquatic Park,

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and hung off the side of the Hearst Building to perform his famous straitjacket escape stunt. Tracing Houdini’s life from his birth as Erich Weiss in Budapest in 1874 and following his family’s immigration to the United States, his upbringing as the son of a rabbi, and the eventual evolution of his performing talents and ascension to the world stage, the exhibit tells Houdini’s story through displays of rarely-seen personal photographs, handwritten journals, and what may be the biggest draws for fans — a trunk, milk can, straitjacket, and handcuffs that actually belonged to the magician and were used in his shows. What visitors to the exhibit won’t see are any explanations or descriptions revealing Houdini’s secrets — something that organizers wanted to avoid. “It would be seen as the ultimate sort of betrayal if the exhibition set out to reveal Houdini’s tricks,� says Solomon. “He worked so hard at making his body this sort of instrument to do these performances, he was in such amazing physical shape — that was what really allowed him to do these amazing feats of strength.� Another aspect to the exhibit is the exploration of the impact of Houdini and his mystique on contemporary artists — paintings music listings

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and other installations from artists such as Deborah Oropallo and Raymond Pettibon add to the survey of his legacy. “So many artists in the past 20 or 25 years have really been taken by Houdini as inspiration and as a model for how an artist works; they find this real connection with the art of the magician and the art that they make, that they are both illusionists,â€? says Solomon. For 10 years after his death, Houdini’s widow Bess conducted sĂŠances on Halloween attempting to contact and communicate with him from beyond the grave — with his ever-growing popularity, and a new fan base with each new generation, somebody, somewhere in the world will undoubtedly be trying to do the same on Monday night. “I think that there has been nobody else like him — he was such a master of communications and a marketing genius that he ensured that he left this incredible legacy,â€? says Solomon. “When people think of the world of magic, he is still the one and only.â€? 2 Houdini: Art And MAgic Through Jan. 16, 2012 Thurs., 1-8 p.m.; Fri.-Tues., 11 a.m.-5 p.m. $5–$12 (18 and under free) Contemporary Jewish Museum 736 Mission, SF (415) 655-7800 www.thecjm.org

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arTs + culTure: halloWeen evenTs

ScareS eVeryWhere: ann MaGnuSOn (See Thu/27), TOO $hOrT (Fri/28), and 3. hekLina and PeacheS chriST (SaT/29)

Please Visit

cafedunord .com Available for Private Rental Dinner ‘til 11PM WeDNeSDAY OctOBeR 26th 8:30PM $16 (exPeRiMeNtAL)

kFJc PReSeNtS:

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the SecRet SecRetARieS

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Wednesday 26 “death in Parallel” fundraiser and preview .JTTJPO $VMUVSBM $FOUFS .JTTJPO 4' XXX NJTTJPODVMUVSBMDFOUFS PSH Q N ° Q N (FU ZPVS EFBE PO B MJUUMF FBSMZ BU UIJT TOFBL QSFWJFX PG UIF FQJDFOUFS PG 4'µT %JB EF MPT .VFSUPT DFMFCSBUJPO dream Queens revue: halloween Spooktacular Show "VOU $IBSMJFµT -PVOHF 5VSL 4' XXX ESFBNRVFFOTSFWVF DPN Q N GSFF 5IF ESFBNZ XFFLMZ ESBH TIPX HPFT HIPVMJTI XJUI 4'µT TPMF HPUI RVFFO 4PQIJMZB -FHH[

Thursday 27 “ann Magnuson plays david Bowie and Jobriath, or, the rock Star as Witch doctor, Myth Maker, and ritual Sacrifice 4BO 'SBODJTDP .VTFVN PG .PEFSO "SU 5IJSE 4U 4' XXX TGNPNB PSH Q N Q N GSFF XJUI NVTFVN BENJTTJPO 'JFSDF IFSP PG UIF T /FX :PSL QFSGPSNBODF VOEFSHSPVOE BOE GBNJMJBS GBDF BT TJUDPN UFMFWJTJPO TJEFLJDL CPTT OFJHICPS .BHOVTPO SFUVSOT UP IFS GBCVMPVT SPPUT JO UIJT QJFDF UIBU JODMVEF JODPSQPSBUF ²ESFBNT +VOH IVNBO TBD SJGJDF "[UFD TIBNBOJTN BOE BMM UIJOHT EBSL CMPPEZ BOE CFBVUJGVM ³ "OE JUµT B DPTUVNF QBSUZ *O UIF 4' .P." $SFBUJWJUZ BCPVOET “halloween! The Ballad of Michele Myers” $PVOUFS16-4& .JTTJPO 4' XXX DPVOUFS QVMTF PSH Q N BMTP 'SJ 4VO (FBS VQ GPS B ESBH TUVEEFE TMBTIFS NVTJDBM UBLJOH DVFT GSPN ²)FBUIFST³ BOE ²5IF 'BDUT PG -JGF ³ TUBSSJOH UIF QFSGFDUMZ IPSSJGJD 3BZB -JHIU 4IFµT B TDBSZ naked Girls reading: neil Gaiman $FOUFS GPS 4FY BOE $VMUVSF .JTTJPO 4' XXX TFYBOEDVMUVSF PSH Q N $PTUVNFT BOE NBTLT BSF FODPVS BHFE BU UIJT TFNJ QBSUJDJQBUPSZ BMM CVU USBEJUJPOBM SFBEJOH PG 4BOENBO DSFBUPS (BJNBOµT EBSLFS XPSL TheaterPop SF: Supernatural 3FE 1PQQZ "SUIPVTF 'PMTPN 4' XXX SFEQPQQZBSU IPVTF PSH Q N -PDBM QFSGPSNFST TLJQ UIF UBDLZ VOEFSDIJO GMBTIMJHIUT BOE ESZ JDF GPS DBSFGVMMZ DPNQPTFE JOUSJDBUF FYQMPSBUJPOT PG UIF NBDBCSF Zombie nightlife with Peaches christ $BMJGPSOJB "DBEFNZ PG 4DJFODFT .VTJD $PODPVSTF %S (PMEFO (BUF 1BSL 4' XXX DBMBDBEFNZ PSH Q N Q N 5IF VOEFBE BSF CZ OP NFBOT VOGBTI JPOBCMF ± HFU B [PNCJF NBLFPWFS EBODF XJUI TJNJ MBSMZ GFTUFSJOH GPMLT TBNQMF UIF MBUFTU [PNCJF WJEFP HBNFT BOE MJTUFO UP B QSFTFOUBUJPO CZ UIF ;PNCJF 3FTFBSDI 4PDJFUZ BU UIF FWFS QPQVMBS BMXBZT HPPE MPPLJOH XFFLMZ /JHIUMJGF FWFOU BU UIF $BM "DBEFNZ PG 4DJFODFT 8JUI 1FBDIFT $ISJTU BT IPTUFTT JUµT B [PNCJF OP CSBJOFS

Too $hort .F[[BOJOF +FTTF 4' XXX NF[ [BOJOFTG DPN Q N " CFTU DPTUVNF QSJ[F JT TVSF UP QVU UIF LJCPTI PO UIPTF QFSFOOJBMMZ QPQVMBS OVSTF HFU VQT "T JG MFHFOEBSZ #BZ MFHFOE #PP IPSU FS 5PP IPSU XFSFOµU FOPVHI PG BO JODFO UJWF UP EJUDI UJSFE DPTUVNFT BOE HP BT ZPVS GBWPSJUF DMBTTJD SBQQFS haunted hoedown #PUUPN PG UIF )JMM UI 4U 4' XXX CPUUPNPGUIFIJMM DPN Q N 3JO 5JO 5JHFS BOE 1MFBTF %P /PU 'JHIU IFBEMJOF UIF TFDPOE BOOVBM IPFEPXO BU UIJT MJWF SPDL TIPXDBTF FYQFDU B CBSO CVSOFS Jason Webley’s halloween Spectacular 4MJNµT UI 4U 4' XXX TMJNT TG DPN Q N "GUFS PODF GBLJOH IJT PXO EFBUI BU B )BMMPXFFO TIPX BOE UIFO EJTBQQFBSJOH GPS TJY NPOUIT BDDPSEJPOJTU 8FCMFZµT GVMM CBOE TIPX UIJT ZFBS QSPNJTFT FYDJUF NFOU UP TBZ UIF MFBTU night of the Living Shred $MVC 4JY 4JYUI 4U 4' XXX DMVCTJY DPN Q N B N 5IJT IJQ IPQ BOE FMFDUSP UISPXEPXO JT POF XIFSF XFµMM MFU UIF 85' QSFTT SFMFBTF TQFBL GPS JUTFMG ²GPVS SPPNT GJWF CBOET GJWF PG UIF #BZµT CFTU %+T JODMVEJOH 5IF 8IPPMJHBO BOE 3JDIJF 1BOJD B 1BSBEJTF 8IFFMT IBMG QJQF BOE CFTU TLBUF USJDL DPOUFTU³ ± BMM DBUFSFE CZ .JTTJPO $IJOFTF 'PPE BOE #BS $SVEP BOE IPTUFE CZ UXP PG PVS GBWPSJUF QFPQMF FWFS ,FMMZ ,BUF 8BSSFO BOE 1BSLFS %BZ “rhythm of the 90s” ultimate halloween Party $BGn $PDPNP *OEJBOB 4' XXX GJWFTUBSVOJUFE DPN Q N B N #SFBL PVU UIF Clueless DPTUVNF BOE UIF LFUDIVQ CPUUMF $BGn $PDPNPµT NBTTJWF EBODF GMPPS IBT QMFOUZ PG SPPN UP UVSO CBDL UIF DMPDL .BDBSFOB BOZPOF Salem )BSSJFU 4' XXX DPN Q N GSFF 5IF CJHHFTU BOE TDBSJFTU OBNF JO UIF XJUDI IPVTF EBODF NVTJD NPWFNFOU TXPPQT JO GSPN .JDIJHBO GPS B GSFF TIPX XJUI 5FBSJTU 1GBOH (VNNZCFBS %JBMT BOE 8IJUDI QSPWJEJOH HBMMPXT TVQQPSU Scaregrove 4UFSO (SPWF UI "WF 4' XXX TGSFDQBSL PSH Q N Q N ´5JT UIF TFBTPO GPS CPVODZ DBTUMFT ± CSJOH UIF LJET PVU GPS IBZSJEFT DBSOJWBM BDUJWJUJFT B IBVOUFE IPVTF BOE GJOHFST DSPTTFE GVOOFM DBLF BU UIF QBSL Speakeasy’s Monsters of rock halloween Festival 4QFBLFBTZ "MFT BOE -BHFST &WBOT 4' XXX HPPECFFS DPN Q N Q N GSFF 1BSUJFT DFOUFSFE VQPO UIF UIFNF PG HPPE CFFS OFWFS SFBMMZ HFU PME ± FTQFDJBMMZ XIFO UIFSF BSF GPPE USVDLT MJWF NVTJD BOE IFBEZ DPTUVNFT Sugar Skull decorating Workshop "VUVNO &YQSFTT .JTTJPO 4' XXX BVUVNOFYQSFTT DPN Q N ° Q N 4VHBS TLVMMT BSF QSPWJEFE TP ZPV DBO LFFQ MJDLJOH BXBZ BU MBTU ZFBSµT BU BSUJTU .JDIFMF 4JNPOµT EFDPSBUJWF FYQMPSBUJPO PG UIF %JB EF MPT .VFSUPT USBEJUJPO Third annual Zombie Prom 7FSEJ $MVC .BSJQPTB 4' XXX [PNCJFQSPNTG DPN Q N $PTUVNF DPOUFTU DPGGJO QIPUP CPPUI MJWF NVTJD BOE B TDBSZ UIPVHIU UIF EBODFST PO UIF GMPPS UPOJHIU NBZ IBWF CFFO EPJOH UIBU NPWF GPS IVOESFET PG ZFBST )FZ PVS QSPN XBT LJOE PG MJLF OJHIU PG UIF MJWJOH EFBE UPP

saTurday 29

The Big nasty: 10th anniversary Party with

BiBi SF: Queer Middle east Masquerade 4 4IJOF .JTTJPO 4' XXX CJCJTG PSH Q N 5IF DIBSJUBCMF BOE FYUSFNFMZ TVMUSZ #J#J 4' UISPXT B HSFBU QBSUZ UIBU DPNCJOFT "SBCJD 1FSTJBO 1BO "GSJDBO BOE -BUJO TPVOET XJUI IJQ TIBLJOH

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31

arTS + culTure: MuSic

the SKin, fleSh, and BlOOd Of San franciScO’S the SOft MOOn

for more music content visit Sfbg.coM/noiSe

When it’S Over 5IF IBVOUFE QPQ PG UIF 4PGU .PPO By Michael KriMper arts@sfbg.com MUSic “The reason why my rhythms are so repetitive and feel almost infinite is that, in a way, I fear closure. In the same way that I can never finish a book, I have trouble ending my songs. I have trouble ending anything. I can’t even finish a meal,” Luis Vasquez, frontrunner of the Soft Moon, tells me. Thinking about beginnings is equally problematic. The Soft Moon is a music project built on unsettled grounds. It’s magnetized between the poles of late 1970s and early ‘80s post-punk, the motorik beats of techno and Krautrock, and organic forms of Afro-Cuban poly-percussion, but all equally disrupted from their roots, on a search for some other destination. The anxiety about endings is strange, on the surface at least, because Vasquez — singer, songwriter, multi instrumentalist — has accomplished more than your average procrastinator. Since last year’s self-titled debut on Captured Tracks, a desolate and rapturous composition, the Soft Moon has steadily seduced a devoted listenership. Vasquez, along with fellow Bay Area-based musicians Justin Anastasi on bass and Damon Way on drum machines and synthesizers, just performed a few shows on the East Coast after returning from tour in Europe earlier in the sum32 SAN FRANCISCO BAY GUARDIAN

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mer. The band is also working on material for a second full-length and preparing for the release of a new EP, Total Decay, coinciding with a launch party on Halloween in San Francisco. Songs by the Soft Moon often begin in full throttle, as if they’ve already begun. They move forward carried by the sheer propulsive gravity of their engineered drum patterns — driving their gutted vehicles according to shapes and zigzags, towards endings that dissolve, break in static, submerge into chaos, or collapse abruptly as if the frequency on the radio has just changed or connection suddenly lost. Despite whatever glimmer of hope or flicker of light is carved out by the oscillating guitar strums and the burning synthetic melodies, the songs never find their way out of claustrophobia. They have geometrical names: “Circles,” “Parallels,” or frightening ones: “Tiny Spiders,” “Dead Love.” They conjure moods of loss: forgotten memories, clouded nostalgia, a future that never came to pass, harrowing desire, and love. Vasquez doesn’t sing so much as chant in a corrosive whisper, “You can’t pull yourself out of the fire,” or he screams, yells, moans, gurgles from the depths — his voice degenerates into a mechanical short-circuit, primal electric emotion. “I don’t know what it is about endings,” he says. “Maybe I want to hold onto the

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moment. Sometimes I take a snapshot of it as if it’s still there. Maybe it’s simply my fear of death.” The substance of the Soft Moon is raw, cutting. Yet the music feels good, even approaches heights of euphoria. Streams of pleasure charge the rawness; optimism suspends fear. It’s delivered in pop formulas, forged from hours, years of digesting Prince, Madonna, Joy Division, Kraftwerk. But the Soft Moon also turns pop upside down. Hope is never realized. Familiar intensities of pleasure and desire are disturbed. The music spurs an emotional awakening in your guts, in the ghost of the machine that beats its mechanical rhythms on and on. A haunted undercurrent of pop washes up on the shore — like all promised lands, a tragic place. Vasquez thinks the Soft Moon evokes his childhood growing up in Victorville, a suburban desert community nestled in the heart of the Inland Empire just outside of Los Angeles. He recalls empty space, tract houses, malls, skies that went on forever, blinding flashes of sunlight, and a soft moon hanging low in the horizon. He remembers riding in the car for endless stretches, the rhythms of commuting, “isolated in music as if it was a sanctuary.” I ask, so how do you ever finish a song, at least in the sense of putting it out there? “I just abandon them,” Vasquez says. Why bother making them? “I get attached to music listings

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songs and put a lot of effort into making them. Occasionally they become revelations for me.” How do you recuperate your abandoned revelations when you perform, repeating all over again what you could never finish in the first place? “When I play live, it gets to a euphoric level, and it’s very cathartic, but I never get a sense of overcoming anything. Or the overcoming is really only my chance to express something to the crowd, to be vulnerable, finally.” Perhaps the Soft Moon’s most revelatory song yet is “When It’s Over.” It’s something of a postapocalyptic nightmare, anticipating the end, a bleak and empty one, and at the same time recovering the traces of a past, revealing the specters and ghosts that still inhabit the present. Recurring dreams serve as inspiration; “You know, the typical: alien invasions, planets colliding, comets, the sun exploding — very cosmic — the earth stopping, or falling,” he says. “It always has something to do with the galaxy. It’s always so devastating ... I never could finish [Cormac McCarthy’s] The Road either.” The EP, Total Decay, follows these same themes of temporal and planetary displacement, or rather, diaspora. But the core engine, and enigma, of these songs is always one full of life, vital and imaginative. “I want to hold onto the organism, since technology is developing so fast that we have difficulty adapting.” Vasquez says. “Body, sensitivity, emotion, skin, flesh, blood — I think that’s why the nostalgia is so prevalent in the music.” The Soft Moon holds on just as equally to the machine. The songs are produced organisms, synthesized from spirit and electronics; they are born, grow, mature, and wither away. In “Total Decay,” swirling alarms disperse, echo, derail into static breath. Synthetic wind gusts into the hypnotic polypercussion of “Visions,” dancing frenetically around punctuated low end bass. Claps chatter and keys bubble up from the ether, and return to their source, without justification, just as suddenly. 2 The SofT Moon With Led Er Est, Chelsea Wolfe, Michael Stocke, and Josh Cheon Mon/31, 9 p.m., $13 The Independent 628 Divisadero, SF (415) 771-1421 www.theindependentsf.com

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thE CREolE ChoiR oF CUBa, doing What thEy do BESt.

StREngth oF Song 5IF $SFPMF $IPJS PG $VCB Âą BOE PUIFS HMPCBM NVTJD BDUT Âą IJU 4'

By Emily SavagE emilysavage@sfbg.com mUSiC In Cuba, there is just one group that specializes in traditional Haitian songs — the Creole Choir of Cuba. “Some of the songs in our repertoire are those we learned from our parents or grandparents, others we learned during the many visits we have made to Haiti,â€? says choir director Emilia Diaz Chavez, through translator Kelso Riddell. Riddell is the group’s tour manager for this journey, which is the choir’s fifth trip through the U.S. The vibrant ensemble — featuring Creole vocals and percussion — appears in San Francisco at the Herbst Theatre on Nov. 3, through the California Institute of Integral Studies’ public programs and performances series. Diaz Chavez created the group in 1994 in CamagĂźey, Cuba. The core ten members — Rogelio Torriente, Fidel Miranda, Teresita Miranda, Marcelo Luis, Dalio Vital, Yordanka Fajardo, Irian Montejo, Marina Fernandes, Yara Diaz, and Diaz Chavez — were already part of the Regional Choir of Camaguey, which Diaz Chavez also directs (and has for the past 32 years). “The Haitian descendents of the Regional Choir got together to form the Desandann or the Creole Choir of Cuba with the objective of promoting the songs of our ancestors,â€? she explains. Desandann literally translates to “descendents.â€? The choir is made up of the descendents of a people twice displaced, first from West Africa, then from Haiti. Some of their ancestors escaped slavery in Haiti near the end of the 18th century, others came editorials

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to Cuba more recently to work in the coffee and sugar plantations. Diaz Chavez was born in CamagĂźey, and remembers nights at home singing — she says her whole family enjoys song and dance. She studied music at the School of Arts in CamagĂźey, then completed her studies in Havana. “After graduating, I became particularly interested Haitian music and bringing it to the rest of the world,â€? she says. While the journey of her people may have included displacement and sorrow, the songs the group sings are mostly uplifting — lyrics include messages of love, humor, and happiness, along with struggle. “These make us all laugh and cry and sing and dance,â€? say Diaz Chavez. And the consistent hand percussion and moving vocal compositions maintain an air of excitement, urgency. Live, the group dresses in colorful prints and engages audiences in participation. On this tour, which includes 30 performances during a six-week period, the choir also has been holding workshops at schools throughout the country. “We hope people leave our concerts knowing more of our Haitian music, and that they have received our messages of love and friendship,â€? Diaz Chavez says, “And [we hope] they enjoy a little Cuban music too.â€? 2

additional global musiC events 5IF BOOVBM San Francisco World music Festival OPX JO JUT UI ZFBS XJMM QSFNJFSF ²5IF &QJD 1SPKFDU .BENFO )FSPJOFT #BSET GSPN "SPVOE UIF 8PSME ³ 5IF QFSGPSNBODFT CSJOH UPHFUIFS TJOHFST NVTJDJBOT BOE FQJD DIBOUFST GSPN "[FSCBJKBO ,ZSHZ[TUBO BOE UIF 5BNJM /BEV SJWFST PG *OEJB BNPOH PUIFS XPSMEXJEF MPDB UJPOT 1FSGPSNFST JODMVEF "[FSCBJKBOJ LBNBODIB NBTUFS *NBNZBS )BTBOPW $IJOFTF OBOHVBO NBTUFS 8BOH 9JO 9JO /PSUI *OEJBO UBCMB NBTUFS 4XBQBO $IBVEIVSJ 4PVUI *OEJBO DBSOBUJD WJPMJOJTU "OVSBEIB 4SJEIBS BOE NPSF Fri/28-Sun/30, 8 p.m., $20 Jewish Community Center of San Francisco 3200 California, SF (415) 292-1233 www.jccsf.org

Nov. 3, 8 p.m., $25–$65 Herbst Theatre

Riffat Sultana EBVHIUFS PG MFHFOEBSZ TJOHFS 6TUBE 4BMBNBU "MJ ,IBO QFS GPSNT USBEJUJPOBM BOE NPEFSO NVTJD JODMVEJOH 4VGJ GPML BOE MPWF TPOHT GSPN 1BLJTUBO BOE *OEJB 5IF WPDBM JTU JT CBDLFE CZ BO FOTFNCMF QMBZJOH UBCMB CBOTVSJ GMVUF BOE TUSJOH HVJ UBS 4VMUBOB XIP DPNFT GSPN FMFWFO HFOFSBUJPOT PG NBTUFS WPDBMJTUT JT UIF GJSTU XPNBO PG IFS MJOFBHF UP QFSGPSN QVCMJDMZ BOE UP UPVS UIF 8FTU 4JODF NPWJOH UP UIF 64 TIF IBT QFSGPSNFE XJUI 4IBCB[ QSFWJPVTMZ LOPXO BT UIF "MJ ,IBO #BOE Âą BO BDPVTUJD HSPVQ PG XPSME NVTJDJBOT Âą BOE NPSF SFDFOUMZ IFS PXO 3JGGBU 4VMUBOB 1BSUZ B QBJSFE EPXO HSPVQ GPDVTFE NBJOMZ PO IFS WFMWFUZ WPDBMT

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PLAYLIST

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Kevin SpAcey in RIchaRd III: “SeRiouSly potent.�

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richard iii Wed/26-Fri/28, 7:30 p.m.; Sat/29, 2 and 8 p.m., $35–$150 Curran Theatre

THU 10.27.11

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1015 FOLSOM

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tHeAteR A single black armchair center stage and one big fat “Now� projected on the back wall signal our anticipation pretty neatly — of a famous opening line, of the famous actor about to utter it, and in the feeling that it is something more than a history play unfolding here, at this moment, in a city and country thoroughly and unprecedentedly “occupied� with political matters. A big, pungent production of Richard III? Yes, now sounds about right. The production running through this week at the Curran Theatre (courtesy of SHN) originated in June at London’s Old Vic, where its star, Oscar-winning American film actor Kevin Spacey, has served as artistic director since 2003. Its transAtlantic tour is part of the Bridge Project (co-produced by the Old Vic, New York’s BAM, and Neal Street Productions), which brings together onstage a mix of American and British theater talent. Director Sam Mendes, also a well-known name in Hollywood

since he and Spacey both won Oscars for 1999’s American Beauty, offers (despite some unevenness in tone and persuasiveness across the cast) a generally fleet and sure modern-dress staging of one of Shakespeare’s longest plays, helpfully subdivided with dramatically underscored chapter headings projected during transitions, and building to a rousing climax over the live rumble and pounding of multiple tenor and bass drums. Tom Piper’s set, meanwhile, presents a cold-looking and always nearly empty room, covered in dull white paint turning to dishwater gray over its weathered surfaces, and lined with doors in a suggestion of multiplying intrigue as well as history’s endless entrances and exits. The subdued lighting (in Paul Pyant’s design) accents the tarnished look of a world beset by obscure plots and creeping doom, while from time to time casting characters’ shadows onto the walls like ulterior selves. In the title role, Spacey delivers a crowd-spoiling yet seriously potent performance as the quintessence of power-mad ambition at the highest levels of the social

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By RoBeRt AvilA

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FRI 10.28.11

A trans-Atlantic cast lands a rowdy Richard III in San francisco

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it cAme fRom SpAcey

hierarchy. Appearing in that center armchair as the play begins, in disheveled modern black-tie evening dress and a paper crown, Spacey’s Richard is a reluctant celebrant in a “weak, piping time of peace,� who not only aspires to reach the throne by ruthlessly doing in all family and familiars in his way, but who takes exquisite pleasure in sharing with the audience the graphic details of the journey. His own party is just beginning, and won’t stop until combined forces wipe King Richard out on Bosworth Field, ending a bloody two-year reign and an English imperial dynasty. Spacey’s Richard is vocally and physically powerful, well shaped in every detail of its unshapely protagonist-villain. His wooing of Anne (a sharp, sultry Annabel Scholey), for example, in a famous early scene, or his impatient proxy wooing later on of a second wife via the young girl’s mother (the Duchess of York, played commandingly by Maureen Anderman), are as comically subtle and rich as they are virile and startlingly explosive. A rare moment of selfdoubt in Richard, wrestling with a late-blooming attack of conscience, is also beautifully handled. Spacey’s enjoyably vivid interpretation lies in a compelling blend of sociopathically cool, intellectual charm and an underlying animal drive manifest in the Z-shaped posture of Shakespeare’s physically “unfinished� hunchback. When standing still, Spacey’s Richard balances on a twisted leg bound up in a metal brace and perched on the ball of the foot, his head twisting and jutting, with one arm wrapped in a black leather glove and the other tucked up high like a fledgling wing. But when this incarnate of political malevolence moves, he flies around the stage with the quick and decisive energy of a once-wounded creature long-adapted to its deformity, an angry raptor on a metal cane. It’s that two-sided quality that makes good sense of the play’s moral vision too, which draws so forceful and timely a distinction between citizen-duping outward show and the inner appetites driving a ruling class of cannibals. 2

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Photo by AlAstAir Muir

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

35

arts + culture: Film

scenes FroM Le Havre (top) and THe MinisTer (BottoM). Courtesy san franCisCo film soCiety

French twIst 'SFODI $JOFNB /PX TDPSFT XJUI TUBOEPVU XPSLT CZ SFMJBCMF BVUFVST By Max GoldBerG arts@sfbg.com FIlM The San Francisco Film Society’s annual French cinema roundup stretches its national mandate a bit this year. Take the Dardenne brothers’ The Kid with a Bike, one of the best films of the year regardless of country of origin but like the rest of their work particularly fixed in the (French speaking) Belgian working class. It begins in motion, as adolescent Cyril (newcomer Thomas Doret) desperately redials his father’s disconnected number from a foster home. He refuses to accept a social worker’s calm explanation that his father has left without a forwarding address, breaking away for the first of many wild flights. Already we’re navigating a complex identification with the boy, rationally removed from his situation at the same time that we are viscerally attached to it. The Kid with a Bike paints a remarkably sure portrait of adolescent pain. Several critics have made much of Cyril’s tendency to bite, but I found those moments where he simply shuts down even more disquieting, in no small part because the narrative flow is temporality blocked. Though Cyril is eventually given refuge, it’s as difficult for the boy to accept a hairdresser’s kindness as it is for him to resist a neighborhood tough’s illusory promise of self-emancipation (the actors playing these peripheral roles 36 SAN FRANCISCO BAY GUARDIAN

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are excellent, layering coming-ofage formulas with fallibility and grace). The latter conscripts Cyril for a violent act, one which in spite of its petty nature holds enormous consequence in the narrative’s web of responsibility and guilt. It is difficult to imagine a contemporary Hollywood movie maintaining such moral complexity in the face of a child’s loss of innocence. Finnish auteur Aki Kaurismãki maintains his particular approach to faces and pacing in his first Gallic effort, though Le Havre consciously raises the ghosts of French cinema, specifically postwar resistance dramas and the neighborly realism of filmmakers like Marcel Pagnol. The director accents the timeless quality of the titular port with his classical framings and muted color palette even as his story directly refers to modern Europe’s anxieties. An elderly shoeshine man freighted with the name Marcel Marx (André Wilms) discovers a young African boy hiding out from the immigration authorities under Le Havre’s docks. With his wife ill in the hospital, Marx takes the boy in, eventually raising funds to smuggle him on to his mother across the English Channel. The community that coheres around Marx is familiar from any number of partisan allegories: there are the good Samaritans who help Marx shelter the boy; the faceless nosy neighbor who calls the police; the world-weary souls at the neighmusic listings

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borhood bar; the leery inspector who seems hesitant to carry out unjust orders; the misty invocations of the past and hard talk of money; the final Casablanca-like rapprochement between Marx and the inspector. A restrained melodrama, Le Havre is that rare film where everything that turns out right suggests the opposite. The artifice of the style and plotting are meant to produce a hesitation, certainly, but the remainder is an honest yearning for justice. If it seems odd that it would take a Finnish director to call upon France’s better angels, that’s part of what gives Kaurismãki’s traditionalism just the right touch provocation. Also worth checking out is Pierre Schoeller’s fascinating train wreck of an information age political thriller, The Minister, starring longtime Dardennes player Olivier Gourmet as a compromised bureaucrat. The Long Falling, Martin Provost’s second match up with actress Yolanda Moreau after Séraphine (2008), purposefully shuttles from a hardened Belgian village to an unmoored Brussels and features Agnès Godard’s characteristically probing camerawork, itself a pride of French cinema. I wasn’t able to preview Mia HansenLøve’s Goodbye First Love, but if the director’s wise and poignant second feature, The Father of My Children (2009), is any indication, it might well prove another highlight of an already strong French Cinema Now program. 2 “French cinema now” Thurs/27–Tues/2, $12–$13 SFFS | New People Cinema 1746 Post, SF www.sffs.org

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ARTS + CULTURE: FILM

“I FEEL LIKE I KNOW HER, BUT SOMETIMES MY ARMS BEND BACK:� SHERYL LEE AS DOOMED BEAUTY QUEEN LAURA PALMER.

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$FMFCSBUJOH UXP QMBTUJD XSBQQFE EFDBEFT PG Twin Peaks

BY DENNIS HARVEY arts@sfbg.com FILM In 1990, cable was still a luxury many chose not to afford. The Big Three — it was now grudgingly being admitted that Fox might make it Four — weren’t doing anything all that different from what they had a decade or two or three before. Certainly the popular likes of Major Dad, Beverly Hills 90210, and America’s Funniest Home Videos weren’t exactly rocking the boat as thus far known to viewers and sponsors. Then came Twin Peaks, which most ABC executives had thought a grievous mistake. Principal writer Mark Frost had the successful Hill Street Blues under his belt, but cocreator David Lynch’s four movies hadn’t remotely seemed to qualify him for America’s living rooms. The Elephant Man (1980) was a prestige project for which he was a hired hand, still his most “normal� film even if eccentric by most other standards; Dune (1984) was an expensive disaster fan-editors are still trying to salvage. Blue Velvet was the most perverse Americana joke imaginable in 1986, a screen year otherwise defined by Top Gun. As for Eraserhead (1977) — well, never mind. Debuting in April of 1990, Twin Peaks took Velvet’s surreal juxtaposition of Eisenhower-era small town idyllicism with hair-raising behavioral excesses, then stretched it semi-mockingly over the broad, flat ensemble canvas of Peyton Place — a trashily soap-operatic bestseller and TV series whose movie incarnation Frost-Lynch screened for inspiration. The notion of innocence defiled almost beyond comprehension was crystallized in their startling image of a homecoming queen beatifically dead, plastic-wrapped, washed onto the riverbank of her picturesque Washington state burg. “Who killed Laura Palmer?� briefly gripped the nation, just as “Who shot J.R.?� had 10 years earlier. Two decades ago everything tasted better when drizzled with the special chocolate sauce of “postmodernism,� and Twin Peaks was the most ironic cherry pie vehicle for that addictive popular culture had yet baked up. It was so cool you could hardly believe it was actually being watched. editorials

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Then it wasn’t, making for one of the medium’s brightest, fastest flameouts. But naturally its cult has endured, despite so many homeviewing releases since compromised by laziness and rights issues, not to mention the colossal buzz kill of 1992’s first/last big-screen spin-off. Its actors have aged, and in numerous cases not prospered. But Twin Peaks itself is like Dorian Gray, forever ageless, seductively notquite-right. You can indulge your undying love at the Roxie, when a moreor-less “20th Anniversary Tribute� offers close to six consecutive hours

— there were ex-actual movie stars (Piper Laurie, Richard Beymer, Russ Tamblyn), faded TV stars (Michael Ontkean, Peggy Lipton), David Lynch “stars� (Eraserhead himself, Jack Nance), miscellaneous oddjobs, and onetime “Elizabeth Taylor of China� Joan Chen. The latter never seemed quite to know what she was doing there, but then she wasn’t supposed to be — Isabella Rossellini had dropped out. Bemusedly observing all was Kyle MacLachlan’s apple-cheeked FBI Agent Dale Cooper, a Lynchian alter ego willing to plangently wade into swamps of teenage prostitution, cocaine deals,

of Peaks-iana. Co presented by short-range nostalgists Midnites for Maniacs, the evening commences with Otto Preminger’s noir-ish 1944 Laura, another story about an obsessed-over dead babe that was an apparent influence on the much later series. Things begin in earnest with the 90-minute Peaks pilot, directed by Lynch himself. Swaying to the drugged prom dance themes of Angelo Badalamenti’s signature score, it introduced an incredible range not just of characters but of actors, both running the gamut from dewy to screwy. Beyond those luscious youths (Lara Flynn Boyle, James Marshall, Sherilyn Fenn, etc.) who all seemed poised to become movie stars — particularly Sheryl Lee, whose Laura Palmer incited such mania that the Seattle “local girl� cast simply to be a corpse was brought back as a hastily conceived doppelganger

surreal dwarf fantasias, and so forth — as long as he could break for a cuppa diner joe and more of that fine pie. Alternately queasy, campy, and swoony, Twin Peaks had it all. With its unending parade of lurid revelations, not excluding occult ones, the whole miraculous brew constantly threatened to sink into self-parody. Many thought it did so in the second season. ABC’s shuffleboard scheduling dealt further death blows to a fickle mainstream audience that had decided they weren’t sure if they cared who killed Laura Palmer anyway. (Lynch would have preferred the mystery remain unsolved.) Still, the fanatics who remained made it seem viable to roll camera on 1992’s Twin Peaks: Fire Walk With Me (the Roxie program’s final feature) just after the show’s cancellation. No longer writing with Frost but Robert Engels, Lynch saw it as the first in a feature trilogy that

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@SQS^bW]\ O\R A\SOY >`SdWSe

would expand and complete the Peaks universe. That was not to be. Booed at Cannes, Fire tanked everywhere but Japan. As with everything Lynch has ever done, it has defenders. The worse the project, the more vehement the defense, and as very possibly the worst of all, Fire is some folks’ notion of a cruelly maligned masterpiece. The director shot over five hours of material; should those umpteen deleted scenes ever surface, you can bet on a correctivefan-edit frenzy. In the meantime there’s still just the movie, as infuriating as the show was frequently great. It’s also (very) occasionally great, which itself is infuriating. The first section (starring Chris Isaac as Agent Non-Cooper in UpsideDown Pin Tweaks-ville) is the smug, dumb, garish self-parody the series never quite descended to. Eventually things come in to relative focus around Laura Palmer’s final week on Earth, building toward a surprisingly blunt religious fall-ascension, complete with literal angels. The hellfire bits do have their moments, like scary Bob (Frank Silva) slithering into a bed, or driving two leashed girls at the end like panicked farm animals to slaughter. But the heightened gore and nudity seem pandering; fascinating Lee, 18 going on menopause, is made to totter around like a cokehead version of Bette Davis in Beyond the Forest (1949). There is dialogue as gee-whiz as Laura answering “Nowhere fast!� when asked “Where you going?� by Donna (Moira Kelly replacing Boyle, which doesn’t work); and as crass as demon-addled daddy Leland (Ray Wise) telling daughter “Let’s get your muffin!� en route to breakfast and the apocalypse. What is David Bowie doing here? As the New York Times review noted, such useless incongruities “would have made [just] as much sense inserted into a segment of Golden Girls.� 2

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“20TH ANNIVERSARY CELEBRATION FOR DAVID LYNCH’S TWIN PEAKS � Sat/29, 7 p.m., $15 Roxie Theater 3117 16th St., SF (415) 863-1087 www.roxie.com

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Afrolicious &MCP 3PPN QN %+T 1MFBTVSFNBLFS BOE 4FvPS 0[ TQJO "GSPCFBU 5SPQJDgMJB FMFDUSP TBNCB BOE GVOL Death Guild: Imperative Reaction %/" -PVOHF QN Guilty Pleasures (FTUBMU UI 4U 4' QN GSFF %+ 5PQI;JMMB 3PC .FUBM %+ 4UFG BOE %JTDP % TQJO QVOL NFUBM FMFDUSP GVOL BOE T (It’s) All Over 4IPXEPXO 4JYUI 4U 4' XXX BMMPWFSTG UVNCMS DPN QN GSFF 1VOL JOEJF &%. SPDL BOE IJQ IPQ Supersonic #PMMZIPPE $BGn QN 'MZ UIF GSJFOEMZ TLJFT XJUI 4'¾T 5BTUZ $SFX TQJOOJOH XPME CFBUT GSPN UIF #BMLBOT #SB[JM $PMPNCJB BOE NPSF Thursday Special Tralala 3FWPMVUJPO $BGn OE 4U 4' QN GSFF %PXOUFNQP IJQ IPQ BOE GSFFTUZMF CFBUT CZ %S .VTDP BOE 6OCSPLFO $JSDMF .$T Thursdays at the Cat Club $BU $MVC QN GSFF CFGPSF QN 5XP EBODF GMPPST CVNQJO¾ XJUI UIF CFTU PG T NBJOTUSFBN BOE VOEFSHSPVOE XJUI %BOHFSPVT %BO -PX -JGF BOE HVFTUT Tropicana .BESPOF "SU #BS QN GSFF 4BMTB DVNCJB SFHHBFUPO BOE NPSF XJUI %+T %PO #VTUBNBOUF "QPDPMZQUP 4S 4BFO 4BOUFSP BOE .S &

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arts + culture

friday 28 rock /blues/hip-hop

Albino, Alma Desnuda, New World Ape *OEFQFOEFOU QN ALO, Fruition (SFBU "NFSJDBO .VTJD )BMM QN AstroZombies, Sean Smith, 3 Leafs &M 3JP QN Back Pages +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN GSFF Baxtalo Drom "NOFTJB QN Bayonics &MCP 3PPN QN Daikaiju, Street Justice, Dalton, Heavy Action ,JNPÂľT QN Fog City Swampers, Brightlighters, Lemon Party 5IFF 1BSLTJEF QN Kings of Convenience 'JMMNPSF QN Eliot Lipp 1VCMJD 8PSLT QN Manchester Orchestra, White Denim, Dear Hunter, Little Huricane 3FHFODZ #BMMSPPN QN Moccretro, Creepers, Terrible )FNMPDL 5BWFSO QN Nobunny, Ty Segall, Apache, Uzi Rash, Zulas #SJDL BOE .PSUBS .VTJD )BMM QN Please Do Not Fight, Rin Tin Tiger, Debbie Neigher, Owl Paws #PUUPN PG UIF )JMM QN Salem )BSSJFU 4' XXX DPN QN GSFF XJUI 3471 PO XXX DPN Secret Secretaries, Water & Bodies, Beta State, Citabria $BGF %V /PSE QN Too $hort, Vin Sol, DJ Pony P .F[[BOJOF QN Totally Enormous Extinct Dinosaurs 3JDLTIBX 4UPQ QN Jason Webley, Blackbird Raum 4MJNÂľT QN Wesley Woo, Los Dos Harmanos .BTPO 4PDJBM )PVTF 4' XXX NBTPOTPDJBMIPVTF DPN QN GSFF

jazz/new music

Bryan Girard Trio $MJGG )PVTF 1PJOU -PCPT 4' XXX DMJGGIPVTF DPN QN GSFF Leela James :PTIJÂľT BOE QN Javon Jackson, Mulgrew Miller, Jimmy Cobb, Peter Washington :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX ZCDB PSH QN

folk / world/country

“San Francisco World Music Festival� +$$4' $BMJGPSOJB 4' XXX KDDTG PSH QN Riffat Sultana 3FE 1PQQZ "SU )PVTF QN

dance clubs

Afro Bao -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Afrolicious Halloween with DJ Sabo 'PMTPN 4' XXX DPN QN 8JUI $IJFG #PJNB 1MFBTVSFNBLFS BOE 4FOPS 0[ Duniya Dancehall #MVF .BDBX .JTTJPO 4' QN 8JUI MJWF QFSGPS NBODFT CZ %VOJZB %SVN BOE %BODF $P BOE %+T EVC 4OBLS BOE +VBO %BUB TQJOOJOH CIBOHSB CPMMZXPPE EBODFIBMM "GSJDBO BOE NPSF “Les Beaux Halloween Ball� %/" -PVOHF QN 8JUI %+T ,JEE 4ZTLP .T +BDLTPO BOE /BUBMJF /VYY Old School Dance Party &M 3JP QN %+T TQJOOJOH GSFFTUZMF OFX XBWF IJQ IPQ BOE PME TDIPPM KBNT Rhythm of the 90s $MVC $PDPNP *OEJBOB 4' XXX DBGFDPDPNP DPN QN -JWF QFS GPSNBODF CZ 5VSCP # BOE PME TDIPPM KBNT XJUI %+ &TTFODF BOE %+ #BOUJL Vintage 0STPO 'PVSUI 4U 4' QN GSFF %+ 5PQI0OF BOE HVFTU TQJO KB[[Z CFBUT GPS DPDLUBMJBOT Zombie Prom 7FSEJ $MVC .BSJQPTB 4' XXX [PNCJFQSPNTG DPN QN 8JUI MJWF NVTJD CZ 4MJN +FOLJOT BOE %+ 3PDLJO 1BVM

saturday 29 rock /blues/hip-hop

Angora Debs, Charles Albright, Buk Buk Bigups )FNMPDL 5BWFSO QN Black Angel 5JLLB .BTBMB )BJHIU 4' QN GSFF Bay Area Heat +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN GSFF Damned, Cute Lepers 4MJNÂľT QN Zach Deputy, Con Brio, DK K-OS *OEFQFOEFOU QN #PPN #PPN 3PPN QSFTFOUT ²)BMMPXFFO .BTRVFSBEF #BTI Âł Quinn Deveaux, Obo Martin, Jugtown Pirates "NOFTJB QN Fastbacks, Muffs, Uncle Joe’s Big ‘Ol Driver #PUUPN PG UIF )JMM QN Foreverland, Go Tones #JNCPÂľT QN Go Kart Mozart, Felsen .BTPO 4PDJBM )PVTF 4' XXX NBTPOTPDJBMIPVTF DPN QN GSFF Go Time!, Sic Knif #FOEFSÂľT QN Guella ,JNPÂľT QN Guvernment, Swillerz, 50 Watt Heavy 5IFF

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1BSLTJEF QN GSFF Hot Toddies, Ghost & the City, Sun Hop Fat 3JDLTIBX 4UPQ QN Meat Hooks and the Vital Organs, Butt Problems, Abrupt 4VC .JTTJPO QN Mumlers, He’s My Brother and She’s My Sister, Soft White Sixties #SJDL BOE .PSUBS .VTJD )BMM QN Pierced Arrows, Don’t, Hot Lunch, Hammer Horror Classics 5IFF 1BSLTJEFT QN Planet Booty, Easystreet, Glowing Stars, Hottub DJs $BGF %V /PSE QN Remones 3JQUJEF 5BSBWBM 4' XXX SJQUJEFTG DPN BOE QN GSFF Simple Plan, Forever the Sickest Kids, Cab, Marianas Trench 3FHFODZ #BMMSPPN QN Strange Boys $MJGU )PUFM (FBSZ 4' QN GSFF XJUI 3471 BU NPSHBOTIPUFMHSPVQ DPN STWQ DMJGU TFTTJPOT Tom Shaw Trio featuring Sheelagh Murphy .BSUVOJ¾T 7BMFODJB 4' QN Trentemoller 'JMMNPSF QN Warren Haynes Band 8BSGJFME QN

jazz/new music

Dan Zemelman Quartet 3FE 1PQQZ "SU )PVTF QN Leela James :PTIJÂľT BOE QN Pomplamoose :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX ZCDB PSH QN Wanda Stafford, Benn Bacot, Elly Milder, Loren Means 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN

folk / world/country

“San Francisco World Music Festival� +$$4' $BMJGPSOJB 4' XXX KDDTG PSH QN Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN

dance clubs

A Nightmare on 6th Street Halloween Bash $MVC 4JY 4JYUI 4U 4' QN 1SFTFOUFE CZ %FF$FF¾T 4PVM 4IBLFEPXO Afro Bao -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Bollyween &MCP 3PPN QN 8JUI /PO 4UPQ #IBOHSB BOE #MBDL .BIBM Bootie Halloween .F[[BOJOF QN 8JUI %+T "ESJBO BOE .ZTUFSJPVT % #PPUJF IPVTF CBOE 4NBTI 6Q %FSCZ BOE TQFDJBM HVFTU %+ "YFM Club 1994 Halloween Special 7FTTFM $BNQUPO 4' "MM ´ T EBODF QBSUZ XJUI +FGGSFZ 1BSBEJTF BOE "WB #FSMJO Go Bang! %FDP -PVOHF -BSLJO 4' XXX HPCBOHTG DPN QN $PTUVNF QBSUZ XJUI %+T (MFOO 3JWFSB .BUUTLJ &NJMT BOE SFTJEFOUT 4UFWF 'BCVT BOE 4FSHJP Halloween International Ball )JMUPO )PUFM 0¾'BSSFMM 4' XXX IBMMPXFFOCBMM GVMM FWFOU CSJUF QN Halloween Massive ,JOH 4USFFU &WFOU 4QBDF ,JOH 4' XXX IBMMPXFFONBTTJWF DPN QN Trannyshack: Halloween %/" -PVOHF QN Voodoo &WF -PVOHF )PXBSE 4' XXX FWFMPVOHFTG DPN QN 8JUI %+T )BZMPX 8POXBZ 1PTJCVM NBTI VQT UPQ QPQ BOE IPVTF

sunday 30 rock /blues/hip-hop

Alesana, Skylit Drive, Sleeping With Sirens, Attila 3FHFODZ #BMMSPPN QN Anamanaguchi, Starscream, Knife City, Crashfaster 4MJNÂľT QN Charity and the Jam Band 1BSL $IBMFU (BSEFO 3FTUBVSBOU (SFBU )XZ 4' QN Gardens )FNMPDL 5BWFSO QN Sophie Hunger #SJDL BOE .PSUBS .VTJD )BMM QN Lemonheads, Shining Twins *OEFQFOEFOU QN Jason Marion +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN GSFF One F $BGF %V /PSE QN 7 Walkers featuring Bill Kreutzmann, Papa Mali (SFBU "NFSJDBO .VTJD )BMM QN Sic Waiting, Build Them To Break, Advocates, Weekender ,JNPÂľT QN Slow Trucks, Yeah Great Fine, Psychic Hiking, Warlocks, Fake Your Own Death, Spyrals #PUUPN PG UIF )JMM QN

jazz/new music

Kabuki Jazz Cabaret :PTIJÂľT QN 8JUI #SFOEB 8POH "PLJ BOE .BSL *[V Bassekou Kouyate, Ngoni Ba:FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX ZCDB PSH QN Savanna Jazz Trio 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN Tom Lander & Friends .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF

on the cheap

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Music listings folk / world/country

Mash Potangos 4UVEJP (SBDJB )FSPO 4' XXX TUVEJPHSBDJB DPN QN “San Francisco World Music Festival� +$$4' $BMJGPSOJB 4' XXX KDDTG PSH QN Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI 8IPB /FMMJFT

dance clubs

“All Hallow’s Eve� %/" -PVOHF 8JUI %FDBZ #BDPO.POLFZ +PF 3BEJP BOE /FUJL QSFTFOUFE CZ .FBU %FBUI (VJME BOE )VCCB )VCCB 3FWVF Batcave $MVC UI 4U 4' QN %FBUI SPDL HPUI BOE QPTU QVOL XJUI 4UFFQMFSPU 9$ISJT5 /FDSPNPT BOE D@EFBUI Ceremony )BSSJTPO 4' QN 3FUVSO PG 'SFFNBTPOT %+T +BNJF + 4BODIF[ 3VTT 3JDI +BZ 4BOUPT

Halloween(ish) Dub Mission &MCP 3PPN QN %VC SPPUT BOE DMBTTJD EBODFIBMM XJUI 4QJU #SPUIFST BOE %+ 4FQ BOE + #PPHJF Jock -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN 3BJTF NPOFZ GPS -(#5 TQPSUT UFBNT XIJMF FOKPZJOH %+T BOE ESJOL TQFDJBMT La Pachanga #MVF .BDBX .JTTJPO 4' XXX UIFCMVFNBDBXTG DPN QN 4BMTB EBODF QBSUZ XJUI MJWF "GSP $VCBO TBMTB CBOET Midnight Monster Mayhem 3PDLJU 3PPN $MFNFOU 4' XXX SPDL JU SPPN DPN 1FSGPSNBODFT CZ &ZFÂľ[ 4NPPUI % 0NBS "OHFMP 7JWP BOE NPSF

Monday 31 rock /blues/hip-hop

Johnny Legend & His Naked Apes, Beachkrieg, Undertaker & His Pals, DJ Omar $BGF %V /PSE QN Paper Diamond, Marty Party, Lowriderz

)BSSJFU 4' XXX DPN QN 7 Walkers featuring Bill Kreutzmann, Papa Mali (SFBU "NFSJDBO .VTJD )BMM QN Soft Moon, Led Er Est, DJs Michael Stock, Josh Cheon *OEFQFOEFOU QN

folk / world/country

Mash Potangos Revolution Cafe OE 4U 4' XXX DMBTTJDBMSFWPMVUJPO PSH QN

dance clubs

Death Guild: Halloween %/" -PVOHF QN (PUIJD JOEVTUSJBM BOE TZOUIQPQ XJUI +PF 3BEJP %FDBZ BOE .FMUJOH (JSM Icee Hot Halloween Spectacular &MCP 3PPN QN 8JUI - 7JT BOE 4IBXO 3FZOBMEP M.O.M. .BESPOF "SU #BS QN GSFF %+T 5JNPUFP (JHBOUF (PSEP $BCF[B BOE $ISJT 1IMFL QMBZJOH BMM .PUPXO FWFSZ .POEBZ “Riptide Halloween Party� 3JQUJEF 5BSBWBM 4' XXX SJQUJEFTG DPN QN GSFF 0ME TDIPPM QVOL

XJUI %+T 8IBUÂľT )JT 'VDL BOE $IBPT Sausage Party 3PTBNVOEF 4BVTBHF (SJMM .JTTJPO 4' QN GSFF %+ %BOEZ %JYPO TQJOT WJOUBHF SPDL 3 # HMPCBM CFBUT GVOL BOE EJTDP BU UIJT IBQQZ IPVS TBVTBHF TIBDL HJH “Subsonic Halloweenâ€? 3FHFODZ $FOUFS QN 8JUI %+T BOE BDUT Temple of Doom Halloween 3VCZ 4LZF .BTPO 4' XXX SVCZTLZF DPN QN 8JUI $MVCMJGF CZ 5JFTUP BOE ,FO -PM

tuesday 1 rock /blues/hip-hop

Jefferson Bergey .BTPO 4PDJBM )PVTF 4' XXX NBTPOTPDJBMIPVTF DPN QN GSFF Kathryn Calder #SJDL BOE .PSUBS .VTJD )BMM QN Chickenfoot, Ponderosa 8BSGJFME QN

Conquest for Death, Boom Boom Kid, Cops! ,OPDLPVU QN Family Folk Explosion &MCP 3PPN QN %BZ PG UIF %FBE DFMFCSBUJPO Field, Portable Sunsets, Beat Broker 3JDLTIBX 4UPQ QN Joe Henry, Keefus (SFBU "NFSJDBO .VTJD )BMM QN Mac Miller, People Under the Stairs, Casey Veggies 'JMMNPSF QN Parlotones, Scattered Trees $BGF %V /PSE QN They Are All Dead, He Whose Ox Is Gored, In Aeona )FNMPDL 5BWFSO QN Youth Lagoon, Gross Magic, Parentz #PUUPN PG UIF )JMM QN Zola Jesus *OEFQFOEFOU QN

jazz/new Music

Chester Thompson Quartet :PTIJÂľT QN 2

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mAgIC ChrISTIAN

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ICEE hoT SpECIAL gUEST

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1600 17th Street 252-1330

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

39

club list AMNESIA 853 Valencia (415) 970-0012 ARGUS LOUNGE 3187 Mission (415) 824-1447 ASIASF 201 Ninth St (415) 255-2742 ATLAS CAFE 3049 20th St (415) 648-1047 ATMOSPHERE 3 447 Broadway (415) 788-4623 BAMBUDDHA LOUNGE 601 Eddy (415) 885-5088 BAOBAB 3388 19th St (415) 643-3558 BEAUTY BAR 2299 Mission (415) 285-0323 BIMBO’S 365 CLUB 1025 Columbus (415) 474-0365 BISCUITS AND BLUES 401 Mason (415) 292-2583 BOLLYHOOD CAFé 3372 19th St (415) 970-0362 BOOM BOOM ROOM 1601 Fillmore (415) 673-8000 BOTTOM OF THE HILL 1233 17th St (415) 621-4455 BRICK AND MORTAR MUSIC HALL 1710 Mission www.brickandmortarmusic.com BROADWAY STUDIOS 435 Broadway (415) 291-0333 BRUNO’S 2389 Mission (415) 643-5200 CAFE COCOMO 650 Indiana (415) 824-6910 CAFé DU NORD 2170 Market (415) 861-5016 CASANOVA LOUNGE 527 Valencia (415) 863-9328 CAT CLUB 1190 Folsom (415) 431-3332 CLUB DELUXE 1509 Haight (415) 552-6949 CLUB 525 525 Howard (415) 339-8686 CLUB SIX 60 Sixth St (415) 863-1221 DALVA 3121 16th St (415) 252-7740 DELIRIUM 3139 16th St (415) 552-5525 DNA LOUNGE 375 11th St (415) 626-1409 DOLORES PARK CAFE 501 Dolores (414) 621-2936 DOUBLE DUTCH 3192 16th St (415) 503-1670

40 SAN FRANCISCO BAY GUARDIAN

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EDINBURGH CASTLE PUB 950 Geary (415) 885-4074 ELBO ROOM 647 Valencia (415) 552-7788. ELEMENT LOUNGE 1028 Geary (415) 571-1362 ENDUP 401 Sixth St (415) 357-0827 FILLMORE 1805 Geary (415) 346-6000 540 CLUB 540 Clement (415) 752-7276 FLUID ULTRA LOUNGE 662 Mission (415) 615-6888 GLAS KAT 520 Fourth St (415) 495-6626 GRANT AND GREEN 1371 Grant (415) 693-9565 GREAT AMERICAN MUSIC HALL 859 O’Farrell (415) 885-0750 HEMLOCK TAVERN 1131 Polk (415) 923-0923 HIFI 2125 Lombard (415) 345-TONE HOTEL UTAH SALOON 500 Fourth St (415) 546-6300 ICON ULTRA LOUNGE 1192 Folsom (415) 626-4800 INDEPENDENT 628 Divisadero (415) 771-1421 INFUSION LOUNGE 124 Ellis (415) 421-8700 IRELAND’S 32 3920 Geary (415) 386-6173 JOHNNY FOLEY’S 243 O’Farrell (415) 954-0777 KIMO’S 1351 Polk (415) 885-4535 KNOCKOUT 3223 Mission (415) 550-6994 LASZLO 2526 Mission (415) 401-0810 LEXINGTON CLUB 3464 19th St (415) 863-2052 MADRONE ART BAR 500 Divisadero (415) 241-0202 MAKE-OUT ROOM 3225 22nd St (415) 647-2888 MEZZANINE 444 Jessie (415) 625-8880 MIGHTY 119 Utah (415) 626-7001 MILK 1840 Haight (415) 387-6455 MISSION ROCK CAFé 817 Terry Francois (415) 626-5355 MOJITO 1337 Grant (415) 398-1120

stage listings

NICKIE’S 466 Haight (415) 255-0300 111 MINNA GALLERY 111 Minna (415) 974-1719 PARADISE LOUNGE 1501 Folsom (415) 252-5018 PARKSIDE 1600 17th St (415) 252-1330 PIER 23 Pier 23 (415) 362-5125 PLOUGH AND STARS 116 Clement (415) 751-1122 POLENG LOUNGE 1751 Fulton (415) 441-1710 PUBLIC WORKS 161 Erie www.publicsf.com PURPLE ONION 140 Columbus (415) 217-8400 RASSELAS JAZZ 1534 Fillmore (415) 346-8696 RED DEVIL LOUNGE 1695 Polk (415) 921-1695 RED POPPY ART HOUSE 2698 Folsom (415) 826-2402 REGENCY BALLROOM 1300 Van Ness (415) 673-5716 RETOX LOUNGE 628 20th St (415) 626-7386 RICKSHAW STOP 155 Fell (415) 861-2011 EL RINCON 2700 16th St (415) 437-9240 EL RIO 3158 Mission (415) 282-3325 RIPTIDE BAR 3639 Taraval (415) 240-8360 ROCKIT ROOM 406 Clement (415) 387-6343 RRAZZ ROOM 222 Mason (415) 394-1189 RUBY SKYE 420 Mason (415) 693-0777 SAVANNA JAZZ 2937 Mission (415) 285-3369 SHANGHAI 1930 133 Steuart (415) 896-5600 SHINE DANCE LOUNGE 1337 Mission (415) 255-1337 SKYLARK 3089 16th St (415) 621-9294 SLIDE 430 Mason (415) 421-1916 SLIM’S 333 11th St (415) 255-0333 SOM. 2925 16th St (415) 558-8521 SPACE 550 550 Barneveld (415) 550-8286 STUD 399 Ninth St (415) 252-7883

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SUB-MISSION 2183 Mission (415) 255-7227 SUPPERCLUB 657 Harrison (415) 348-0900 TEMPLE 540 Howard (415) 978-9942 1015 FOLSOM 1015 Folsom (415) 431-1200 330 RITCH 330 Ritch (415) 541-9574 TOP OF THE MARK Mark Hopkins Intercontinental Hotel 1 Nob Hill (415) 616-6916 TUNNEL TOP 601 Bush (415) 986-8900 UNDERGROUND SF 424 Haight (415) 864-7386 VESSEL 85 Campton (415) 433-8585 WARFIELD 982 Market (415) 345-0900 YOSHI’S SAN FRANCISCO 1330 Fillmore (415) 655-5600

BAY AREA ANNA’S JAZZ ISLAND 2120 Allston Way, Berk (510) 841-JAZZ ASHKENAZ 1317 San Pablo, Berk (510) 525-5054 BECKETT’S 2271 Shattuck, Berk (510) 647-1790 FOX THEATER 1807 Telegraph, Oakl 1-800-745-3000 FREIGHT AND SALVAGE COFFEE HOUSE 1111 Addison, Berk (510) 548-1761 JUPITER 2181 Shattuck, Berk (510) THE-ROCK 924 GILMAN STREET PROJECT 924 Gilman, Berk (510) 525-9926 LA PEñA CULTURAL CENTER 3104 Shattuck, Berk (510) 849-2568 SHATTUCK DOWN LOW 2284 Shattuck, Berk (510) 548-1159 STARRY PLOUGH 3101 Shattuck, Berk (510) 841-2082 STORK CLUB 2330 Telegraph, Oakl (510) 444-6174 21 GRAND 416 25th St, Oakl (510) 444-7263 UPTOWN 1928 Telegraph, Oakl (510) 451-8100 YOSHI’S 510 Embarcadero West Jack London Square, Oakl (510) 2389200 2

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happy hour t-f 5-8pm $3 well/draft $5 bloody mary & fry bread w/ rocky tree m/w/f/sat

WED Oct 26 9pm, $6

INTERSTELLAR GRAINS Cash Pony The Mean Faces

K/(- ,- "/ + K 7 - 9]ĂŠ" /" ,ĂŠĂ“Ăˆ

THU Oct 27 BART DAVENPORT 9pm, $8 Gypsy Moonlight Band French Boutik FRI Oct 28 9:30pm, $6

SAT Oct 29 9:30pm, $6

SUN Oct 30 9pm, $6

WED Nov 2 9pm, $8

red hots burlesque $5-10 omG! karaoke /0 '30/5 300. califia, harriot 30$,

MOCCRETRO

8pm

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ANGORA DEBS Charles Albright Buk Buk Bigups

Gardens (Detroit)

9pm

DJ GOODTIMES MCAFEE THEY ARE ALL DEAD

-1 9]ĂŠ" /" ,ĂŠĂŽä

He Whose Ox Is Gored In Aeona

SIRHAN SIRHAN (San Diego) Hazzard’s Cure Prizehog

3pm

9pm

Upcoming: Street Pyramids, Yeah Great Fine, Knights of the New Crusade, Hondettes, Liquorball, Carlton Melton, Said the Whale, Hull, Greg Ashley Band, La Otracina, Little Queenie, Sex Church, Live Evil, Slough Feg, Christian Mistress

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A WORLDWI DE E XC LU S IVE

RECEIVE 20% OFF ADULT TICKET S Purchase at: deyoungmuseum.org | Coupon ID: RSFBG20 Or present this ad at the de Young Museum box office Offer only valid through Jan 22, 2012. Limit 8 tickets per transaction and cannot be combined with other offers or discounts.

O C T 29–F E B 12

This exhibition is organized by the Fine Arts Museums of San Francisco in collaboration with the Gemäldegalerie of the Kunsthistorisches Museum, Vienna. Patrons are Athena and Timothy Blackburn and the William G. Irwin Charity Foundation. Sponsors are T. Robert and Katherine Burke, Hanson Bridgett LLP, Mrs. George Hopper Fitch, the Samuel H. Kress Foundation, Mrs. James K. McWilliams, and Greta R. Pofcher. Education programs are funded by the S. D. Bechtel, Jr. Foundation and Wells Fargo. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Major Patrons Penny and James George Coulter San Francisco Auxiliary of the Fine Arts Museums

Image: Giorgio da Castelfranco, called Giorgione, Youth with an Arrow (detail), ca. 1508–1510. Gemäldegalerie of the Kunsthistorisches Museum, Vienna.

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

41

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BerKeLey reP receNTLy exTeNDeD Rita MoReno: Life Without Makeup, sTarriNG THe LeGeNDary eNTerTaiNer. | photo courtesy kevinberne.com 4UBHF MJTUJOHT BSF DPNQJMFE CZ (VBSEJBO TUBGG 1FSGPSNBODF UJNFT NBZ DIBOHF DBMM WFOVFT UP DPO GJSN 3FWJFXFST BSF 3PCFSU "WJMB 3JUB 'FMDJBOP BOE /JDPMF (MVDLTUFSO 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

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Oranges and Sunshine "U UIF DFOUFS PG UIJT TBHB PG MJWFT SJQQFE BQBSU CZ DIVSDI BOE TUBUF JT .BSHBSFU )VNQISFZT UIF &OHMJTIXPNBO XIP VODPWFSFE UIF TDBOEBMPVT NBTT EFQPSUBUJPO PG DIJMESFO GSPN &OHMBOE UP "VTUSBMJB *O POF PG IFS NPTU SFXBSEJOH SPMFT TJODF The Proposition IFS MBTU GPSBZ UP 0[ 8BUTPO QPSUSBZT UIF &OHMJTI TPDJBM XPSLFS XIP JO UIF ´ T MFBSOT PG NVMUJQMF DBTFT PG OPX BEVMU PSQIBOT JO "VTUSBMJB XIP EPOµU LOPX UIFJS SFBM OBNF PS FWFO BHF CVU SFNFNCFS UIBU UIFZ PODF MJWFE JO UIF 6, 4IF TUBSUT UP FYQMPSF UIF QBTU PG WJDUJNT TVDI BT +BDL )VHP 8FBWJOH BOE -FO %BWJE 8FOIBN BOE USJFT UP SFVOJUF UIFN XJUI UIFJS GBNJMJFT JODMVE JOH NPUIFST XIP XFSF UPME UIFJS ZPVOHTUFST XFSF BEPQUFE JOUP SFBM GBNJMJFT *O UIF DPVSTF PG IFS XPSL BOE BU UIF FYQFOTF PG IFS PXO GBNJMZ MJGF )VNQISFZT EJTDPWFST UIF IPSSPST UIBU CFGFMM NBOZ ZPVOH EFQPSUFFT ± BT DIJME TMBWF MBCPSFST CONTINUES ON PAGE 44 >>

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OCTOBER 26 - NOVEMBER 1, 2011 / SFBG.com

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film listings OngOing

oPENINg

fridaY nights 28

Oct.

at the de Young

CONT>>

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Puss in Boots "OUPOJP #BOEFSBT BOE 4BMNB )BZFL WPJDF UIF MFBET JO UIJT Shrek TFSJFT TQJO PGG

The Rum Diary +PIOOZ %FQQ TUBST JO UIJT USPQJ DBM DPNFEZ BEBQUFE GSPN B )VOUFS 4 5IPNQTPO OPWFM California, Piedmont.

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From 5–8:45pm with free programs and live music. Enjoy cocktails and a dinner menu in the cafÊ.

> VIEW The Art of the Anatolian Kilim: Highlights

from the McCoy Jones Collection and Ralph Eugene Meatyard: Dolls and Masks exhibitions.

The Big Year 1000 Van Ness, SF Center. The Black Power Mixtape 1967-1975 Shattuck. Blackthorn Shattuck. Contagion Shattuck. The Debt Balboa. Detective Dee and the Mystery of the Phantom Flame Lumiere. Dolphin Tale SF Center. Drive Bridge, 1000 Van Ness, SF Center, Sundance Kabuki. 50/50 1000 Van Ness, SF Center, Sundance Kabuki. Finding Opera Plaza. Footloose 1000 Van Ness. Hell and Back Again 5IJT FNPUJPOBMMZ KBHHFE EPDVNFOUBSZ NJOHMFT GPPUBHF GSPN UIF XBS BOE IPNF GSPOUT UP SBUIFS OJHIUNBSJTIMZ FWPLF POF TPMEJFSÂľT WFSZ TUSFTTGVM FYQFSJFODFT PO CPUI .BSJOF 4HU /BUIBO )BSSJT JT TFFO JO DPNCBU QBUSPMMJOH "GHIBO UFSSBJO DPNNVOJDBUJOH Âą TPNFUJNFT FBS OFTUMZ TPNFUJNFT FYBTQFSBUFEMZ Âą XJUI TLFQUJDBM MPDBM WJMMBHFST XIP BSF UIFNTFMWFT XFEHFE CFUXFFO GPSFJHO GPSDFT BOE UIF 5BMJCBO "GUFS TVSWJWJOH B TFSJPVT JOKVSZ EVSJOH IJT UIJSE UPVS IF IBT B SPVHI UJNF SF BEKVTUJOH UP DJWJMJBO MJGF JO /PSUI $BSPMJOB Âą VOEFSHPJOH QIZTJDBM UIFSBQZ PGUFO JO QBJO PS [POLFE PO QSFTDSJQUJPO ESVHT IJT BOHFS TUSBJO JOH SFMBUJPOT XJUI XJGF "TIMFZ 4FMEPN BSUJDVMBUF GPSFWFS DSFFQJMZ QMBZJOH XJUI IJT IBOEHVO /BUIBO EPFTOÂľU BVUPNBUJDBMMZ XJO TZNQBUIZ 5IBU MFOET %BOGVOH %FOOJTÂľ GJMN B DFSUBJO FYUSB WFSBDJUZ XJUI BMM IJT GPJCMFT BOE BMM UIF CMBOLT MFGU JO IJT CJPHSBQIZ UIF QSPUBHPOJTU IFSF JT QSPCBCMZ B NPSF UZQJDBM SFQSFTFOUBUJPO PG UPEBZÂľT 6 4 GJHIUJOH GPSDFT UIBO NPTU TJNJMBS SFDFOU EPDT IBWF PGGFSFE 5IF EJSFDUPSÂľT TPVOEUSBDL BOE FEJUPSJBM TUSBUFHJFT GVSUIFS JOUFOTJGZ B NPWJF UIBU USJFT UP HFU JOTJEF UIF VOTFUUMFE NJOE XJUIJO BO BU MFBTU UFNQPSBSJMZ CSP LFO CPEZ BOE UP B EJTDPNGJUJOH FYUFOU TVDDFFET Lumiere. )BSWFZ

The Help SF Center, Shattuck. The Ides of March California, 1000 Van Ness, Piedmont, Sundance Kabuki.

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> drEss up for the Venetian Masquerade Party in

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celebration of Halloween.

> ExpErIEncE Gregangelo and Velocity Circus and Italian music by City Opera SF.

> cElEbratE at the closing reception for October Artist-in-Residence, Maori weaver Glenda Joyce Hape. In the Kimball Education Gallery from 6:30—8:30pm.

> lIstEn to Dr. Lynn Federle Orr, the museum’s

European art curator, discuss the Masters of Venice: Renaissance Painters of Passion and Power exhibition; which opens Sat., Oct 29. In the Koret Auditorium at 7pm; VHDWLQJ LV RQ D ÀUVW FRPH ÀUVW VHUYHG EDVLV

> crEatE your own Venetian masterpiece. Friday Nights at the de Young is part of FAMSF’s Cultural Encounters initiative generously funded by The James Irvine Foundation, The Wallace Foundation, the Institute of Museum and Library Services, the Columbia Foundation, and the Winifred Johnson Clive Foundation.

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Golden Gate Park 50 Hagiwara Tea Garden Drive deyoungmuseum.org 415.750.3600

44 SAN FRANCISCO BAY GUARDIAN

Johnny English Reborn 1000 Van Ness, SF Center. The Lion King 3D 1000 Van Ness, SF Center. Love Crime Lumiere. Margin Call Shattuck, Smith Rafael, Sundance Kabuki. Midnight in Paris Embarcadero, Shattuck. The Mighty Macs Metreon. Moneyball 1000 Van Ness, Sundance Kabuki. Mozart’s Sister Opera Plaza. My Afternoons with Margueritte Opera Plaza. Paranormal Activity 3 " QSFRVFM UP B QSF RVFM UIJT UIJSE JOTUBMMNFOU JO UIF GBVY IPNF NPWJF IPSSPS TFSJFT JT BT HPPE BT POF DPVME SFBTPO BCMZ IPQF GPS DPOTJEFSBCMZ CFUUFS UIBO ÂľT QBSU UXP FWFO JG JOFWJUBCMZ JU DBOÂľU SFQMJDBUF UIF SFMBUJWFMZ GSFTI JNQBDU PG UIF PSJHJOBM "GUFS B CSJFG JOUSPEVDUPSZ TFRVFODF XFÂľSF JO XJUI UIF HSPXO VQ TJTUFST PG UIF GJSTU UXP GJMNT OPX DIJM ESFO $IMPF $TFOHFSZ +FTTJDB 5ZMFS #SPXO MJWJOH XJUI B SFDFOUMZ TFQBSBUFE NPN -BVSFO #JUUFS BOE IFS OJDF OFX CPZGSJFOE $ISJTUPQIFS 4NJUI )JT XFEEJOH WJEFP CVTJOFTT QSPWJEFT UIF FYDVTF GPS NBOZ B TVSWFJMMBODF DBN UP CF TFU VQ JO UIFJS IPNF PODF UIJOHT TUBSU HPJOH CVNQ JO UIF OJHIU BOE TPNFUJNFT EBZ 8IJDI JOEFFE UIFZ EP QSFUUZ RVJDLMZ #SPXOÂľT MJUUMF ,SJTUJ IBT BO JOWJTJCMF GSJFOE DBMMFE 5PCZ TIF TBZT JT ²SFBM Âł UIPVHI PG DPVSTF FWFSZPOF FMTF USVTUT IFÂľT B OPSNBM IBSNMFTT JNBHJOBSZ QBM /FFEMFTT UP TBZ UIFZ BSF XSPOH 8SJUUFO CZ $ISJTUPQIFS -BOEPO Paranormal Activity 2 ÂľT Disturbia BOE EJSFDUFE CZ UIF HVZT )FOSZ +PPTU "SJFM 4DIVMNBO XIP NBEF JOUFSFTUJOH OPOGJDUJPO GFBUVSF Catfish UIJT RVJDLMZ NBEF GPMMPX VQ EPFT B HPPE KPC QJM JOH PO NPSF TDBSFT XJUIPVU HFUUJOH TIBNFMFTT PS MVEJDSPVT BCPVU JU FYUFOET UIF TFSJFTÂľ NZUIPMPHZ JO XBZT UIBU FBTJMZ QBWF XBZ UPXBSE GVUVSF DIBQ UFST BOE NBJOUBJOT UIF GPVOE GPPUBHF JMMVTJPO XFMM FOPVHI &YDFMMFOU DIJME QFSGPSNBODFT BOE DSFFQZ DBNDPSEFS ²QBOTÂł BUPQ BO PTDJMMBUJOH GBO NPUPS QSPWF B HSFBU IFMQ USZ UP GPSHFU UIBU WJEFP RVBMJUZ KVTU XBTOÂľU UIJT HPPE JO ´ /PU HSFBU CVU UIPSPVHIMZ EFDFOU BOE XPSUI TFFJOH JO B UIFBUFS Âą UIJT SFNBJOT POF DIJMMFS DPODFQU XIPTF FGGFDUJWFOFTT DBO POMZ CF EJNJOJTIFE UP UIF QPJOU PG OFBS VTFMFTTOFTT PO UIF TNBMM TDSFFO California, 1000 Van Ness. )BSWFZ

Point Blank Opera Plaza. Real Steel 1000 Van Ness, Shattuck. Sarah’s Key Balboa. The Skin I Live In *¾E MJLF UP UIJOL UIBU 1FESP "MNPEwWBS JT UPP GBS BMPOH JO IJT GSFRVFOUMZ DFM FCSBUFE DBSFFS UP CF IBWJOH B NJEMJGF DSJTJT CVU BMM UIF DMBTTJD TJHOT BSF PO EJTQMBZ JO IJT GMBTIZ EJTKPJOUFE OFX UISJMMFS 4UJMM NPVSOJOH UIF EFBUI PG IJT CVSO WJDUJN XJGF BOE SFNPWFE GSPN IJT QTZDIPMPHJDBMMZ EJTUVSCFE EBVHIUFS CSJMMJBOU CVU FUIJDBMMZ DPNQSPNJTFE QMBTUJD TVSHFPO 3PCFSU QMBZFE XJUI TNPMEFSJOH DSFFQJOFTT CZ GPSNFS "MNPEwWBS IFBSUUISPC "OUPOJP #BOEFSBT UISPXT IJNTFMG JOUP EFWFMPQJOH B OFX JOKVSZ SFTJTUBOU GPSN PG QSPTUIFUJD TLJO UFTUJOH JU PO IJT NZTUFSJ PVT MJWF JO HVJOFB QJH 7FSB UIF HPSHFPVT &MFOB "OBZB XIPTF FWFSZ DVSWF JT PO WJFX UIBOLT UP BO BQSoT TLJ SFBEZ CPEZ TVJU &WFOUVBMMZ BMM IFMM CSFBLT MPPTF BT EPFT 7FSB XIPTF CBDL TUPSZ BT XF GJOE PVU PXFT FRVBMMZ UP ¾T Eyes Without a Face BOE QFSIBQT POF PG UIF Saw GJMNT "OE UIBU¾T OPU FWFO UIF IBMG PG JU ¹ UP GVMMZ SFDPVOU FWFSZ TIBSQ UVSO EJHSFTTJPO BOE .BD(VGGJO UISPXO BU VT XPVME UBLF UIF FOUJSFUZ PG UIJT SFWJFX 5IBU¾T OPU OFXT GPS "MNPEwWBS UIPVHI .VDI MJLF 3BJOFS 8FSOFS 'BTTCJOEFS CFGPSF IJN "MNPEwWBS¾T NnUJFS JT NFMPESBNB BT SFGSBDUFE UISPVHI B HBZ DJOFQIJMF¾T SFDVQFSBUJWF BGGFDUJPOT )JT TUSFOHUI BT B GJMNNBLFS JT UP LFFQ VT FNPUJPO BMMZ UFUIFSFE UP UIF TUPSZ IF¾T UFMMJOH BNJETU BMM UIF BMMVTJPOT TFY DIBOHFT BOE QMPU UXJTUT UPSO TUSBJHIU GSPN B UFMFOPWFMB 5IF SFBM TIBNF PG The Skin I Live In JT UIBU TP NVDI IBQQFOT UIBU ZPV EPO¾U BDUVBMMZ IBWF UJNF UP DBSF NVDI BCPVU BOZ PG JU "MUIPVHI JUT NBOZ TVSGBDFT BSF CFBVUJGVM UP CFIPME UIBOLT MBSHFMZ UP DJOFNBUPHSBQIFS +PTn -VJT "MDBJOF The Skin I Live In VMUJNBUFMZ MBDLT B LFZ NVTDMF B IFBSU Embarcadero, Sundance Kabuki. 4VTTNBO

Take Shelter Lumiere, Shattuck. The Thing 1000 Van Ness. The Three Musketeers 3D 1000 Van Ness, Sundance Kabuki. The Way 1000 Van Ness, SF Center. Weekend Embarcadero. The Woman on the Sixth Floor Albany, Clay, Smith Rafael. 2

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4DIFEVMFT BSF GPS 8FE 5VFT FYDFQU XIFSF OPUFE %JSFDUPS BOE ZFBS BSF HJWFO XIFO BWBJMBCMF %PVCMF BOE USJQMF GFBUVSFT BSF NBSLFE XJUI B Â… "MM UJNFT Q N VOMFTT PUIFSXJTF TQFDJGJFE ARTISTS’ TELEVISION ACCESS 7BMFODJB 4' XXX BUBTJUF PSH ²$ISJTUJBO %JWJOFÂľT &DP )PSSPS 4QPPLUBDVMBS Âł 4BU BALBOA #BMCPB 4' XXX VOBGG PSH ²6OJUFE /BUJPOT "TTPDJBUJPO 'JMN 'FTUJWBM &EVDBUJPO JT B )VNBO 3JHIU Âł Because We Were Beautiful WBO 0TDI 8FE Paradise Hotel 5[BWFMMB 8FE Forerunners 8PPE 8FE Butterflies and Bulldozers %VOTLZ BOE %VOTLZ 8FE CASTRO $BTUSP 4' XXX DBTUSPUIFBUSF DPN ²#FSMJO BOE #FZPOE 'JMN 'FTUJWBM Âł 100 Years of Hollywood – The Carl Laemmle Story $ISJTUJBOTFO 8FE Lila Lila (TQPOFS 8FE If Not Us, Who? 7FJFM 8FE 'PS UJDLFUT NPTU TIPXT BOE NPSF JOGPSNBUJPO WJTJU XXX CFSMJO CFZPOE DPN Metropolis -BOH XJUI (JPSHJP .PSPEFSÂľT TDPSF 5IVST ²,FWJO 4NJUIÂľT )BMMPXFFO &YUSBWBHBO[B Âł Â…Âł+BZ BOE 4JMFOU #PC (FU 0ME -JWF Âł 'SJ BOE Red State 4NJUI 'SJ Â…The Red Shoes 1PXFMM BOE 1SFTTCVSHFS 4BU 4VO BOE Black Narcissus 1PXFMM BOE 1SFTTCVSHFS 4BU 4VO $MPTFE .PO 5VFT CHRISTOPHER B. SMITH RAFAEL FILM CENTER 'PVSUI 4U 4BO 3BGBFM XXX DBGJMN PSH Margin Call $IBOEPS DBMM GPS EBUFT BOE UJNFT The Women on the Sixth Floor -F (VBZ 8FE 5IVST DBMM GPS UJNFT Gainsbourg: A Heroic Life 4UBS 0DU /PW DBMM GPS UJNFT !Woman Art Revolution )FSTINBO -FFTPO 4VO LOST WEEKEND VIDEO 7BMFODJB 4' XXX MPTUXFFLFOEWJEFP DPN ²;PNCJF #BUUMF 3PZBMF Âł KĂĄrate a muerte en Torremolinos 5FNCPVSZ XJUI “Attack of the Zombie Luchadores!â€? #BOEFSB 4VO NINTH STREET INDEPENDENT FILM CENTER /JOUI 4U 4' XXX DVUUIFGJMN DPN Cut: Slicing Through the Myths of Circumcision 6OHBS 4BSHPO 4BU PACIFIC FILM ARCHIVE #BODSPGU #FSL CBNQGB CFSLFMFZ FEV ²"MUFSOBUJWF 7JTJPOT Âł ²'JMNT PG $IJDL 4USBOEÂł 8FE ²5IF 0VUTJEFST /FX )PMMZXPPE $JOFNB JO UIF 4FWFOUJFT Âł The Private Files of J. Edgar Hoover $PIFO 5IVST ²3BJOFS 8FSOFS 'BTTCFOEFS 5XP (SFBU &QJDT Âł Berlin Alexanderplatz, Parts XII-XII, Epilogue 'SJ ²" 5IFBUFS /FBS :PV Âł Summer 3PINFS 4BU BOE 4VO Four Adventures of Reinette and Mirabelle 3PINFS 4BU ²6$-" 'FTUJWBM PG 1SFTFSWBUJPO Âł Waiting for Godot 4DIOFJEFS 4VO ²,JOP &ZF 5IF 3FWPMVUJPOBSZ $JOFNB PG %[JHB 7FSUPW Âł ²,JOP 1SBWEB /PT Âł 5VFT ROXIE BOE UI 4U 4' XXX SPYJF DPN 4BO 'SBODJTDP %PDVNFOUBSZ 'JMN 'FTUJWBM 8FE 5IVST 'PS UJDLFUT NPTU TIPXT BOE NPSF JOGP WJTJU XXX TGJOEJF DPN Gainsbourg: The Man Who Loved Women 'PSOFSJ 0DU /PW BMTP 4BU 4VO ²)BMMPXFFO 4QPPLUBDVMBS Âł The Hunger 4DPUU 'SJ Nadja "MNFSFZEB 'SJ ² UI "OOJWFSTBSZ $FMFCSBUJPO GPS %BWJE -ZODIÂľT Twin Peaks Âł Laura 1SFNJOHFS 4BU Twin Peaks: The Pilot -ZODI 4BU Twin Peaks: Fire Walk With Me -ZODI 4BU Zombie 'VMDJ 4BU 4VO .PO Some Guy Who Kills People 1FSF[ 5VFT SFFS | NEW PEOPLE CINEMA 1PTU 4' XXX TGGT PSH ²'SFODI $JOFNB /PX Âł Bachelor Days Are Over -FXDPXJD[ 5IVST BOE 4VO Goodbye First Love )BOTFO -Â&#x;WF 5IVST BOE 4BU Beautiful Lies 4BMWBEPSJ 'SJ BOE 4VO The Moon Child (MFJ[F 'SJ BOE 4BU The Kid With a Bike %BSEFOOF BOE %BSEFOOF 'SJ BOE 4VO The Long Falling 1SPWPTU 'SJ BOE 4VO The Minister 4DIPFMMFS 4BU BOE .PO Four Lovers $PSEJFS 4BU BOE 5VFT The Screen Illusion "NBMSJD .PO Angèle and Tony %FMBQPSUF 5VFT VORTEX ROOM )PXBSE 4' XXX NZTQBDF DPN UIFWPSUFYSPPN EPOBUJPO ²5IF 7PSUFY *ODBSOBUF Âł Â…Phantom of the Paradise %F 1BMNB 5IVST BOE Poor Devil 4DIFFSFS 5IVST YERBA BUENA CENTER FOR THE ARTS .JTTJPO 4' XXX ZCDB PSH ².FYJDP 3JTJOH 5IF 'JMNT PG /JDPMgT 1FSFEB Âł Perpetuum Mobile 5IVST Diary of a Country Priest #SFTTPO 4BU 4VO /FX UI BOOJWFSTBSZ QSJOU SFTUPSBUJPO 2

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NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGE LICENSE Date of Filing Application: October 13, 2011. To Whom It May Concern: The name of the applicant is: ROF FERRARI LENDING 1, LLC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 3490 California Street, unit 1, San Francisco CA 94118-1891. Type of License Applied for: 41 – ON-SALE BEER AND WINE – EATING PLACE. Publication dates: October 26, 2011 L#113472 NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGE LICENSE Date of Filing Application: October 12, 2011. To Whom It May Concern: The name of the applicant is: ROF FERRARI LENDING 1, LLC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 468 Castro Street, San Francisco CA 941142020. Type of License Applied for: 41 – ON-SALE BEER AND WINE – EATING PLACE. Publication dates: October 26, 2011 L#113473 NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGE LICENSE Date of Filing Application: October 13, 2011. To Whom It May Concern: The name of the applicant is: ROF FERRARI LENDING 1, LLC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 680 Mission Street San Francisco, CA 94105. Type of License Applied for: 41 – ON-SALE BEER AND WINE – EATING PLACE. Publication dates: October 26, 2011 L#113474 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11-548170. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Rosalia Rengel for change of name. TO ALL INTERESTED PERSONS: Petitioner Rosalia Rangel filed a petition with this court for a decree changing names as follows: Present Name Rosalia Rangel. Proposed Name: Rosalia Rangel - Estrada . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: December 29, 2011. Time: 9:00 AM room ñ 514. Signed by Ellen Chaitin, Presiding Judge on October 17, 2011. Endorsed Filed San Francisco County Superior Court on September 17, 2011 by The Deputy Clerk. Publication dates October 19, 26, November 2 and 9th, 2011. L#113470 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11-548171. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Michelle Nora Estrada for change of name. TO ALL INTERESTED PERSONS: Petitioner Michelle Nora Estrada filed a petition with this court for a decree changing names as follows: Present Name Michelle Nora Estrada. Proposed Name: Michelle Nora Estrada - Rangel . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: December 29, 2011. Time: 9:00 AM room ñ 514. Signed by Ellen Chaitin, Presiding Judge on October 17, 2011. Endorsed Filed San Francisco County Superior Court on September 17, 2011 by The Deputy Clerk. Publication dates October 19, 26, November 2 and 9th, 2011. L#113471 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338261-00 The following person is doing business as English Language Institute 760 Market Street #401 ñ 4, San Francisco, CA 94102. This business is conducted by a Corporation . Registrant commenced business under the above-listed fictitious business name on the date January 1, 2012. Signed by Yoko Rinerson, President. This statement was filed by Melissa Ortiz on September 16, 2011. L#113460., October 5, 12, 19 and 26, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338664-00 The following person is doing business as Asmbly Hall 1850 Fillmore Street, San Francisco, CA 94115. This business is conducted by husband and wife . Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Anna Patricia Benitez. This statement was filed by Maribel Jaldon on October 5, 2011. L#113464., October 12, 19, 26 and November 2, 2011

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STATEMENT OF ABANDONMENT OF USE OF FICTITIOUS BUSINESS NAME The registrant listed below have abandoned the use of the fictitious business name Golden Age Healing 1263 16th Ave. #4, San Francisco, CA 94122. The fictitious business name was filed in the County of San Francisco under File# 03083585-00 on: 1/10/2008. NAME AND ADDRESS OF REGISTRANTS (as shown on previous statement): Jimmy Dias 1244 Gabriel Ct. San Leandro, Ca 94577. This business was conducted by a corporation. Signed Jimmy Dias . Dated: 10/7/11, Melissa Ortiz , Deputy County Clerk. #113467. October 19, 26, November 2 and 9, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0339051-00 The following person is doing business as Dear Mom 2700 16th Street, San Francisco, CA 94103. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date October 1, 2001. Signed by Paul Bavarl, Managing Member. This statement was filed by Mariedyne L. Argente on October 24, 2011. L#113475, October 26, November 2, 9, and 16, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338729-00 The following person is doing business as Genevieve Conaty Design 730 Florida Street Apt 23, San Francisco, CA 94110. This business is conducted by Limited Liability Company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Genevieve Conaty, Director CEO. This statement was filed by Melissa Ortiz on October 11, 2011. L#113469., October 19, 26, November 2, and 9, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338730-00 The following person is doing business as Chainsaw Boutique Music 730 Florida Street Apt 23, San Francisco, CA 94110. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Genevieve Conaty. This statement was filed by Melissa Ortiz on October 11, 2011. L#113468, October 19, 26, November 2, and 9, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0337872-00 The following person is doing business as IsThatSo? , 601 Missouri St., San Francisco, CA 94107. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Patricia Farrell This statement was filed by Magdalena Zevallos on August 30, 2011. L#113445., October 12, 19, 26 and November 2, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338759-00 The following pe<rson is doing business as Cerveceria de MateVeza 3801 18th Street, San Francisco, CA 94114. This business is conducted by Limited Liability Company. Registrant commenced business under the above-listed fictitious business name on the date September 25, 2011. Signed by James C. Woods, Member. This statement was filed by Melissa Ortiz on October 11, 2011. L#113465., October 19, 26, November 2, and 9, 2011

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401 Davis St., Ste. B, Vacaville, Ca. 95688 Escrow No.: 1108786 NOTICE TO CREDITORS OF BULK SALE (Division 6 of the Commercial Code)

(1) Notice is hereby given to creditors of the within named Seller(s) that a bulk sale is about to be made on personal property hereinafter described. (2) The name and business addresses of the seller are: Corporate Cuisine, Inc., 505 Van Ness, San Francisco, Ca. (3) The location in California of the chief executive office of the Seller is: 9000 Crow Canyon Rd., Ste. S610, Danville, Ca. 94506 (4) The names and business address of the Buyer(s) are: Ali Mostoufi and Jay Adjari, 3065 Jackson St., San Francisco, Ca. 94116 (5) The location and general description of the assets to be sold are fixtures, equipment and furniture of that certain business located at: 505 Van Ness, San Francisco, Ca. (6) The business name used by the seller(s) at said location is: Mocha’s Café & Grill (7) The anticipated date of the bulk sale is November 11, 2011 at the office of North American Title Company, 401 Davis St., Ste. B, Vacaville, Ca. 95688, ESCROW NO. 1108786, Escrow Officer: Linda McDoniels (8) Claims may be filed with Same as “7” above. (9) The last date for filing claims is November 10, 2011 (10) This Bulk Sale is subject to Section 6106.2 of the Uniform Commercial Code. (11) As listed by the Seller, all other business names and addresses used by the Seller within three years before the date such list was sent or delivered to the Buyer are (if “none”, so state): “NONE”. DATED: October 19, 2011 TRANSFEREES: North American Title Company as agent for buyer By: Linda McDoniels, Escrow Officer

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